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y– December r a 20 u n

NOISES Landmark classics inspired by the British Isles 1689 – 2019

Concert programme

Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI 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

Southbank Centre’s Royal Festival Hall Saturday 27 April 2019 | 7.30pm

Brahms Piano Concerto No. 2 in B flat major, Op. 83* (50’) Interval (20’) R Strauss Till Eulenspiegels lustige Streiche (Till Eulenspiegel’s Merry Pranks), Op. 28 (16’) Elgar Falstaff: Symphonic Study in C minor, Op. 68 (35’)

Vladimir Jurowski conductor Yefim Bronfman piano *Please note a change of concerto from previously advertised.

Free pre-concert event performance: LPO Junior Artists 6.00–6.45pm | Royal Festival Hall This year’s LPO Junior Artists – members of our annual scheme for high-level teenage instrumentalists from under-represented backgrounds – perform British music alongside LPO members and Junior Artist alumni. Join us to celebrate the diversity and talent of the future generation of orchestral musicians.

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


NOISES Contents 2 Welcome Orchestra news 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Isle of Noises 8 Vladimir Jurowski 9 Yefim Bronfman 10 Programme notes 11 Next concert 12 Recommended recordings 14 Laurie Lovelle Brahms on the LPO Label 15 LPO 2019/20 season: Now on sale 16 LPO Player Appeal 2018/19 17 Sound Futures donors 18 Supporters 20 LPO administration


Orchestra news

LPO 2019/20 season

Welcome to Southbank Centre

Booking is now open for our new 2019/20 season, which begins in September. Pick up a season brochure as you leave this evening’s concert, visit to browse and book online, or call 020 7840 4200 to request a season brochure by post.

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, EAT, 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 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.

Out now The Spring 2019 edition of Tune In, our free LPO magazine. Copies are available at the Welcome Desk in the Royal Festival Hall foyer, or phone the LPO office on 020 7840 4200 to receive one in the post. Also available digitally:

2 | London Philharmonic Orchestra

New LPO Residency at Saffron Hall In September 2019 the London Philharmonic Orchestra takes up a brand-new residency at Saffron Hall in Essex. As well as providing top-quality symphonic music to concertgoers in the region, the Orchestra will be heavily involved in Saffron Hall’s groundbreaking education programme. The Orchestra will give four performances each year at Saffron Hall, including a FUNharmonics family concert. In the first season we will involve Saffron Walden County High School students in our LPO Soundworks project – a creative platform for teenage musicians to collaborate with young people from other artforms. LPO musicians will give masterclasses to students at the County High School and coach young people at the Saffron Centre for Young Musicians. The LPO will also work and perform with local community music groups.

LPO Junior Artists – applications now open for 2019/20 LPO Junior Artists is a free orchestral experience programme for talented young musicians from communities and backgrounds currently under-represented in professional UK orchestras. The programme offers support, advice and professional insight to exceptional players of orchestral instruments, aged 15–19, and at a minimum Grade 8 playing standard. You become part of the London Philharmonic Orchestra family for a year, getting to know our musicians, staff and artists. The deadline for applications is Friday 3 May 2019: visit to find out more.

On stage tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

Vesselin Gellev Sub-Leader Martin Hรถhmann Lasma Taimina Robert Pool Thomas Eisner Yang Zhang Chair supported by Eric Tomsett

Catherine Craig Evin Blomberg Eleanor Bartlett Nilufar Alimaksumova Essi Kiiski Katalin Varnagy Chair supported by Sonja Drexler

Morane Cohen-Lamberger Kana Kawashima Miranda Allen Second Violins Tania Mazzetti Principal Chair supported by Countess Dominique Loredan

Helena Buckie Sarah Thornett Joseph Maher Georgina Leo Marie-Anne Mairesse Fiona Higham Chair supported by David & Yi Buckley

Ashley Stevens Kate Cole Kate Birchall Sioni Williams Robin Wilson Sheila Law Alison Strange Nancy Elan Nynke Hijlkema

Violas David Quiggle Principal Richard Waters Co-Principal Ting-Ru Lai Katharine Leek Susanne Martens Chair supported by Gill & Garf Collins

Flutes Sue Thomas* Principal Chair supported by Victoria Robey OBE

Hannah Grayson Stewart McIlwham* Ian Mullin

Stanislav Popov Martin Wray Isabel Pereira Luca Casciato Charles Cross Julia Kornig Jill Valentine

