London Philharmonic Orchestra 2 Mar 2019 concert programme

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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 Saturday 2 March 2019 | 7.30pm

Haydn The Seasons There will be a 20-minute interval between Parts 2 (Summer) & 3 (Autumn). Tonight’s concert will end at around 10.15pm.

Vladimir Jurowski conductor Sophie Bevan soprano | Jane

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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 Tonight’s soloists 11 London Philharmonic Choir 12 Programme notes 14 Recommended recordings Next concerts 15 The Seasons: text 21 Sound Futures donors 18 Supporters 20 LPO administration

Mark Padmore tenor | Lucas Andrew Foster-Williams bass-baritone | Simon London Philharmonic Choir Artistic Director: Neville Creed

Free pre-concert performance and talk 6.15–6.45pm | Royal Festival Hall Music historian and founder of period music chamber ensemble Café Mozart, Dr Derek McCulloch, takes a look at Haydn’s love affair with England. Café Mozart will also perform two Trios by Haydn. Jonathan Morgan & Jenny Thomas flutes Ilana Cravitz violin | Ian Gammie bass viol The timings shown are not precise and are given only as a guide. CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

This concert is being recorded by BBC Radio 3 for broadcast on Monday 4 March at 7.30pm and will be available for 30 days after broadcast on BBC Sounds; simply search for Radio 3 in Concert.

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

2 | London Philharmonic Orchestra

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

Evin Blomberg Katalin Varnagy Chair supported by Sonja Drexler

Thomas Eisner Martin Hรถhmann Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp

Robert Pool Sarah Streatfeild Yang Zhang Chair supported by Eric Tomsett

Second Violins Tania Mazzetti Principal Chair supported by Countess Dominique Loredan

Lasma Taimina Helena Smart Kate Birchall Nancy Elan Fiona Higham Chair supported by David & Yi Buckley

Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Lyrit Milgram

Violas David Quiggle Principal Richard Waters Co-Principal Ting-Ru Lai Katharine Leek Susanne Martens Benedetto Pollani Stanislav Popov Daniel Cornford Cellos Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden

Pei-Jee Ng Co-Principal Francis Bucknall Elisabeth Wiklander Gregory Walmsley Double Basses Kevin Rundell* Principal Sebastian Pennar Co-Principal Hugh Kluger George Peniston Flutes Sue Thomas* Principal Chair supported by Victoria Robey OBE

Stewart McIlwham* Piccolo Stewart McIlwham* Principal

Oboes Ian Hardwick* Principal Alice Munday

Bass Trombone Lyndon Meredith Principal

Chair supported by Friends of the Orchestra

Timpani Simon Carrington* Principal

Clarinets Thomas Watmough Principal Chair supported by Roger Greenwood

Percussion Andrew Barclay* Principal

James Maltby

Chair supported by Andrew Davenport

Bassoons Jonathan Davies Principal Gareth Newman Contrabassoon Claire Webster Horns Mark Vines Principal Martin Hobbs Adam Howcroft Gareth Mollison Trumpets Paul Beniston* Principal Anne McAneney* Chair supported by Geoff & Meg Mann

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

David Whitehouse

Keith Millar Fortepiano Catherine Edwards Assistant Conductor Lidiya Yankovskaya Lang Assael Conducting Fellow 2019

* Holds a professorial appointment in London Meet our members: lpo.org.uk/players

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Dr Barry Grimaldi Sir Simon Robey 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.

London Philharmonic Orchestra | 5

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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

London Philharmonic Orchestra | 7

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, 30 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;

8 | London Philharmonic Orchestra

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.

Mark Padmore

soprano | Jane

tenor | Lucas

Sophie Bevan studied at the Benjamin Britten International Opera School, where she received the Queen Mother Rose Bowl Award. She made her debut at the Royal Opera House, Covent Garden, in 2012 as the Woodbird in Wagner’s Siegfried, and returned as Pamina, Ilia, Susanna, Antigone in Oedipe, and Sophie in a new production of Der Rosenkavalier. She sang her first Governess (The Turn of the Screw) in Aldeburgh and returned as Tytania (A Midsummer Night’s Dream). She made her debuts at the Glyndebourne Festival as Michal (Saul), at the Teatro Real Madrid as Pamina (where she recently returned for Lady Rich in Britten’s Gloriana), and at the Salzburg Festival as Beatriz in the world premiere of Thomas Adès’s The Exterminating Angel (which she reprised at the Metropolitan Opera). She also created the role of Hermione in the world premiere of Ryan Wigglesworth’s A Winter’s Tale for ENO.

Mark Padmore was born in London and studied at King’s College, Cambridge. He has established an international career in opera, concert and recital. His appearances in Bach’s Passions have gained particular notice, especially as the Evangelist in the St Matthew and St John Passions with the Berlin Philharmonic Orchestra and Simon Rattle, staged by Peter Sellars.

