London Philharmonic Orchestra 26 October 2019 concert programme

Ja

ISLE OF

19

y– December r a 20 u n

NOISES Landmark classics inspired by the British Isles 1689 – 2019

Concert programme

lpo.org.uk

Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI Principal Conductor Designate EDWARD GARDNER Leader PIETER SCHOEMAN supported by Neil Westreich Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

Southbank Centre’s Royal Festival Hall Saturday 26 October 2019 | 7.30pm

Elgar The Apostles, Op. 49 There will be a 20-minute interval between Parts 1 & 2, at approximately 8.45pm. Tonight’s concert will end at approximately 10.00pm.

Martyn Brabbins conductor† Elizabeth Watts The Angel Gabriel/The Blessed Virgin Mary Alice Coote Mary Magdalene/Narrator 2 Allan Clayton John/Narrator 1 Roderick Williams Jesus David Stout Peter Brindley Sherratt Judas London Philharmonic Choir Artistic Director: Neville Creed

BBC Symphony Chorus Chorus Director: Neil Ferris

† Following surgery to release a trapped nerve in his neck, and under medical advice, Sir Mark Elder has very reluctantly decided to cancel his forthcoming engagements. We are very grateful to Martyn Brabbins, who has kindly agreed to step in for this concert at short notice.

The timings shown are not precise and are given only as a guide. CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

ISLE OF

NOISES Contents 2 Welcome 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Martyn Brabbins 7 Tonight’s soloists 10 London Philharmonic Choir 11 BBC Symphony Chorus 12 Programme note 15 Recommended recordings 16 Text: The Apostles 24 Elgar on the LPO Label 25 Sound Futures donors 26 Supporters 28 LPO administration

Welcome

We are delighted to welcome Geoffrey Lynn, together with his family and friends, to the audience this evening. Geoff recently retired after an impressive 45 years as a member of the London Philharmonic Orchestra’s First Violin section.

Welcome to Southbank Centre We hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries, please ask a member of staff for assistance. Eating, drinking and shopping? Enjoy fresh seasonal food for breakfast and lunch, coffee, teas and evening drinks with riverside views at Concrete Cafe, Queen Elizabeth Hall, and Riverside Terrace Cafe, Level 2, Royal Festival Hall. Visit our shops for products inspired by our artistic and cultural programme, iconic buildings and central London location. Explore across the site with Foyles, Giraffe, Strada, wagamama, YO! Sushi, Le Pain Quotidien, Las Iguanas, ping pong, Spiritland, Honest Burger, Côte Brasserie, Skylon and Topolski. If you wish to get in touch with us following your visit, please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone us on 020 3879 9555, or email customer@southbankcentre.co.uk We look forward to seeing you again soon. A few points to note for your comfort and enjoyment: PHOTOGRAPHY is not allowed in the auditorium. LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance. RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre. Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended. MOBILES AND WATCHES should be switched off before the performance begins.

Thank you This evening the London Philharmonic Orchestra would like to acknowledge our supporters who have pledged to leave the Orchestra a gift in their Will. We are most grateful for your generosity and commitment. Find out more at lpo.org.uk/giftsinwills

2 | London Philharmonic Orchestra

Born in Stirling, Geoff started playing the violin at an early age. Initially he had aspirations to be a psychiatrist, but after two years at medical school in Edinburgh he missed music so much that he abandoned his ambition to be the next Sigmund Freud and instead enrolled at the Royal College of Music. Whilst studying there with Frances Mason, he won the top violin prize. After successfully auditioning for the LPO in 1974, at the age of 24 he became one of the Orchestra’s youngest-ever members. Geoff was always a pleasure to sit next to, a wonderful musician who could sight-read anything. He never lost his passion for playing the ‘fiddle’ – in nearly every coffee break he would find a corner in which to practise. But it is his human qualities that the ‘Firsts’ will most miss. We all remember our first shy day in the job, but Geoff went out of his way to make us feel immediately welcome. Eventually, after getting used to his charming Scottish lilt, we would rely on his humour to get through many a demanding rehearsal. He has a rare ability to keep conductors on their toes by discovering mistakes in orchestral parts. Geoff has also taken a very active role in the LPO’s education activities: teaching is a passion for him, and he is looking forward to having more time to concentrate on encouraging the next generation of violinists. Geoff, thank you for being such a great colleague and Mensch, and enjoy the celebrations tonight! Thomas Eisner LPO First Violin

On stage tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

Vesselin Gellev Sub-Leader Kate Oswin Catherine Craig Thomas Eisner Chair supported by the Chiltern Friends of the LPO

Martin Hรถhmann Sarah Streatfeild Yang Zhang Chair supported by Eric Tomsett

Tina Gruenberg Grace Lee Rebecca Shorrock Lasma Taimina John Dickinson Miranda Allen Alice Hall Kalliopi Mitropoulou Second Violins Tania Mazzetti Principal Chair supported by Countess Dominique Loredan

Helena Smart Nancy Elan Fiona Higham Chair supported by David & Yi Buckley

Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Ashley Stevens Sioni Williams Kate Cole Mathilde Gheorgiu Gavin Davies Anna Croad Jamie Hutchinson Violas David Quiggle Principal Richard Waters Co-Principal Ting-Ru Lai Katharine Leek Susanne Martens

Laura Vallejo Alistair Scahill Daniel Cornford Martin Wray Martin Fenn Richard Cookson Sarah Malcolm

Clarinets Benjamin Mellefont Principal

Tuba Lee Tsarmaklis* Principal

Chair supported by Friends of the Orchestra

Timpani Nigel Thomas Guest Principal

Cellos Pei-Jee Ng Principal Anthony Kondo Francis Bucknall Laura Donoghue David Lale Gregory Walmsley Elisabeth Wiklander Tom Roff George Hoult David Bucknall

Bass Clarinet Paul Richards* Principal

Double Basses Kevin Rundell* Principal Sebastian Pennar Co-Principal George Peniston Jamie Kenny Lowri Morgan Dominic Dudley Kenneth Knussen Jakub Cywinski Flutes Juliette Bausor Principal Emilia Zakrzewska Stewart McIlwham* Piccolo Stewart McIlwham* Principal Oboes Ian Hardwick* Principal Alice Munday Cor Anglais Jane Marshall

Thomas Watmough Chair supported by Roger Greenwood

Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Bassoons Jonathan Davies Principal

Henry Baldwin Co-Principal Keith Millar Karen Hutt

Chair supported by Sir Simon Robey

Claire Webster Contrabassoon Simon Estell* Principal Horns Mark Vines Principal Martin Hobbs Elise Campbell Gareth Mollison Oliver Johnson Shofar Stephen Stirling Trumpets Paul Beniston* Principal

Harps Rachel Masters Principal Tomos Xerri Organ Catherine Edwards Assistant Conductor Adam Hickox * Holds a professorial appointment in London Meet our members: lpo.org.uk/players

Chair supported by Donors to the 2019 Gala Player Appeal

Anne McAneney* Chair supported by Geoff & Meg Mann

Robin Totterdell Trombones Mark Templeton* Principal Chair supported by William & Alex de Winton

David Whitehouse Bass Trombone Lyndon Meredith Principal

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: The Candide Trust Sonja Drexler Dr Barry Grimaldi Victoria Robey OBE Bianca & Stuart Roden Caroline, Jamie & Zander Sharp

Chair supported by Gill & Garf Collins

London Philharmonic Orchestra | 3

London Philharmonic Orchestra

The London Philharmonic is playing at the peak of its form. Richard Fairman, The Financial Times (27 September 2019: Jurowski conducts Knussen, Britten & Tchaikovsky at Royal Festival Hall)

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 concert performances, the Orchestra also records film soundtracks, releases CDs and downloads on its own 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, and has since been headed by many great conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. In 2017 Vladimir Jurowski celebrated his tenth anniversary as the Orchestra’s Principal Conductor. Edward Gardner is currently Principal Conductor Designate, and will take up the position when Jurowski’s tenure concludes in September 2021. 4 | London Philharmonic Orchestra

The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Throughout the rest of 2019 we celebrate the music of Britain in our festival Isle of Noises, exploring music from and inspired by the British Isles, from Purcell to the present day. 2020 will see a new series entitled 2020 Vision, which features some of the most exciting works written since 2000, each combined in concert with pieces composed exactly 100 and 200 years earlier. The London Philharmonic Orchestra enjoys flourishing residencies in Brighton, Eastbourne and Saffron Walden, and performs regularly around the UK. Every summer, the Orchestra takes up its annual residency at Glyndebourne Festival Opera, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sellout audiences worldwide.

Pieter Schoeman leader

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. We recently 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. Our dynamic and wide-ranging programme provides first musical experiences for children and families; offers creative projects and professional development opportunities for schools and teachers; inspires talented teenage instrumentalists to progress their skills; and develops the next generation of professional musicians. The Orchestra’s work at the forefront of digital technology has enabled it to reach millions of people worldwide: all its recordings are available to download and stream and, as well as a YouTube channel and podcast series, the Orchestra has a lively presence on social media. lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra youtube.com/londonphilharmonicorchestra instagram.com/londonphilharmonicorchestra

Pieter Schoeman was appointed Leader of the London Philharmonic Orchestra in 2008, having previously been Co-Leader since 2002. © Benjamin Ealovega

The London Philharmonic Orchestra has recorded many blockbuster film scores, 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 Mahler’s Symphony No. 4 conducted by Vladimir Jurowski, Beethoven’s Symphonies Nos. 3 & 5 under the late Kurt Masur, and a film music disc under Dirk Brossé.