Piccolo Stewart McIlwham* Principal

Cellos Kristina Blaumane Principal

James Hulme Sue Bรถhling*

Chair supported by Bianca & Stuart Roden

Pei-Jee Ng Co-Principal Francis Bucknall David Lale Laura Donoghue Elisabeth Wiklander Tom Roff Helen Rathbone George Hoult Sibylle Hentschel Sue Sutherley Susanna Riddell Double Basses Kevin Rundell* Principal Sebastian Pennar Co-Principal Hugh Kluger George Peniston Tom Walley Laurence Lovelle Lowri Morgan Emre ErลŸahin

Trumpets Paul Beniston* Principal Philip Cobb Guest Principal Anne McAneney* Chair supported by Geoff & Meg Mann

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

David Whitehouse

Oboes Ian Hardwick* Principal Alice Munday

Bass Trombone Lyndon Meredith Principal

Chair supported by Friends of the Orchestra

Tuba Lee Tsarmaklis* Principal

Chair supported by Dr Barry Grimaldi

Clarinets James Burke Guest Principal Thomas Watmough

Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Chair supported by Roger Greenwood

Henry Baldwin Co-Principal Keith Millar Jeremy Cornes

Paul Richards* Emma Burgess Bassoons Jonathan Davies Principal Gareth Newman Simon Estell* Emma Harding Horns David Pyatt* Principal Chair supported by Sir Simon Robey

John Ryan* Principal

Timpani Simon Carrington* Principal

Harps Rachel Masters Principal Lucy Haslar Assistant Conductor Oliver Zeffman Surtitles Damien Kennedy

Chair supported by Laurence Watt

Martin Hobbs Mark Vines Co-Principal Gareth Mollison

* Holds a professorial appointment in London

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: The Candide Trust | Caroline, Jamie & Zander Sharp

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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. (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.

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. 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.

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 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 Rachmaninoff’s Symphony No. 1 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.

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dward Elgar never felt entirely comfortable at the top. As a new member of a London club, some time in the reign of Edward VII, a fellow composer – Sir Alexander Mackenzie, the well-connected head of the Royal College of Music – saw him dithering over the cheeseboard. ‘Why don’t you try the Port Salut?’ Mackenzie suggested, before lowering his voice to whisper, sarcastically ‘Salut d’Amour’. Elgar might have been knighted; he might have been acclaimed by Richard Strauss as Britain’s pre-eminent modern composer. But his clubbable, expensively-educated British colleagues quietly noticed his awkwardness and his Worcestershire vowels. As to the fact that he’d written bestselling salon favourites like Salut d’Amour; well, they were too polite to suggest that it was just a little bit – you know – common. But once in a while, they’d give him a quick kick in the shins – just to remind him. Elgar was a Roman Catholic – a faith that a mere 30 years before his birth had been denied full civil rights in the UK – and the more you dig into Elgar’s ‘Britishness’, the more complicated it gets. His music never quotes an English folk song even once; its roots are deep in the language of Brahms and Wagner. When Danny Boyle began the London 2012 Olympic opening ceremony with ‘Nimrod’ from the Enigma Variations (performed by the LPO on 9 November 2019), it was supposed to evoke a traditional, rural England. In fact, ‘Nimrod’ is a musical portrait of Elgar’s great friend August Jaeger – a German immigrant. The composer meant it to evoke not green and pleasant fields, but a slow movement by Beethoven. For the ultimate statement of musical Britishness, it’s got surprisingly international roots. Our 2019 Isle of Noises festival takes that paradox and revels in it. This is a celebration of British music that understands that even the most familiar masterpieces

6 | London Philharmonic Orchestra

For nine decades the London Philharmonic Orchestra has been at the heart of music-making in London, in the British Isles and in Europe – and we know that there’s never been any one thing called ‘British music’. Throughout 2019 we’ll be celebrating over three centuries of music in these islands: Richard Bratby introduces our festival.

