2018/19 Concert Season
AT eastbourne congress theatre & devonshire park theatre
Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI supported by the Tsukanov Family Foundation Principal Guest Conductor ANDRÉS OROZCO-ESTRADA Leader PIETER SCHOEMAN supported by Neil Westreich Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM
Congress Theatre, Eastbourne Sunday 24 March 2019 | 3.00pm
Glinka Overture, Ruslan and Ludmilla (5’) Elgar Cello Concerto in E minor, Op. 85 (26’) Interval (20’) Tchaikovsky Symphony No. 5 in E minor, Op. 64 (47’)
Darrell Ang conductor Kian Soltani cello
The timings shown are not precise and are given only as a guide. CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA IN ASSOCIATION WITH EASTBOURNE BOROUGH COUNCIL
Contents 2 3 4 5 6 7 8 11 12 13 14 16
Welcome Next concert On stage today About the Orchestra Leader: Kevin Lin Darrell Ang Kian Soltani Programme notes Tchaikovsky on the LPO Label Recent LPO Label releases 2018/19 LPO Eastbourne Appeal Supporters LPO administration
Welcome to the Congress Theatre, Eastbourne Artistic Director Chris Jordan General Manager Gavin Davis Welcome to this afternoon’s performance. We are excited to welcome back the London Philharmonic Orchestra and its patrons for the re-opening of the Congress Theatre. This is a particularly poignant occasion for both the Theatre and the Orchestra, as the London Philharmonic gave the first ever performance at this Grade II listed building when it originally opened in 1963. This historic building was purpose-built as a theatre and conference venue designed by Bryan and Norman Westwood Architects. What makes the theatre unique is that it is conceived to be a perfect cube. It has fantastic acoustics to enhance your experience of live music, and so it is thrilling to see the Orchestra back in its Eastbourne home. We thank you for continuing to support the concert series. Please sit back in your new seats and enjoy the concert and your visit here. As a courtesy to others, please ensure mobile phones are switched off during the performance. Thank you.
Final concert this season at Eastbourne's Congress Theatre SUNDAY 7 APRIL 2019 3.00PM CONGRESS THEATRE Bax Tintagel Grieg Piano Concerto Sibelius Belshazzar’s Feast Suite, Op. 51 Sibelius Symphony No. 5 Osmo Vänskä conductor Jan Lisiecki piano London Philharmonic Orchestra ‘VÄNSKÄ SCULPTED ONE OF THE SHARPEST, MOST BELLIGERENT READINGS THAT THESE EARS HAVE HEARD.’
The Times on Vänskä conducting Sibelius with the London Philharmonic Orchestra, October 2016
Tickets £13–£25 Premium seats £29 Book now at eastbournetheatres.co.uk or call 01323 412000
Details of our new 2019/20 Eastbourne season will be available at the 7 April concert.
2 | London Philharmonic Orchestra
On stage today
First Violins Kevin Lin Leader Chair supported by The Candide Trust
Kate Oswin Katalin Varnagy Chair supported by Sonja Drexler
Catherine Craig Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp
Tina Gruenberg Rebecca Shorrock Lasma Taimina Georgina Leo Maeve Jenkinson Eleanor Bartlett Nilufar Alimaksumova Second Violins Alison Kelly Guest Principal Nancy Elan Fiona Higham Chair supported by David & Yi Buckley
Joseph Maher Ashley Stevens Sioni Williams Jamie Hutchinson John Dickinson Emma Martin Gavin Davies Violas David Quiggle Principal Richard Waters Co-Principal Robert Duncan Ting-Ru Lai Katharine Leek Susanne Martens Chair supported by Gill & Garf Collins
Benedetto Pollani Laura Vallejo
Cellos Morwenna Del Mar Guest Principal David Lale Gregory Walmsley Susanna Riddell Sibylle Hentschel David Bucknall Double Basses Kevin Rundell* Principal Sebastian Pennar Co-Principal Hugh Kluger George Peniston Flutes Stewart McIlwham* Principal Hannah Grayson Anna Steirud Piccolo Anna Steirud Oboes Jennifer Brittlebank Guest Principal Katherine Bryer Clarinets Thomas Watmough Principal Chair supported by Roger Greenwood
Horns Mark Vines Principal Oliver Johnson Adam Howcroft Gareth Mollison Elise Campbell
The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert:
Trumpets Paul Beniston* Principal Anne McAneney*
Andrew Davenport William & Alex de Winton Friends of the Orchestra Dr Barry Grimaldi Countess Dominique Loredan Sir Simon Robey Victoria Robey OBE Bianca & Stuart Roden Eric Tomsett Laurence Watt Neil Westreich
Chair supported by Geoff & Meg Mann
Robin Totterdell Trombones David Whitehouse Principal Charlotte Van Passen Bass Trombone Lyndon Meredith Principal Tuba Lee Tsarmaklis* Principal Timpani Marney Oâ€™Sullivan Guest Principal * Holds a professorial appointment in London Meet our members: lpo.org.uk/players
Bassoons Jonathan Davies Principal Emma Harding Contrabassoon Simon Estell* Principal
London Philharmonic Orchestra | 3
London Philharmonic Orchestra
The London Philharmonic’s closing concert took excellence and courageous programme planning to levels of expectation and emotional intensity more than once defying belief. Here was an orchestra in terrific form, rising to every challenge. Classicalsource.com (LPO at Royal Festival Hall, 2 May 2018: Panufnik, Penderecki & Prokofiev)
One of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with its reputation as one of the UK’s most forward-looking ensembles. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, has its own record label, and reaches thousands of people every year through activities for families, schools and local communities. The Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the world’s greatest conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is the Orchestra’s current Principal Conductor and Artistic Advisor, and in 2017 we celebrated the tenth anniversary of this extraordinary partnership. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in 2015. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Throughout 2018 our series