Conductors with whom she has worked include Edward Gardner, Laurence Cummings, Mark Elder, Andris Nelsons and Antonio Pappano, with ensembles including the Hallé, The Sixteen, the Swedish Radio Orchestra and the City of Birmingham Symphony Orchestra. Recent and future engagements include her first Mélisande (Pélleas et Mélisande) at the Dresden Semperoper, Freia (Das Rheingold) in Madrid and Governess (The Turn of the Screw) for Garsington, as well as Brahms’s Requiem with the Bergen Philharmonic, Strauss’s Four Last Songs with the Philharmonia Orchestra, and a tour of Handel’s Messiah with the Britten Sinfonia. Sophie was the recipient of the 2010 Critics’ Circle Award for Exceptional Young Talent, The Times Breakthrough Award at the 2012 South Bank Sky Arts Awards, and the Young Singer Award at the 2013 International Opera Awards. Tonight’s concert is Sophie ’s debut with the London Philharmonic Orchestra. She will return in April 2020 for Ryan Wigglesworth’s Augenlieder under Vladimir Jurowski. Further future engagements include her first Countess and a return to Covent Garden.

© Marco Borggreve

© Sussie Ahlburg

Sophie Bevan

Mark’s opera work has included the leading roles in Harrison Birtwistle’s The Corridor and The Cure at the Aldeburgh Festival and the Linbury Theatre, Covent Garden; Captain Vere in Billy Budd and Evangelist in a staging of St Matthew Passion for Glyndebourne Festival Opera; and Third Angel/John in George Benjamin’s Written on Skin with The Royal Opera, Covent Garden. Recent projects include the world premiere of Tansy Davies’s Cave with the London Sinfonietta, and future plans include a new Royal Opera House production of Britten’s Death in Venice. In concert Mark performs with the world’s leading orchestras. He was Artist in Residence with the Berlin Philharmonic Orchestra for the 2017/18 season, and held a similar position with the Bavarian Radio Symphony Orchestra in 2016/17. In 2013 he sang the role of Macheath in a concert performance of Weill’s The Threepenny Opera at Royal Festival Hall with the London Philharmonic Orchestra and Vladimir Jurowski. Mark Padmore’s regular recital partners include Kristian Bezuidenhout, Jonathan Biss, Imogen Cooper, Julius Drake, Till Fellner, Paul Lewis and Roger Vignoles. Composers who have written for him include Sally Beamish, Harrison Birtwistle, Jonathan Dove, Thomas Larcher, Nico Muhly, Alec Roth, Mark-Anthony Turnage, Huw Watkins, Ryan Wigglesworth and Hans Zender. In 2016 Mark was voted Vocalist of the Year by Musical America.

London Philharmonic Orchestra | 9

Andrew Foster-Williams bass-baritone | Simon

Bass-baritone Andrew Foster-Williams enjoys a vibrant career on both the opera and the concert stage. He is graced with a vocal versatility that allows him to present a repertoire ranging from the classics of Bach, Gluck, Handel and Mozart to more recent masters such as Britten, Debussy, Stravinsky and Wagner with equal confidence. Andrew Foster-Williams’s career, initially built on his strong Baroque credentials, has in recent seasons found a new dramatic direction with successes as Pizarro (Fidelio) at the Theater an der Wien and a unanimously praised debut as Telramund in Wagner’s Lohengrin under Yannick Nézet-Séguin at the Festival de Lanaudière. His subsequent portrayal of Captain Balstrode in Christoph Loy’s divisive production of Peter Grimes at the Theater an der Wien, alongside acclaimed performances as Nick Shadow (The Rake’s Progress), Donner (Das Rheingold) and Gunther (Götterdämmerung) have further enhanced a highly regarded operatic profile. An impressive line-up of concert invitations has taken Andrew to the most celebrated orchestras and conductors of our day, with repertoire including Bach’s St Matthew Passion, Brahms’s German Requiem, Beethoven’s Symphony No. 9, Britten’s War Requiem, Janáček’s Glagolitic Mass and Mahler’s Symphony No. 8. Boasting an extensive discography, his commercial releases include Beethoven’s Cantata on the Death of Emperor Joseph II with the San Francisco Symphony and, most recently, The Seasons with the Gabrieli Consort and Players. In the current season Andrew Foster-Williams makes two role debuts: as Lysiart in Christoph Loy’s new production of Euryanthe at the Theater an der Wien, and as Kurnewal in a new production of Tristan und Isolde at La Monnaie in Brussels. Concerts include Brahms’s German Requiem with the Royal Liverpool Philharmonic Orchestra under Vasily Petrenko, and semi-staged performances of Gounod’s Roméo et Juliette with the Gulbenkian Orchestra under Lorenzo Viotti. 10 | London Philharmonic Orchestra

CHORAL CONCERTS WITH THE LPC THIS AUTUMN

AT SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL

SATURDAY 12 OCTOBER 2019 7.30PM Verdi Requiem

Edward Gardner conductor Elza van den Heever soprano Ekaterina Gubanova mezzo-soprano Arsen Soghomonyan tenor Gábor Bretz bass-baritone London Philharmonic Choir

SATURDAY 19 OCTOBER 2019 7.30PM Mahler Symphony No. 2 (Resurrection) Colin Matthews Metamorphosis

Vladimir Jurowski conductor Sofia Fomina soprano Sarah Connolly mezzo-soprano London Philharmonic Choir & Philharmonia Chorus

SATURDAY 26 OCTOBER 2019 7.30PM Elgar The Apostles

Mark Elder conductor Lucy Crowe Angel Gabriel/Blessed Virgin Mary Alice Coote Mary Magdalene/Narrator 2 Allan Clayton John/Narrator 1 Roderick Williams Jesus David Stout Peter Brindley Sherratt Judas London Philharmonic Choir & BBC Symphony Chorus