have a fascinatingly diverse heritage. Gustav Holst came from an immigrant family, and The Planets (23 October) is a journey towards blissful dissolution (nibbāna, if you like) that takes its philosophical basis from his lifelong fascination with Hindu and Buddhist scriptures. Benjamin Britten might seem like the ultimate Establishment figure, and yes, he used to take tea at Sandringham with the Queen Mother. But the fact that a gay composer (and a conscientious objector into the bargain) could become such a national institution in his own lifetime gives pause for thought. His Violin Concerto (27 September) was written in the USA and draws on Britten’s interest in the Second Viennese School. It’s a story that you encounter again and again throughout British music. The best pieces are the unexpected and obstinate ones, the hybrids that push insolently up through the cracks. When Ralph Vaughan Williams composed his ballet Job (7 December), he called it a ‘Masque’, invoking the era of Purcell and Lawes because he didn’t like the idea of polite audiences commenting ‘oh, did you see God at the ballet?’ In the event, audiences expecting something soothing from the composer of The Lark Ascending saw a green, semi-naked Satan dancing to music of angular strangeness. The agnostic Vaughan Williams came from an oldestablished family

of liberal thinkers (he was related to Charles Darwin): he took his cues from William Blake. Meanwhile, up north: ‘You’ll never hear the thing again, my boy, why not throw in a couple of brass bands?’ said the conductor Thomas Beecham to the 29-yearold William Walton, as he began work on a choral commission for the 1931 Leeds Festival. Walton did just that, and the result – Belshazzar’s Feast (9 November) – is still a shocker: jazzy, raucous, shamelessly pagan. Walton’s chrome-plated self-assurance always played well in America. His Violin Concerto of 1939 (9 October) was written for the great American-Russian violinist Jascha Heifetz, and it has the streamlined, art-deco elegance of some great transatlantic liner. Not that British music needed to cross the Atlantic to hit the big time. The LPO’s evening of classic British film music (1 November) explores the curious fact that the most British love story of all time, Brief Encounter, uses music by Rachmaninoff – and that when another film, Dangerous Moonlight, tried to achieve the same effect, Richard Addinsell’s Warsaw Concerto proved almost indistinguishable from the real thing. Throughout the Edwardian era Edward Elgar worked on a colossal trilogy of New Testament oratorios, each of them conceived as an emotional drama closer in spirit to Wagner or Verdi than Mendelssohn or Parry. He was deeply invested in the story, consulting Jewish liturgical experts about the sound of the shofar in The Apostles (26 October). (He later incorporated this ancient instrument into the score). The result wasn’t just one of the earliest examples of cultural crossover in British music; it was frankly and uncompromisingly passionate. Vulgar, you might even say. ‘I’m told Mackenzie is foaming at the mouth about The Apostles’, wrote Jaeger to Elgar in 1903. This kind of thing just wasn’t British. But if vulgarity means vitality, originality, diversity, it’s been British music’s saviour. Today, the most exciting British composers are those who transgress boundaries and explore new worlds: the late, much missed Oliver Knussen’s fascination with that great Russian eccentric Scriabin, or anything at all by Thomas Adès – a composer who believes that ‘Grand failures are preferable to sneaky successes’. Not that the UK premiere of his Piano Concerto (23 October) is likely to be anything other than a major event (and what does it say that he’s chosen to pair it with The Planets?).

British composer Thomas Adès, whose Piano Concerto receives its UK premiere on 23 October 2019.

There’s no white-walled evasion of taste in Adès’s music. ‘We have a very highly developed nose for phoniness’, he says. ‘We won’t just accept something as sublime or whatever just because it tells us it is.’ In other words, we just have to listen – and if the music has something about it, it’ll speak to us. Isle of Noises ends with an outrage: the Dynamic Triptych by John Foulds (11 December). Foulds was born near Manchester, but moved to Delhi as head of music for the British Raj’s radio network. There, the servant of Empire let his own imagination be captured and transformed by the ancient culture he encountered, and although he died of cholera in 1939, leaving a trunkful of unperformed scores, the works he did complete are like nothing else in 20th-century music. It’s hard to describe the Dynamic Triptych. It’s an exuberant, supersophisticated, utterly vulgar mass of influences, ideas and contradictions – and it sounds fantastic. In other words, it couldn’t be more British. Be not afeard: the isle is full of noises, sounds and sweet airs, that give delight and hurt not. This is your music – discover it. Richard Bratby writes about music for The Spectator, Gramophone and the Birmingham Post.

For full concert details Pick up an Isle of Noises series leaflet as you leave tonight’s concert, or browse the full series online at

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Vladimir Jurowski Principal Conductor & Artistic Advisor

© Simon Pauly

Ten years of Vladimir Jurowski in London have brought a non-stop journey of discovery. As the London Philharmonic Orchestra celebrates his decade as music director, it can look back on a period of unrivalled adventure, taking audiences to places other orchestras never reach. The Financial Times

Vladimir Jurowski was appointed Principal Guest Conductor of the London Philharmonic Orchestra in 2003, becoming Principal Conductor in 2007: last season we celebrated the tenth anniversary of this extraordinary partnership.