4 | London Philharmonic Orchestra
Changing Faces: Stravinsky’s Journey charted the life and music of one of the 20th century’s most influential composers, and in 2019 we celebrate the music of Britain in our festival Isle of Noises, exploring a range of British and British-inspired music from Purcell to the present day. Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Each summer the Orchestra takes up its annual residency at Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra. Touring remains a large part of the Orchestra’s life: highlights of the 2018/19 season include a major tour of Asia including South Korea, Taiwan and China, as well as performances in Belgium, France, Germany, The Netherlands, Spain, Greece, Switzerland and the USA.
Kevin Lin leader
The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 100 releases available on CD and to download. Recent additions include a Poulenc disc conducted by Yannick Nézet-Séguin, Tchaikovsky’s Symphonies Nos. 2 & 3 under Vladimir Jurowski, and a film music disc under Dirk Brossé. In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Music Award for Ensemble. The London Philharmonic Orchestra is committed to inspiring the next generation of musicians. In 2017/18 we celebrated the 30th anniversary of our Education and Community department, whose work over three decades has introduced so many people of all ages to orchestral music and created opportunities for people of all backgrounds to fulfil their creative potential. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the LPO Young Composers programme; the Foyle Future Firsts orchestral training programme; and the LPO Junior Artists scheme for talented young musicians from communities and backgrounds currently underrepresented in professional UK orchestras. The Orchestra’s work at the forefront of digital engagement and social media has enabled it to reach even more people worldwide: as well as a YouTube channel and regular podcast series, the Orchestra has a lively presence on social media. lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra
Kevin Lin joined the London Philharmonic Orchestra as Co-Leader in August 2017. Originally from New York, Kevin has received international recognition for his musicianship and ‘soulful’ playing (The Arts Desk). He has performed as a soloist and recitalist in the UK, Taiwan, South Korea and Canada, in addition to numerous performances in the USA. He was previously Guest Concertmaster of the Pittsburgh Symphony and Houston Symphony, and in 2015 was invited to lead the Aspen Philharmonic Orchestra at the Aspen Music Festival and School. He has also served as Concertmaster at The Colburn School and The Curtis Institute of Music. An avid chamber musician, Kevin’s recent collaborations include performances with the Tokyo and Ebène quartets, Edgar Meyer, Cho-Liang Lin, Orion Weiss and Andrew Bain. In recent years he has received prizes from the Irving M. Klein International Competition and the Schmidbauer International Competition, and competed in the George Enescu International Violin Competition and the Menuhin International Violin Competition. Kevin spent his early years studying with Patinka Kopec in New York, before going on to study with Robert Lipsett at The Colburn School in Los Angeles, where he received his Bachelor of Music degree. He then continued his studies at The Curtis Institute in Philadelphia as a Mark E. Rubenstein Fellowship recipient, under the pedagogy of Aaron Rosand.
Kevin’s chair in the London Philharmonic Orchestra is generously supported by The Candide Trust.
London Philharmonic Orchestra | 5
Darrell Ang conductor
Darrell Ang secures excellent results, never less than nimble and secure. Gramophone
Artistic Director and Chief Conductor of the Sichuan Symphony Orchestra since December 2016, Darrell Ang is a regular guest at the Mariinsky Theatre – having caught the attention of Valery Gergiev – and conducts monthly symphony and opera performances in St Petersburg and at the new Mariinsky Theatre (Primorsky Stage) in Vladivostok. His growing operatic profile includes recent performances of Don Giovanni and Rigoletto at the Mariinsky; Carmen at Estonian National Opera; The Magic Flute and Detlev Glanert's Nijinsky's Tagebuch in Bordeaux; The Flying Dutchman in Singapore; and Così fan tutte in Toulon. Darrell Ang has cultivated regular relationships with some of Europe's top orchestras, including the Orchestre Philharmonique de Radio France, Orchestre National de Lyon, Orchestre Philharmonique du Strasbourg, Orchestre National de Bordeaux-Aquitaine, Orchestre National de Lille, Orchestra Sinfonica di Milano 'Giuseppe Verdi', Filarmonica Arturo Toscanini, St Petersburg Philharmonic Orchestra, Konzerthausorchester Berlin, Berlin Radio Symphony, Munich Symphony, Vienna Chamber Orchestra, Luxembourg Chamber Orchestra, Copenhagen Philharmonic Orchestra, Vancouver Symphony Orchestra, RTVE Symphony Orchestra Madrid, Hong Kong Philharmonic, Taiwan Philharmonic and National Taiwan Symphony, NHK and Yomiuri Nippon Symphony Orchestras, among many others. In the UK he conducts the Royal Liverpool Philharmonic Orchestra – with whom he conducted the world premiere of a new work by Tan Dun – as well as the London Philharmonic and Philharmonia orchestras.