Born in South Africa, Pieter made his solo debut aged 10 with the Cape Town Symphony Orchestra. Five years later he won the World Youth Concerto Competition in Michigan. Aged 17, he moved to the US to further his studies in Los Angeles and Dallas. In 1991 his talent was spotted by Pinchas Zukerman who, after several consultations, recommended that he move to New York to study with Sylvia Rosenberg. Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and Southbank Centre’s Queen Elizabeth Hall in London. As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. At the invitation of Yannick Nézet-Séguin he has been part of the ‘Yannick and Friends’ chamber group, performing at festivals in Dortmund and Rheingau. Pieter has performed several times as a soloist with the LPO, and his live recording of Britten’s Double Concerto with Alexander Zemtsov was released on the Orchestra’s own label to great critical acclaim. He has also recorded numerous violin solos for film and television, and led the LPO in its soundtrack recordings for The Lord of the Rings trilogy. In 1995 Pieter became Co-Leader of the Orchestre Philharmonique de Nice. Since then he has appeared frequently as Guest Leader with the Barcelona, Bordeaux, Lyon, Baltimore and BBC symphony orchestras, and the Rotterdam and BBC Philharmonic orchestras. In April 2016 he was Guest Leader with the Leipzig Gewandhaus Orchestra for Kurt Masur’s memorial concert. He is a Professor of Violin at Trinity Laban Conservatoire of Music and Dance in London. Pieter’s chair in the London Philharmonic Orchestra is supported by Neil Westreich.

London Philharmonic Orchestra | 5

Martyn Brabbins conductor

Expert in the repertory of 20th-century British romanticism, Brabbins drew rich and supple playing ... keeping the score from sinking under the weight of its own pretensions and honouring all its delicacies. © Benjamin Ealovega

The Telegraph, August 2019 (Elgar’s The Kingdom with the Hallé at the Edinburgh International Festival)

An inspirational force in British music, Martyn Brabbins has enjoyed a busy opera career since his early days at the Kirov and more recently at La Scala, the Bayerische Staatsoper and regularly in Lyon, Amsterdam, Frankfurt and Antwerp. He is a popular figure at the BBC Proms and with most of the leading British orchestras, and regularly visits top international orchestras such as the Royal Concertgebouw Orchestra, the Deutsche Symphonie-Orchester Berlin and the Tokyo Metropolitan Symphony. Known for his advocacy of British composers, he has conducted hundreds of world premieres across the globe. He has recorded over 120 CDs to date, including prize-winning discs of operas by Korngold, Harrison Birtwistle and Jonathan Harvey. Martyn Brabbins has been Music Director at English National Opera since 2016. He is also a Visiting Professor at the Royal College of Music and Music Director to the Huddersfield Choral Society, and has for many years supported professional, student and amateur musicmaking at the highest level in the UK. He is a former Associate Principal Conductor of the BBC Scottish Symphony Orchestra (1994–2005), Principal Guest Conductor of the Royal Flemish Philharmonic (2009–15), Chief Conductor of the Nagoya Philharmonic (2012–16), and Artistic Director of the Cheltenham International Festival of Music (2005–07). In June 2019 Brabbins made his San Francisco Symphony debut conducting Ravel’s L’enfant et les sortilèges, appearing two weeks later at the Grant Park Festival in Chicago. In August 2019, to mark his 60th birthday, the BBC Proms commissioned a set of variations by 14 living composers, mirroring Elgar’s Enigma Variations (also in the concert programme). Brabbins was joined by the BBC Scottish Symphony,

6 | London Philharmonic Orchestra

English National Opera Chorus and BBC Singers for the televised concert, which also included Vaughan Williams’s Serenade to Music. At English National Opera Brabbins opened the 2019/20 season earlier this month with a new production of Harrison Birtwistle’s The Mask of Orpheus – the first London staging since its debut 30 years ago (also at ENO), with Puccini’s Madam Butterfly to come later in the season. In May 2020 he conducts the world premiere of Thierry Escaich’s Khosrow et Chirine at the Opera National de Lyon. Symphonic highlights include the continuation of his acclaimed Vaughan Williams cycle with the BBC Symphony Orchestra at the Barbican; a Shostakovich/Mussorgsky programme with the Royal Philharmonic Orchestra; the European premiere of his BBC Proms Enigma commission with the Antwerp Symphony, with whom he has a long association; and his return to Suntory Hall with the Tokyo Symphony to conduct the Japanese premiere of James MacMillan’s Trombone Concerto with soloist Jörgen van Rijen. Martyn Brabbins’s extensive discography ranges from Romantic to contemporary repertoire, with over 50 recordings for Hyperion Records alone, notably of Elgar, Walton and Tippett. He won the Gramophone Award for Birtwistle’s The Mask of Orpheus with the BBC Symphony Orchestra (NMC), the Cannes Opera Award for Korngold’s Die Kathrin with the BBC Concert Orchestra (CPO), and the Grand Prix du Disque for his recording of Jonathan Harvey’s Wagner Dream. Brabbins studied composition in London and conducting with Ilya Musin in Leningrad, subsequently winning First Prize at the 1988 Leeds Conductors’ Competition, launching his international career.

Alice Coote

soprano The Angel Gabriel/The Blessed Virgin Mary

mezzo-soprano Mary Magdalene/Narrator 2

Elizabeth was a chorister at Norwich Cathedral and studied Archaeology at Sheffield University before studying singing at the Royal College of Music. She was awarded an Hon DMus by Sheffield in 2013 and became a Fellow of the RCM in 2017. Plans for this season and beyond include Britten’s Spring Symphony with the RLPO and Richard Farnes; Handel’s Messiah with the Handel & Haydn Society of Boston and Richard Egarr; Mendelssohn’s Elijah with the BBCSO and Sakari Oramo; and Mahler’s Symphony No. 2 with the RPO and Vasily Petrenko. With the Rotterdam Philharmonic she will sing Bach’s Christmas Oratorio under Nathalie Stutzmann and Beethoven’s Symphony No. 9 under Andrew Manze. Elizabeth last performed with the London Philharmonic Orchestra in Rossini’s Petite messe solennelle under Gustavo Gimeno in October 2018. Other recent concerts include Britten’s Spring Symphony with the LSO and Simon Rattle; Brahms’s German Requiem with the OAE and Marin Alsop; Vaughan Williams’s Sea Symphony with both the Rundfunk Sinfonieorchester Berlin and the Stockholm Philharmonic; and Ligeti’s Le Grand Macabre with both the NDR Elbphilharmonie Orchester and Alan Gilbert, and the LSO and Rattle. Past highlights at the BBC Proms include Mahler’s Symphony No. 2 with the BBC Symphony Orchestra and Oramo, and Ravel’s L’enfant et les sortilèges with the LSO and Rattle. At the 2019 Proms she explored new repertoire, singing Beethoven’s concert aria ‘Ah! Perfido’ and Leonore’s scene and aria ‘Abscheulicher!’ from Fidelio with the NDR Radio Philharmonic Orchestra conducted by Andrew Manze. Elizabeth won the 2007 Rosenblatt Recital Song Prize at the BBC Cardiff Singer of the World Competition and the Outstanding Young Artist Award at the Cannes MIDEM Classique Awards, as well as the 2006 Kathleen Ferrier Award. She is a former BBC Radio 3 New Generation Artist and was awarded a Borletti-Buitoni Trust Award in 2011.

© Jiyang Cheng

© Marco Borggreve

Elizabeth Watts

Equally famed on the great operatic stages as in concert and recital, Alice Coote has been named ‘the superlative British mezzo’ (San Francisco Chronicle). Her career has taken her from her beginnings in the north of England, singing in local festivals and playing oboe in the Cheshire Youth Orchestra, to being regarded as one of the great artists of today. In 2018 she was awarded an OBE for services to music. Alice is acclaimed in particular for her Strauss, Mahler, Berlioz, Mozart, Handel and Bach interpretations, which she has performed with orchestras including the London Symphony, Boston Symphony, Chicago Symphony, New York Philharmonic, Hallé and Royal Concertgebouw orchestras, as well as the Orchestra of the Age of Enlightenment, The English Concert and the Kammerphilharmonie Bremen. The recital platform is central to her musical life, and she performs throughout the UK, Europe and the USA, at Wigmore Hall (where she has been a resident artist), the BBC Proms, the Concertgebouw, the Vienna Konzerthaus and New York’s Lincoln Center and Carnegie Hall, among many other prestigious venues. Most recently, she performed Schubert’s Winterreise at the Stars of the White Nights Mariinsky Festival in St Petersburg. Alice’s 2019/20 engagements include the title role in Gluck’s Orpheus and Eurydice at English National Opera; Berlioz’s Roméo et Juliet with the London Symphony Orchestra conducted by Michael Tilson Thomas; Mahler’s Symphony No. 8 with the City of Birmingham Symphony Orchestra conducted by Mirga GražinytėTyla; Sarah in Donizetti’s Roberto Devereux with the Los Angeles Opera; and Ottavia in L’incoronazione di Poppea at the Théâtre des Champs-Elysées. Alice will be a Hallé Associate Artist for the 2019/20 season, during which she will perform Berlioz’s Roméo et Juliet; Bach’s B Minor Mass and Mahler’s Symphony No. 3.

Please note change of artist from previously advertised.

London Philharmonic Orchestra | 7

Roderick Williams

tenor | John/Narrator 1

baritone | Jesus

Allan Clayton is established as one of the most exciting and sought-after singers of his generation. He studied at St John’s College, Cambridge, and at the Royal Academy of Music in London. An Associate of the Royal Academy of Music and a former BBC New Generation Artist from 2007–09, his awards include The Queen’s Commendation for Excellence, a Borletti-Buitoni Trust Fellowship and the 2018 Royal Philharmonic Society Singer Award. Allan garnered huge praise as the lead role in Brett Dean’s Hamlet, which received its world premiere at the 2017 Glyndebourne Festival with the London Philharmonic Orchestra under Vladimir Jurowski, and won the 2019 Gramophone Contemporary Award. In 2018 Allan sang Froh in a concert performance of Wagner’s Das Rheingold with the London Philharmonic Orchestra under Vladimir Jurowski at Royal Festival Hall, and earlier this year he made his role debut as Faust in Berlioz’s La damnation de Faust at Glyndebourne under Robin Ticciati, again with the LPO. He returns to the Royal Opera House in 2020 as Laca in Janáček’s Jenůfa. Allan’s concert appearances include Elgar’s The Dream of Gerontius at the Barbican with the London Symphony Orchestra and Mark Elder, Britten’s War Requiem with the BBC Symphony Orchestra and Semyon Bychkov, and Handel’s Messiah for the Handel & Haydn Society in Boston. He appears regularly at the BBC Proms, where in 2014 he sang the title role in Stravinsky’s Oedipus rex with the BBC Symphony Orchestra under Sakari Oramo. He sang in Britten’s War Requiem at the 2018 Proms with the Royal Scottish National Orchestra under Peter Oundjian, and then in Cardiff to commemorate the 100th anniversary of the end of the First World War. Next month Allan sings in Britten’s Spring Symphony with the Royal Liverpool Philharmonic Orchestra under Andrew Gourlay, and later this autumn he makes his debut at the Teatro alla Scala, singing in Berlioz’s L’enfance du Christ under John Eliot Gardiner.