The Cleveland Orchestra; the Boston, San Francisco and Chicago symphony orchestras; and the TonhalleOrchester Zurich, Leipzig Gewandhausorchester, Mahler Chamber Orchestra, Staatskapelle Dresden and Chamber Orchestra of Europe.

One of today’s most sought-after conductors, acclaimed worldwide for his incisive musicianship and adventurous artistic commitment, Vladimir Jurowski was born in Moscow and studied at the Music Academies of Dresden and Berlin. In 1995 he made his international debut at the Wexford Festival conducting Rimsky-Korsakov’s May Night, and the same year saw his debut at the Royal Opera House, Covent Garden, with Nabucco.

His opera engagements have included Rigoletto, Jenůfa, The Queen of Spades, Hansel and Gretel and Die Frau ohne Schatten at the Metropolitan Opera, New York; Parsifal and Wozzeck at Welsh National Opera; War and Peace at the Opéra National de Paris; Eugene Onegin at the Teatro alla Scala, Milan; Ruslan and Ludmila at the Bolshoi Theatre; Salome with the State Academic Symphony of Russia; Moses und Aron at the Komische Oper Berlin; Iolanta and Die Teufel von Loudun at Semperoper Dresden, and numerous operas at Glyndebourne including Otello, Macbeth, Falstaff, Tristan und Isolde, Don Giovanni, The Cunning Little Vixen, Peter Eötvös’s Love and Other Demons, and Ariadne auf Naxos. In 2017 he made an acclaimed Salzburg Festival debut with Wozzeck and his first return to Glyndebourne as a guest conductor, in the world premiere production of Brett Dean’s Hamlet with the LPO.

In 2021 Vladimir will take up the position of Music Director at the Bayerische Staatsoper in Munich. In 2017 he became Chief Conductor and Artistic Director of the Berlin Radio Symphony Orchestra. In addition he holds the titles of Principal Artist of the Orchestra of the Age of Enlightenment, Artistic Director of the Russian State Academic Symphony Orchestra and Artistic Director of the George Enescu International Festival, Bucharest. He has previously held the positions of First Kapellmeister of the Komische Oper Berlin (1997–2001), Principal Guest Conductor of the Teatro Comunale di Bologna (2000–03), Principal Guest Conductor of the Russian National Orchestra (2005–09), and Music Director of Glyndebourne Festival Opera (2001–13). Vladimir is a regular guest with many leading orchestras in both Europe and North America, including the Royal Concertgebouw Orchestra; the Accademia Nazionale di Santa Cecilia, Rome; the New York Philharmonic; The Philadelphia Orchestra;

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The London Philharmonic Orchestra has released a wide selection of Vladimir Jurowski’s live recordings with the Orchestra on its own label, including Brahms’s complete symphonies; Mahler’s Symphonies Nos. 1 and 2; and Rachmaninoff’s Symphony No. 3 and Symphonic Dances. Autumn 2017 saw the release of a sevendisc set of Tchaikovsky’s complete symphonies under Jurowski (LPO-0101), and a special anniversary sevendisc set of his previously unreleased recordings with the LPO spanning the symphonic, choral and contemporary genres (LPO-1010). Visit to find out more.

Yefim Bronfman piano

A marvel of digital dexterity, warmly romantic sentiment and jaw-dropping bravura.

© Dario Acosta

The Chicago Tribune

Internationally recognised as one of today’s most acclaimed and admired pianists, Yefim Bronfman stands among a handful of artists regularly sought by festivals, orchestras, conductors and recital series. His commanding technique, power and exceptional lyrical gifts are consistently acknowledged by the press and audiences alike.

Born in Tashkent in the Soviet Union, in 1973 Yefim Bronfman emigrated with his family to Israel, where he studied with pianist Arie Vardi, head of the Rubin Academy of Music at Tel Aviv University. In the United States he studied at The Juilliard School, the Marlboro School of Music and the Curtis Institute of Music, under Rudolf Firkušný, Leon Fleisher and Rudolf Serkin.