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Darrell Ang’s uncommon gift was discovered at the age of four, when he began to play the violin and piano. His natural artistic curiosity had no bounds, and soon he was inspired to study composition. As a teenager he followed his musical dream to Vienna and then to St Petersburg, where he studied conducting under the tutelage of Leonid Korchmar in the grand tradition of the legendary Ilya Musin. There he developed a particular passion for 20th-century Russian music, which – along with French and contemporary Asian repertoire – remains central to his artistic identity. Darrell continued his studies at Yale under the tutelage of Shinik Hahm, becoming its first Conducting Fellow. He took all three top awards at the 50th Besançon International Young Conductors' Competition. One of Asia’s most sought-after conductors, Darrell Ang made auspicious debuts and return visits to over 20 orchestras across the globe last season, including the ORF Vienna Radio Symphony Orchestra, Slovak Philharmonic Orchestra, Deutsche Staatsphilharmonie Rheinland-Pfalz, a tour through New Zealand with the New Zealand Symphony Orchestra, Antalya Symphony, USA’s Pacific Symphony Orchestra, New Japan Philharmonic Orchestra, China National Symphony Orchestra, Orquesta Sinfónica de la UAEH (Mexico), Estonian National Symphony and Manila Symphony. Also a regular recording artist of uncommon pedigree, Darrell has scored many successes for the Naxos label: his first disc – a recording of music by Chinese composers Zhou Long and Chen Yi – was nominated for a Grammy in 2016, while other discs include bestselling albums of overtures by Offenbach and Meyerbeer, Dutilleux’s Symphony No. 2 and Lalo’s Symphonie Espagnole.
Kian Soltani cello
He’s a remarkable cellist, with a piercingly beautiful tone and utterly pure intonation.
© Juventino Mateo
Described by Gramophone as ‘sheer perfection’, Kian Soltani’s playing is characterised by a depth of expression, sense of individuality and technical mastery, alongside a charismatic stage presence and ability to create an immediate emotional connection with his audiences. He is now invited by the world’s leading orchestras, conductors and recital promoters, propelling him from rising star to one of the most talked-about cellists performing today.
In 2017 Kian signed an exclusive recording contract with Deutsche Grammophon. His first disc, Home, comprising works for cello and piano by Schubert, Schumann and Iranian composer Reza Vali, was released to international acclaim in February 2018, with Gramophone describing the recording as ‘sublime’. His recording of the Mozart Piano Quartets with Daniel and Michael Barenboim and Yulia Deyneka was released in August 2018.
This afternoon's concert follows Kian Soltani’s debut with the London Philharmonic Orchestra yesterday at Southbank Centre's Royal Festival Hall. Other debuts this season include the Vienna Philharmonic, Boston Symphony, Berlin Staatskapelle, Royal Stockholm Philharmonic, Orchestre National de Lyon and National Symphony Orchestra, Washington. Kian recently appeared as the soloist on the West-Eastern Divan Orchestra’s major US tour with Daniel Barenboim, performing at venues including Carnegie Hall, Walt Disney Hall, Symphony Center Chicago and Kennedy Center Washington. He also returns to the TonhalleOrchester Zürich, and in October 2018 commenced a season-long residency with the Residentie Orkest in The Hague.
Kian Soltani made his international breakthrough at the age of 19 with acclaimed debuts at the Vienna Musikverein’s Goldener Saal and the Hohenems Schubertiade. He attracted further worldwide attention in 2013 as winner of the International Paulo Cello Competition in Helsinki, where he was hailed by Ostinato magazine as ‘a soloist of the highest level among the new generation of cellists’. In February 2017 he won Germany’s celebrated Leonard Bernstein Award and in December 2017 he was awarded the prestigious Credit Suisse Young Artist Award.
As a recitalist, this season Kian Soltani makes his debut at Carnegie Hall, as well as returning to the Salzburg and Lucerne festivals, Wigmore Hall and Boulez Saal. Further recital appearances include the Philharmonie de Paris, Vienna Konzerthaus, Amsterdam Concertgebouw, Elbphilharmonie Hamburg, Barbican Centre, Cologne Philharmonie, and Stockholm Concert Hall as part of the ECHO Rising Stars scheme.
