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NOISES Landmark classics inspired by the British Isles 1689 – 2019
Concert programme
lpo.org.uk
Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI supported by the Tsukanov Family Foundation Principal Guest Conductor ANDRÉS OROZCO-ESTRADA Leader PIETER SCHOEMAN supported by Neil Westreich Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM
Southbank Centre’s Royal Festival Hall Wednesday 27 February 2019 | 7.30pm
Wagner Overture, Tannhäuser (14’) Weber Clarinet Concerto No. 1 in F minor, Op. 73 (18’) Smith Andante for Clarinet and Orchestra (7’) Interval (20’) Brahms Symphony No. 2 in D major, Op. 73 (39’)
Vladimir Jurowski conductor Andreas Ottensamer clarinet
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 LPO 2019/20 season 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Isle of Noises 8 Vladimir Jurowski 9 Andreas Ottensamer 10 Programme notes 13 Recommended recordings 14 Brahms on the LPO Label 15 Next concerts 16 LPO Player Appeal 2018/19 17 Sound Futures donors 18 Supporters 20 LPO administration
Welcome
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 lpo.org.uk/newseason 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 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.
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: issuu.com/londonphilharmonic
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Highlights of the new season include:
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 We will perform Beethoven’s first six symphonies alongside other rarer gems including his Cantata on the Death of Emperor Joseph II.
Wagner Ring Cycle: Siegfried We reach the third instalment of our Ring Cycle conducted by Vladimir Jurowski, described as ‘simply outstanding’ by The Guardian.
Isle of Noises continues We continue our exploration of landmark classics inspired by the British Isles, including the music of Walton, Vaughan Williams, Britten and Foulds, as well as a celebration of British cinema.
Celebrated artists We welcome an array of fine artists including Anne-Sophie Mutter, Igor Levit, Antonio Pappano, Susanna Mälkki, Edward Gardner, Diana Damrau, Sheku Kanneh- Mason, Nicola Benedetti and Anoushka Shankar.
Choral masterpieces We’ll be joined by the London Philharmonic Choir for Verdi’s Requiem and Janáček’s Glagolitic Mass under Edward Gardner; Mahler’s Symphony No. 2 (Resurrection) under Vladimir Jurowski; Elgar’s The Apostles under Mark Elder; Walton’s Belshazzar’s Feast with Marin Alsop; and Fauré’s Requiem under Bertrand de Billy. Browse the full season at lpo.org.uk/newseason
On stage tonight
First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich
Kevin Lin Co-Leader Chair supported by The Candide Trust
Vesselin Gellev Sub-Leader Catherine Craig Thomas Eisner Martin Hรถhmann Robert Pool Yang Zhang Chair supported by Eric Tomsett
Lasma Taimina Evin Blomberg Eleanor Bartlett Nilufar Alimaksumova Morane Cohen-Lamberger Essi Kiiski Kana Kawashima Katalin Varnagy Chair supported by Sonja Drexler
Second Violins Tania Mazzetti Principal Chair supported by Countess Dominique Loredan
Csilla Pogรกny Helena Smart Kate Birchall Nancy Elan Fiona Higham Chair supported by David & Yi Buckley
Joseph Maher Marie-Anne Mairesse Ashley Stevens Sioni Williams Robin Wilson Georgina Leo Sarah Thornett Sheila Law Nynke Hijlkema Miranda Allen
Violas David Quiggle Principal Richard Waters Co-Principal Ting-Ru Lai Katharine Leek Susanne Martens Stanislav Popov Isabel Pereira Martin Wray Luca Casciato Charles Cross Julia Kornig Jill Valentine Naomi Holt Daniel Cornford
Flutes Sue Thomas* Principal
Trumpets Paul Beniston* Principal Christopher Hart Guest Principal Anne McAneney*
Chair supported by Victoria Robey OBE
Stewart McIlwham* Hannah Grayson Ian Mullin
Chair supported by Geoff & Meg Mann
Trombones Mark Templeton* Principal
Piccolo Stewart McIlwham* 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
Sue Bรถhling* Cellos Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden
Pei-Jee Ng Co-Principal Francis Bucknall Laura Donoghue David Lale 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 Erล ahin
Chair supported by Dr Barry Grimaldi
James Hulme
Timpani Simon Carrington* Principal
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
Paul Richards* Emma Burgess Bassoons Jonathan Davies Principal Gareth Newman Simon Estell* Emma Harding Horns David Pyatt* Principal
Tuba Lee Tsarmaklis* Principal
Assistant Conductor Lidiya Yankovskaya Lang Assael Conducting Fellow 2019