SATURDAY 9 NOVEMBER 2019 7.30PM Butterworth A Shropshire Lad Elgar Enigma Variations Walton Belshazzar’s Feast Marin Alsop conductor Roderick Williams baritone London Philharmonic Choir

ON SALE NOW AT LPO.ORG.UK SEE PAGE 14 FOR BOOKING DETAILS

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

Founded in 1947 as the chorus for the London Philharmonic Orchestra, the London Philharmonic Choir is widely regarded as one of Britain’s finest choirs. For the last seven decades the Choir has performed under leading conductors, consistently meeting with critical acclaim and recording regularly for television and radio. Enjoying a close relationship with the London Philharmonic Orchestra, the Choir frequently joins it for concerts in the UK and abroad. Highlights in recent years have included Beethoven’s Missa Solemnis with the Choir’s President, Sir Mark Elder; Haydn’s The Creation with Sir Roger Norrington; and Mozart’s Requiem under Nathalie Stutzmann. The Choir was delighted to celebrate its 70th anniversary in April 2017 with a highly acclaimed performance of Tallis’s Spem in alium and Mahler’s Symphony No. 8 under Vladimir Jurowski. The Choir appears annually at the BBC Proms at the Royal Albert Hall, and performances have included the UK premieres of Mark-Anthony Turnage’s A Relic of Memory and Goldie’s Sine Tempore in the Evolution! Prom. The Choir has been engaged by the BBC for all the Doctor Who Proms and, in recent years, has given performances of works by Beethoven, Elgar, Howells, Liszt, Orff, Vaughan Williams, Verdi and Walton. A well-travelled choir, it has visited numerous European countries and performed in Kuala Lumpur, Hong Kong and Australia. The Choir has appeared twice at the Touquet International Music Masters Festival and was delighted to travel to the Théâtre des Champs-Elysées, Paris, in December 2017 to perform Bach’s Christmas Oratorio with the London Philharmonic Orchestra. The Choir prides itself on achieving first-class performances from its members, who are volunteers from all walks of life. Join us: lpc.org.uk facebook.com/LondonPhilharmonicChoir twitter.com/lpchoir youtube.com/lpchoir instagram.com/lpchoir Supported by

Sopranos Chris Banks Tessa Bartley Vicki Brammall Laura Buntine Lisa Burmeister Charlotte Cantrell Olivia Carter Paula Chessell Emily Clarke Jenni Cresswell Victoria Denard Aimee Desmond Rachel Gibbon Rosie Grigalis Jane Hanson Sally Harrison Joy Lee Martha MacBean Georgina Maud Janey Maxwell Theresa Mockel Harriet Murray Kathryn O’Leary Linda Park Marie Power Rebecca Sheppard Katie Stuffelbeam Rachel Topham Jo Webster Rochelle Williams Siow Pin Wong Altos Phye Bell Susannah Bellingham Andrei Caracoti Noel Chow Sara De La Serna Pat Dixon Andrea Easey Kathryn Gilfoy Jane Goddard Rachel Halstead Bethea Hanson-Jones Andrea Lane Ethel Livermore Laetitia Malan

Ian Maxwell Caroline Morris Rachel Murray Sheila Rowland Lily Smith Annette Strzedulla Susi Underwood Jenny Watson Tenors Geir Andreassen Christopher Beynon James Clarke Fred Fisher Robert Geary Peter Goves Iain Handyside Stephen Hodges Sam Holmes Patrick Hughes Tony Masters Sergiu Plotnic Grigore Riciu Claudio Tonini Basses Jonathan Bird Peter Blamire Alex Britton Julian Cassels-Brown Geoffrey Clare Marcus Daniels Tom Fayle Ian Frost Nicholas Hennell-Folley Mark Hillier David Hodgson Oliver Jackson David Kent Christopher Mackay John Miller John G Morris Joel Nulsen Will Parsons Johannes Pieters Alex Thomas Elliott Titcombe John Wood

London Philharmonic Orchestra | 11

Programme notes

Speedread Composed in the final years of Haydn’s long career, The Seasons reveals an imagination not only still beguiling in its charm and freshness, but also possessed of all its old inquisitive drive. Based on the famous poem by James Thomson, its depiction of the passing year among the Austrian peasantry suited the composer down to the ground, enabling him to mix inspired tone-painting with moments of intense personal significance.

Joseph Haydn 1732–1809

1 Spring 2 Summer Interval (20 minutes) 3 Autumn 4 Winter The text begins on page 15. The Seasons was the second of the two big oratorios – the first being The Creation – that Haydn wrote towards the end of his career. Though it has never been as popular as its predecessor – Haydn himself was aware that it could not hope to replicate The Creation’s exalted tone and inexorable narrative – it has retained its place in the repertory, its evocative tableaux of nature, rural life and the passing year being not only a treasured reminder for many of why they love Haydn so much, but perhaps also a subject more in sympathy with the preoccupations of our own times. In the late 1790s, choral oratorio was a relatively new thing in Haydn’s life. The first half of the decade had

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The work of a master of Classicism, it also stands at the threshold of the Romantic era, and throughout there are hints at the preoccupations of the coming century, from atmospheric orchestral writing, to folk evocations, to manifest joy in the beauties of the natural world. Though not as familiar as its predecessor, The Creation, it is no less a pleasing encounter with this most warmly human of composers.