Born in Bregenz, Germany, in 1992 to a family of Persian musicians, Kian began playing the cello aged four, and was only 12 when he joined Ivan Monighetti’s class at the Basel Music Academy. He was chosen as an Anne-Sophie Mutter Foundation scholarship holder in 2014, and completed his further studies as a member of the Young Soloist Programme at Germany’s Kronberg Academy. He received additional musical training at the International Music Academy in Liechtenstein. Kian Soltani plays a cello by brothers Giovanni and Francesco Grancino made in Milan in 1680, on generous loan from the Merito String Instruments Trust.
London Philharmonic Orchestra | 7
Speedread Tonight’s concert begins and ends in Russia. Glinka’s dazzling Overture to his fantastical 1842 opera Ruslan and Ludmilla has proved a resolute hit in the concert hall. Its success, however, belies the rather more troubled performance history of the complete drama. More effective in the theatre – both at home and abroad – was Tchaikovsky, whose Fifth Symphony coincided directly with the creation of The Sleeping Beauty. Like his fairytale ballet, the Symphony offers an uncommon case of ‘happily ever after’ in the composer’s fatalistic output. But the journey to the Symphony’s final celebratory
destination is often so conflicted that it may prove hard for some to accept its optimistic outcome. And in the context of this afternoon's concert, it follows another equivocal work, Elgar’s Cello Concerto, written in the immediate aftermath of the First World War. Although no programme was given by the composer, the work certainly seems to mull over the loss of so much life in the trenches between 1914 and 1918, as well as suggesting fading resilience in the face of an ever-changing world. Across the Concerto’s four movements, the elegiac and the downright angry often sit side by side.
Overture, Ruslan and Ludmilla
Although it was mutedly received at its premiere in St Petersburg in 1842, Ruslan and Ludmilla became Glinka’s most popular work in Russia during his lifetime. It tells the tale of the Prince of Kiev’s daughter Ludmilla, who is abducted under mysterious circumstances during her wedding to the warrior Ruslan. Scenes of daring escapes, Ruslan’s undying faith in true love, and its cast of good magicians and bad dwarves certainly made an impression on initial audiences, though the drama itself has often been questioned, with musicologist David Brown calling it an ‘irreparable disaster’. Consequently, performances beyond the Russian border have been few and far between.
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The score is, however, full of glories, including its dazzling Overture. Strident tutti fanfares launch the piece and alternate with virtuoso string scurries before the thematic material breaks down into witty woodwind counterpoint. This is followed by a generous theme from the violas, cellos and bassoons, indicative of the amorous relationship at the heart of the drama. Having been taken up by the whole orchestra, the music of the exposition hurtles into a brief, wispy development, as it charges over surprising tonal terrain, before the forces return to the festivities with renewed vigour. Listening to the Overture today, it is easy to hear why figures such as Berlioz and Liszt were so astounded by Glinka’s score.
Edward Elgar 1857–1934
On 24 May 1919, Henry Cope Colles, chief music critic of The Times and editor of the third and fourth editions of Grove’s Dictionary of Music and Musicians, wrote at length about three new chamber works by Edward Elgar that had recently been performed at Wigmore Hall. ‘Elgar’s music’, he opined, ‘is always autobiographical; but the life is not completed; it is the present which one looks for most eagerly in his latest work, and not the past. What has he to say now, and have the years stamped their meaning on him in any profound way?’ The answer to that question was to be found in Elgar’s next composition: his Cello Concerto. Its predecessor, the Violin Concerto, first performed in 1910, had become one of Elgar’s most successful works. Passionate and brave, the Concerto, as his friend William Henry Reed recalled, ‘proved to be a complete triumph’. But by 1919, when Elgar began its successor, the years had indeed stamped their meaning on him in an overwhelming manner. Europe was just beginning to stagger to its feet after the worst war ever witnessed and, understandably, Elgar had been equivocal about the conflict, which had caused depressive feelings to resurface and worsened his health. All of this coloured Elgar’s music and, rather than returning to the mood of the Violin Concerto, he created a much more anguished work for cello and orchestra. Sadly, at least at its premiere on 27 October 1919, the piece perplexed more than it inspired. The cello opens the Concerto with a series of broad chords and a pensive melodic fragment, which is picked up by the clarinet. Silence follows, before the cello
Cello Concerto in E minor, Op. 85 Kian Soltani cello 1 Adagio – Moderato 2 Lento – Allegro molto 3 Adagio 4 Allegro – Moderato – Allegro, ma non troppo – Poco più lento – Adagio
utters a question (inverting the work’s initial gesture). The strings’ answer meanders, almost absent-mindedly, before being repeated in a bruised and melancholy manner by the cello. A second section provides more animated music, though wistfulness remains. Only after the opening chords are stated again, pizzicato, does a new mood emerge and this skittish second movement, full of semiquavers, is at once joyful and nervous. The Adagio recalls the Concerto’s initial question. Here, however, nostalgia seems less restive, though the music features numerous backward glances, with echoes of the Violin Concerto, the Second Symphony and The Music Makers. The finale initially clings to the Adagio’s distant key of B flat major, before returning, via a harmonic sleight of hand, to E minor. What ensues is a determined attempt to live in the present, as indicated by the music’s ‘resolute’ marking. But that task proves far from simple and the last movement soon becomes as conflicted as its predecessors, swinging between tempos, metres and keys. And while there is joy along the way, sadness remains, not least in the Lento towards the end. Finally, Elgar offers a cruelly brusque return of the initial cello chords and caps the work in haste. It was to be the last major orchestral composition he completed, to be followed shortly thereafter by the death of his wife Alice, and 15 years of stymied ambitions and near silence. In short, the Cello Concerto was to become a requiem for both the war dead and Elgar’s wife, as well as for the composer’s failed hopes.