* Holds a professorial appointment in London Meet our members: lpo.org.uk/players
Chair supported by Sir Simon Robey
Martin Hobbs Mark Vines Co-Principal Gareth Mollison Adam Howcroft
The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Caroline, Jamie & Zander Sharp Laurence Watt
London Philharmonic Orchestra | 3
London Philharmonic Orchestra
The London Philharmonic’s closing concert took excellence and courageous programme planning to levels of expectation and emotional intensity more than once defying belief. Here was an orchestra in terrific form, rising to every challenge. Classicalsource.com (LPO at Royal Festival Hall, 2 May 2018: Panufnik, Penderecki & Prokofiev)
One of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with its reputation as one of the UK’s most forward-looking ensembles. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, has its own record label, and reaches thousands of people every year through activities for families, schools and local communities. The Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the world’s greatest conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is the Orchestra’s current Principal Conductor and Artistic Advisor, and in 2017 we celebrated the tenth anniversary of this extraordinary partnership. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in 2015. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Throughout 2018 our series
4 | London Philharmonic Orchestra
Changing Faces: Stravinsky’s Journey charted the life and music of one of the 20th century’s most influential composers, and in 2019 we celebrate the music of Britain in our festival Isle of Noises, exploring a range of British and British-inspired music from Purcell to the present day. Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Each summer the Orchestra takes up its annual residency at Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra. Touring remains a large part of the Orchestra’s life: highlights of the 2018/19 season include a major tour of Asia including South Korea, Taiwan and China, as well as performances in Belgium, France, Germany, The Netherlands, Spain, Greece, Switzerland and the USA.
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. 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 the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 100 releases available on CD and to download. Recent additions include a Poulenc disc conducted by Yannick Nézet-Séguin, Tchaikovsky’s Symphonies Nos. 2 & 3 under Vladimir Jurowski, and a film music disc under Dirk Brossé.
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 new 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 lpo.org.uk/isleofnoises.
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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. Richard Fairman, Financial Times, November 2017
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 lpo.org.uk/recordings to find out more.
Andreas Ottensamer clarinet
With his velvet, sensuous tone and minute control of dynamics, Ottensamer surely has few peers among today’s clarinettists.
© Katja Ruge/Decca
Richard Wigmore, Gramophone, April 2017
Born in 1989, Andreas Ottensamer comes from an Austro-Hungarian family of musicians and was drawn to music early, receiving his first piano lessons aged four. At the age of ten he began studying the cello at the University of Music and Performing Arts in Vienna, before changing to the clarinet under Johann Hindlerin in 2003. Andreas gained his first orchestral experience as a deputy in the orchestra of the Vienna State Opera and in the Vienna Philharmonic, and as a member of the Gustav Mahler Jugendorchester. In 2009 he interrupted his Harvard studies to become a scholar of the Orchestra Academy of the Berlin Philharmonic. He is now the principal clarinettist of the Berlin Philharmonic. Andreas Ottensamer has won first prizes in numerous competitions for clarinet, cello and piano, and performs as a soloist and chamber musician throughout the world with orchestras such as the Berlin Philharmonic, Vienna Philharmonic, Konzerthaus Orchestra Berlin, Rotterdam Philharmonic and Kammerphilharmonie Bremen, under conductors including Simon Rattle, Yannick Nezét-Séguin, Andris Nelsons, Pablo HerasCasado and Alan Gilbert. His artistic partnerships as a chamber musician include work with Murray Perahia, Leif Ove Andsnes, Leonidas Kavakos, Janine Jansen, Sol Gabetta and Yo-Yo Ma, and together with pianist José Gallardo he is Artistic Director of the Bürgenstock Festival in Switzerland.
