London Philharmonic Orchestra 6 November 2015 Concert Programme

Concert programme 2015/16 London Season lpo.org.uk

Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI* Principal Guest Conductor ANDRÉS OROZCO-ESTRADA Leader PIETER SCHOEMAN† Composer in Residence MAGNUS LINDBERG Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

JTI Friday Series Southbank Centre's Royal Festival Hall Friday 6 November 2015 | 7.30pm Castro Intermezzo de Atzimba (5') Gounod Cavatina: 'L'amour! L'amour!… Ah! Lève-toi soleil!' from Roméo et Juliette (3') Federico Ibarra Sinfonía No. 2 (10') Grever Júrame (4')

Contents 2 Welcome 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Jaime Martín 7 Arturo Chacón-Cruz 8 Programme notes 12 Song texts 14 Sound Futures donors 15 Supporters 16 LPO administration

Velázquez Bésame Mucho (4') Lara Granada (4') Interval Bernstein Symphonic Dances from West Side Story (23') Revueltas Sensemayá (7') Arturo Márquez Danzón No. 2 (10')

Jaime Martín conductor* Arturo Chacón-Cruz tenor* * Please note a change of artists from previously advertised.

* supported by the Tsukanov Family Foundation † supported by Neil Westreich CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

The timings shown are not precise and are given only as a guide.

Welcome

Welcome to Southbank Centre We hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries please ask any member of staff for assistance.

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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 020 7960 4250, or email customer@southbankcentre.co.uk We look forward to seeing you again soon.

Queen Elizabeth Hall, Purcell Room and Hayward Gallery are closed for essential refurbishment until 2017. During this period, our resident orchestras are performing in venues including St John's Smith Square. Find out more at southbankcentre.co.uk/sjss 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, PAGERS AND WATCHES should be switched off before the performance begins.

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London Philharmonic Orchestra 2015/16 season Mexico and UK joined in Culture Welcome to this evening's distinctly spicy offering of dazzling Mexican classical music that transcends traditional expectations and conventional musical boundaries. The concert is part of The Year of Mexico in the United Kingdom 2015 and, in September, we visited the Latin country for the very first time, with star Mexican conductor Alondra de la Parra. While we enjoyed fantastic audiences in Mexico, particularly at our free concert at Plaza Victoria in Puebla on the Mexican Day of Independence, you can now share the experience: our performance of Mahler's Symphony No. 2 with the CBSO Chorus, live from the Palacio de Bellas Artes in Mexico City, is now available to watch on Medici TV. lpo.uk/ParraMahler2

LPO podcasts Every month you can enjoy a new LPO podcast. The latest one is an edited version of the pre-concert talk given by composer and conductor Krzysztof Penderecki and the horn soloist Radovan Vlatković in which they discussed Penderecki’s Horn Concerto ‘Winterreise’ performed at Royal Festival Hall on 14 October. lpo.org.uk/podcasts/podcast-oct15.html

On stage tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich Ilyoung Chae Chair supported by an anonymous donor Katalin Varnagy Chair supported by Sonja Drexler Catherine Craig Martin Höhmann Chair supported by The Jeniffer and Jonathan Harris Charitable Trust Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp Robert Pool Sarah Streatfeild Yang Zhang Grace Lee Rebecca Shorrock Amanda Smith Caroline Frenkel Galina Tanney Helena Smart Gavin Davies Second Violins Andrew Storey Guest Principal Lorenzo Gentili-Tedeschi Fiona Higham Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Alison Strange Elizabeth Baldey Kate Cole John Dickinson Ksenia Berezina Guy Button Alberto Vidal Nicole Stokes Violas Cyrille Mercier Principal Gregory Aronovich Susanne Martens Benedetto Pollani Laura Vallejo

Naomi Holt Daniel Cornford Martin Fenn Sarah Malcolm Richard Cookson Stanislav Popov Emma Sheppard Cellos Kristina Blaumane Principal Chair supported by Bianca and Stuart Roden Pei-Jee Ng Co-Principal Francis Bucknall Laura Donoghue Santiago Carvalho† David Lale Gregory Walmsley Elisabeth Wiklander Chair supported by The Viney Family Sue Sutherley Susanna Riddell Double Basses Kevin Rundell* Principal Tim Gibbs Co-Principal George Peniston Laurence Lovelle Tom Walley Lowri Morgan Helen Rowlands Charlotte Kerbegian Flutes Paola Bonora Guest Principal Sue Thomas* Chair supported by Victoria Robey OBE Katherine Bicknell Stewart McIlwham* Piccolos Stewart McIlwham* Principal Chair supported by Friends of the Orchestra Katherine Bicknell

Oboes Ian Hardwick* Principal Alice Munday

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

Cor Anglais Sue Böhling* Principal Clarinets Thomas Watmough Principal Richard Russell E-flat Clarinet Jane Calderbank Bass Clarinet Paul Richards Principal Alto Saxophone Martin Robertson Bassoons Gareth Newman Principal Laura Vincent Ide Ni Chonaill Simon Estell Contrabassoon Simon Estell Principal Horns David Pyatt* Principal Chair supported by Simon Robey Martin Hobbs Stephen Craigen Gareth Mollison Marcus Bates Trumpets Paul Beniston* Principal John Barclay Guest Principal Anne McAneney* Chair supported by Geoff & Meg Mann Nicholas Betts Co-Principal

Bass Trombone Lyndon Meredith Principal Tuba Lee Tsarmaklis* Principal Timpani Simon Carrington* Principal Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport Henry Baldwin Co-Principal Chair supported by Jon Claydon Keith Millar Gary Kettel Martin Owens Karen Hutt Kit Drums Andrew Barclay* Harp Rachel Masters* Principal Piano Cliodna Shanahan Celeste Ian Tindale * Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco

Meet our members: lpo.org.uk/players

Chair Supporters The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Eric Tomsett; David & Victoria Graham Fuller; Laurence Watt

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London Philharmonic Orchestra

Vladimir Jurowski produced one of those utterly compelling performances where the London Philharmonic Orchestra seemed to be playing as if their lives depended on it.