8 | London Philharmonic Orchestra

© Benjamin Ealovega

© Sim Canetty-Clarke

Allan Clayton

Roderick Williams is one of the most sought-after baritones of his generation. He performs a wide repertoire, from Baroque to contemporary music, in the opera house and on the concert platform, and is in demand as a recitalist worldwide. He enjoys relationships with all the major UK opera houses and has given world premieres of operas by David Sawer, Sally Beamish, Michael van der Aa, Robert Saxton and Alexander Knaifel. Recent and future engagements include the title role in Eugene Onegin for Garsington Opera; the title role in Billy Budd with Opera North; Papageno for the Royal Opera House, Covent Garden; and productions with Dallas Opera, English National Opera and The Netherlands Opera. Roderick sings regularly with all the major UK and BBC orchestras, as well as with the Berlin Philharmonic, Deutsches Symphonie-Orchester Berlin, Russian National Orchestra, Orchestre Philharmonique de Radio France, Ensemble Orchestral de Paris, Accademia Nazionale di Santa Cecilia in Rome, Cincinnati Symphony, Music of the Baroque Chicago, New York Philharmonic, London Symphony Orchestra and Bach Collegium Japan, among others. His many festival appearances include the BBC Proms (including the Last Night in 2014) and the Edinburgh International, Cheltenham, Bath, Aldeburgh and Melbourne festivals. Roderick Williams has an extensive discography. He is also a composer and has had works premiered at Wigmore Hall, the Barbican, the Purcell Room and live on national radio. In 2016 he won the prize for best choral composition at the British Composer Awards. Roderick Williams was Artistic Director of Leeds Lieder in April 2016 and won the RPS Singer of the Year Award in May 2016. He was awarded an OBE in June 2017. Roderick will return to Royal Festival Hall on 9 November as the soloist in Walton’s Belshazzar’s Feast with the London Philharmonic Orchestra and Choir under Marin Alsop (see page 23).

Brindley Sherratt

baritone | Peter

bass | Judas

David Stout has rapidly established himself as one of the UK’s most versatile baritones. His repertoire ranges widely, encompassing early music with period instruments, Mozart, Verdi, Puccini, Britten, the bel canto repertoire, and contemporary and 20th-century works. In the 2019/20 season he returns to Scottish Opera to make his role debut as Henry Kissinger in John Adams’s Nixon in China. He also returns to Welsh National Opera to sing Harašta in The Cunning Little Vixen, and to Grange Park Opera as Barnaba in La Gioconda. Recent highlights include Roucher in Andrea Chénier (Royal Opera House, Covent Garden); Posa in Don Carlo (Grange Park Opera); Dulcamara in L’elisir d’amore (Theater St Gallen); Sancho Panca in Massenet’s Don Quichotte (Bregenzer Festspiele and Grange Park Opera); the title role in Elena Langer’s Figaro Gets a Divorce and Leporello in Don Giovanni (both for Welsh National Opera and Grand Théâtre de Genève); the title role in The Marriage of Figaro (Welsh National Opera and English National Opera); Gratiano in The Merchant of Venice (Welsh National Opera); Marcello in La bohème (Scottish Opera); and Donner in Das Rheingold, Sandoval in Le Duc d’Albe, Paolo in Simon Boccanegra and the title role in Falstaff (all with Mark Elder and the Hallé). David Stout’s extensive concert repertoire includes Verdi’s Requiem with the Royal Philharmonic Orchestra at the Royal Albert Hall; Handel’s Messiah and Brahms’s Requiem with the Hallé; Bach’s St John Passion with Polyphony at St John’s Smith Square and with Aurora Orchestra at King’s Place; and Mozart’s Requiem with the Bournemouth Symphony Orchestra, as well as Haydn’s Nelson Mass, Polyphemus in Handel’s Acis and Galatea, Beethoven’s Missa Solemnis, Orff’s Carmina Burana, Tippett’s A Child of Our Time, Vaughan Williams’s Sea Symphony, Walton’s Belshazzar’s Feast, Rossini’s Stabat Mater, Elgar’s The Dream of Gerontius, Mendelssohn’s Elijah and Britten’s War Requiem. Tonight’s concert is David’s LPO debut.

Born in Lancashire, bass Brindley Sherratt studied at the Royal Academy of Music, of which he is now a Fellow and Visiting Professor.

© Sussie Ahlberg

© Benjamin Ealovega

David Stout

Opera highlights in Brindley’s 2019/20 season include Il Commendatore (Don Giovanni) for The Royal Opera; Bartolo (The Marriage of Figaro) and Geronte di Revoir (Manon Lescaut) for the Metropolitan Opera; Doktor (Wozzeck) for the Aix-en-Provence Festival; and Pimen (Boris Godunov) for his debut at the Bayerische Staatsoper in Munich. On the concert platform he sings Fafner in Wagner’s Siegfried with the LPO and Vladimir Jurowski at Royal Festival Hall (1 February 2020); Marke (Tristan und Isolde) with the Spanish National Orchestra under David Afkham; Rocco (Fidelio) with the Hallé under Mark Elder; Valens (Theodora) with Arcangelo and Jonathan Cohen; Tippett’s A Child of our Time with the CBSO under Mirga Gražinytė-Tyla; and Beethoven’s Missa Solemnis with the BBC Symphony Orchestra under Richard Farnes. In demand on the concert platform, Brindley Sherratt has appeared at the Bregenz, Edinburgh, Lucerne, Salzburg and Three Choirs festivals, and at the BBC Proms. He works regularly with leading orchestras and conductors: recent engagements have included the Orchestra of the Royal Opera House with Antonio Pappano; the Philharmonia Orchestra with Andrew Davis; the Hallé with Mark Elder; the Mahler Chamber Orchestra with Daniel Harding; the Rotterdam Philharmonic Orchestra with Harry Bicket; the Monteverdi Choir with John Eliot Gardiner; the Scottish Chamber Orchestra with Yannick Nézet-Séguin; and the Orchestre des Champs-Elysées and Deutsche Kammerphilharmonie Bremen with Louis Langrée. He has recorded many operatic roles for Nimbus, Chandos, Opera Rara and Glyndebourne Live, as well as Judas in The Apostles with the Hallé and Mark Elder; Beethoven’s Missa Solemnis with the Chamber Orchestra of Europe and John Nelson; and Haydn Masses and Bach Cantatas with the Monteverdi Choir and John Eliot Gardiner. London Philharmonic Orchestra | 9

London Philharmonic Choir Patron HRH Princess Alexandra | President Sir Mark Elder | Artistic Director Neville Creed Chairman Tessa Bartley | Choir Manager Bethea Hanson-Jones | Accompanist Jonathan Beatty

Founded in 1947 as the chorus for the London Philharmonic Orchestra, the London Philharmonic Choir is widely regarded as one of Britain’s finest choirs. For the last seven decades the Choir has performed under leading conductors, consistently meeting with critical acclaim and recording regularly for television and radio. Enjoying a close relationship with the London Philharmonic Orchestra, the Choir frequently joins it for concerts in the UK and abroad. Recent highlights have included Verdi’s Requiem with Edward Gardner; Beethoven’s Missa Solemnis with the Choir’s President, Sir Mark Elder; Haydn’s The Creation with Sir Roger Norrington; and Tallis’s Spem in alium and Mahler’s Symphony No. 8 under Vladimir Jurowski. The Choir appears annually at the BBC Proms at the Royal Albert Hall, and performances have included the UK premieres of Mark-Anthony Turnage’s A Relic of Memory and Goldie’s Sine Tempore in the Evolution! Prom. The Choir has been engaged by the BBC for all the Doctor Who Proms and, in recent years, has given performances of works by Beethoven, Elgar, Howells, Liszt, Orff, Vaughan Williams, Verdi and Walton. A well-travelled choir, it has visited numerous European countries and performed in Kuala Lumpur, Hong Kong and Australia. The Choir has appeared twice at the Touquet International Music Masters Festival and was delighted to travel to the Théâtre des Champs-Elysées, Paris, in December 2017 to perform Bach’s Christmas Oratorio with the London Philharmonic Orchestra. The Choir prides itself on achieving first-class performances from its members, who are volunteers from all walks of life. This year the Choir is proud to be supporting homeless charity Crisis by leading a choral force behind the fight to end homelessness. The Choir is encouraging choruses around the UK to programme Paul Fincham’s Ring the Bells in their Christmas concerts and services, with all composer royalties being donated to Crisis. For more information visit lpc.org.uk/ringthebells.