In 2013 Andreas Ottensamer began an exclusive recording partnership with Deutsche Grammophon, making him the first ever solo clarinettist to sign an exclusive agreement with the Yellow Label. His second album: Brahms – The Hungarian Connection won the Echo Klassik Award for Instrumentalist of the Year in 2015. In 2017 his album New Era was released by Decca Classics, and March 2019 will see the release of Blue Hour on Deutsche Grammophon, featuring works by Weber, Brahms and Mendelssohn with pianist Yuja Wang and the Berlin Philharmonic under Mariss Jansons. In 2005 Andreas Ottensamer founded the clarinet trio The Clarinotts with his father Ernst and brother Daniel, both principal clarinettists of the Vienna Philharmonic. A CD by the trio was released in 2016 by Deutsche Grammophon. Tonight’s concert is Andreas Ottensamer’s debut with the London Philharmonic Orchestra.
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Programme notes
Speedread In life Wagner and Brahms were archrivals: the former embraced by progressives as the beacon of ‘music of the future’, the latter raised aloft by conservatives as the true upholder of classical tradition. With time, however, the differences between them look less significant. Both had a flair for long, soaring melodic lines, and both were ardent sensualists, revelling in gorgeous rich sounds and romantic evocations of mood. High spiritual ideals and the pursuit of pure pleasure clash – and then possibly resolve – in Wagner’s stirring overture to his opera Tannhäuser. In Brahms the dualism is more between sunlit cheerfulness and hints of something
Richard Wagner
darker, more painfully personal. But both end with superb, uplifting brassy orchestral hymns. Weber, creator of the first great romantic nationalist opera Der Freischütz (‘The Free-Shooter’), was an important influence on both composers. There’s a foretaste of Wagnerian drama in the first movement of the First Clarinet Concerto, and of Brahms’s instrumental lyricism in the second, but the finale is pure cheeky brilliance. Weber also showed the way for the English composer Alice Mary Smith, whose Andante for Clarinet and Orchestra is a classic – and very touching – example of a Victorian ‘song without words’
Overture, Tannhäuser
1813–83
In his early life Wagner grappled with two contrary urges. On the one hand there was strong attraction to spiritual idealism in him: notions of purity, detachment and world renunciation appealed more and more as his faith in revolutionary politics failed – hence his later interest in Buddhism and the philosophy of Schopenhauer. On the other, he was a devoted sensualist, whose need for physical fulfilment took him beyond simple pleasure-seeking into quasi-religious realms. The minstrel-knight Tannhäuser – hero of the opera of the same name – embodies this struggle vividly. We first meet him in a grotto deep within the Venusberg – the ‘Mountain of Venus’ – as an apparently willing captive and devotee of the Goddess of Love. But he yearns for something more spiritual. Released into the ‘real’ world of medieval Germany, he is reunited with the pure Elisabeth, who eventually brings about 10 | London Philharmonic Orchestra
his redemption by sacrificing herself for him. But hope of reconciliation between these extremes is hinted at by the image of the ‘evening star’: the planet Venus, traditionally symbolic of both the pagan Goddess of Love, and of the Virgin Mary, ‘star of the sea’. Taken on its own, the magnificent Overture to Tannhäuser is like a tone-poem embodying these themes. Purity and world renunciation are represented by the famous ‘Pilgrims’ Chorus’ theme, heard at the beginning on low woodwind and horns, then building to a magnificent brassy climax with pealing string figures. Then the tempo increases and with typically luscious harmonies and orchestration Wagner evokes the sensual delights and increasingly wild abandonment of the Venusberg. As the intoxication reaches its height, the pealing violin figures return, and with them the Pilgrims’ theme on winds, building
to a grand, hymn-like final climax. There is an image of reconciliation even here: when the Pilgrims’ theme first appeared it was in 3/4, three beats to a bar; when it returns, however, it is in 2/2, two beats to a bar – the same as the Venusberg music. Ingeniously, Wagner has drawn the two worlds closer together.