Bachtrack, September 2015 (4 Stars) Recognised today as one of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with a reputation as one of the UK's most forwardlooking ensembles. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, releases CDs on its own record label, and reaches thousands of people every year through activities for families, schools and community groups.

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 currently the Orchestra's Principal Conductor and Artistic Advisor, appointed in 2007.

AndrĂŠs Orozco-Estrada took up the position of Principal Guest Conductor in September 2015. Magnus Lindberg is the Orchestra's current Composer in Residence.

The Orchestra is resident at Southbank Centre's Royal Festival Hall in London, where it gives over 30 concerts each season. Throughout 2014/15 the Orchestra gave a series of concerts entitled Rachmaninoff: Inside Out, a festival exploring the composer's major orchestral

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masterpieces. 2015/16 is a strong year for singers, with performances by Toby Spence and Anne Sofie von Otter amongst others; Sibelius enjoys 150th anniversary celebrations; distinguished visiting conductors include Stanisław Skrowaczewski, Jukka-Pekka Saraste and Vasily Petrenko, with Robin Ticciati returning after his debut in 2015; and in 2016 the LPO joins many of London's other leading cultural institutions in Shakespeare400, celebrating the Bard's legacy 400 years since his death. The Orchestra continues its commitment to new music with premieres of commissions including Magnus Lindberg's Second Violin Concerto, and works by Alexander Raskatov and Marc-AndrÊ Dalbavie.

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

Pieter Schoeman leader

Pieter Schoeman was appointed Leader of the LPO in 2008, having previously been Co-Leader since 2002.

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 80 releases available on CD and to download. Recent additions include Vaughan Williams's Symphonies Nos. 4 and 6, Bruckner's Symphony No. 3 conducted by Stanisław Skrowaczewski and Messiaen's Des Canyons Aux Étoiles.

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 through an energetic programme of activities for young people.

Highlights include the BrightSparks schools' concerts and FUNharmonics family concerts; the Young Composers Programme; and the Foyle Future Firsts orchestral training programme for outstanding young players. Its work at the forefront of digital engagement and social media has enabled the Orchestra to reach even more people worldwide: all its recordings are available to download from iTunes and, as well as a YouTube channel and regular podcast series, the Orchestra has a lively presence on Facebook and Twitter.

Find out more and get involved! lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra

© Benjamin Ealovega

Western orchestra. Touring remains a large part of the Orchestra's life: highlights of the 2015/16 season include visits to Mexico City as part of the UK Mexico Year of Culture, Spain, Germany, Canary Islands, Belgium, a return to the Concertgebouw, Amsterdam and the Orchestra's premiere at La Scala, Milan.

Born in South Africa, he made his solo debut aged 10 with the Cape Town Symphony Orchestra. He studied with Jack de Wet in South Africa, winning numerous competitions including the 1984 World Youth Concerto Competition in the US. In 1987 he was offered the Heifetz Chair of Music scholarship to study with Eduard Schmieder in Los Angeles and in 1991 his talent was spotted by Pinchas Zukerman, who recommended that he move to New York to study with Sylvia Rosenberg. In 1994 he became her teaching assistant at Indiana University, Bloomington.

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 performs at London's prestigious Wigmore Hall.

As a soloist with the London Philharmonic Orchestra, Pieter has performed Arvo Pärt's Double Concerto with Boris Garlitsky, Brahms's Double Concerto with Kristina Blaumane, and Britten's Double Concerto with Alexander Zemtsov, which was recorded and released on the Orchestra's own record label to great critical acclaim.

He has recorded numerous violin solos with the London Philharmonic Orchestra for Chandos, Opera Rara, Naxos, X5, the BBC and for American film and television, and led the Orchestra 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. 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.

youtube.com/londonphilharmonic7

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Jaime Martín conductor

Jaime Martín's detailed performance took on heady swagger, and his infectious enjoyment of the music communicated to the orchestra and audience alike.

© Alexander Lindström

The Telegraph, December 2014

Jaime Martín has risen quickly to international acclaim as a conductor in recent years, following his prominent career as a flautist. Having taken up the role of Artistic Director and Principal Conductor of the Gävle Symphony Orchestra in September 2013, he is also Chief Conductor of the Orquestra de Cadaqués and Artistic Director of the Santander International Festival.

As a guest conductor he has worked with many leading international orchestras including Orchestre Philharmonique de Radio France, Saint Paul Chamber Orchestra, Orquestra Sinfònica de Barcelona, Royal Scottish National Orchestra, Orchestre National du Capitol de Toulouse, Royal Liverpool Philharmonic, Swedish Radio Symphony, Orquestra Sinfônica do Estado de São Paulo, London Mozart Players, Beijing Symphony and Academy of St Martin in the Fields.

Jaime Martín made his operatic debut conducting The Magic Flute at El Escorial Madrid and San Sebastían Festival in August 2012. He made his debut at the English National Opera in February 2013 conducting The Barber of Seville and returned in autumn 2014 to conduct The Marriage of Figaro.

The 2015/2016 season includes Jaime's debuts with the New Zealand and Queensland symphony orchestras as well as return engagements with Saint Paul Chamber Orchestra, Winterthur Orchestra, Royal Scottish National Symphony Orchestra, Swedish Radio Symphony and multiple performances with the London Philharmonic Orchestra.