In celebration of conductor Yuri Temirkanov’s 80th birthday, Yefim Bronfman’s 2018/19 season began with a European tour with the St Petersburg Philharmonic under the Russian maestro. This was followed by a Scandinavian tour with the Royal Concertgebouw Orchestra, alongside other European concerts during the season including in Paris (Orchestre National de France), Cologne (WDR), Rome (Santa Cecilia), Berlin (Philharmonic), and the Vienna Philharmonic on tour. In the US he returns to orchestras in Cleveland, New York, Los Angeles, Houston, St. Louis, Cincinnati, San Francisco and Dallas, and in recital in New York (Carnegie Hall), Berkeley, Stanford, Aspen, Madrid, Geneva, Cologne, Leipzig, Munich, Berlin, Naples, Rome, and on tour with mezzo-soprano Magdalena Kožená.

Yefim Bronfman is the recipient of an honorary doctorate from the Manhattan School of Music. He became an American citizen in July 1989.

Over his career Yefim Bronfman has given numerous solo recitals in the leading halls of North America, Europe and the Far East, including acclaimed debuts at Carnegie Hall in 1989 and Avery Fisher Hall in 1993. In 1991 he gave a series of joint recitals with Isaac Stern in Russia, marking Bronfman’s first public performances there since his emigration to Israel aged 15. That same year he was awarded the prestigious Avery Fisher Prize, one of the highest honours given to American instrumentalists. In 2010 he was honoured as the recipient of the Jean Gimbel Lane Prize in Piano Performance from Northwestern University.

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Programme notes

Speedread Elgar was a great admirer of Richard Strauss – who, though younger than him, achieved earlier success – and Falstaff is the nearest he came to writing a tone-poem in the Straussian vein of descriptive precision. Though rarely heard today compared to his symphonies and concertos, this affectionate portrait of the Shakespearean anti-hero contains some of his most inspired music. Strauss himself spoke highly

Johannes Brahms 1833–97

Early on in Brahms’s career, his mentor Robert Schumann described the piano sonatas he was producing as ‘veiled symphonies’. Later on, Wagner would classify his symphonies as ‘quintets and the like served up as symphonies’. But whether compliments or criticisms, such recognitions of the cross-pollination of genres within Brahms’s creative process reveal an essential truth about the composer: that for him – as perhaps for Bach or Beethoven – all genres lay on the same continuum, from which emerged not just his musical arguments, but an artistic personality of candour and integrity. Thus it is that a work such as the Second Piano Concerto – completed in the summer of 1881 and premiered with Brahms himself as soloist in Budapest that November – can be both concerto-like in the sense of articulating a dialogue between a soloist and an orchestra, and symphonic in the sense of presenting and developing themes with firm structural coherence. But that is not its only contradiction: it offers intimacy and grandeur as contrasting but inextricably involved shades of expression; and it creates a solo part to challenge the

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of Elgar, and his Till Eulenspiegel, full of incident and humour, is a typically brilliant evocation of another famous reprobate, this time the medieval German trickster. Both composers in turn revered Brahms, who, in his Second Piano Concerto, showed just how strong a sense of personality and meaning can be conveyed by a ‘pure’ instrumental genre when in the hands of a master of formal and emotional control.

Piano Concerto No. 2 in B flat major, Op. 83 Yefim Bronfman piano 1 Allegro non troppo 2 Allegro appassionato 3 Andante 4 Allegretto grazioso most technically accomplished pianist while causing its fearsome virtuosity to bury itself in the fluid demands of symphonic discourse. Brahms’s First Piano Concerto of 1854–8 had been composed by a young man still searching for his voice; terse, troubled and dramatic, it had actually been made from material transferred from an abortive symphony. The Second had no such hinterland, and is palpably the work of a mature artist – relaxed, expansive and assured. This is no confusion of genres; it is just Brahms speaking. The leisurely pace of this Concerto is established right at the start as solo horn, piano and orchestra share out the opening theme, before the piano embarks on a solo cadenza of majesterial breadth. Following this, the orchestra takes over the customary exposition of themes, and when the piano later re-enters, it is to join them in an imaginative dialogue in which these themes are constantly varied and reviewed. The central development section is prepared by shrieking trills from the piano, and the structural recapitulation of the main theme is smuggled in by the horns and clarinets under rippling piano figuration. Monumental though it is –