Interval – 20 minutes An announcement will be made five minutes before the end of the interval. London Philharmonic Orchestra | 9
Programme notes continued
Pyotr Ilyich Tchaikovsky 1840–93
Tchaikovsky described his Fifth Symphony as ‘a complete resignation before fate’, though it is often hard to reconcile that with the music. Fate may have been one of Tchaikovsky’s darkest preoccupations, but this particular work was written during a rare happy time in his career, coinciding with the creation of his hugely successful ballet The Sleeping Beauty. It is not only parallels with Tchaikovsky’s own works that are germane here, however. Indeed, the recurrent motto of the Fifth Symphony, heard right at the beginning of the piece, may well echo the four-note ‘fate’ motif of Beethoven’s Fifth, with its paradigmatic journey from darkness to light, from struggle to glory. At first, tragedy looms, with the opening gestures recalling the first (rather antique) theme of Tchaikovsky’s Romeo and Juliet Fantasy Overture. But this is quickly supplanted by a more bouncing theme – albeit echoing the motto – as the Allegro con anima stirs into life. More charged harmonic language emerges in the second theme, yet for all the fervour with which this melody is delivered, the initial theme proves more tenacious, leading to a dark conclusion. The Andante cantabile emerges from its waste, sounding in Tchaikovsky’s favoured tragic key of B minor (as in the ‘Pathétique’ Symphony that was to follow), before moving to a much happier D major. Its quietly hopeful horn theme harks back to the second subject of the first movement, before an oboe melody suggests clear kinship with the pas d’action from the visionary second act of The Sleeping Beauty, where true
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Symphony No. 5 in E minor, Op. 64 1 2 3 4
Andante – Allegro con anima Andante cantabile, con alcuna licenza Valse: Allegro moderato Finale: Andante maestoso – Allegro vivace
love is promised to Princess Aurora in the guise of a pining prince. Indeed, the first inkling Tchaikovsky had of creating that fairytale ballet was in May 1888, just as he was beginning work on the Fifth Symphony. But despite the love duet that follows – the music is marked ‘con desiro’, citing the name of Prince Désiré from the ballet – fate intrudes once more. Undimmed, unthreatened, an amorous mood resumes in the ensuing waltz. Semiquavers hint at unease, but even the Symphony’s motto has been transformed and looks ahead to the triumphant last movement. As this Finale begins, the theme returns in even more hopeful form. Occasionally, the Allegro vivace may threaten its sanguinity, though the path to E major seems sure. But then, unlike the truly triumphant conclusion to Brahms’s First Symphony – another work harking back to Beethoven’s ‘darkness to light’ model – there is no giddy rush to the finishing line. Instead, Tchaikovsky inserts a strange hiatus. For some, there may be no doubting the majesty of what follows, but the perpetually melancholy Tchaikovsky seemingly could not bring himself to charge headlong into a happy ending. Perhaps this brief pause reveals that the conclusion was, in the end, just an illusion, another fairytale. Certainly, once Tchaikovsky had completed The Sleeping Beauty, his thoughts quickly returned to tragedy, with the composition of his dark operatic masterpiece The Queen of Spades. Programme notes © Gavin Plumley
LPO-0109 | £9.99 (1CD)
LPO-0039 | £10.99 (2CDs)
Tchaikovsky on the LPO Label
Symphonies Nos. 2 & 3
Vladimir Jurowski conductor
Vladimir Jurowski conductor LPO–0009 | £9.99 (1CD)
LPO-0064 | £10.99 (2CDs)
Symphonies Nos. 1 & 6
Vladimir Jurowski conductor
Vladimir Jurowski conductor
Complete Symphonies 1–6 7CD Box Set Vladimir Jurowski conductor
LPO–0094 | £9.99 (1CD)
LPO-0101 | £34.99 (7CDs)
Symphonies Nos. 4 & 5
Violin Concerto plus Lalo's Symphonie espagnole Augustin Hadelich violin Vasily Petrenko conductor (Tchaikovsky) Omer Meir Wellber conductor (Lalo)
Recordings available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242), all good CD outlets and the Royal Festival Hall shop. Download or stream online via Spotify, Apple Music and others.