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Jaime's recordings include Schubert's Symphony No. 9 and Beethoven's Symphony No. 3 'Eroica', with the Orquestra de Cadaqués, and a CD of works by Granados, Garreta, Taltabull and Lamote de Grigno with the Barcelona Symphony Orchestra. All his recordings as conductor are on the Tritó label and received critical acclaim. Solo recordings include Mozart concertos with Sir Neville Marriner, a premiere recording of the Sinfonietta Concerto for Flute and Orchestra written for him by Xavier Montsalvatge and conducted by Gianandrea Noseda, Bach works for flute, violin, and piano with violinist Murray Perahia and the Academy of St Martin in the Fields for Sony, and Mozart's Flute Quartet for EMI, amongst others.

Born in Santander, Spain, Jaime Martín studied with Antonio Arias in Madrid and later with Paul Verhey in The Hague, Holland.

facebook.com/jaime.martin.1675

Arturo Chacón-Cruz tenor

Arturo Chacón-Cruz has a voice that is packed with Italianate lyricism, and there is a pleasingly intimate quality to his singing.

Opera News, November 2014

Since winning Plácido Domingo's Operalia Singing Competition in 2005, Arturo's career has seen a successful steady development and his repertoire spans lyric roles from Bellini and Donizetti to Puccini and Verdi.

Arturo has received many honours and awards for his work, most recently the highly prestigious Alfonso Ortiz Tirado Medal in Mexico. He was invited to perform a solo concert with the Orquesta Filarmónica de Sonora, in Alamos, Sonora, featuring opera arias and Mexican songs. His first solo CD, Arturo Chacón le canta a México, features Mexican music and is accompanied by his hometown orchestra, Orquesta Filarmónica de Sonora on the Naxos Label.

Arturo's recent roles include his debuts as Pollione in Bellini's Norma (Beirut 2015) and at the Hamburg State Opera as Don José in Bizet's Carmen. He travelled to Tel Aviv to make his Israel Philharmonic debut as Don José under the baton of Zubin Mehta and was a last minute stand-in for the opening night in The Tales of Hoffmann at the Munich Bavarian State Opera (as Hoffmann).

Earlier this season the tenor was heard as Alfredo Germont in La traviata (opposite Plácido Domingo and Nino Machaidze), Il Duca di Mantova in Rigoletto in Mexico City, Arcadio in Catán's Florencia en el Amazonas in Los Angeles, and a concert tour through China. He also appeared in concert in his debut as Faust in Boito's Mefistofele with the Collegiate Chorale – a return to Carnegie Hall.

Recent engagements have taken Arturo to many new venues including Gothenburg Opera for his debut as Gabriele Adorno (Simon Boccanegra) and appearances at the Bavarian State Opera (Jacopo Foscari, Verdi's I due Foscari), a return to Theater an der Wien as Jacopo Foscari and as Alfredo Germont (La traviata) and a debut at the Festival Aix-en-Provence as the Duke in Rigoletto (directed by Robert Carsen with a live broadcast on ARTE and DVD/BlueRay commercial recording). He also returned to Malmö Opera as Roberto in Puccini's Le Villi (in concert with CD recording), and La Scala, Milan debut as Hoffmann.

Arturo has a stong relationship with two of the leading tenors of our day: Plácido Domingo and Ramón Vargas.

Since discovering Arturo in 2000, Plácido Domingo has remained a friend and mentor of the younger artist, and the two have shared the operatic stage and concert platform many times. Arturo was awarded the Plácido Domingo Scholarship and Domingo helped launch Arturo's international career after his success in the Operalia Competition. Ramón Vargas became a mentor, teacher and friend of Arturo after he won the 'Vargas Pro Opera' grant in 2005.

A native of Sonora, Mexico, Arturo currently lives in Miami with his wife and son. arturochaconcruz.com

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Programme notes

Mexican Magic

Ricardo Castro (1864–1907) Intermezzo from Atzimba (1900) Charles Gounod (1818–93) L'amour! L'amour! … Ah! Lève-toi soleil! from Roméo et Juliette* (1867)

Consuelo Velásquez (1916–2005) arranged & orchestrated by Eduardo Magallanes Calva Bésame Mucho* (1941) Agustín Lara (1897–1970) arranged & orchestrated by Eduardo Magallanes Calva Granada* (1932)

Federico Ibarra (born 1946) Sinfonia No. 2 'Las antesalas del sueño' (1993) *Texts start on page 12 María Grever (1885–1951) arranged & orchestrated by Eduardo Magallanes Calva Júrame* (1926)

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

Leonard Bernstein (1918–90) Symphonic Dances from West Side Story (1957) Prologue – Somewhere – Scherzo – Mambo – Cha Cha – Meeting Scene – 'Cool' Fugue – Rumble – Finale

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Silvestre Revueltas (1899–1940) Sensemayá (1938) Arturo Márquez (born 1950) Danzón No. 2 (1994)

Speedread 'There is such a cultural richness in Mexican music – its Hispanic and indigenous origins and how they mix – where melody and rhythm merge.' María Grever, the million-selling composer of Júrame and What A Difference A Day Makes was living in New York at the time, but what she said should have surprised no one.

In the century in which the New World discovered its musical voice, Mexico – with its exuberant folk traditions, its links to the culture of Spain, and its deep pre-Columbian roots – would produce some of the most dynamic and distinctive creators of both popular and classical music.

Gounod courtesy of the Royal College of Music

When the 29-year-old violinist and composer Julián Carillo returned home in 1904, having won First Prize at the Ghent Conservatoire International Violin Commission, he was presented with an Amati violin 'as a gift from the Mexican Nation'. That gesture was a powerful symbol: in the Mexico of the early 20th century, music mattered. Even if, ran the subtext, success on European terms was what really counted.