and though certainly not without bruising moments, passionate outbursts and wistful sighs – the mood of the movement is predominantly one of resolute optimism. Four movements are unusual in a concerto, and the interloper here is the second, derived from music Brahms had originally intended for his Violin Concerto. Cast in D minor, a key he often associated with the tragedy of Schumann’s mental illness and death, it brings the work’s most tempestuous music. The format is that of a scherzo, in which the first part is repeated after a contrasting middle section, but Brahms here creates a variant that also makes an expressive point. For instead of letting the first section reach an end, at the height of hysteria he pitches it headlong into the central section, a stiff-jointed baroque dance that by force of will hauls the music back to a mood of combative celebration, even if it cannot hold for long. When Brahms was asked why he had included this unorthodox storm-scherzo, he replied somewhat implausibly that it was because the first movement had been ‘so harmless’. A more convincing reason might

be that it was to complicate the journey from the first movement to the Andante, which is in the same key but in a contrasting mood of almost utter calm. The movement’s beautiful main theme is presented by a solo cello and never given to the piano, at least not in a form in which it can be easily recognised. Instead, the soloist muses on the cello’s soulful singing, developing it and decorating it with exquisite, seemingly streamof-consciousness filigree. Passions rise but soon die down as two clarinets quote from Brahms’s song ‘Todessehnen’ (‘Yearning for Death’), and when the cello returns, it is to lead the movement to a serene close. The finale is pure pleasure, a rondo-cum-sonata movement that feeds off Brahms’s disarming ability to write music of unloaded attractiveness, packed with themes that seem to be there just for us to enjoy, as if we were listening to one of his sets of Hungarian Dances or ‘Liebeslieder’ waltzes. It still needs genius to write, of course, and there is a Mozartian skill and wit in the way Brahms moves us from one theme or key area to the next that makes this a delightful and fulfilling conclusion to one of the 19th century’s most genuinely grand concertos.

Interval – 20 minutes An announcement will be made five minutes before the end of the interval.

FINAL CONCERT THIS SEASON AT ROYAL FESTIVAL HALL Brahms Violin Concerto Bruckner Symphony No. 3 (1877 revised version) Vladimir Jurowski conductor Janine Jansen violin Concert generously supported by Dior.


Janine Jansen © Decca/Marco Borggreve

FRIDAY 3 MAY 2019 7.30PM

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Programme notes continued

Richard Strauss

Till Eulenspiegels lustige Streiche (Till Eulenspiegel’s Merry Pranks), Op. 28


Tonight, the LPO is experimenting with the use of surtitles. Strauss left guidelines as to the events his musical portrait covers, and our surtitles tonight largely follow these. Elgar wrote a brief analysis of his Falstaff, identifying points in the score that coincided with the story told by Shakespeare in his ‘Henry Plays’. The musicologist, Sir Donald Tovey, expanded this and we have used these two analyses as the basis for our surtitles tonight.

Like all great opera composers, Strauss showed supreme ability in the depiction of his characters’ psychological states, but perhaps only he was able to add to this such an easy genius for musical onomatopoeia. Before enjoying his first major operatic success with Salome in 1905, he had revealed this in a sequence of brilliant orchestral tone-poems rich with vivid events and unerringly naturalistic sound effects: from Don Juan to Don Quixote, and from Ein Heldenleben to the Symphonia domestica, Strauss’s tone-poems not only tell their engaging stories with wit and precision, they do so enhanced by some of the most colourful musical illustration ever conceived. Till Eulenspiegels lustige Streiche (‘Till Eulenspiegel’s Merry Pranks’), to give it Strauss’s full title, was completed in 1895, so dates from near the beginning of this golden period of orchestral invention, being preceded only by Don Juan, Tod und Verklärung and the less successful Macbeth. Its hero, Till Eulenspiegel, was a mythological mischief-maker whose mocking of the 14th-century German establishment may well have appealed to the 31-year-old Strauss, who was rather enjoying his reputation as an outrageous purveyor of musical audacities. When he was asked by the work’s first conductor for details of its programme, he replied ‘Analysis impossible for me. All wit spent in notes’, and indeed at this stage he was happy to describe it simply as ‘in rondo form’. Few listeners could doubt, however, that there are specific events being portrayed, as became clear when Strauss did eventually provide an explanatory note some time later. 12 | London Philharmonic Orchestra

A brief opening theme on strings leads to Till’s first appearance in a swaggering horn-call. Thereafter we hear him riding through a market, overturning the stalls and upsetting the women; impersonating a priest and delivering a sanctimonious sermon; flirting with the ladies; and stirring up an argument among a group of academics (personified by gruff bassoons and shrill flutes) before sticking out his tongue and running off. Throughout these episodes we continue to hear his mocking voice, his face poking out from behind the mask as it were, in a jaunty little theme unexpectedly derived from the string opening. Eventually he is captured and to the sound of a drum-roll brought to trial, though this too he pokes fun at, even as he is condemned and conducted to the gallows. The opening theme returns in an epilogue, as if to reassure us this was all long ago and far away, but it is Till who gets the last word, laughing at us still from the other side.