Sopranos Annette Argent Chris Banks Tessa Bartley Hilary Bates Catherine Boxall Laura Buntine Coco Burch Charlotte Cantrell Sze Ying Chan Paula Chessell Sarah Davies Aimee Desmond Jessica Dixon Lucy Doig Kathryn Flood Rachel Gibbon Anna Greco Rosie Grigalis Jane Hanson Sally Harrison Plyphon Jones Barbara Kilpatrick Joy Lee Clare Lovett Janey Maxwell Amanda May Christina McNeill Harriet Murray Sarah Ogden Kathryn O’Leary Linda Park Alexandra Poncia Danielle ReeceGreenhalgh Courtney Reed Rebecca Sheppard Victoria Smith Lydia Smith-Saville Tania Stanier Susan Thomas Jo Webster

Altos Deirdre Ashton Andrei Caracoti Noel Chow Liz Cole Sara De La Serna Sarah Finkemeyer Henrietta Fisher Kathryn Gilfoy Jane Goddard Bethea HansonJones Judy Jones Claire LawrenceSmales Ethel Livermore Lisa MacDonald Laetitia Malan Ian Maxwell Caroline Morris Sophie Morrison Anna Mulroney Karine Sá Ferreira Carolyn Saunders Rima Sereikiene Elizabeth Steele Annette Strzedulla Eleni Thwaites Susi Underwood Jenny Watson Tenors Geir Andreassen Tim Appleby Christopher Beynon Gary Cupido Fred Fisher Robert Geary Alan Glover Peter Goves

10 | London Philharmonic Orchestra

Basses Martyn Atkins Jonathon Bird Peter Blamire Julian CasselsBrown Geoffrey Clare Marcus Daniels Tom Fayle Paul Fincham Christopher Fitzgerald Ian Frost Nicholas HennellFoley Mark Hillier Stephen Hines David Hodgson Rylan Holey John Luff Christopher Mackay John Miller John G Morris John D Morris Will Parsons Johannes Pieters John Salmon Edwin Smith Philip Tait Alex Thomas John Wood

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Josh Haley David Hoare Stephen Hodges James Hopper Patrick Hughes Simon Pickup Sergiu Plotnic

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BBC Symphony Chorus President Sir Andrew Davis | Chorus Director Neil Ferris | Deputy Director Grace Rossiter Accompanist Paul Webster | Vocal Coach Katie Thomas | Chorus Manager Helen MacLeod

Founded in 1928, the BBC Symphony Chorus’s early performances included Mahler’s Symphony No. 8, Stravinsky’s Perséphone and Walton’s Belshazzar’s Feast, and this commitment to new music continues undiminished. Through its appearances with the BBC Symphony Orchestra and internationally acclaimed conductors and soloists, most of which are broadcast on BBC Radio 3, the Chorus performs diverse and challenging repertoire. The BBC Symphony Chorus will join the BBC Symphony Orchestra in its 2019/20 season at the Barbican for performances of Mendelssohn’s Elijah, Sibelius’s The Origin of Fire and the UK premiere of his Snöfrid, all conducted by BBCSO Chief Conductor Sakari Oramo; Beethoven’s Missa Solemnis with Richard Farnes; and Detlev Glanert’s Requiem for Hieronymus Bosch conducted by Semyon Bychkov. Performing regularly at the BBC Proms at the Royal Albert Hall, the Chorus’s highlights this year included performances of Janáček’s Glagolitic Mass at the First Night conducted by Karina Canellakis; Beethoven’s Symphony No. 9 under Sakari Oramo; the world premiere of Jonathan Dove’s We Are One Fire, commissioned for the Chorus’s 90th anniversary season and conducted by Chorus Director Neil Ferris; Elgar’s The Music Makers under Chorus President Andrew Davis; the European premiere of John Luther Adams’s In the Name of the Earth (joining seven other choirs); and appearing at the iconic Last Night of the Proms under Sakari Oramo. In addition to featuring on studio recordings for BBC Radio 3, the Chorus has also made a number of commercial recordings, including a Grammy-nominated release of Holst’s First Choral Symphony and a Gramophone Award-winning disc of Elgar’s The Dream of Gerontius.

Sopranos Brigid Aglen Carole Cameron Jacqui Barnett Cathy Cheeseman Ellen Coleman Erin Cowburn Tanya Cutts Natalie Dalcher Elena Dante Susan Devereux Isabella Farrell Alexandra Hands Jane Heath Catrin Hepworth Laura Hofton Bev Howard Lizzie Howard Valerie Isitt Catherine JonesHealey Ramani Langley Liz Lawrence Christine Leslie Katie Masters Azumi Nakata Julia Neate Joanna Peskett Robina RedgardSiler Nicola Robinson Roslin Russell Maxine Shearer Rebecca Symonds Anne Taylor Anna Thomas Elizabeth Ullstein

Altos Carolyn Anderson Alice Aveson Philippa Bird Kirsty Carpenter Rachael Curtis Pat Dixon Danniella Downs Susannah Edwards Verity Fargie Alison Grant Marion Harris Sarah Harris Rosie Hopkins Kirsten Johnson Sally Knight Jenny Morgan Amanda Moore Liz Neale Cecily Nicholls Izas Ozerin Jayne Swindin Helen Tierney Deborah Tiffany Tenors Viraj Alimchandani Christopher Ashton Sam Bibby Andrew Castle Phiroz Dalal David Halstead Michael Harman Charles Martin Greg Satchell Charles Tomlinson Glyn Webster

Basses Mike Abrams Laurence Beard Tim Bird Clive Buckingham Tony de Rivaz Quentin Evans Simon Frais Tom Fullwood Richard Green Alan Hardwick William Hare Kevin Hollands Martin Humphreys Alan Jones David Kent Michael Martin Paul Medlicott Andrew Money Nigel Montagu Amos Paran Simon Potter Philip Rayner David Stocks George Strivens Joshua Taylor Robin Wilson

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London Philharmonic Orchestra | 11

Programme note

Edward Elgar

The Apostles, Op. 49

1857–1934

Prologue The Spirit of the Lord Part 1 (approx. 65 mins) I II III

The Calling of the Apostles By the Wayside By the Sea of Galilee

Interval (20 mins) Part 2 (approx. 50 mins) IV The Betrayal V Golgotha VI At the Sepulchre VII The Ascension

Conductor

Martyn Brabbins

The Angel Gabriel/ The Blessed Virgin Mary

Elizabeth Watts

Mary Magdalene/Narrator 2

Alice Coote

John/Narrator 1

Allan Clayton

Jesus

Roderick Williams

Peter

David Stout

Judas

Brindley Sherratt

Chorus of Apostles*

Tenor 1 Tenor 2 Baritone 1 Baritone 2

Manase Latu, Ted Black Zwakele Ntshabalala, Ryan Davies, James Micklethwaite Dafydd Allen, Jeremy Kleeman Edward Jowle, Kyungduk Kim

London Philharmonic Choir BBC Symphony Chorus * With thanks to the Royal College of Music, London.

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I

n a 1903 interview, Elgar recalled his time at school and the seeds which, once sown, would become the genesis of his largest composition: ‘The idea of the work originated in this way. Mr Reeve, addressing his pupils, once remarked: “The Apostles were poor men, young men, at the time of their calling: perhaps before the descent of the Holy Ghost not cleverer than some of you here.” This set me thinking, and the oratorio of 1903 is the result.’ When, in response to a commission by the triennial Birmingham Festival for 1900, he adapted the poem The Dream of Gerontius by Cardinal Newman (now Saint John Henry Newman), Elgar cut about two-thirds of the text, concentrating on the dramatic tale of a dying man and the journey of his soul to face its maker before being sent to purgatory. This drama inspired music of intimacy, power and consolation, yet The Dream of Gerontius was initially a failure. Nevertheless, following the immediate recognition given to his Enigma Variations in 1899, Elgar’s reputation had grown substantially with the composition of the concert overture Cockaigne, the first two Pomp and Circumstance marches, Sea Pictures, and his Coronation Ode and, partly because of enthusiasm in German musical circles and praise from Richard Strauss, The Dream of Gerontius is now viewed as a work of great originality, ensuring its eventual acceptance as a mainstay of British choral societies.

The Kingdom) have left us with music of great beauty, vision and complexity which challenge and move performers and listeners today. That story from his schooldays had never been far from Elgar’s thoughts, and on receiving the commission he returned to some of the musical ideas that had been with him for more than 20 years. Part of the appeal of The Apostles to a contemporary audience is Elgar’s portrayal of two flawed characters: Mary Magdalene and, in particular, Judas Iscariot. Elgar’s sympathy for Judas is transparent in Part 2, where some of his finest music is given to portraying Judas’s anguish and despair. Elgar’s humanity is at its most compelling in his musical portrayal of these individuals, as it was for the Apostle Peter, whose personality dominates the later work, The Kingdom. Although Elgar was dogged by ill-health during 1903, he completed the composition of The Apostles in the summer and conducted the first performance at Birmingham Town Hall on 14 October. The London premiere followed in March 1904 as part of the Elgar Festival held at the Royal Opera House. Continued overleaf

The following year, the Birmingham Festival Committee commissioned another choral work for the 1903 Festival, and hopes were therefore high when Elgar announced the composition of The Apostles. This ambitious work, Elgar said, would be in three parts, covering Christ’s calling of the Apostles, the founding of the new Church, and the Last Judgment. Elgar was widely read and, in preparation for his work on The Apostles, consulted a number of Biblical commentaries. For his text he decided to draw on biblical sources (the King James Bible) and compile his own libretto. This decision was to create considerable problems for him, as compiling the libretto took up more time than he had imagined and contributed to his eventual abandonment of the overall project which, if it had been completed, might have rivalled Wagner’s Ring in scale. If Elgar’s original idea was compromised, the two works he did complete (The Apostles and

Edward Elgar at home in Malvern, 1904. The manuscript of the concert overture In the South is on the piano. (Photograph from the collection of Arthur Reynolds). London Philharmonic Orchestra | 13