Not that Mexico was alone in that. Throughout the Americas, composers sought a distinctively national musical voice – and from Amy Beach and Edward MacDowell in the USA to Melesio Morales and Ricardo Castro in Mexico, they looked to Europe for a language and closer to home for a subject. Imagine Verdi's Aida turned on its head and transplanted to Michoacán in the age of the Aztecs, and you've got some idea of Castro's opera Atzimba. Premiered in Mexico City early in 1900 it's the tragedy of an Aztec princess who loses her heart to a captive Spanish conquistador, shortly before he loses his heart rather more literally on the sacrificial altar. A Mexican critic was reminded of Giordano's Andrea Chénier – adding that 'the number which most pleased the audience was the Act 2 Intermezzo, which was encored'.

Tonight's concert begins with a tradition transplanted from Europe, thriving and flowering in the Mexican sun. It traces the growth of a modern school of classical composition, which drew new strength from the political struggles of the mid-20th century. It showcases the world-conquering passion of Mexican popular song – and the moment when composers in the USA and beyond met the music of Latin America on its own terms. 'So much the better if our tradition is richer and multiple,' said the Mexican symphonist Carlos Chávez. 'To circumscribe ourselves, to fix on one thing or the other, is to impoverish ourselves.'

Modern audiences, though, might find themselves reminded of Mascagni's Cavalleria Rusticana – though Roméo's big aria from Gounod's Roméo et Juliette also gives some idea of Castro's musical roots. For those hindered by having seen Shakespeare's original, this is Romeo's 'But, soft! what light through yonder window breaks?', filtered through the sensibility of French romantic opera. It's hard to overstate just how popular Gounod's operas were in the late 19th century, and for composers like Castro (who worked at different times in Paris, Brussels and Milan) their soaring melodies and rich but elegant orchestral writing were a masterclass in style.

Jump forward 90 years from Castro to the late 20th century, and Mexico hasn't just found a musical language of its own: it's created a symphonic tradition.

A ten-minute, single movement symphony might not fit European assumptions – but in his Sinfonía No. 2 (1993), the prolific Federico Ibarra is following the form of the most celebrated of all Mexican symphonies,

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Programme notes continued

'A muffled sound Blue and numerous Captive in the spiral Of my sleeping ear.'

Ibarra has a natural sense of musical drama (he's written eight operas); and the Symphony does much more than just throw up a series of colourful and fantastic musical images, interwoven with halfconscious reminiscences of Stravinsky, Bartók and Revueltas. Rooted in a very particular classical tradition, it generates a powerful momentum in its own right.

assumed by many to be Spanish or Italian, though in his native Veracruz he'll always be remembered as 'the Jarocho Schubert'.

Interval – 20 minutes

There was a more popular way, of course, for Mexican composers to find an international voice. 'It is my wish and yearning to present the native rhythms and tunes [of Mexico] from a real perspective, but with the necessary flexibility to appeal to the universal audience,' said the Guanajuato-born songwriter (and one-time pupil of Claude Debussy) María Grever.

As recorded in 1927 by the celebrity tenor and future monk José Mojica, her habañera-boléro, Júrame, did just that. Bésame Mucho ('Kiss me a Lot') by the late Consuelo Velázquez went even further; it's been recorded by everyone from Jimmy Dorsey to Dave Brubeck and The Beatles, with Velázquez's original classical inspiration – a melody from Granados's Goyescas – long forgotten.

The music of Latin America has never existed in a bubble, and across the Rio Grande in the USA, it's been part of the texture of musical life for over two centuries.

Leonard Bernstein – a Jewish Harvard graduate from Boston – might not have seemed the most obvious composer for West Side Story, a musical set in New York's Puerto Rican community. But as the son and husband of immigrants he was determined to do the story justice, assimilating popular forms into his own style and creating – as one critic put it the morning after West Side Story opened on 26 September 1957 – 'the most savage, restless, electrifying dance patterns we've been exposed to in a dozen seasons'. When the astonishing young musicians of Venezuela's Orquesta Sinfónica Simón Bolívar adopted the Mambo as a roof-raising encore, they acknowledged its place in their own tradition.

Agustín Lara, meanwhile – or, to give him his full name, Ángel Agustín María Carlos Fausto Mariano Alfonso del Sagrado Corazón de Jesús Lara y Aguirre del Pino – now has his own statue in Madrid, for all that he was born in Tlacotalpan. The fantasia española Granada is just one reason why he became so popular in Spain; orchestral versions such as this one by the Mexican composer Eduardo Magallanes Calva have even nudged it into the repertoire of Neapolitan song. It's somehow fitting that the flamboyant Lara – with his tales of duels and romantic conquests (he fell in love with the artist Frida Kahlo's sister at the age of 13), and the facial scar that he claimed was inflicted by a jealous lover – is now

The action kicks straight in with a menacing Prologue, as tensions mount between the rival teen gangs, the white Jets and the Puerto Rican Sharks. Somewhere is lovers Tony and Maria's soaring dream of a better life, then, after the brief, playful Scherzo, the rivalry breaks loose again in the ferocious Mambo – a testosteronecharged physical face-off between the two gangs at a neighbourhood dance hall. Tony and Maria encounter each other for the first time to a gentle Cha Cha – but temperatures begin to rise as the sinister, bluesy 'Cool' Fugue finally erupts into the all-out violence of the final Rumble. Flick-knives flash, a gun is pulled – and as the drama reaches its tragic climax, Maria and the survivors

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Leonard Bernstein © Susech Batah, Berlin (DG)

Carlos Chávez's Sinfonía India (1936). His inspiration, though, is entirely personal. Ibarra has subtitled the symphony 'Las antesalas del sueño' ('Antechambers of dreams'), and by way of explanation, appended a quote from a surrealist poem by Xavier Villaurrutia (1903–50):

are left with only their hopes of a more tolerant world.