The Seasons Sophie Bevan soprano | Jane Mark Padmore tenor | Lucas Andrew Foster-Williams bass-baritone | Simon London Philharmonic Choir

been dominated by the adventure of his two visits to London, where, at the invitation of the impresario Johann Peter Salomon, he had enjoyed public triumph directing performances of his latest state-of-the-art symphonies, and generally been feted as a celebrity in a way he had probably never imagined. There were more specific new experiences for him too: his first sight of the sea as he crossed the English Channel; an honorary doctorate ceremony at Oxford; and the spectacle of Handel’s oratorios Israel in Egypt and Messiah presented by a large choir and orchestra in the nave of Westminster Abbey. The impression made by Handel seems to have been especially significant: an early biographer recorded that ‘he was struck as if he had been put back to the beginning of his studies and had known nothing up to that moment’, while another account has him declaring that he would like to compose something like it. By the time Haydn returned to Vienna after his second visit in 1795, he had in his hands an English libretto, its subject that of the creation of the world.

The result, of course, was the massive success that was The Creation. First performed at a private concert in April 1798, it was out before an expectant public the following March and within just a few years of that had reached cities including Budapest, St Petersburg, Paris, London and Stockholm. Here for all to see was a masterpiece not only befitting the man at that time widely acknowledged as the world’s greatest living composer, but furthermore one that seemed to channel the genius of his noble predecessor Handel. It is not surprising that he should have come under pressure to compose a follow-up in similar style. A key figure in the making of The Creation had been the Prefect of the Imperial Library Baron Gottfried van Swieten, an enthusiastic musical amateur whose kindly patronage and interest in the works of Handel and Bach had in the 1780s played an important part in Mozart’s musical development. It was he who had translated Haydn’s English libretto and shaped it both to the composer’s needs and to those of the times, and now he persuaded Haydn to compose a new oratorio based on The Seasons, a cycle of four lengthy poems originally published in instalments between 1726 and 1730 by the Scottish-born poet James Thomson. Haydn agreed, albeit a little reluctantly – at nearly 70, he was beginning to slow down – and the first performance took place in Vienna in April 1801. Thomson’s magnum opus may not be greatly familiar today, but for a hundred years or so it was both popular and admired: in 1806 it helped set the teenage farm labourer John Clare on his poetic course, while others who thought highly of it long after its author’s death included Wordsworth, Coleridge, Constable and Turner. Though in places sententious and moralistic, it is often considered the first major nature poem, and indeed it is its view of the natural world – keenly observed and agreeably expressed – that distinguishes it and gives the reader enjoyment. The work runs to over 5,500 lines of blank verse, and after all the cutting and reworking in German there is less of the original here than there is of either Bible or Milton in The Creation. Thomson’s spirit may still be present alongside fragments of his imagery, but ultimately the words are effectively van Swieten’s. As with The Creation, however, The Seasons was published from the first in parallel German- and English-language versions (the English a re-translation from the German), no doubt to render it performable in

the country whose music inspired it, but perhaps also in acknowledgement of its literary parentage. Van Swieten retained Thomson’s division of the poem into four sections – one for each season, starting with Spring – and Haydn naturally set these in four separate cantatas, each of which he begins with an atmospheric orchestral introduction and ends with a chorus. There is no narrative thread beyond the succession of the seasons themselves, and while the three solo singers take named roles, they cannot really be considered formed characters. In this, as well as in its general attention to scenes and episodes of peasant life, Haydn was conscious of the lowering of the high tone and sense of purpose that had inspired his earlier celebration of the divine: ‘In The Creation, angels speak and tell of God’, he is said to have remarked; ‘in The Seasons only Simon talks.’ Yet, the son of a country wheelwright himself, he treats his subjects with skill and affection, and like a Brueghel painting his busy picture reaches out with respect, warm humour and a keen eye for detail. Not that this would have come as a surprise to the work’s first listeners. Elevated as the The Creation had been, there can be little doubt that its clever musicalpictorial representation of birds, animals, waves, breezes and other natural phenomena contributed to its popularity from the off. In this light The Seasons looks like a rather blatant attempt to replicate that success with a string of easy-win effects such as a sunrise, a storm, bird-calls, hunting scenes, and so on. Haydn was certainly wary of overworking this seam, but applied himself to the task nevertheless, carrying it off with a charm and fresh inventive wit that belied his advanced age. Who could not smile as the hunter’s dog snuffles through the grass, or as the ploughboy whistles a tune from Haydn’s own ‘Surprise’ Symphony as he goes about his work? And in any case, an artist like Haydn will always see beneath the enjoyable surface trivia. The orchestral introductions to each season, while not as radical as The Creation’s astonishing ‘Representation of Chaos’, are original and boldly atmospheric, and might almost be considered the first Romantic nature music. And there are other hints at deeper meaning. Selfreference is by no means uncommon among artists looking back over their lives, and Haydn’s carefree London Philharmonic Orchestra | 13