Programme note continued

Newman’s The Dream of Gerontius, with its overt Roman Catholicism, had created a number of problems for Anglicans, some of whom had insisted on editing the text of Elgar’s work before performances could be allowed in Anglican ecclesiastical settings such as Worcester Cathedral. However in The Apostles, by telling the Biblical story of Christ and the calling of the Apostles, Elgar had composed a work that would offend neither Anglican nor Catholic. His inscription on the completed score, a quotation from The Earthly Paradise by William Morris, perhaps shows how carefully he had trodden this particular ‘tightrope’: ‘To what a heaven the earth might grow If fear beneath the earth were laid, If hope failed not, nor love decayed.’ In using the Bible as the source for his libretto, Elgar chose words and verses from different books in the Old and New Testaments as well as the Apocrypha, so that the story he wanted to tell had the emphasis he had in his mind. However, unlike Wagner, who wrote his libretto for his Ring tetralogy before composing the music, Elgar’s ‘cut and paste’ method meant that he had not completed his libretto before beginning composition. At times Elgar chose arcane and obscure passages which challenge our understanding, even if the music helps to clarify the text. Judas, in his misery, quotes a passage from the book of Job: ‘Sheol is naked before Thee, and Abbadon hath no covering.’ It is clear that Judas understands that nothing is hidden from God’s sight; but it has to be said that this is a complicated way of conveying the point. In attempting to portray ‘the end of the world and the judgment’, Elgar soon realised that he had ‘bitten off more than he could chew’. Soon he reduced the plan for Birmingham to one large oratorio: the story of the Apostles. The character of Judas became an increasing source of fascination as Elgar read a number of commentaries on the New Testament. Judas betrayed Christ because, in Elgar’s words: ‘(this) would force Christ to make some overwhelming demonstration in the world’ and seize the power, Judas had imagined. So, the figure of Judas, a flawed, ordinary human, developed as the dominant figure in Part 2 of what became The Apostles. Indeed, the passage that Elgar set as Judas slowly realises what he has done, is perhaps the greatest part of the 14 | London Philharmonic Orchestra

oratorio: the singers within the Temple chanting the words of Psalm 94 and Judas, full of remorse, picking on the odd word as he resolves to kill himself. The portrayal of Mary Magdalene proved to be more of a challenge but, eventually, Elgar completed the passage and segued this into the ending of Part 1. Time was beginning to run out and he became increasingly worried and came to realise, with the orchestration incomplete, he had no hope of finishing Part 3, which would place Peter at the centre of the action. This music (Part 3) would become The Kingdom, which Elgar completed for the 1906 Birmingham Festival. Despite this truncation, The Apostles has a satisfactory structure, with the pastoral scenes ‘By the Wayside’ and ‘At the Sepulchre’ providing contrast to the dramatic ‘The Calling of The Apostles’ and the final chorus. Elgar completed the orchestration on 17 August 1903 at his home in Malvern, less than two months before the premiere.

Part 1 In the key of A flat major, the Prologue begins in a mood of mystic solemnity. As the chorus sings ‘The Spirit of the Lord’, the orchestra – the colourful driving force throughout the work – introduces the first of the many leitmotifs which occur throughout The Apostles and The Kingdom. At the words ‘recovering of sight to the blind’, Elgar quotes from his early oratorio The Light of Life. Elgar was less specific about leitmotifs than his publisher at Novello, August Jaeger, who seized on as many phrases as he could in an attempt to label the music as it progressed. Part 1 follows as the Angel Gabriel sets the scene for the watchers on the Temple roof who observe the dawn over Jerusalem. The shofar, a ram’s horn, heralds the rising sun and those within the temple sing their morning psalm (Psalm 92) to an ancient Hebrew melody accompanied by antique cymbals, tambourine and triangle. The tenor tells of Christ selecting twelve Apostles, and Judas, the contrarian, soon shows himself: ‘We shall eat of the riches of the Gentiles, and in their glory shall we boast ourselves’. In Scene II, ‘By the Wayside’, Jesus becomes the prime focus as He preaches the Beatitudes from St Matthew’s Gospel (with interjections from the

people and the disciples). We then move to the Sea of Galilee and Elgar’s raiding of the book of Baruch from the Apocrypha for the scene of Mary in her tower of Magdala. Although Elgar compiled his own text, it is clear he borrowed the idea of the scene from The Divine Tragedy by Henry Wadsworth Longfellow, published in 1873. Mary considers her life: ‘Have pity upon me, because I have sinned before Thee.’ Elgar then introduces words from the New Testament to portray the storm on the sea and Mary’s witnessing of Peter’s attempts to walk on the water when he sees Christ coming across the sea towards the disciples. Back on dry land, Jesus asserts his authority before a heartfelt solo from Mary, Christ’s Mother, precedes Mary Magdalene’s forgiveness. Part 2 ends with the choral setting of words from the Book of Zechariah, ‘Turn you to the Stronghold’. Interval (20 minutes)

Part 2 After a summary of Christ’s earthly ministry, Part 2 moves quickly towards ‘The Betrayal’, Scene IV, and the focus on Judas. Peter denies Christ and his humiliation at Christ’s piercing gaze is conveyed in an exquisite passage for female voices: ‘And the Lord turned and looked upon Peter.’ As the word ‘wept’ is repeated we share the anguish of the man who would go on to lead the new Church. Soon Judas takes centre stage with Elgar’s brilliant idea of pitting the singers in the Temple against Judas’s self-examination and subsequent self-condemnation. Jesus is nearby but is being tried, humiliated and condemned by others: ‘Crucify Him!’. Judas is now alone. Scene V, ‘Golgotha’, is an original and subtle evocation of despair. Elgar leaves the orchestra to portray the words ‘Eli, Eli, lama sabachthani?’ (‘My God, my God, why hast thou forsaken me?’), which are printed above the score. A brief chorus reflects on the crucifixion, and John and Mary express their grief. Scene VI, ‘At the Sepulchre’ begins to offer hope to Christ’s followers with a new dawn. Outside the tomb some disciples wait in despair. Angels appear and remind them of Christ’s promise. Now we move towards the Ascension as Jesus orders his disciples: ‘Go ye therefore and teach all nations.’ The end of Christ’s ministry on earth is in sight as Elgar’s brilliance at managing large resources

is unleashed; the climax of The Apostles coming at the words ‘The power of God’, emphasised nobilmente. Alleluias echo across heaven as those on earth celebrate Christ’s apotheosis. He takes his place at God’s right hand and we, the listeners, are slowly returned to earth as the final Alleluias provide a halo of sound in the key of E flat major, as The Apostles comes to its radiant conclusion. Programme note © Andrew Neill

Tonight’s twelve Apostles An apostle is one who is ‘sent out’ – in this case ‘to preach the Holy Gospel’. As Christ ascended to heaven, the eleven remaining disciples chosen by Christ to be His Apostles were promised the gift of the Holy Spirit that Elgar would describe in The Kingdom, as well as the choice of Mathias to replace Judas Iscariot. There are, of course, twelve Apostles, not just the three named in Elgar’s composition: John, Judas and Peter. In a 1921 performance of The Apostles Elgar utilised an additional nine singers as a semi-chorus to join the three named. These points were clearly marked in a copy of the vocal score which Elgar called ‘Ap. Ch.’ Elgar states that these additional nine voices should sing, at times, with the three named Apostles as part of the chorus – or even instead of the chorus. Martyn Brabbins is adopting this practice in tonight’s performance and has assembled a semi-chorus of nine singers from the Royal College of Music.

Recommended recordings by Laurie Watt Elgar: The Apostles Hallé Orchestra | Hallé Choir & Youth Choir Mark Elder (Hallé Label) or London Philharmonic Orchestra & Choir Adrian Boult (Warner Classics)

London Philharmonic Orchestra | 15

Part 1 text

PROLOGUE: The Spirit of the Lord Chorus and Orchestra The Spirit of the Lord is upon me, because He hath anointed me to preach the Gospel to the poor: He hath sent me to heal the broken-hearted, to preach deliverance to the captives and recovering of sight to the blind – to preach the acceptable year of the Lord; To give unto them that mourn a garland for ashes, the oil of joy for mourning, the garment of praise for the spirit of heaviness; That they might be called trees of righteousness, the planting of the Lord, that He might be glorified. For as the earth bringeth forth her bud, and as the garden causeth the things that are sown in it to spring forth; So the Lord God will cause righteousness and praise to spring forth before all the nations. The Spirit of the Lord is upon me, because He hath anointed me to preach the Gospel.

PART 1 I

The Calling of the Apostles

Narrator 1 And it came to pass in those days that Jesus went out into a mountain to pray, and continued all night in prayer to God. The Angel Gabriel The voice of Thy watchman! The Lord returneth to Zion – break forth into joy, sing together ye waste places of Jerusalem: for the Lord hath comforted His people. The Angel ‘Behold My servant, Whom I have chosen; My beloved, in Whom My soul is well pleased: He shall not strive, nor cry aloud: neither shall anyone hear His voice in the streets: a bruised reed shall He not break, the dimly burning wick shall He not quench, and in His name shall the Gentiles hope.’ The voice of Thy watchman! THE DAWN Shofar (distant) The Watchers (on the Temple roof) It shines! (Clang of the Gates – Shofar) The face of all the East is now ablaze with light, the Dawn reacheth even unto Hebron!

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MORNING PSALM The Singers (within the Temple) It is a good thing to give thanks unto the Lord, and to sing praises unto Thy name, O Most High: To shew forth Thy loving kindness in the morning, and Thy faithfulness every night, Upon the psaltery; upon the harp with a solemn sound. For Thou, Lord, hast made me glad through Thy work: I will triumph in the works of Thy hands. For, lo, Thine enemies, O Lord, shall perish: all the workers of iniquity shall be scattered. The righteous shall flourish like the palm tree: he shall grow like a cedar in Lebanon. (Shofar and Orchestra) Narrator 1 And when it was day, He called unto Him His disciples: and of them He chose twelve, whom also He named Apostles, that they should be with Him, and that He might send them forth to preach. Chorus The Lord hath chosen them to stand before Him, to serve Him. He hath chosen the weak to confound the mighty; He will direct their work in truth. Behold! God exalteth by His power, who teacheth like Him? The meek will He guide in judgment, and the meek will He teach His way. He will direct their work in truth, for out of Zion shall go forth the law. John, Peter, Judas and Apostles Chorus We are the servants of the Lord. Peter Thou wilt shew us the path of life; in Thy light shall we see light. Let Thy work appear unto Thy servants. Peter, Judas and Apostles Chorus In Thy light shall we see the light. John O blessed are they which love Thee, for they shall rejoice in Thy peace and shall be filled with the law. Judas We shall eat of the riches of the Gentiles, and in their glory shall we boast ourselves. John, Peter and Judas For out of Zion shall go forth the law, and the word of the Lord from Jerusalem.