The dance rhythms cease; Bernstein quotes Wagner, and echoes Mahler, but you're never, for a moment, anywhere other than under that freeway on New York's run-down West Side.

The generation of Mexican composers after Ricardo Castro lived through challenging times. There was a drive, an impatience and a level of political engagement in the personality of Silvestre Revueltas that would supercharge his music – even as it drove him to an early death, broken by alcoholism. He was born in Durango and studied in Chicago, but claimed that he 'found better teachers in the Mexican people and my own country'. 'I like all kinds of music,' he said later. 'I can even stand the classics and some of my own music.

But I prefer the music of the people of the ranches and villages.' In the Mexico of the 1930s, that was a political statement: Revueltas was prominent in the socialist Liga de Escritores y Artistas Revolucionarios (LEAR), and although he didn't use folk-melodies, Alex Ross has compared his music to the murals – bold, energetic, somehow hyper-real – that his fellow LEAR member Diego Rivera was painting around the same time.

It was through LEAR that Revueltas met the Cuban poet Nicolás Guillén, and heard him read (with hypnotic power) his poem Sensemayá: A Chant for Killing a Snake.

The poem imagines a Cuban folk-ritual for slaughtering a snake, beginning and ending with a pounding incantation: 'Mayombé-bombé-Mayombé'. Revueltas's orchestral work (1937–8) recreates the poem in musical terms: the jagged repetitive rhythm of the chant and the steadily building sense of primal, ritual violence – culminating in an ominous quiet and the

dissonant, climactic cry, 'Hit it with the axe and it dies!'.

And afterwards, the dance of triumph over evil: a sense of something elemental, relentless yet necessary and cathartic. Sensemayá has been called the Mexican equivalent of Stravinsky's The Rite of Spring; it's not a bad comparison.

Arturo Márquez, meanwhile, is alive, well, and living in Mexico City. His father was a mariachi musician, and he got his first taste of orchestral music playing in the wind band at a high school in Los Angeles. And out of all that, he's created one of the most popular orchestral pieces of recent years – this flamboyant, irresistibly danceable salute to the Cuban Danzón, composed in 1994.

A modern classic from the son of a mariachi? Lara and Grever would have understood exactly where he was coming from – so too, you suspect, would Bernstein and Revueltas. And just listen to those trumpets squeal! '[I] approach the dance rhythms in the closest possible way … to express my respect and emotivity towards genuine popular music,' says Márquez. Gustavo Dudamel and the Orquesta Sinfónica Simón Bolívar first brought this piece to the attention of British audiences in 2007, and no one who was at that BBC Prom is likely to forget it. But as Mexican music dances on into the 21st century, all the signs are that Danzón No. 2 has already taken on a life of its own.

Programme note © Richard Bratby

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Texts

L'amour! L'amour! … Ah! Lève-toi soleil!

L'amour, l'amour!

Oui, son ardeur a troublé tout mon être!

Mais quelle soudaine clarté Resplendit à cette fenêtre ?

C'est là que dans la nuit rayonne sa beauté!

Ah! lève-toi, soleil! fais pâlir les étoiles Qui, dans l'azur sans voiles, Brillent au firmament, Ah! lève-toi! parais! parais!

Astre pur et charmant!

Elle rêve! Elle dénoue Une boucle de cheveux Qui vient caresser sa joue.

Amour! Amour! porte-lui mes vœux!

Elle parle! Qu'elle est belle!

Ah! Je n'ai rien entendu!

Mais ses yeux parlent pour elle, Et mon cœur a répondu!

Ah! lève-toi, soleil! fais pâlir les étoiles, etc. ... Viens! Parais!

Libretto by Jules Barbier and Michel Carré

Love! Love!

Ay, its intensity has disturbed my very being!

[A light comes on in Juliet's window.]

But what sudden light through yonder window breaks?

'Tis there that by night her beauty shines!

Ah, arise, o sun! Turn pale the stars that, unveiled in the azure, do sparkle in the firmament.

Ah, arise! Ah, arise! Appear! Appear, thou pure and enchanting star!

She is dreaming, she loosens a lock of hair which falls to caress her cheek.

Love! Love, carry my vows to her!

She speaks! How beautiful she is!

Ah, I heard nothing.

But her eyes speak for her and my heart has answered!

Ah, arise, o sun! Turn pale the stars, etc. ... come thou, appear!

Júrame Todos dicen que es mentira que te quiero porque nunca me habían visto enamorado.

Yo te juro que yo mismo no comprendo el porqué tu mirar me ha fascinado.

Swear Your Love Of my love for you they all say that I'm lying because never have they seen me so enamoured, and I swear that I have never comprehended why it is your gaze for me's so fascinating.

Cuando estoy cerca de ti estoy contento.

No quisiera que de nadie te acordaras.

Tengo celos hasta del pensamiento que pueda recordarte a otra persona amada.

When I'm near you that is when I can be happy.

I don't want you to remember any other.

I am jealous of each thought and every memory that you might have for any past or future lover.

Júrame que aunque pase mucho tiempo no olvidarás en el momento en que yo te conocí.

Swear to me that however much time passes you will not forget those glances when I first came knowingly.

Mírame, pues no hay nada más profundo ni más grande en este mundo que el cariño que te di.

María Grever

Look at me, there's no feeling more profound, on earth greater and unbound, than the affection I let free.