Carl Maria von Weber 1786–1826
There’s something about the clarinet – or about particular clarinet players – that has worked powerfully on the imaginations of classical composers. Anton Stadler’s playing inspired Mozart to write two of his greatest instrumental works: the Clarinet Concerto and the Clarinet Quintet. Brahms was so impressed by the clarinettist Richard Mühlfeld that he came out of retirement to write four chamber works for him. And it was another star clarinettist, Heinrich Bärmann – widely considered the finest player of his age – for whom Weber wrote two concertos, a concertino for clarinet and orchestra, a quintet, and the brilliant Grand Duo Concertant for clarinet and piano. On hearing Weber’s newly composed Concertino in 1811, King Maximilian I of Bavaria was so impressed that he commissioned two concertos from him. The first in particular looks forward to the romantic moodiness and melodic richness of Weber’s operatic masterpiece Der Freischütz (‘The Free-Shooter’), completed ten years later. It is also worth remembering that Beethoven’s Fifth Piano Concerto, nicknamed the ‘Emperor’, appeared just a year earlier, but while Beethoven has been given plenty of plaudits for his formal and dramatic innovations in his Concerto,
Clarinet Concerto No. 1 in F minor, Op. 73 Andreas Ottensamer clarinet 1 Allegro 2 Adagio ma non troppo 3 Rondo: Allegretto
Weber has rarely been given the credit he’s due here. In a Beethoven concerto, the soloist normally gets to play all the leading themes, but in his first movement Weber gives clarinet and orchestra strongly contrasted melodic ideas, and the contrast between them greatly adds to this movement’s turbulent and highly theatrical drama. Especially telling is the way Weber leads us to expect a virtuosic fireworks ending, then at the last minute drops the dynamic and has the clarinet wrap it all up, piano, down in its sombre low register. The slow movement begins with a long aria-like melody, superbly exploiting the clarinet’s ‘vocal’ melodic qualities, then a more agitated middle section leads to a remarkable extended passage for the soloist and a trio of horns (it could have come straight from one of Weber’s operas), leading elegantly to a return of the first theme. Tragic drama in the first movement, a soulful confession of love in the second – after this the perky, effervescent, prevailingly major-key finale is in complete contrast. This time, however, Weber fulfils the expectations so deftly thwarted at the end of the first movement, ending with a display of soloistic brilliance guaranteed to bring an audience to its feet.
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Programme notes continued
Alice Mary Smith
Andante for Clarinet and Orchestra Andreas Ottensamer clarinet
1839–84
Alice Mary Smith was the third child of a prosperous middle-class Victorian family. Unlike many promising women composers at that time, her gifts were taken seriously, not only by her parents, but by several prominent figures in the British musical establishment. Her first song was published in 1857 when she was just 18, she had a symphony performed at 24, and she was elected an honorary member of the Royal Academy of Music at 45. Things were looking increasingly promising, yet that same year she contracted typhoid fever and died. As this Andante for Clarinet and Orchestra (an arrangement of the slow movement
of her Clarinet Sonata, 1873) shows, Smith had a beguiling melodic gift and a developed feeling for expressive harmony. Mendelssohn is clearly one model, and the very fine ‘vocal’ writing for the clarinet recalls Weber (you can tell Smith was an experienced song composer), but there’s nothing derivative about this music: it speaks for itself. An obituary from 1884 praised Smith’s music for its ‘elegance and grace’, its ‘clear’ forms and its ‘ideas free from eccentricity’. She wasn’t an innovator, but as this fine lyrical miniature shows, it is possible to be truly original without striving for novelty.
Interval – 20 minutes An announcement will be made five minutes before the end of the interval.