Edward Elgar

Falstaff: Symphonic Study in C minor, Op. 68


Elgar’s most celebrated orchestral work – the ‘Enigma’ Variations of 1899 – is famously a set of miniature character portraits of some of his friends. By contrast, Falstaff – composed for the Leeds Festival in 1913 – is a larger study of just one man, and a fictional one at that. Elgar was a keen and knowledgeable lover of Shakespeare, and for him Sir John Falstaff was not the deluded fat fool from The Merry Wives of Windsor (and Verdi’s opera), but rather the character in Henry IV described by one commentator as ‘in a green old age, mellow, frank, gay, easy, corpulent, loose, unprincipled and luxurious’. Elgar had great sympathy for Falstaff – no doubt he identified with his nostalgia for lost youth and ambitions, his love of England, and perhaps his ultimate rejection – and set out to vindicate him in music that is unambiguously on his side. Falstaff, then, is a one-movement work in which a chronological sequence of events is depicted in considerable detail, rather in the manner of a Strauss tone-poem. However, the way in which it maintains its structural coherence while demonstrating all the diversity demanded by the programmatic approach fully justifies the title ‘symphonic study’. Elgar wrote an analytical note for the first performance, showing how the music divides into four principal sections with two brief interludes. The first section – the shortest – introduces the swaggering themes that represent Falstaff himself, along with a courtly melody depicting his crony and partner in debauchery, the young Prince Hal. After a pause, the long second section describes a series of incidents: Falstaff holding court at the Boar’s Head; robbing a bullion convoy and being ambushed in turn; and boasting drunkenly of his exploits before falling asleep. Then comes the first interlude (dominated by a violin solo and dubbed by Elgar ‘somewhat antiquated in mood’), in which Falstaff dreams of the time when he was a page-boy.

In the third section he marches to battle for the King with his barmy army, returning after some inglorious episodes to Shallow’s Orchard, where the second interlude has him dreaming, to the strains of pipe and tabor music, of an eternal pastoral England. He wakes to find that his young friend is now King Henry V, and in the final section he hurries to the coronation in London. But instead of honouring Falstaff, Henry – whose theme has now assumed its full regal splendour – coldly rejects him, and Sir John, comforted only by his reminiscences, dies a broken man. Programme notes © Lindsay Kemp

Recommended recordings of tonight’s works by Laurie Watt Brahms: Piano Concerto No. 2 Stephen Kovacevich | London Philharmonic Orchestra Wolfgang Sawallisch (Warner) or Wilhelm Backhaus | Vienna Philharmonic | Karl Böhm (Decca) R Strauss: Till Eulenspiegels lustige Streiche Vienna Philharmonic Orchestra | Herbert von Karajan (Decca) or London Philharmonic Orchestra | Karl Anton Rickenbacher (Classics for Pleasure) Elgar: Falstaff London Philharmonic Orchestra | Adrian Boult (Warner) or London Philharmonic Orchestra | Vernon Handley (Warner) or BBC Philharmonic Orchestra | Andrew Davis (Chandos)

London Philharmonic Orchestra | 13

Laurie Lovelle

© Benjamin Ealovega

This evening we bid farewell to one of the Orchestra’s longestserving members, as Laurie Lovelle hangs up his tails after over 38 years as a member of the LPO Double Bass section. Laurie will be fondly remembered for the fun and humour he brings to those around him, as well as his fine musicianship. Laurie first played with the LPO under Bernard Haitink in 1971 before moving to the Gulbenkian Orchestra in Lisbon and later the Rotterdam Philharmonic. In 1981 he returned to the UK to join the LPO under Klaus Tennstedt, where he has remained to this day. Laurie has enjoyed a full and varied orchestral career but he also has a passion and talent for jazz. Whenever the Orchestra visited New York you could be sure to find him in a jazz club after our concerts. Outside music, Laurie is a teacher of Tai Chi, sometimes leading Orchestra members in classes on the lawns of Glyndebourne, and for several years he successfully led treks in Nepal. Laurie has always been very welcoming to new players in the bass section and quickly puts them at ease. Playing alongside him is always a pleasure, not only for his high musical standards but for his supportive way of working. His relaxed style and ability to diffuse the most pressured times in our working day will be very much missed. On behalf of all the LPO musicians, Laurie, we wish you and Julia well in your retirement, whether this be spending time in your favoured spot in Portugal or just simply enjoying a coffee in Blackheath. We bid you farewell with much affection and good wishes for the future. George Peniston, LPO Double Bass