12 | London Philharmonic Orchestra

Bésame mucho Bésame, bésame mucho Como si fuera esta noche La última vez.

Bésame, bésame mucho Que tengo miedo a tenerte Y perderte otra vez.

Kiss me a Lot Kiss me, kiss me a lot As if tonight were The last time.

Kiss me, kiss me a lot For I am afraid of having you And losing you all over again.

Bésame, bésame mucho, etc.

Kiss me, kiss me a lot, etc.

Quiero tenerte muy cerca Mirarme en tus ojos Verte junto a mi Piensa que tal vez mañana Yo ya estaré lejos, Muy lejos de ti Consuelo Velázquez

I want to have you close to me To see myself in your eyes To see you next to me Think that perhaps tomorrow I will be far, So far away from you

Granada Granada tierra soñada por mí Mi cantar se vuelve gitano Cuando es para ti.

Granada Granada, land of dreams for me My song becomes gypsy-like When it is for you.

Mi cantar hecho de fantasía, Mi cantar flor de melancolía Que yo te vengo a dar.

My song made of fantasy, My song a melancholy flower That I come to give to you.

Granada tierra ensangrentada En tardes de toros.

Mujer que conserva el embrujo De los ojos moros.

Granada, blood-stained soil In bull fight afternoons.

Woman who preserves the enchantment Of Moorish eyes.

Te sueño rebelde y gitana Cubierta de flores Y beso tu boca de grana Jugosa manzana Que me habla de amores.

I dream of you rebellious, a gypsy Covered with flowers And I kiss your scarlet mouth Juicy apple That speaks to me of love.

Granada manola cantada En coplas preciosas.

No tengo otra cosa que darte Que un ramo de rosas.

De rosas de suave fragancia, Que le dieron marco a la virgen morena.

Granada, manola, sung In precious verses.

I have nothing else to give you Than a bouquet of roses, Of roses of sweet fragrance That framed the dark virgin.

Granada tu tierra esta llena De lindas mujeres De sangre y de sol.

Agustín Lara

Granada your land is full Of lovely women of blood and sun.

London Philharmonic Orchestra | 13

at Royal Festival Hall Sunday 8 November | 12.00pm PIRATES! FUNharmonics family concert

Friday 27 November | 7.30pm JTI FRIDAY SERIES

Tickets: Children £5–£9 | Adults £10–£18

Liadov From the Apocalypse Prokofiev Piano Concerto No. 2 Sibelius Symphony No. 1

Wednesday 11 November | 7.30pm

Susanna Mälkki conductor Beatrice Rana piano

Fauré Suite, Pelléas et Mélisande Magnus Lindberg Violin Concerto No. 1 Ravel Valses nobles et sentimentales Debussy La mer

Recorded for broadcast on BBC Radio 3

Robin Ticciati conductor Christian Tetzlaff violin

JTI FRIDAY SERIES

Wednesday 25 November | 7.30pm Dvořák Cello Concerto Mahler Symphony No. 1 Andrés Orozco-Estrada conductor Johannes Moser cello

Friday 4 December 2015 | 7.30pm Puccini Tosca (excerpts) Rota Suite, La Strada Respighi Pines of Rome Enrique Mazzola conductor Maria Luigia Borsi Tosca Thiago Arancam Cavaradossi Vittorio Vitelli Scarpia

Wednesday 9 December 2015 | 7.30pm Wagenaar Overture, Cyrano de Bergerac Magnus Lindberg Violin Concerto No. 2 (world premiere)* Beethoven Symphony No. 7 Jaap van Zweden conductor Frank Peter Zimmermann violin *Commissioned by the London Philharmonic Orchestra, New York Philharmonic, Berliner Philharmoniker and Swedish Radio Symphony Orchestra.

Live broadcast on BBC Radio 3

Tickets £9–£39 (premium seats £65) London Philharmonic Orchestra Ticket Office: 020 7840 4242 Monday–Friday 10.00am–5.00pm lpo.org.uk Transaction fees: £1.75 online, £2.75 telephone.

14 | London Philharmonic Orchestra

London Philharmonic Orchestra | 15

MAKING A Student & Under 26 NOISE Scheme at Southbank Centre’s Royal Festival Hall ‘@LPOrchestra

‘Listening to the @LPOrchestra is one of the best things to do in life’

it on!’

bring

‘@LPOrchestra I don’t know much about classical music but I do know when I am listening to something amazing’

‘London concert-goers are lucky to have concerts as creative as this’ Financial Times Autumn heralds fresh-faced students returning to or starting at universities across the country. The LPO’s NOISE scheme entitles students and under 26 year-olds to £4 and £8 seats to selected concerts in London and all four concerts in the Brighton season. As part of the scheme, we recruit student representatives at universities and colleges across London and Brighton to help publicise NOISE. This month we attended Freshers’ Fairs at Brighton University and Sussex University to get as many students signed up as possible, whilst successfully recruiting a student representative from Brighton University.

Alongside NOISE the LPO jointly runs Student Pulse, an app providing discounted ticket and loyalty scheme for classical music concerts across London, with eight of London’s best orchestras and venues. Throughout September we attended Freshers’ Fairs across London to promote the app and were delighted with the number of students we helped to recruit at London School of Economics and the University of London.

We’re now busy preparing for the next NOISE concerts in November and we look forward to seeing some of you there!

Students receive best available seats for just £4 plus FREE post-concert drinks courtesy of Heineken at selected concerts throughout the year.