London Philharmonic Orchestra | 11
Recent releases on the LPO Label TCHAIKOVSKY Symphonies Nos. 2 & 3 Vladimir Jurowski conductor £9.99 LPO-0109 Released October 2018
THE GENIUS OF FILM MUSIC 1980s–2000s Dirk Brossé conductor £10.99 (2 CDs) LPO-0110 Released October 2018
'Vladimir Jurowski is really the perfect advocate for this kind of music. These are live recordings, and they’re really perfectionist in every detail – they have this sheen of an historically-informed performance.' BBC Radio 3 Record Review
'The man in charge is one of the go-to guys in the film world, Dirk Brossé – hugely impressive movie credentials ... The London Philharmonic Orchestra has certainly delivered a terrific disc.' Album of the Week, BBC Radio Scotland
The Isle of the Dead Symphony No. 1 Vladimir Jurowski conductor
£9.99 LPO-0111 Released March 2019
BEETHOVEN Symphonies Nos. 3 & 5 Kurt Masur conductor
£9.99 LPO-0112 Released March 2019
Recordings available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242), all good CD outlets and the Royal Festival Hall shop. Download or stream online via Spotify, Apple Music and others.
12 | London Philharmonic Orchestra
2018/19 LPO Eastbourne Appeal
hank you for joining the LPO this afternoon at the Congress Theatre. Many of you will know that we performed the inaugural concert at this theatre when it first opened 55 years ago. We are thrilled to be returning today to celebrate the reopening of this newly renovated hall; our home in Eastbourne. Not only this, but 2019 marks 85 years since our first ever concert in Eastbourne in September 1934 with the Orchestra's founder, Sir Thomas Beecham. As we observe these exciting milestones we encourage you to play a part in celebrating our return to the Congress Theatre, and the longstanding relationship between the LPO and Eastbourne. A great deal has changed since our first concerts here, but the LPO is still as committed to bringing emerging and established artists and exceptional music to Eastbourne as we were under Beecham 85 years ago. We ask that you support the Orchestraâ€™s Appeal this year as we step into a new era of our Eastbourne residency. We remain so very grateful for your ongoing support, and our relationships here feel as strong as ever. Hereâ€™s to another 85 years!
To donate to the 2018/19 Eastbourne Appeal please call Ellie Franklin, Development Assistant, on 020 7840 4225 or email email@example.com. Thank you for your support.
We are extremely grateful to all donors who have given generously to the LPO over the past year. Your generosity helps maintain the breadth and depth of the LPO’s activities, as well as supporting the Orchestra both on and off the concert platform.
Artistic Director’s Circle An anonymous donor Sir Simon & Lady Robey OBE Orchestra Circle The Candide Trust Mr & Mrs Philip Kan Neil Westreich The Tsukanov Family Dr James Huang Zheng (of Kingdom Music Education Group) Principal Associates Gabor Beyer, through BTO Management Consulting AG In memory of Ann Marguerite Collins Mr & Mrs Makharinsky Associates Steven M. Berzin Richard Buxton Kay Bryan William & Alex de Winton Mrs Irina Gofman Countess Dominique Loredan George Ramishvili Stuart & Bianca Roden In memory of Hazel Amy Smith Gold Patrons David & Yi Buckley John Burgess In memory of Allner Mavis Channing Gill & Garf Collins Andrew Davenport Sonja Drexler Mrs Gillian Fane Marie-Laure Favre-Gilly de Varennes de Beuill Hamish & Sophie Forsyth Virginia Gabbertas MBE Mr Roger Greenwood The Jeniffer and Jonathan Harris Charitable Trust Rehmet Kassim-Lakha de Morixe
Geoff & Meg Mann Sally Groves & Dennis Marks Robert Markwick & Kasia Robinski Melanie Ryan Julian & Gill Simmonds Eric Tomsett The Viney Family Laurence Watt Silver Patrons Dr Christopher Aldren Peter Blanc Georgy Djaparidze Ulrike & Benno Engelmann Peter & Fiona Espenhahn Will & Kate Hobhouse Matt Isaacs & Penny Jerram John & Angela Kessler The Metherell Family Simon Millward Mikhail Noskov & Vasilina Bindley Susan Wallendahl Guy & Utti Whittaker Bronze Patrons Anonymous donors Michael Allen Andrew Barclay Mr Geoffrey Bateman Peter & Adrienne Breen Mr Jeremy Bull Mr Alan C Butler Desmond & Ruth Cecil Mr John H Cook Andrea d’Avack Bruno De Kegel Mr John L G Deacon David Ellen Ignor & Lyuba Galkin David Goldberg Mr Daniel Goldstein David & Jane Gosman Mrs Dorothy Hambleton Wim & Jackie Hautekiet-Clare Malcolm Herring Catherine Høgel & Ben Mardle J Douglas Home