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Jurowski conducts Brahms on the LPO Label Brahms: Symphonies Nos. 1 & 2 LPO-0043 £10.99 (2CDs)

Brahms: Symphonies Nos. 3 & 4 LPO-0075 £9.99 (1CD)

Brahms: Complete Symphonies, Nos. 1–4 LPO–LP906 £85.00 (4-LP box set)

Recordings available from, 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.

OTHER WORLDS 2019/20 Concert season at Southbank Centre’s Royal Festival Hall 2020 Vision

A new strand of concerts featuring some of the most exciting works written since 2000, each combined in concert with pieces composed exactly 100 and 200 years earlier.

Beethoven 250th anniversary

Beethoven’s first six symphonies and rarer gems including his Cantata on the Death of Emperor Joseph II.

Isle of Noises continues

Landmark classics inspired by the British Isles, including the music of Walton, Vaughan Williams, Britten and Foulds.

Celebrated artists

Including Anne-Sophie Mutter, Antonio Pappano, Susanna Mälkki, Edward Gardner, Igor Levit, Diana Damrau, Sheku Kanneh-Mason, Nicola Benedetti and Anoushka Shankar.



At the London Philharmonic Orchestra we believe that together we are greater than the sum of our parts. Players, supporters, staff and audience members; this is your LPO and you’re the LPO. We want you to stand with us as we show and share with the world our rare and special passion for the timeless art of orchestral music.




This feels incredibly relevant when working with the LPO’s Foyle Future Firsts and Young Composers. Performing side-by-side with young players, playing the music of new composers is crucial. Through my work with the LPO Junior Artists, musicians from currently underrepresented backgrounds, I see incredible talent in those young people. With your support we can help them navigate their journeys.

The players develop a real sense of camaraderie in the pit at Glyndebourne – how could we not when we’re that squashed in!? By contrast, being able to see and interact with singers when we do something like the Ring Cycle at Royal Festival Hall makes for an incredibly exciting experience and brings opera to a wider audience. Please give your support to help us maintain this incredible strand of opera in concert.




WE CAN SHARE THE POWER AND WONDER OF ORCHESTRAL MUSIC WITH THE As an LPO player you never WIDER WORLD sit for long with the same set of notes. It’s a great challenge. We have to raise our game constantly. The demanding and exciting repertoire that you may associate with the LPO helps its players develop but also keeps our audiences on their toes and experiencing new things. With your support we can continue sharing these experiences. THOMAS WATMOUGH, PRINCIPAL E-FLAT CLARINET

I’ve played with the LPO in London, Eastbourne, Glyndebourne, Brighton and all over the world – it’s a thrilling ride! Performing around the UK and the world, concert experiences are always different – that’s what makes it exciting. Please help us ensure that we can continue creating special, shared experiences throughout the UK and around the world.


We are asking you to be instrumental in our future and in our ability to continue doing all that you know us for. Donate online at or call our Individual Giving Team on 020 7840 4212 or 020 7840 4225 to make a donation by credit or debit card.

16 | London Philharmonic Orchestra

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 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 & Lisa Fraser 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

London Philharmonic Orchestra | 17

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 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 Grenville & Krysia Williams 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 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 | 19


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

Christina McNeill Corporate Relations Manager Rosie Morden Individual Giving Manager Anna Quillin Trusts and Foundations Manager Georgie Gulliver Development Assistant Izzy Keig Development Assistant

Alison Jones Concerts and Recordings Co-ordinator

~ Nick Jackman Campaigns and Projects Director

Matthew Freeman Recordings Consultant

Kirstin Peltonen Development Associate

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

Marketing Kath Trout Marketing Director Mairi Warren Marketing Manager Megan Macarte Box Office Manager (Tel: 020 7840 4242) Rachel Williams Publications Manager Rachel Smith Website Manager Greg Felton Digital Creative Alexandra Lloyd Marketing Co-ordinator Tom Wright Marketing Assistant

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Public Relations Premier 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: 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 Printer Cantate

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London Philharmonic Orchestra 27 April 2019 concert programme  

London Philharmonic Orchestra 27 April 2019 concert programme