Johannes Brahms 1833–97
It took Brahms around 20 years to finish his First Symphony; the Second was composed in just a few months. Brahms’s relief at the triumphant success of the First Symphony’s premiere in 1876 was immense: the following summer he took a holiday at the lakeside resort of Pörtschach in the Austrian Alpine region of Carinthia, and almost immediately another symphony began to take form. In September 1877 he met his close confidante Clara Schumann, who reported to the conductor Hermann Levi that ‘Brahms is in good spirits, delighted with his summer holiday and has, in his head
12 | London Philharmonic Orchestra
Symphony No. 2 in D major, Op. 73 1 2 3 4
Allegro non troppo Adagio non troppo Allegretto grazioso, quasi andantino Allegro con spirito
at least, a new Symphony in D major; he already has the first movement down on paper.’ As enquiries flooded in about the new Symphony, Brahms gleefully set out leading his eager admirers down the wrong path. To Clara, Brahms reported that the first movement was ‘quite elegiac in character.’ To his publisher, Fritz Simrock, he wrote that, ‘The new Symphony is so melancholy that you won’t be able to bear it. I have never written anything so sad … you must put a black edge round the score to give an
outward show of grief.’ So one can imagine Brahms’s smile of satisfaction when he saw the effect of his new Symphony’s opening on his singularly ill-prepared friends. Where Symphony No. 1 launched itself with anguished high strings and obsessively pounding timpani, the Second Symphony begins – after the tiniest of introductions on cellos and basses – with a horn and woodwind theme that positively glows with pleasure. From this grows a magnificent long first movement that flows like a broad, sunlit river. This is also one of Brahms’s most appealingly melodious symphonic first movements, and yet so many of its thematic ideas grow from the horn theme at the start and from the cellos’ and basses’ tiny introductory motif. The fluency and fertility of this Symphony’s first movement may well stem from Brahms’s ‘delighted’ state of mind, and from the apparent ease with which he composed it. If the first movement does have its darker, more turbulent moments, these are surely passing shadows amid prevailing warm sunlight. But in the Adagio non troppo that follows, there are moments when Brahms’s remarks about ‘melancholy’ and ‘grief’ may not seem so wide of the mark. The first theme, nobly sung by cellos with a rich bass accompaniment, does have an ‘elegiac’ quality. After the lilting second theme, the mood grows troubled until, in a moment of eerie hush, trombone and tuba sound darkly through nervous tremolando strings: a romantic vista momentarily opens out, reminiscent of the painter Caspar David Friedrich’s melancholic, ruin-haunted landscapes. The third movement, on the other hand, is one of the most playful things Brahms ever composed. We begin with a gentle, graceful pastoral dance theme for woodwind with pizzicato cellos. Suddenly, however, the tempo lurches forward (doubles, in fact) and a racing – but at first still hushed – Presto non assai begins. The whole movement is a kind of affectionate contest between these two types of movement. The slower original dance music wins, but as it does so, the key turns minor, the mood wistful, again possibly ‘elegiac’ – if only for a moment. Any passing shadows are banished by the fleet-footed finale. Here there are constant reminders of how much Brahms admired Haydn, the master of symphonic musical wit – and sometimes wicked humour. There is one more moment of romantic mystery (more soft,
dark-voiced bass brass sounding through rustling strings) at the heart of this movement, but the ending is uproarious high spirits, culminating in a great shout of joy from high trombones. Then with four emphatic major-key chords, the symphony Brahms called his ‘lieblicher Ungeheuer’ – his ‘lovely monster’ – ends. Programme notes © Stephen Johnson
Recommended recordings by Laurie Watt
Many of our recommended recordings, where available, are on sale this evening at the Foyles stand in the Royal Festival Hall foyer. Wagner: Overture, Tannhäuser London Philharmonic Orchestra | Klaus Tennstedt (LPO Label LPO-0003: see below) Weber: Clarinet Concerto No. 1 Martin Fröst | Tapiola Sinfonietta Jean-Jacques Kantorow (BIS) Smith: Andante for Clarinet and Orchestra Angela Malsbury | London Mozart Players Howard Shelley (Chandos) Brahms: Symphony No. 2 London Philharmonic Orchestra | Vladimir Jurowski (LPO Label LPO-0043: see overleaf)
Wagner on the LPO Label Orchestral excerpts including the Overture to Tannhäuser and excerpts from Die Meistersinger von Nürnberg, Die Walküre, Götterdämmerung & Rienzi.