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Mr James R. D. Korner Rose & Dudley Leigh Drs Frank & Gek Lim Mrs Elizabeth Meshkvicheva Maxim & Natalia Moskalev Mr & Mrs Andrew Neill Peter & Lucy Noble Noel Otley JP & Mrs Rachel Davies Jacopo Pessina Mr Roger Phillimore Mr Michael Posen Tatiana Pyatigorskaya Dr Eva Lotta & Mr Thierry Sciard Tom & Phillis Sharpe Mr Christopher Stewart Mr & Mrs John C Tucker Andrew & Rosemary Tusa Mr & Mrs John & Susi Underwood Marina Vaizey Ms Jenny Watson CBE Grenville & Krysia Williams Christopher Williams Ed & Catherine Williams Mr Anthony Yolland Principal Supporters Ralph & Elizabeth Aldwinckle Margot Astrachan Mr Philip Bathard-Smith Mr Edwin Bisset Dr Anthony Buckland Mr & Mrs Stewart Cohen Sir Alan Collins KCVO David & Liz Conway Mr Alistair Corbett Mrs Alina Davey Guy Davies Henry Davis MBE Mr Richard Fernyhough Patrice & Federica Feron Ms Kerry Gardner Ivan Hurry Per Jonsson Mr Ralph Kanza Ms Katerina Kashenceva Vadim & Natalia Levin
Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Mr Christopher Little Paul & Brigitta Lock Mr Peter Mace Patricia & Michael McLarenTurner Mr John Meloy Andrew T Mills Dr Karen Morton Mrs Jennifer Oxley Dr Wiebke Pekrull Mr James Pickford Andrew & Sarah Poppleton Natalie Pray Mr Christopher Querée Martin & Cheryl Southgate Ms Nadia Stasyuk Matthew Stephenson & Roman Aristarkhov Louise Walton Howard & Sheelagh Watson Des & Maggie Whitelock Liz Winter Bill Yoe Supporters Mr John D Barnard Mr Keith Bolderson Mr Bernard Bradbury Mr Richard Brooman Mrs Alan Carrington Alison Clarke & Leo Pilkington Mr Joshua Coger Mr Geoffrey A Collens Miss Tessa Cowie Lady Jane Cuckney OBE Mr David Devons Samuel Edge Manuel Fajardo & Clémence Humeau Mrs Janet Flynn Christopher Fraser OBE Mr and Mrs Gofton Will Gold Mr Peter Gray Mrs Maureen HooftGraafland The Jackman Family Mr David MacFarlane
Mr Frederic Marguerre Mr Mark Mishon Mr Stephen Olton Mr David Peters Mr & Mrs Graham & Jean Pugh Mr David Russell Mr Kenneth Shaw Ms Elizabeth Shaw Ms Natalie Spraggon & Mr David Thomson Mr John Weekes Mr Trevor Weston Joanna Williams Hon. Benefactor Elliott Bernerd Hon. Life Members Alfonso Aijón Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Mrs Jackie Rosenfeld OBE Laurence Watt LPO International Board of Governors Natasha Tsukanova Chair Steven M. Berzin (USA) Gabor Beyer (Hungary) Kay Bryan (Australia) Marie-Laure Favre Gilly de Varennes de Bueil (France) Irina Gofman (Russia) Joyce Kan (China/Hong Kong) Countess Dominique Loredan (Italy) Olivia Ma (Greater China Area) Olga Makharinsky (Russia) George Ramishvili (Georgia) Victoria Robey OBE (USA) Dr James Huang Zheng (of Kingdom Music Education Group) (China/ Shenzhen)
We are grateful to the Board of the American Friends of the London Philharmonic Orchestra, who assist with fundraising for our activities in the United States of America: Simon Freakley Chairman Xenia Hanusiak Alexandra Jupin William A. Kerr Kristina McPhee Natalie Pray Stephanie Yoshida Antony Phillipson Hon. Chairman Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Corporate Donors Arcadis Christian Dior Couture Faraday Fenchurch Advisory Partners IMG Pictet Bank Steppes Travel White & Case LLP Corporate Members Gold freuds Sunshine Silver After Digital Berenberg Carter-Ruck French Chamber of Commerce Bronze Ageas Lazard Russo-British Chamber of Commerce Walpole
Preferred Partners Fever-Tree Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic Sipsmith Steinway Villa Maria In-kind Sponsor Google Inc Trusts and Foundations The Bernarr Rainbow Trust The Boltini Trust Sir William Boreman’s Foundation Borletti-Buitoni Trust Boshier-Hinton Foundation The Candide Trust The Chalk Cliff Trust The Ernest Cook Trust Diaphonique, Franco-British Fund for contemporary music The D’Oyly Carte Charitable Trust Dunard Fund The Fidelio Charitable Trust The Foyle Foundation Lucille Graham Trust Help Musicians UK John Horniman’s Children’s Trust The Idlewild Trust Embassy of the State of Israel to the United Kingdom Kirby Laing Foundation The Lawson Trust The Leverhulme Trust Andrew Lloyd Webber Foundation London Stock Exchange Group Foundation Lord & Lady Lurgan Trust Marsh Christian Trust The Mercers’ Company Adam Mickiewicz Institute Newcomen Collett Foundation
The Stanley Picker Trust The Austin & Hope Pilkington Trust PRS For Music Foundation The Radcliffe Trust Rivers Foundation Romanian Cultural Institute The R K Charitable Trust The Sampimon Trust Schroder Charity Trust Serge Rachmaninoff Foundation Ernst von Siemens Music Foundation The David Solomons Charitable Trust Souter Charitable Trust The Steel Charitable Trust Spears-Stutz Charitable Trust John Thaw Foundation The Thistle Trust UK Friends of the FelixMendelssohn-BartholdyFoundation The Clarence Westbury Foundation Garfield Weston Foundation The Barbara Whatmore Charitable Trust The William Alwyn Foundation and all others who wish to remain anonymous.