Chorus and Apostles Chorus The Lord hath chosen them, they shall be named the Priests of the Lord, men shall call them the Ministers of our God. John O blessed are they which love Thee. Peter In Thy light shall we see light. Judas God exalteth by His power. Chorus They are the servants of the Lord; He will direct their work. John, Peter, Judas and Apostles Chorus For out of Zion shall go forth the law. The Angel and Chorus Thy watchmen shall lift up the voice; with the voice together shall they sing: For they shall see eye to eye, when the Lord shall bring again Zion. John, Peter, Judas and Apostles Chorus Come ye, and let us walk in the light of the Lord. Chorus God hath chosen them. The Spirit of the Lord is upon Him. Jesus Behold, I send you forth. He that receiveth you, receiveth Me; and he that receiveth Me, receiveth Him that sent Me. John, Peter, Judas and Apostles Chorus We are the servants of the Lord. The Angel Look down from heaven, O God, and behold, and visit this vine. The Apostles and Chorus Amen. II

By the Wayside

Jesus Blessed are the poor in spirit: for theirs is the kingdom of heaven. Mary (The Blessed Virgin), John and Peter He setteth the poor on high from affliction. Judas He poureth contempt upon princes. Jesus Blessed are they that mourn: for they shall be comforted.

John The Lord shall give them rest from their sorrow, Peter and will turn their mourning into joy, Mary and John and will comfort them: Women Weeping may endure for a night, Men but joy cometh in the morning. Jesus Blessed are the meek: for they shall inherit the earth. The People The meek also shall increase their joy – Mary, John and Peter in the Lord; The People and the poor among men shall rejoice – Mary, John and Peter in the Holy One of Israel. Jesus Blessed are they which do hunger and thirst after righteousness: for they shall be filled. Mary, John, Peter and Judas Mercy and truth are met together; righteousness and peace have kissed each other. The People Sow to yourselves in righteousness, Jesus Blessed are the merciful: for they shall obtain mercy. The People Reap in mercy. Mary, John and Peter He that hath mercy on the poor, happy is he. Judas The poor is hated even of his own neighbour: the rich hath many friends. The People Draw out thy soul to the hungry, John and satisfy the afflicted soul; Peter then shall thy light rise in obscurity. Jesus Blessed are the pure in heart: for they shall see God. Mary Thou art of purer eyes than to behold evil. John Blessed are the undefiled. London Philharmonic Orchestra | 17

Part 1 text continued

Peter Who can say, I have made my heart clean? Judas The stars are not pure in His sight, The People How much less man. Jesus Blessed are the peacemakers: for they shall be called the children of God. The People The work of righteousness shall be peace. Jesus Blessed are they which are persecuted for righteousness’ sake: for theirs is the kingdom of heaven. Rejoice, and be exceeding glad; for great is your reward in heaven: for so persecuted they the prophets which were before you. Mary, Apostles and Chorus Blessed are they which have been sorrowful for all Thy scourges, for they shall rejoice for Thee, when they have seen all Thy glory, and shall be glad for ever. III

By the Sea of Galilee

Narrator 1 And straightway Jesus constrained His disciples to get into a ship, and to go before Him unto the other side: and He went up into a mountain to pray; and when the evening was come, He was there alone. And His disciples went over the sea toward Capernaum. IN THE TOWER OF MAGDALA Mary Magdalene O Lord Almighty, God of Israel, the soul in anguish, the troubled spirit, crieth unto Thee. Hear and have mercy; for Thou art merciful: have pity upon me, because I have sinned before Thee. Hear the voice of the forlorn, and deliver me out of my fear. Help me, desolate woman, which have no helper but Thee: Hear and have pity. The troubled spirit, the soul in anguish, crieth unto Thee. Woe is me! for I am as when they have gathered the summer fruits as the grape-gleanings of the vintage. Have pity, because I have sinned before Thee. My tears run down like a river day and night. Whatsoever mine

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eyes desired I kept not from them, I withheld not my heart from any joy. FANTASY Chorus Let us fill ourselves with costly wine and ointments, Let no flower of the spring pass by us, Let us crown ourselves with rosebuds before they be withered. Mary Magdalene ‘Ye that kindle a fire, walk in the flame of your fire, walk among the brands that ye have kindled. This shall ye have of Mine hand; ye shall lie down in sorrow.’ God of Israel, the soul in anguish, the troubled spirit, crieth unto Thee. Hear and have mercy. The mirth of tabrets ceaseth; the noise of them that rejoice endeth, our dance is turned into mourning. ‘This shall ye have of Mine hand; ye shall lie down in sorrow.’ Hear and have mercy, for Thou art merciful. (There arose a great tempest in the sea.) Mary Magdalene Is Thy wrath against the sea? The voice of Thy thunder is in the heavens! Deep calleth unto deep at the noise of Thy cataracts. I see a ship in the midst of the sea, distressed with waves: and One cometh unto it, walking on the sea! And they that are in the ship, toiling in rowing, are troubled and cry out for fear. The Apostles (in the ship) It is a spirit! Jesus Be of good cheer; it is I, be not afraid. Peter Lord, if it be Thou, bid me come unto Thee upon the waters. Jesus Come! John, Judas and Apostles Chorus He walketh on the waters. Fearfulness and trembling are come upon him, and an horrible dread hath overwhelmed him. Peter Lord, save me; I perish! Mary Magdalene He stretcheth forth His hand. Jesus O thou of little faith; wherefore didst thou doubt?

Mary Magdalene The wind ceaseth, and they worship Him. Apostles Chorus Of a truth Thou art the Son of God. Peter, John and Judas The Lord hath his way in the whirlwind and in the storm. Mary Magdalene Who stilleth the raging of the seas, Who maketh the storm a calm? Thy providence, O Father, governeth it: for Thou hast made a way in the sea, and a safe path in the waves; shewing that Thou canst save from all danger. Thy face, Lord, will I seek. Thou hast not forsaken them that seek Thee. Thy Face, Lord, will I seek. My soul followeth hard after Thee: Thy right hand upholdeth me. Thy Face, Lord, will I seek. IN CAESAREA PHILIPPI Narrator 1 When Jesus came into the parts of Caesarea Philippi, He asked His disciples, saying: Jesus Whom do men say that I, the Son of man, am? The Apostles Some say John the Baptist; some Elias; and others Jeremias, or one of the prophets. Jesus But whom say ye that I am? Peter Thou art the Christ, the Son of the living God. Jesus Blessed art thou, Simon Bar-Jona: for flesh and blood hath not revealed it unto thee, but My Father which is in heaven. Thou art Peter, and upon this rock I will build My church; and the gates of hell shall not prevail against it. Soloists, Apostles Chorus and Chorus Proclaim unto them that dwell on the earth, and unto every nation, and kindred, and tongue, the everlasting Gospel. Jesus And I will give unto thee the keys of the kingdom of heaven: and whatsoever thou shalt bind on earth shall be bound in heaven: and whatsoever thou shalt loose on earth shall be loosed in heaven.

IN CAPERNAUM Mary Magdalene Thy face, Lord, will I seek; my soul followeth hard after Thee; help me, desolate woman. Mary Hearken, O daughter: When thou art in tribulation, if thou turn to the Lord thy God, and shall be obedient unto His voice, He will not forsake thee. Hearken, O daughter; Come thou, for there is peace to thee. Narrator 1 She stood at His feet weeping, and began to wash His feet with tears, and did wipe them with the hairs of her head. Chorus (Women) This man, if he were a prophet, would have known who and what manner of woman this is that toucheth him: for she is a sinner. Narrator 1 And kissed His feet, and anointed them with the ointment. Mary Magdalene Hide not Thy face far from me; put not Thy servant away in anger. Jesus Thy sins are forgiven; thy faith hath saved thee; go in peace. Soloists, Apostles Chorus and Chorus Turn you to the stronghold, ye prisoners of hope. To the Lord our God belong mercies and forgivenesses, though we have rebelled against Him; Turn you to the stronghold, ye prisoners of hope The fear of the Lord is a crown of wisdom, making peace and perfect health to flourish; both which are the gifts of God: and it enlargeth their rejoicing that love Him. Turn you to the stronghold, ye prisoners of hope. Thou art a God of the afflicted, Thou art an helper of the oppressed, Thou art an upholder of the weak, Thou art a protector of the forlorn, A Saviour of them that are without hope. Turn you to the stronghold, ye prisoners of hope. Blessed is he who is not fallen from his hope in the Lord. For He will forgive their iniquity, and He will remember their sin no more. Turn you to the stronghold, ye prisoners of hope.

London Philharmonic Orchestra | 19

Part 2 text

IN GETHSEMANE

PART 2 INTRODUCTION: Orchestra

IV

The Betrayal

Narrator 1 And it came to pass that He went throughout every city and village, preaching and shewing the glad tidings of the kingdom of God: and the Twelve were with Him; And He began to teach them, that the Son of man must suffer many things and be rejected, and be killed. Chorus ‘I will smite the Shepherd, and the sheep of the flock shall be scattered abroad.’ Peter Be it far from Thee, Lord, this shall never be unto Thee. Though all men shall be offended because of Thee, yet will I never be offended. John, Judas and Apostles Chorus Though we should die with Thee, yet will we not deny Thee. Chorus (Men) Then gathered the chief Priests and Pharisees a council, and said: ‘What do we? For this Man doeth many miracles.’ So from that day forth they took counsel that they might put Him to death. Then entered Satan into Judas, and he went his way, and communed with the chief Priests and Captains. Judas What are ye willing to give me, and I will deliver Him unto you? Chorus (Men) And they weighed unto him thirty pieces of silver. Judas then, having received a band of men and officers, cometh with lanterns and torches and weapons. Judas (Let Him make speed, and hasten His work, that we may see it; He shall bear the glory, and shall sit and rule upon His throne, the great King, the Lord of the whole earth.) Whomsoever I shall kiss, that same is He: hold Him fast.

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Judas Hail, Master! Jesus Whom seek ye ? Chorus (Men) Jesus of Nazareth. Jesus I am He: if therefore ye seek Me, let these go their way. Narrator 2 And they all forsook Him and fled; but Peter followed Him afar off, to see the end. Chorus (Men) And they that had laid hands on Jesus, led Him away to the High Priest. IN THE PALACE OF THE HIGH PRIEST Servants Thou also wast with Jesus of Nazareth. This man was also with Him. Peter I know not what thou sayest. Servants Art not thou also one of His disciples? Peter As thy soul liveth, I am not. Servants Did not we see thee in the garden with Him? Surely thou also art one of them. Peter I swear by the Lord, I know not this Man of whom ye speak. Chorus (Women) Then led they Jesus unto the hall of judgment. And the Lord turned and looked upon Peter, and he went out, and wept bitterly. Narrator 2 Then Judas, which had betrayed Him, when he saw that He was condemned, repented himself, and brought again the thirty pieces of silver to the chief Priests and Elders.