Klaus Tennstedt conductor London Philharmonic Orchestra Recorded by BBC Radio 3 live at the Royal Albert Hall on 20 August 1992
LPO-0003 | £9.99
London Philharmonic Orchestra | 13
Brahms Symphonies on the LPO Label Available on CD and to download
Symphonies Nos. 1 & 2
Symphonies Nos. 3 & 4
Vladimir Jurowski conductor
Vladimir Jurowski conductor
LPO-0043 | £10.99 (2CD)
LPO-0075 | £9.99 (1CD)
'The Jurowski/LPO marriage abundantly exudes that rare joy in corporate music-making all too seldom encountered in this day and age.’ International Record Review
Complete Symphonies Nos. 1–4 (4-LP box set)
Symphonies Nos. 1 & 3
Vladimir Jurowski conductor
Klaus Tennstedt conductor
LPO–LP906 | £85.00
LPO-0068 | £10.99 (2CD)
‘No wonder the LPO loved Tennstedt. In these live recordings from the Royal Festival Hall, they respond like musicians possessed.’ The Sunday Times Recordings available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242), all good CD outlets and the Royal Festival Hall shop. Download or stream online via Spotify, Apple Music and others.
14 | London Philharmonic Orchestra
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Vladimir Jurowski conductor Sophie Bevan soprano Mark Padmore tenor Andrew Foster-Williams bass-baritone London Philharmonic Choir
SATURDAY 23 MARCH 2019 7.30PM Beethoven Egmont Overture Elgar Cello Concerto Mahler Symphony No. 1 Edward Gardner conductor Kian Soltani cello
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Khachaturian Adagio of Spartacus and Phrygia Tchaikovsky Piano Concerto No. 1 Walton Symphony No. 1 Vasily Petrenko conductor George Li piano
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15 | London Philharmonic Orchestra
PLAYER APPEAL 2018/19 BE INSTRUMENTAL TO OUR FUTURE
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.
WITH YOUR SUPPORT ...
WE CAN INVEST IN TALENT DEVELOPMENT
WE CAN MAINTAIN OUR GREAT OPERA HERITAGE
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.
KEVIN LIN, CO-LEADER
JULIETTE BAUSOR, PRINCIPAL FLUTE
WE CAN TAKE RISKS AS WE EXPLORE ADVENTUROUS WORKS
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.
ELISABETH WIKLANDER, CELLO
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 lpo.org.uk/donate 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 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 & 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 The Tsukanov Family Dr James Huang Zheng (of Kingdom Music Education Group) Principal Associates Gabor Beyer, through BTO Management Consulting AG In memory of Ann Marguerite Collins Mr & Mrs Makharinsky Associates Steven M. Berzin Richard Buxton Kay Bryan William & Alex de Winton Mrs Irina Gofman Countess Dominique Loredan George Ramishvili Stuart & Bianca Roden In memory of Hazel Amy Smith Gold Patrons David & Yi Buckley John Burgess In memory of Allner Mavis Channing Garf & Gill 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
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 Grenville & Krysia Williams Christopher Williams Ed & Catherine Williams Mr Anthony Yolland
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 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 Mr James R. D. Korner
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
18 | London Philharmonic Orchestra
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 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 Ms Jenny Watson CBE 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 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 The 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
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 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 & Projects Manager Grace Ko Tours Manager Alison Jones Concerts and Recordings Co-ordinator Jo Cotter Tours Co-ordinator Matthew Freeman Recordings Consultant
Christina McNeill Corporate Relations Manager Rosie Morden Individual Giving Manager Anna Quillin Trusts and Foundations Manager Ellie Franklin Development Assistant Georgie Gulliver Development Assistant Kirstin Peltonen Development Associate
Andrew Chenery Orchestra Personnel Manager
Marketing Kath Trout Marketing Director
Sarah Holmes Sarah Thomas Librarians
Mairi Warren Marketing Manager
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.
Christopher Alderton Stage Manager
Megan Macarte Box Office Manager (Tel: 020 7840 4242)
Composer photographs courtesy of the Royal College of Music, London.
Damian Davis Transport Manager
Rachel Williams Publications Manager
Hannah Verkerk Orchestra Co-ordinator and Auditions Administrator
Cover artwork Ross Shaw Printer Cantate
Rachel Smith Website Manager
Laura Kitson Assistant Transport & Stage Manager
20 | London Philharmonic Orchestra
Greg Felton Digital Creative Alexandra Lloyd Marketing Co-ordinator Tom Wright Marketing Assistant