Programme notes continued

ploughboy is not the only example of self-quotation in The Seasons. But what are we to make of the presence of moments that seem to reference his much-missed friend Mozart? Is it coincidence that the four-note figure following Hannah’s mention of the bees is the one that Mozart used several times in his music, most famously in the finale of his ‘Jupiter’ Symphony? And what was Haydn, who had achieved so much by his own talents, really thinking when Winter’s bass aria ‘So understand, misguided man’ wistfully and movingly questions life’s vain achievements with a fleeting remembrance of a phrase from Mozart’s 40th Symphony? The answers to these questions are unknowable, but how the very asking of them catches our attention and reveals the presence of a great artist! Haydn composed little music after The Seasons, his creative energy spent at last, and he lived the remainder of his years in virtual retirement. But in this hugely enjoyable oratorio, one is moved to remember the comment made by the English music historian Charles Burney after hearing Haydn’s Op. 76 string quartets, composed just a few year earlier: ‘[They] seem the production, not of a sublime genius who has written so much and so well already, but one of highly cultivated talents, who had expended none of his fire before.’ Programme note © Lindsay Kemp

Recommended recording 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. Haydn: The Seasons Gabrieli Consort & Players Wrocław Baroque Orchestra & Chorus Paul McCreesh (Signum Classics)

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The Seasons text

PART 1: SPRING 1. Recitative Behold how surly Winter flies; to polar regions now he goes. Now follows at his call the savage storm’s tumultuous host with all its dreadful roar. And see, from craggy rocks the snow in muddy streams flows down the slopes! And see how from the south, by mild and gentle winds allur’d, the spring again appears. 2. Chorus Come, gentle Spring! The gift of heaven, come! From deathly winter sleep bid Nature now awake! O come, return, delay no more! And now she nears, the gentle Spring, her soft and balmy breath we feel, and soon to all will life return. But yet do not too soon rejoice, for oft, enwrapp’d in mist and fog, the winter will return and spread o’er bud and flow’r his chilling frost. 3. Recitative From Aries now the sun shines brightly down upon us here. Now frost and fog retire, and mild mists hover all about; our mother earth is now revived, enliven’d is the air. 4. Aria With joy th’impatient husbandman sets forth to till the field, the furrow’s length he strides along and whistles as he ploughs. And then with slow and measur’d step he casts the seed abroad, by faithful earth preserv’d it soon will grow to golden corn. 5. Recitative The farmer now his work hath done, avoiding neither care nor toil; the hand of nature will in time provide reward; for this he pleads to heaven above. 6. Trio and Chorus Now be gracious, bounteous heaven, open wide, and pour thy blessings over all our lands below. Let earth receive the dew’s refreshment. Let rainfall now enrich the furrows.

And let thy breezes gently blow, thy sun send forth his shining rays! To us abundant life will flow, and we will give thee thanks and praise. 7. Recitative Our fervent prayers are heard; the warm west wind arises and fills the sky above with sailing clouds. The clouds increase; they now descend, and pour into the lap of earth the pride and wealth of Nature’s store. 8. Trio and Chorus O how lovely is the landscape spread before our eyes! Come, dear maidens, let us wander o’er the verdant fields! O how lovely is the landscape spread before our eyes! Come, young fellows, let us wander through the fresh green woods! See the lilies, see the roses, all the flow’rs in bloom! See the pastures, see the meadows, see the open fields. See the mountains, see the rivers, see the sparkling air! All is living, all is floating, ev’ry creature now astir. See the lambs, how they are leaping! See the shoals of fishes swimming! See how all the bees are swarming! See the birds now all aflutter! O what pleasure, what enjoyment swells within our hearts! Sweetest fancies, gentle charms bring gladness to our souls. That which touches and delights you is the presence of the breath of God. Let us honour, let us worship, let us give our praise to him! In resounding song to thank him raise your voices high. 8a. Trio and Chorus Wonderful, powerful, merciful God! From thy most blessed table dost thou provide our food. From streams of joy unending thou givest us to drink. Glory, laud and praise be thine, wonderful, merciful God.

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The Seasons text continued

PART 2: SUMMER 9. Recitative In misty mantle now draws near the gentle morning light; with limping step at her approach the weary night retires. To dark and gloomy caves the birds of doom now take their flight,and with their mournful cries appal the timid heart no more. The herald of the new-born day, with sharp and penetrating voice, to new activity now calls the shepherd from his rest. 10. Aria and Recitative So now the cheerful shepherd goes to gather all his bleating flock; to pastures rich he drives them out, slowly o’er the verdant hills. Towards the East he gazes then, while leaning on his shepherd’s crook, and waits to see the rising sun shed abroad his glorious light. The rosy dawn breaks forth in light; like wisps of smoke the clouds disappear; the heav’n is clothed resplendent in blue, the mountain peaks in fiery gold. 11. Trio and Chorus And now ascends the sun, he climbs, he nears, he comes, he beams, he shines. Now shine with glorious pow’r the fires of his majesty. Hail, O sun, all hail! The source of light and life, all hail! Thou soul and eye of all the worlds, thou God-like shining star. We give thee grateful thanks, thou God-like shining star. For who can tell the jubilation thy gracious presence stirs in us? Who numbers them, the many blessings that of thy kindness we receive? The jubilation, who can tell? Thy blessings, O who numbers them? Who? All thanks to thee for giving joy. All thanks to thee for giving life. All thanks to thee for giving health. But more to God who gave to thee the pow’r thy beams display. Now praises come from all men, these praises nature joins. 12. Recitative And ev’ryone now is stirred into life; a colourful throng spreads over the fields. Before the sunburnt reaper waves a surging ocean of corn. Beneath the scythe now falls the grain, but gather’d up it soon will stand once 16 | London Philharmonic Orchestra