Sign up online and find out more at www.lpo.org.uk/noise

16 | London Philharmonic Orchestra

‘ Art is the most beautiful deception of all. And although people try to incorporate the everyday events of life in it, we must hope that it will remain a deception lest it become a utilitarian thing, sad as a factory’ Claude Debussy

at Royal Festival Hall

From the mountains, to the cities, to the sea Music to take you on a journey to another time and place Wednesday 11 November 2015

7.30pm

Friday 4 December 2015

French Impressions

The Pines of Rome

Fauré Suite, Pelléas et Mélisande Magnus Lindberg Violin Concerto No. 1 Ravel Valses nobles et sentimentales Debussy La mer

Puccini Tosca (excerpts) Rota Suite, La Strada Respighi Pines of Rome

Robin Ticciati conductor Christian Tetzlaff violin Debussy’s orchestral depiction of the sea, unrivalled in its subtlety and evocation, swells with all the surging currents and surface spray of the ocean. Debussy’s stunningly sensory work is matched with the clarity and luminous restraint that imbues Fauré’s Pelléas and Mélisande Suite, Magnus Lindberg’s Violin Concerto, and Ravel’s teasing French waltzes.

lpo.org.uk/journeys Tickets £9–£39 (premium seats £65) London Philharmonic Orchestra Ticket Office: 020 7840 4242 | Monday–Friday 10.00am–5.00pm lpo.org.uk Transaction fees: £1.75 online, £2.75 telephone.

7.30pm

Enrique Mazzola conductor Maria Luigia Borsi Tosca Thiago Arancam Cavaradossi Vittorio Vitelli Scarpia JTI FRIDAY SERIES

Even Respighi was moved beyond expectation at the first performance of his imposing orchestral cityscape Pines of Rome, in which ‘the centuries-old trees, which dominate the Roman landscape, become witnesses to the principal events in Roman life.’ Before Respighi’s spectacular tone poem, we hear more music with Rome at its heart: Italian film maestro Nino Rota’s sparkling La Strada Suite, and excerpts from Puccini’s Tosca, arguably his most intense, raw, cruel and compulsive opera.

London Philharmonic Orchestra | 17

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 Welser-Möst Circle Mrs Pauline Baumgartner William & Alex de Winton Lady Jane Berrill John Ireland Charitable Trust Mr Frederick Brittenden The Tsukanov Family Foundation David & Yi Yao Buckley Neil Westreich Mr Clive Butler 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 Simon Robey Mr Gavin Graham Bianca & Stuart Roden Moya Greene Simon & Vero Turner Mrs Dorothy Hambleton The late Mr K Twyman Tony & Susie Hayes Solti Patrons Malcolm Herring Ageas Catherine Høgel & Ben Mardle John & Manon Antoniazzi Mrs Philip Kan Gabor Beyer, through BTO Rehmet Kassim-Lakha de Morixe Management Consulting AG Rose & Dudley Leigh Jon Claydon Lady Roslyn Marion Lyons Mrs Mina Goodman & Miss Miss Jeanette Martin Suzanne Goodman Duncan Matthews QC Roddy & April Gow Diana & Allan Morgenthau The Jeniffer & Jonathan Harris Charitable Trust Charitable Trust Dr Karen Morton Mr James R.D. Korner Mr Roger Phillimore Christoph Ladanyi & Dr Sophia Ruth Rattenbury Ladanyi-Czernin The Reed Foundation Robert Markwick & Kasia Robinski The Rind Foundation The Maurice Marks Charitable Trust Sir Bernard Rix Mr Paris Natar David Ross & Line Forestier (Canada)

18 | London Philharmonic Orchestra

Carolina & Martin Schwab Dr Brian Smith Lady Valerie Solti Mr & Mrs G Stein Dr Peter Stephenson Miss Anne Stoddart TFS Loans Limited Lady 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 Queree 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

We would like to acknowledge the generous support of the following Thomas Beecham Group Patrons, Principal Benefactors and Benefactors: Thomas Beecham Group The Tsukanov Family Foundation Neil Westreich William and Alex de Winton Mrs Philip Kan* Simon Robey Victoria Robey OBE Bianca & Stuart Roden Laurence Watt Anonymous Jon Claydon Garf & Gill Collins* Andrew Davenport Mrs Sonja Drexler David & Victoria Graham Fuller The Jeniffer and Jonathan Harris Charitable Trust Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Julian & Gill Simmonds* Eric Tomsett The Viney Family John & Manon Antoniazzi Jane Attias John & Angela Kessler Guy & Utti Whittaker * BrightSparks Patrons: instead of supporting a chair in the Orchestra, these donors have chosen to support our series of schools’ concerts.

Principal Benefactors Mark & Elizabeth Adams David & Yi Yao Buckley Desmond & Ruth Cecil Mr John H Cook David Ellen Mr Daniel Goldstein Drs Frank & Gek Lim Peter MacDonald Eggers Dr Eva Lotta & Mr Thierry Sciard Mr & Mrs David Malpas Mr & Mrs G Stein Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Lady Marina Vaizey Grenville & Krysia Williams Mr Anthony Yolland Benefactors Mr Geoffrey Bateman Mrs A Beare Ms Molly Borthwick David & Patricia Buck Mrs Alan Carrington Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr Bruno de Kegel Mr David Edgecombe Mr Timothy Fancourt QC Mr Richard Fernyhough Wim and Jackie Hautekiet-Clare Tony & Susan Hayes Mr Daniel Heaf and Ms Amanda Hill Michael & Christine Henry Malcolm Herring

J. Douglas Home Ivan Hurry Mr Glenn Hurstfield Per Jonsson Mr Gerald Levin Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Paul & Brigitta Lock Mr Peter Mace Ms Ulrike Mansel Mr Brian Marsh Andrew T Mills Dr Karen Morton Mr & Mrs Andrew Neill Mr Michael Posen Alexey & Anastasia Reznikovich Mr Konstantin Sorokin Martin and Cheryl Southgate Mr Peter Tausig Simon and Charlotte Warshaw Howard & Sheelagh Watson Des & Maggie Whitelock Christopher Williams Bill Yoe and others who wish to remain anonymous Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Mrs Jackie Rosenfeld OBE