London Philharmonic Orchestra | 15
Board of Directors Victoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-President Dr Catherine C. Høgel Vice-Chairman Henry Baldwin* Roger Barron Richard Brass David Buckley Bruno De Kegel Martin Höhmann* Al MacCuish Susanne Martens* Pei-Jee Ng* Andrew Tusa Timothy Walker AM Neil Westreich David Whitehouse* * Player-Director Advisory Council Martin Höhmann Chairman Rob Adediran Christopher Aldren Dr Manon Antoniazzi Richard Brass Desmond Cecil CMG Sir Alan Collins KCVO CMG Andrew Davenport William de Winton Cameron Doley Edward Dolman Christopher Fraser OBE Lord Hall of Birkenhead CBE Jonathan Harris CBE FRICS Amanda Hill Rehmet Kassim-Lakha Jamie Korner Geoff Mann Clive Marks OBE FCA Stewart McIlwham Andrew Neill Nadya Powell Sir Bernard Rix Victoria Robey OBE Baroness Shackleton Thomas Sharpe QC Julian Simmonds Barry Smith Martin Southgate Andrew Swarbrick Sir John Tooley Chris Viney Timothy Walker AM Laurence Watt Elizabeth Winter
General Administration Timothy Walker AM Chief Executive and Artistic Director
Education and Community Isabella Kernot Education and Community Director
David Burke General Manager and Finance Director
Talia Lash Education and Community Manager
Lucas Dwyer PA to the Chief Executive/ Administrative Assistant
Emily Moss Education and Community Project Manager
Finance Frances Slack Finance and Operations Manager
Hannah Tripp Education and Community Project Co-ordinator
Dayse Guilherme Finance Officer
Development Nick Jackman Development Director
Concert Management Roanna Gibson Concerts Director
Vicky Moran Development Events Manager
Graham Wood Concerts and Recordings Manager Sophie Richardson Glyndebourne and Projects Manager (maternity leave) Fabio Sarlo Glyndebourne and Projects Manager (maternity cover) Grace Ko Tours Manager Alison Jones Concerts and Recordings Co-ordinator Jo Cotter Tours Co-ordinator Matthew Freeman Recordings Consultant Andrew Chenery Orchestra Personnel Manager Sarah Holmes Sarah Thomas Librarians Christopher Alderton Stage Manager Damian Davis Transport Manager Hannah Verkerk Orchestra Co-ordinator and Auditions Administrator Laura Kitson Assistant Transport & Stage Manager
16 | London Philharmonic Orchestra
Christina McNeill Corporate Relations Manager Rosie Morden Individual Giving Manager Anna Quillin Trusts and Foundations Manager Ellie Franklin Development Assistant Georgie Gulliver Development Assistant Kirstin Peltonen Development Associate Marketing Kath Trout Marketing Director Mairi Warren Marketing Manager
Public Relations Premier firstname.lastname@example.org Tel: 020 7292 7355/ 020 7292 7335 Archives Philip Stuart Discographer Gillian Pole Recordings Archive Professional Services Charles Russell Speechlys Solicitors Crowe Clark Whitehill LLP Auditors Dr Barry Grimaldi Honorary Doctor Mr Chris Aldren Honorary ENT Surgeon Mr Brian Cohen Mr Simon Owen-Johnstone Honorary Orthopaedic Surgeons London Philharmonic Orchestra 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Box Office: 020 7840 4242 Email: email@example.com lpo.org.uk The London Philharmonic Orchestra Limited is a registered charity No. 238045.
Megan Macarte Box Office Manager (Tel: 020 7840 4242)
Composer photographs courtesy of the Royal College of Music, London.
Rachel Williams Publications Manager
Cover artwork Ross Shaw Printer Cantate
Rachel Smith Website Manager Greg Felton Digital Creative Alexandra Lloyd Marketing Co-ordinator Tom Wright Marketing Assistant