more erect in sturdy sheaves. The noonday sun now burns above with all his strength and pours from out the cloudless sky his powerful beams which stream all around. Now o’er the arid plain there hangs in the low haze a blinding sea of light that dazzles all. 13. Cavatina Now nature sinks beneath the weight: wither’d flowers, barren meadows, dried up fountains. All betray the rage of heat, and fainting languish man and beast, outstretch’d upon the ground. 14. Recitative O welcome now ye shady groves where lofty roofs of ancient oak. Their cool shade and shelter give and where the slender aspen leaves in whispering murmur sound! There the sparkling brooklet flows within its mossy bed, and in confusion swarm around the coloured butterflies. The balmy scent of fragrant herbs is borne on Zephryr’s wing And from the neighb’ring thicket sounds the youthful shepherd’s pipe 15. Aria What refreshment to the senses, what a comfort to the heart! Life through ev’ry vein is flowing, and in stirring ev’ry nerve invigorates the soul. The spirit now awakes to pleasure and to joy; with strength renew’d it lifts the heart to fresh delights. 16. Recitative O see! There rises in the sultry air, close by the border of the hills, a pallid fog of mist and vapour form’d. ‘Tis small at first, but now expands, and soon black darkness covers all beneath the gloomy sky. Hear, from the vale, how the dull roar announces storm to come! See how the baleful cloud with slow progression makes its way and threatens all the land below! In dread foreboding all living Nature waits. No beast, no leaf dares stir itself. A deathly hush is all around.

17. Chorus Ah, the thunderstorm comes near! Help us, heaven! O how the thunder rolls! Now rage the winds about us! Where shall we fly? Flashes of lightning now streak through the air, the bolts from the sky now burst the clouds open, to pour down torrents of rain. Where is safety? Dreadful roars the storm. The open sky is aflame. Save us wretches! Crashing, smashing, crack on crack the thunder rolls with awful noise. Save us! The whole world shakes and trembles e’en to the ocean floor.

18. Trio and Chorus And now the storm has passed away; the clouds disperse, the wind dies down. Before the time to set has come the sun looks out once more, and so his final sparkling rays with pearls adorn the fields. Now to its well-accustom’d home, enliven’d and refreshed, the well-fed herd returns. The quail already calls his mate. The cricket chirps from out the grass. The frog is croaking in the marsh; the distant curfew now has tolled. The evening star shines from above, inviting us to soft repose. Maidens, young men, women, come! Soothing sleep awaits us now, for this is granted honest hearts and healthy bodies after toil. We come. We follow you.

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

PART 3: AUTUMN 19. Recitative What with all its blossoms was promis’d by the spring, what the warmth of summer to welcome ripeness brought, autumn with its fullness shows to the farmer now. For there on heavy loaded carts th’abundant harvest home is borne. The plenty that the fields provide his massive barns can scarce contain. With cheerful eye he looks around, and measures all the bounteous produce there, and pleasure floods into his heart. 20. Trio and Chorus So Nature thus rewards his toil; she calls, she smiles at him, encouraging his hopefulness, she willing gives her aid; she works for him with pow’r and strength. From thee, o toil, comes ev’ry good. The cottage, where we dwell, the clothing that we wear, our daily bread to eat, are blessings all by thee bestow’d. O toil, o noble toil, from thee comes ev’ry good. In thee all virtues grow, and manners rude are overcome. By thee the heart of man is cleans’d and purified. From thee all courage comes, that duty and good may fill our daily life.

21. Recitative Now see how to the hazel bush come all the eager boys! On ev’ry branch there swings around a crowd of little lads, and from the shaken bush there fall the ripened nuts like show’rs of hail. With aid of wooden steps the youthful farmer climbs to reach the highest branch, and hiding at the top, he sees his love approach. And when she steps beneath him he, hoping to surprise her, drops down a nut in fun. The maidens in the orchard meet, both great and small are there, the apples that they gather, like them are rosy red. 22. Duet Ye beauties from the town, come here, and look on Nature’s daughters fair, that neither paint nor arts adorn; see there my Jenny, see! The bloom of youth and health adorns her cheeks; her smiling eyes beam happiness, and from her lips comes heartfelt truth when love to me she vows. Ye gentlemen of mode, keep off! For here your arts are spread in vain, and flatt’ring words have no effect; none here will trust in them at all. Nor gold nor splendid gifts will blind us, an honest heart

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The Seasons text continued

is all we ask; and all my wishes are fulfill’d, if faithful is Lucas to me. Leaves will fade and fall, flow’rs and fruit decay, days and years elapse; my love will never die. Greener is the leaf, sweeter tastes the fruit, brighter shines the day, when love is in thy words. What delight when honest passion joins our hearts in fond affection, only death these bonds can break. Dearest Jenny! Darling Lucas! Love to faithful love responding is the highest peak of rapture, is life’s greatest joy and bliss.

them once again. Tallyho! With redoubled ardour now the pack recovers the scent of the fleeing prey. Thus overtaken by his foes, his courage and his vigour lost, exhausted now the deer will fall. Proclaiming that his end is come the jubilant song of sounding brass announces the hunters’ victory. Tallyho! Proclaiming that the stag is dead the jubilant song of sounding brass announces the hunters’ victory. Halali.