The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged: Corporate Members Silver: Accenture Berenberg Carter-Ruck We are AD Bronze: Appleyard & Trew LLP BTO Management Consulting AG Charles Russell Speechlys Lazard Leventis Overseas Preferred Partners Corinthia Hotel London Heineken Sipsmith Steinway Villa Maria In-kind Sponsors Google Inc

Trusts and Foundations Angus Allnatt Charitable Foundation The Bernarr Rainbow Trust The Boltini Trust Borletti-Buitoni Trust The Candide Trust Cockayne – Grants for the Arts The D’Oyly Carte Charitable Trust Dunard Fund The Equitable Charitable Trust The Foyle Foundation Lucille Graham Trust The Jeniffer and Jonathan Harris Charitable Trust Help Musicians UK The Idlewild Trust Kirby Laing Foundation The Leche Trust The London Community Foundation London Stock Exchange Group Foundation Lord and Lady Lurgan Trust Marsh Christian Trust Adam Mickiewicz Institute The Peter Minet Trust

The Ann and Frederick O’Brien Charitable Trust Office for Cultural and Scientific Affairs of the Embassy of Spain in London The Austin and Hope Pilkington Trust The Stanley Picker Trust The Radcliffe Trust Rivers Foundation The R K Charitable Trust RVW Trust Serge Rachmaninoff Foundation The David Solomons Charitable Trust Souter Charitable Trust The John Thaw Foundation The Tillett Trust UK Friends of the Felix-MendelssohnBartholdy-Foundation The Viney Family Garfield Weston Foundation The Barbara Whatmore Charitable Trust 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 Manon Antoniazzi Roger Barron Richard Brass Desmond Cecil CMG Jonathan Harris CBE FRICS Amanda Hill Dr Catherine C. Høgel Rachel Masters* George Peniston* Kevin Rundell* Natasha Tsukanova Mark Vines* Timothy Walker AM Laurence Watt Neil Westreich David Whitehouse* * Player-Director Advisory Council Victoria Robey OBE Chairman Christopher Aldren Richard Brass David Buckley Sir Alan Collins KCVO CMG Andrew Davenport Jonathan Dawson William de Winton Edward Dolman Christopher Fraser OBE Lord Hall of Birkenhead CBE Rehmet Kassim-Lakha Jamie Korner Clive Marks OBE FCA Stewart McIlwham Sir Bernard Rix Baroness Shackleton Lord Sharman of Redlynch OBE Thomas Sharpe QC Julian Simmonds Martin Southgate Sir Philip Thomas Sir John Tooley Chris Viney Timothy Walker AM Elizabeth Winter American Friends of the London Philharmonic Orchestra, Inc. Jenny Ireland Co-Chairman William A. Kerr Co-Chairman Kyung-Wha Chung Alexandra Jupin Jill Fine Mainelli Kristina McPhee Dr. Joseph Mulvehill Harvey M. Spear, Esq. Danny Lopez Hon. Chairman Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Stephanie Yoshida

Chief Executive

Education and Community

Digital Projects

Timothy Walker AM Chief Executive and Artistic Director

Isabella Kernot Education Director (maternity leave)

Alison Atkinson Digital Projects Director

Amy Sugarman PA to the Chief Executive / Administrative Assistant

Clare Lovett Education Director (maternity cover)

Finance

Talia Lash Education and Community Project Manager

Albion Media (Tel: 020 3077 4930)

Lucy Duffy Education and Community Project Manager

Philip Stuart Discographer

David Burke General Manager and Finance Director David Greenslade Finance and IT Manager Dayse Guilherme Finance Officer

Richard Mallett Education and Community Producer

Concert Management

Development

Roanna Gibson Concerts Director

Nick Jackman Development Director

Graham Wood Concerts and Recordings Manager

Catherine Faulkner Development Events Manager

Jenny Chadwick Tours Manager Tamzin Aitken Glyndebourne and UK Engagements Manager Alison Jones Concerts and Recordings Co-ordinator

Kathryn Hageman Individual Giving Manager Laura Luckhurst Corporate Relations Manager Anna Quillin Trusts and Foundations Manager Rebecca Fogg Development Co-ordinator

Jo Cotter Tours Co-ordinator

Helen Yang Development Assistant

Orchestra Personnel

Kirstin Peltonen Development Associate

Andrew Chenery Orchestra Personnel Manager Sarah Holmes Sarah Thomas Librarians (job-share) Christopher Alderton Stage Manager

Marketing Kath Trout Marketing Director Libby Northcote-Green Marketing Manager

Damian Davis Transport Manager

Rachel Williams Publications Manager (maternity leave)

Madeleine Ridout Assistant Orchestra Personnel Manager

Sarah Breeden Publications Manager (maternity cover)

20 | London Philharmonic Orchestra

Samantha Cleverley Box Office Manager (Tel: 020 7840 4242) Anna O’Connor Marketing Co-ordinator Natasha Berg Marketing Intern

Matthew Freeman Recordings Consultant Public Relations

Archives

Gillian Pole Recordings Archive Professional Services Charles Russell Speechlys Solicitors Crowe Clark Whitehill LLP Auditors Dr Louise Miller Honorary Doctor 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.

Front cover photograph: Ilyoung Chae, First Violin © Benjamin Ealovega. Cover design/ art direction: Ross Shaw @ JMG Studio.

Printed by Cantate.