THE TEMPLE The Singers (within the Temple) O Lord God, to Whom vengeance belongeth, lift up Thyself, Thou Judge of the earth. O Lord God, to Whom vengeance belongeth, render a reward to the proud. Lord, how long shall the wicked, how long shall the wicked triumph? Judas My punishment is greater than I can bear. The Singers How long shall they utter and speak hard things? and all the workers of iniquity boast themselves? Judas Mine iniquity is greater than can be forgiven. The Singers They break in pieces Thy people, O Lord, and afflict Thine heritage. The Priests A voice of trembling, of fear, Why art thou so grieved in thy mind? Judas I have sinned in that I have betrayed the innocent blood. The Priests What is that to us? See thou to that. Judas I have sinned, I have betrayed the innocent ... The Priests Selah! Narrator 2 And he cast down the pieces of silver and departed. The Singers Lord, how long shall the wicked triumph? Yet they say, The Lord shall not see: He that planted the ear, shall He not hear? He that formed the eye, shall He not see? WITHOUT THE TEMPLE Judas Whither shall I go from Thy Spirit? Or whither shall I flee from Thy presence? If I say, Peradventure the darkness shall cover me, then shall my night be turned to day; yea, the darkness is no darkness with Thee, but the night is as clear as the day. Sheol is naked before Thee, and Abaddon hath no covering.

The Singers (within the Temple) Blessed is the man whom Thou chastenest, that Thou mayest give him rest from the days of adversity ... Judas ‘Rest from the days of adversity.’ Never man spake like this Man; He satisfied the longing soul, and filled the hungry soul with goodness. The Singers ... until the pit be digged for the wicked. Judas Our life is short and tedious, and in the death of a man there is no remedy; neither was there any man known to have returned from the grave. For we are born at all adventure, and we shall be hereafter as though we had never been; for the breath in our nostrils is as smoke, and a little spark in the moving of our heart, which being extinguished, our body shall be turned into ashes, and our spirit shall vanish as the soft air and our name shall be forgotten in time, and no man have our work in remembrance; and our life shall pass away as the trace of a cloud, and shall be dispersed as a mist, that is driven away with the beams of the sun, and overcome with the heat thereof. The Singers The Lord knoweth the thoughts of man, that they are vanity. Judas ‘The Lord knoweth the thoughts of man.’ My hope is like dust that is blown away with the wind; it is not possible to escape Thine hand – A sudden fear, and not looked for, comes upon me. The People (remote) Crucify Him! Judas They gather themselves together and condemn the innocent blood. The People Crucify him! Judas Mine end is come – the measure of my covetousness; over me is spread an heavy night, an image of that darkness which shall afterward receive me: yet am I unto myself more grievous than the darkness. The Singers (within the Temple) He shall bring upon them their own iniquity.

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Part 2 text continued

V Golgotha ‘Eli, Eli, lama sabachthani?’ Apostles and Chorus Truly this was the Son of God. Mary The sword hath pierced through mine own soul. John and Mary Thou hast trodden the winepress alone, and of Thy people there was none with Thee. They shall look upon Him Whom they have pierced, and they shall mourn for Him, as one mourneth for his only son, And shall be in bitterness for Him, as one that is in bitterness for his firstborn. Mary The sword hath pierced through mine own soul. VI

At the Sepulchre

Narrator 2 And very early in the morning they came unto the sepulchre at the rising of the sun; and they entered in, and found not the body of the Lord Jesus. The Watchers (on the Temple roof) The face of all the East is now ablaze with light; the Dawn reacheth even unto Hebron! Angels (Women’s Chorus) Alleluia! Why seek ye the living among the dead? He is not here, but is risen. Behold the place where they laid Him. Go, tell His disciples and Peter that He goeth before you into Galilee: there shall ye see Him, as He said unto you. Alleluia! VII

The Ascension

The Apostles We trusted that it had been He that should have redeemed Israel. Jesus Peace be unto you. Behold, I send the promise of My Father upon you; but tarry ye in the city of Jerusalem, until ye be endued with power from on high.

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The Apostles Lord, wilt Thou at this time restore again the kingdom to Israel? Jesus It is not for you to know the times or the seasons, which the Father hath put in His own power. But ye shall receive power, when the Holy Ghost is come upon you. Go ye therefore, and teach all nations, baptising them in the name of the Father, and of the Son, and of the Holy Ghost; and, lo, I am with you always, even unto the end of the world. Narrator 2 And when He had spoken these things – while He blessed them – He was taken up; and a cloud received Him out of their sight; and they looked steadfastly toward heaven. The Apostles Give us one heart, and one way: in Thy light shall we see light; Thou wilt shew us the path of life. Mystic Chorus (in Heaven) Alleluia! Mary, Mary Magdalene, John and Peter Give us one heart, and one way. Mary My soul doth magnify the Lord: and my spirit hath rejoiced in God my Saviour. Mary Magdalene Thou drewest near in the day that I called upon Thee: Thou saidst, Fear not. Peter For He hath not despised nor abhorred the affliction of the afflicted; The Apostles and the Holy Women neither hath He hid His face from him; but when he cried unto Him, He heard. Mystic Chorus Alleluia! ‘Holy Father, keep through Thine own name those whom Thou hast given Me, that they may be one, as We are.’ The Apostles, the Holy Women and Chorus All the ends of the world shall remember and turn unto the Lord: and all the kindreds of the nations shall worship before Thee. for the kingdom is the Lord’s: and He is the governor among the nations.

Mystic Chorus Alleluia! ‘I have done Thy commandment. I have finished the work which Thou gavest Me to do; I laid down My life for the sheep.’ The Apostles ‘In the world ye shall have tribulation: but be of good cheer: I have overcome the world.’ Mystic Chorus ‘What are these wounds in Thine hands?’ ‘Those with which I was wounded in the house of My friends.’ They plaited a crown of thorns, and put it about His head, they mocked Him, they spat upon Him, they smote Him with a reed, they crucified Him. Alleluia! The Apostles and the Holy Women They shall come, and shall declare His righteousness unto a people that shall be born, that He hath done this. Mystic Chorus ‘Now I am no more in the world, but these are in the world, and I come to Thee.’ Chorus (Men) The kingdom is the Lord’s: and He is the Governor among the nations. Mystic Chorus From henceforth shall the Son of Man be seated at the right hand of the power of God. The Apostles and the Holy Women In His love and in His pity He redeemed them. All Alleluia!

CHORAL HIGHLIGHTS THIS SEASON at Southbank Centre’s Royal Festival Hall Saturday 9 November 2019 | 7.30pm Walton Belshazzar’s Feast Butterworth A Shropshire Lad Elgar Enigma Variations Marin Alsop conductor Roderick Williams baritone London Philharmonic Choir Saturday 18 January 2020 | 7.30pm Poulenc Seven Tenebrae Responses Poulenc Organ Concerto Fauré Requiem Bertrand de Billy conductor James O’Donnell organ Katerina Tretyakova soprano Stéphane Degout baritone London Philharmonic Choir Saturday 4 April 2020 | 7.30pm Beethoven King Stephen Overture Beethoven Grosse Fuge Beethoven Ah! Perfido Beethoven Cantata on the Death of Emperor Joseph II Vladimir Jurowski conductor London Philharmonic Choir For soloists see lpo.org.uk Saturday 25 April 2020 | 7.30pm Sibelius Pohjola’s Daughter Lutosławski Concerto for Orchestra* Janáček Glagolitic Mass Edward Gardner conductor London Philharmonic Choir For soloists see lpo.org.uk * Generously supported by the Adam Mickiewicz Institute through the Polska Music Programme.

BOOK NOW AT LPO.ORG.UK OR CALL 020 7840 4242 London Philharmonic Orchestra | 23

Elgar on the LPO Label Elgar Introduction and Allegro for string quartet and string orchestra Britten Our Hunting Fathers Elgar Enigma Variations Bernard Haitink conductor Heather Harper soprano London Philharmonic Orchestra £9.99 | LPO-0002

Elgar Sea Pictures Elgar Symphony No. 1 in A flat major Vernon Handley conductor Dame Janet Baker contralto London Philharmonic Orchestra £9.99 | LPO-0046

The Post-War Revival Arnold Beckus the Dandipratt (world premiere recording) Mahler Lieder eines fahrenden Gesellen Beethoven Overture, Leonore No. 1 Brahms Variations on a Theme by Haydn (St Anthony Chorale) Elgar The Wand of Youth, Suite No. 2 Eduard van Beinum conductor Eugenia Zareska mezzo-soprano London Philharmonic Orchestra £9.99 | LPO-0011

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, Idagio and others.