23. Recitative Now on the bare denuded field some uninvited guests appear, that on the stalks found nourishment, and wander seeking further food. These little thefts do nought to harm the farmer, he can leave them be, unless excessive losses come that he can ill afford. Then action that can this prevent he sees as benefit, and willing enters on the hunt that gives his master such delight.

27. Recitative The shining grapes are fully ripe upon the branches of the vine, they call the happy vintner out to gather them without delay. Already tubs and vats below the hill are set, and from their houses villagers stream, and gather ready the welcome work to do. See how the mountainside with swarming folk is cover’d! And hear how joyful sounds from ev’ry quarter echo. The work is eased by humorous talk from morn until the evening comes, and then the sparkling juice of the grape will raise the mirth to shouts of joy.

24. Aria Look there upon the open field! The hound is moving through the grass. He searches there to find the scent and then will tireless follow it. But over eager now he runs, he heeds his master’s orders no more: he hastens on forward then sudden stops and stands unmoving as a stone. The startl’d bird now takes to flight in hope the danger to avoid: but all his speed will not avail. The gun is fired, he is struck by the shot that drops him dead from the sky to earth. 25. Recitative The hares from out their beds are driven by the closing ring. Now press’d about on evr’y side they find there’s no escape, and soon they fall, to be laid out as trophies of the hunter’s sport. 26. Chorus Hark, hark, a sonorous sound is through the forest ringing! What a clamorous din is heard throughout the wood! It is the horn with its thrilling call, the ravenous hounds are now baying. The stag already is arous’d, pursuing are hunters and eager dogs. He flies, o see how he bounds! See how he leaps! Then from the coppice he breaks for the fields, and hastens across to the thickets beyond. He now has bewilder’d the hounds, at fault they range and go astray. The hounds are now at fault, they wander here and there. The huntsman calls, and blows his horn to gather 18 | London Philharmonic Orchestra

28. Chorus Yo-ho, yo-ho! The wine is here, the barrels now are fill’d; so let us merry be and yo-ho, yo! From open throats we shout! Let us drink then! Drink up, brothers, let us merry be! Let us sing then, all must sing now, let us merry be! Yo-ho, yo-ho, yo! All hail to the wine. All hail to the land that brings it forth! All hail to the vat that gives it strength! All hail to the bowl from whence it flows! Brothers come and fill the tankards, drain the mugs and let us merry be! The pipes are now playing, the tabor is beating, the fiddle is screeching and buzzing the zither, the bagpipes now drone. The children are skipping, and youngsters are leaping. Now foot all the maidens, embrac’d by their lovers, the steps of the dance. Heisa, hopsa,we are skipping. Come brothers come! Heisa hopsa, we are leaping! Heisa hopsa! We are dancing. The tankards fill and drain the mugs, Ho there let us merry be and yo-ho, yo! From open throats we shout! Roister revel Yo Ho! Heisa Hopsa dance around. Skipping dancing, roister revel. Now we have the final jug. So let us praise in chorus full the joyous produce of the grape. Heisa hopsa, ho! All hail to the wine, the noble wine, that trouble and grief removes, his praises sing we loud and high, exalting him a thousandfold.

PART 4: WINTER 29. Recitative Now pale, the year begins to fade, and cold the mists form round about. They wrap the mountains in their fogs, and lastly cover all the land, and e’en at noon the sun is hid in all-pervading gloom. The winter with his dismal storms now rushes forth from Lapland’s caves, and his approach doth freeze all nature, fill’d with anxious care. 30. Cavatina Light and life are both enfeebled, warmth and joy alike have vanish’d. Gloomy mournful days now follow night of seeming endless darkness. 31. Recitative The lake lies bound in grip of frost, the passage of the stream chok’d with ice. The waterfall plunging down from tow’ring cliff is silent now and flows no more. No sounds are heard within the woods: the fields lie white, the valleys fill’d with monstrous drifts of heavy snow. The face of earth is now a grave, where Nature’s charms quite buried lie, a deathly colour sadly rules, and wheresoe’er the gaze may roam it finds no more than desert wastes. 32. Aria The trav’ler stands perplex’d; uncertain and unsure which way his wand’ring steps to turn. In vain he strives to find the road, but neither track nor path appear. In vain he struggles on his way, and wading through the drifting snow he finds himself still more astray. Now all his courage fails, and fear o’ercomes his heart, he sees the day will soon be gone, and weariness and cold turn all his limbs to stone. Now all his courage fails, and fear o’ercomes his heart: but suddenly his searching eye discovers nearby shining lights at hand. With life restor’d to him, and joyful beating heart, he runs in haste to reach the house where, stiff and cold, he hopes relief. 33. Recitative As he draws near, into his ears, till now by the howling winds oppress’d, comes the sound of voices clear. In the warm room he happy finds a gathering of friends from nearby dwelling-places, who with light work and chatter make short the drawn-out evening hours. Around the blazing stove the fathers talk of youthful days; their sons in cheerful groups are gather’d too,

repairing traps and baskets with fresh willow wands. The mothers work at the distaff, their daughters at spinning wheels seated, and all their work is cheer’d by artless song and melody. 34. Song with Chorus Whirring, humming, rumbling, all the wheels are turning. Little wheel, please twist about, twist a slender thread for me, for the veil you’re spinning. Weaver, weave it soft throughout, weave the veil so skilfully, for the fair that’s coming. Pure within and fair without ought the maiden’s breast to be, worthy then the veiling. Pure within and fair without, work and prayer and modesty sets brave lads a-wooing. 35. Recitative Now the flax has all been spun, the wheels no longer turn. The circle closes in, surrounded by the men and boys, impatient all to hear the tale that Jane will soon recount to them. 36. Song with Chorus There was a squire as I’ve heard say, once lov’d a pretty maid, and, meeting her alone one day, sprung off his horse and said: ‘My pretty lass you’ve won my heart, indulge me with a kiss.’ Her heart would fain have answer’d No, her lips responded Yes! Ha, ha, but why not answer No? ‘Be not alarm’d, my pretty lass, but give thy love to me, and doubt not that I’ll always prove a true love unto thee. Thou shalt be happy, see, this purse and ring to thee I grant; I’ll study ev’ry wish of thine, in nothing shalt thou want!’ So so, indeed young squire, you promise fair! ‘What if my brother were to know, or what my father, say, they’re both in yonder field at plough, perchance they’ll look this way. Were they not there why then indeed I can’t say what I’d do, creep thro’ the hedge and let me know if they can see us two.’ Ha, ha! What next, I pray? The thorns and briars held him fast, as he were in a vice. Meanwhile the maid sprung on his horse and vanish’d in a trice. ‘Farewell to thee, my gentle swain’ she cried in bitter scorn, ‘And when you next would pluck a rose you’ll not forget the thorn.’ Ha, ha, well done my girl, ha ha, poor squire, goodbye! Continued overleaf London Philharmonic Orchestra | 19

The Seasons text continued

37. Recitative From out the East there comes an icy blast with piercing cold. Harsh and cutting to the bone, it gathers up the fog, and steals the breath of man and beast. This tyrant, full of rage, this winter now has vict’ry won, and voiceless in her fear the whole of nature lies aghast. 38. Aria and Recitative So understand, misguided man, the picture of thy life is here. Thy spring was short and now is gone, exhausted is thy summer’s strength. For now are come thine autumn years, while winter pale already nears, and shows to thee the open tomb. Where are those hopes of joy and gladness, those plans and lofty schemes? Misfortune’s heavy burdens, the vain desire of fame? Where are they now, those times of plenty, once spent in luxury? And where those cheerful evenings and nights of revelry? Where are they now? Where? They all are vanish’d as a dream. Only virtue lasts. Alone she stays and leads us on, unchangeable, through passing days and years, through good or evil fortune, to reach the highest goal of life. Radio 3 Ad 150 X105 BW PRINT.pdf

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39. Trio with Double Chorus Then comes the great and glorious morn; the word of the Almighty Lord calls us to second life, from pain and death for ever free. The gates of heaven are open’d wide, the holy hill appears. There stands the house of God where peace and freedom dwell. But who may pass between those gates? The man whose life was incorrupt. And who may climb the holy hill? The man whose lips spoke only truth. And who may make that house his dwelling? The man who help’d the poor and weak. And who shall joy and peace delight in? The man who saved the innocent. O see, the glorious morn is near. Behold, the splendid light! The gates of heaven are open’d wide, the holy hill appears. Now are they gone, for ever past, the days of woeful suff’ring, the winter storms of living, for Spring eternal reigns, and everlasting happiness is virtue’s true reward. May we alike reward deserve! Let us labour, let us struggle. Let us struggle, and continue our attempt that prize to gain. Direct us in thy ways, O God, and make us strong and brave. Then shall we sing, we shall ascend into the glorious realm of heaven. Amen. 13:31

Edited as part of The New Novello Choral Edition with a new English translation by Michael Pilkington. © 2001 Novello & Company Limited.

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20 | 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 | 21

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

22 | 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 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 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 | 23

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 and Projects Manager (maternity leave) Grace Ko Tours Manager Alison Jones Concerts and Recordings Co-ordinator Jo Cotter Tours Co-ordinator Matthew Freeman Recordings Consultant Andrew Chenery Orchestra Personnel Manager Sarah Holmes Sarah Thomas Librarians Christopher Alderton Stage Manager Damian Davis Transport Manager Hannah Verkerk Orchestra Co-ordinator and Auditions Administrator Laura Kitson Assistant Transport & Stage Manager

24 | London Philharmonic Orchestra

Christina McNeill Corporate Relations Manager Rosie Morden Individual Giving Manager Anna Quillin Trusts and Foundations Manager Ellie Franklin Development Assistant Georgie Gulliver Development Assistant Kirstin Peltonen Development Associate Marketing Kath Trout Marketing Director Mairi Warren Marketing Manager

Public Relations Premier 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.

Megan Macarte Box Office Manager (Tel: 020 7840 4242)

Composer photographs courtesy of the Royal College of Music, London.

Rachel Williams Publications Manager

Cover artwork Ross Shaw Printer Cantate

Rachel Smith Website Manager Greg Felton Digital Creative Alexandra Lloyd Marketing Co-ordinator Tom Wright Marketing Assistant