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Sound Futures donors

We are grateful to the following donors for their generous contributions to our Sound Futures campaign. Thanks to their support, we successfully raised £1 million by 30 April 2015 which has now been matched pound for pound by Arts Council England through a Catalyst Endowment grant. This has enabled us to create a £2 million endowment fund supporting special artistic projects, creative programming and education work with key venue partners including our Southbank Centre home. Supporters listed below donated £500 or over. For a full list of those who have given to this campaign please visit lpo.org.uk/soundfutures. Masur Circle Arts Council England Dunard Fund Victoria Robey OBE Emmanuel & Barrie Roman The Underwood Trust

The Rothschild Foundation Tom & Phillis Sharpe The Viney Family

Haitink Patrons Mark & Elizabeth Adams Dr Christopher Aldren Mrs Pauline Baumgartner Welser-Möst Circle Lady Jane Berrill William & Alex de Winton Mr Frederick Brittenden John Ireland Charitable Trust David & Yi Yao Buckley The Tsukanov Family Foundation Mr Clive Butler Neil Westreich Gill & Garf Collins Tennstedt Circle Mr John H Cook Valentina & Dmitry Aksenov Mr Alistair Corbett Richard Buxton Bruno De Kegel The Candide Trust Georgy Djaparidze Michael & Elena Kroupeev David Ellen Kirby Laing Foundation Christopher Fraser OBE Mr & Mrs Makharinsky David & Victoria Graham Fuller Alexey & Anastasia Reznikovich Goldman Sachs International Sir Simon Robey Mr Gavin Graham Bianca & Stuart Roden Moya Greene Simon & Vero Turner Mrs Dorothy Hambleton The late Mr K Twyman Tony & Susie Hayes Malcolm Herring Solti Patrons Catherine Høgel & Ben Mardle Ageas Mrs Philip Kan John & Manon Antoniazzi Rehmet Kassim-Lakha de Morixe Gabor Beyer, through BTO Rose & Dudley Leigh Management Consulting AG Lady Roslyn Marion Lyons Jon Claydon Miss Jeanette Martin Mrs Mina Goodman & Miss Duncan Matthews QC Suzanne Goodman Diana & Allan Morgenthau Roddy & April Gow Charitable Trust The Jeniffer & Jonathan Harris Dr Karen Morton Charitable Trust Mr Roger Phillimore Mr James R.D. Korner Ruth Rattenbury Christoph Ladanyi & Dr Sophia The Reed Foundation Ladanyi-Czernin The Rind Foundation Robert Markwick & Kasia Robinski The Maurice Marks Charitable Trust Sir Bernard Rix David Ross & Line Forestier (Canada) Mr Paris Natar

Carolina & Martin Schwab Dr Brian Smith Lady Valerie Solti Mr & Mrs G Stein Dr Peter Stephenson Miss Anne Stoddart TFS Loans Limited Marina Vaizey Jenny Watson Guy & Utti Whittaker Pritchard Donors Ralph & Elizabeth Aldwinckle Mrs Arlene Beare Mr Patrick & Mrs Joan Benner Mr Conrad Blakey Dr Anthony Buckland Paul Collins Alastair Crawford Mr Derek B. Gray Mr Roger Greenwood The HA.SH Foundation Darren & Jennifer Holmes Honeymead Arts Trust Mr Geoffrey Kirkham Drs Frank & Gek Lim Peter Mace Mr & Mrs David Malpas Dr David McGibney Michael & Patricia McLaren-Turner Mr & Mrs Andrew Neill Mr Christopher Querée The Rosalyn & Nicholas Springer Charitable Trust Timothy Walker AM Christopher Williams Peter Wilson Smith Mr Anthony Yolland and all other donors who wish to remain anonymous

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Thank you

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 Principal Associates Richard Buxton In memory of Brenda Lyndoe Casbon In memory of Ann Marguerite Collins Associates Steven M. Berzin Kay Bryan William & Alex de Winton Hamish & Sophie Forsyth Mrs Irina Gofman Countess Dominique Loredan Mr & Mrs Makharinsky George Ramishvili Stuart & Bianca Roden In memory of Hazel Amy Smith Gold Patrons An anonymous donor David & Yi Buckley In memory of Allner Mavis Channing The Chiltern Friends of the LPO Gill & Garf Collins Andrew Davenport Sonja Drexler Mrs Gillian Fane Marie-Laure Favre-Gilly de Varennes de Beuill Virginia Gabbertas MBE Mr Roger Greenwood The Jeniffer and Jonathan Harris Charitable Trust Geoff & Meg Mann Julian & Gill Simmonds Eric Tomsett The Viney Family Laurence Watt

Silver Patrons Ms Terri Borain Andrea d’Avack Georgy Djaparidze Ulrike & Benno Engelmann Peter & Fiona Espenhahn Rehmet Kassim-Lakha de Morixe John & Angela Kessler Jamie & Julia Korner The Metherell Family Denis & Yulia Nagy Mikhail Noskov & Vasilina Bindley Tom & Phillis Sharpe Andrew & Rosemary Tusa Guy & Utti Whittaker Grenville & Krysia Williams Bronze Patrons Anonymous donors Michael Allen Mr Mark Astaire Margot Astrachan Mr Geoffrey Bateman Mrs A Beare Dr Anthony Buckland Mr Alan C Butler Desmond & Ruth Cecil The Earl & Countess of Chichester Mr Michael Cole-Fontayn Mr John H Cook Howard & Veronika Covington Mrs Maria Danilova Guy Davies Bruno De Kegel Cameron & Kathryn Doley Jill Dyal David Ellen Ignor & Lyuba Galkin Mr Daniel Goldstein David & Jane Gosman Mr Gavin Graham Lord & Lady Hall Mrs Dorothy Hambleton Wim & Jackie Hautekiet-Clare Eugene & Allison Hayes

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Ms Elena Heinz Malcolm Herring Catherine Høgel & Ben Mardle J Douglas Home Rose & Dudley Leigh Elena Lileeva & Adrian Pabst Drs Frank & Gek Lim Mrs Elizabeth Meshkvicheva Maxim & Natalia Moskalev Mr & Mrs Andrew Neill Peter & Lucy Noble Linda & Tim O’Neill Jacopo Pessina Mr Alex Petrov Mr Roger Phillimore Mr Michael Posen Mr Alex Smedley Ms Nadia Stasyuk Ms Sharon Thomas Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Marina Vaizey Ms Jenny Watson CBE Christopher Williams Mr Anthony Yolland Principal Supporters Anonymous donors Ralph & Elizabeth Aldwinckle Helen Brocklebank Mr Philip Bathard-Smith Ms Phyllia Chen Mr & Mrs Stewart Cohen David & Liz Conway Mr Alistair Corbett In honour of Bea Crumbine Mr Jonathan Davies Mr Richard Fernyhough Mr Michael Fox Mr Stephen Goldring Mr Milton Grundy Mr Ian Haslegrave Michael & Christine Henry Lady Hill Mrs Maureen HooftGraafland Jamilya Jakisheva Per Jonsson

Vadim Levin Lady Leonora, Countess of Lichfield Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Paul & Brigitta Lock Mr Peter Mace Michael & Patricia MclarenTurner Alice P. Melly Mr John Meloy Andrew T Mills Dr Karen Morton Maxim & Natalia Moskalev Mrs Jannifer Oxley Mr James Pickford Natalie Pray Mr Christopher Querée Sir Bernard Rix Mr Robert Ross Barry & Gillian Smith Mr Bill Smith Martin & Cheryl Southgate Mr & Mrs G Stein Dr Peter Stephenson Matthew Stephenson & Roman Aristarkhov Marina Vaizey Howard & Sheelagh Watson Supporters Anonymous donors Mr John D Barnard Mr Bernard Bradbury Mr Richard Brooman Mrs Alan Carrington Mr Julien Chilcott-Monk 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 Scott & Icy Frantz Christopher Fraser OBE

Will Gold Mr Peter Gray The Jackman Family Mr & Mrs Bon Jasperson Mr David MacFarlane Peter & Isabel Malkin Mr Frederic Marguerre Mr Mark Mishon Trevor Mulineaux Bill & Jane Nickerson Mr Stephen Olton Anju & Radhika Patel Mr David Peters Candace Procaccini Mr & Mrs Graham & Jean Pugh Mr David Russell Deb & Jay Shaw Ms Elizabeth Shaw Mr Kenneth Shaw Ms Natalie Spraggon & Mr David Thomson Mrs John E Stauffer Ronald & Davidde Strackbein Mr John Weekes 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) 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) 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 Alexandra Jupin William A. Kerr Kristina McPhee Natalie Pray Stephanie Yoshida Antony Phillipson Hon. Chairman Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Connecticut Gala Committee Bea Crumbine & Jill Dyal Co-Chairmen Rodica Brune Mandy DeFilippo Rachel Franco Nick Gutfreund Mary Hull Steve Magnuson Natalie Pray Victoria Robey OBE Lisa & Scot Weicker

Corporate Donors Barclays L Catterton Paul Hastings LLP Payne Hicks Beach Pictet Bank White & Case LLP LPO Corporate Circle Leader freuds Sunshine Principal Berenberg Carter-Ruck French Chamber of Commerce Tutti Ageas Lazard Russo-British Chamber of Commerce Walpole Preferred Partners After Digital Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic 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 Cockayne – Grants for the Arts The D’Oyly Carte Charitable Trust Dunard Fund

Ernst von Siemens Music Foundation The Fidelio Charitable Trust Foyle Foundation Lucille Graham Trust John Horniman’s Children’s Trust John Thaw Foundation The Idlewild Trust Kirby Laing Foundation The Lawson Trust The Leverhulme Trust Andrew Lloyd Webber Foundation The London Community Foundation Lord & Lady Lurgan Trust Marsh Christian Trust Adam Mickiewicz Institute PRS For Music Foundation The Radcliffe Trust Rivers Foundation Romanian Cultural Institute RVW Trust The Sampimon Trust Schroder Charity Trust Serge Rachmaninoff Foundation The Steel Charitable Trust Spears-Stutz Charitable Trust The Thomas Deane Trust The Viney Family The Clarence Westbury Foundation Garfield Weston Foundation The Barbara Whatmore Charitable Trust The William Alwyn Foundation and all others who wish to remain anonymous.

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Administration

Board of Directors Victoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-President Dr Catherine C. Høgel Vice-Chairman Henry Baldwin* Roger Barron 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 Helen Brocklebank 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 Jamie Njoku-Goodwin 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

Sarah Gee PA to the Chief Executive/ Office Administrator

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 Laura Willis 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 Christina Perrin Concerts and Tours Assistant 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

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Christina McNeill Corporate Relations Manager Rosie Morden Individual Giving Manager Anna Quillin Trusts and Foundations Manager Izzy Keig Development Assistant Lewis Hammond Development Assistant ~ Nick Jackman Campaigns and Projects Director Kirstin Peltonen Development Associate Marketing Kath Trout Marketing Director Mairi Warren Marketing Manager Alexandra Lloyd Projects and Residencies Marketing Manager Megan Macarte Box Office Manager (Tel: 020 7840 4242) Rachel Williams Publications Manager Rachel Smith Website Manager Greg Felton Digital Creative Georgie Gulliver Marketing Assistant

Public Relations Premier classical@premiercomms.com 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: admin@lpo.org.uk lpo.org.uk The London Philharmonic Orchestra Limited is a registered charity No. 238045. Composer photographs courtesy of the Royal College of Music, London. Cover artwork Ross Shaw @JMG Studio Printer Cantate