London Philharmonic Orchestra concert programme 7 Dec 2013

Concert programme 2013/14 season Part of Southbank Centre’s

London cover 13-14 v3.indd 1

9/6/2013 12:14:31 PM

Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI* Principal Guest Conductor YANNICK NÉZET-SÉGUIN Leader pieter schoeman Composer in Residence JULIAN ANDERSON Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

Southbank Centre’s Royal Festival Hall Saturday 7 December 2013 | 7.30pm

Julian Anderson The Stations of the Sun (17’) James MacMillan Veni, Veni, Emmanuel (25’) Interval Mark-Anthony Turnage Evening Songs (18’) Thomas Adès Asyla (25’)

Vladimir Jurowski conductor Evelyn Glennie percussion

Free pre-concert performance 6.00–6.45pm | Royal Festival Hall The LPO Foyle Future Firsts, under conductor Paul Hoskins, perform British music from the 1990s by Judith Weir, Martin Butler and Julian Anderson.

* supported by the Tsukanov Family Foundation and one anonymous donor CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Programme £3 Contents 2 3 4 6 7 8 14 15 16 18 19 20

Welcome On stage tonight About the Orchestra Vladimir Jurowski Evelyn Glennie Programme notes Next concerts LPO Virtual Christmas Gifts 2013/14 Annual Appeal Catalyst: Double Your Donation Supporters LPO administration

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.

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.

Southbank Centre’s The Rest Is Noise, inspired by Alex Ross’s book The Rest Is Noise Presented by Southbank Centre in partnership with the London Philharmonic Orchestra. southbankcentre.co.uk/therestisnoise The Rest Is Noise is a year-long festival that digs deep into 20th-century history to reveal the influences on art in general and classical music in particular. Inspired by Alex Ross’s book The Rest Is Noise, we use film, debate, talks and a vast range of concerts to reveal the fascinating stories behind the century’s wonderful and often controversial music.

We have brought together the world’s finest orchestras and soloists to perform many of the most significant works of the 20th century. We reveal why these pieces were written and how they transformed the musical language of the modern world.

Over the year, The Rest Is Noise focuses on 12 different parts. The music is set in context with talks from a fascinating team of historians, scientists, philosophers, political theorists and musical experts as well as films, online content and other special programmes.

If you’re new to 20th-century music, then this is your time to start exploring with us as your tour guide. There has never been a festival like this.

Jude Kelly Artistic Director, Southbank Centre

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On stage tonight

First Violins George Tudorache Guest Leader Vesselin Gellev Sub-Leader Chair supported by John & Angela Kessler

Ilyoung Chae Ji-Hyun Lee Chair supported by Eric Tomsett

Katalin Varnagy Chair supported by Sonja Drexler

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

Robert Pool Sarah Streatfeild Yang Zhang Rebecca Shorrock Alina Petrenko Galina Tanney Caroline Frenkel Second Violins Winona Fifield Guest Principal Jeongmin Kim Joseph Maher Kate Birchall Chair supported by David & Victoria Graham Fuller

Nancy Elan Fiona Higham Nynke Hijlkema Marie-Anne Mairesse Ashley Stevens Ksenia Berezina Dean Williamson Sheila Law Elizabeth Baldey Stephen Rowlinson

Violas Cyrille Mercier Principal Robert Duncan Gregory Aronovich Katharine Leek Benedetto Pollani Susanne Martens Laura Vallejo Michelle Bruil Isabel Pereira Sarah Malcolm Pamela Ferriman Helen Bevin Cellos Kristina Blaumane Principal Francis Bucknall Laura Donoghue David Lale Gregory Walmsley Elisabeth Wiklander Sue Sutherley Tom Roff Sybille Hentschel William Routledge Double Basses Kevin Rundell* Principal Tim Gibbs Co-Principal Laurence Lovelle George Peniston Richard Lewis Kenneth Knussen Helen Rowlands Catherine Ricketts Flutes Angela Citterio Guest Principal Sue Thomas Chair supported by the Sharp Family

Stewart McIlwham*

Piccolo Stewart McIlwham* Principal

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

Alto & Bass Flute Sue Thomas

Nicholas Betts Co-Principal

Oboes Ian Hardwick Principal Lucie Sprague

Trombones Mark Templeton* Principal David Whitehouse

Cor Anglais Sue Bรถhling Principal

Bass Trombone Lyndon Meredith Principal

Chair supported by Julian & Gill Simmonds

Bass Oboe Adrian Rowlands Clarinets Robert Hill* Principal Douglas Mitchell Bass Clarinet Paul Richards Principal Contrabass Clarinet Steve Morris Bassoons Joost Bosdijk Guest Principal Gareth Newman* Contrabassoon Simon Estell Principal Horns John Ryan* Principal David Pyatt* Principal Chair supported by Simon Robey

Martin Hobbs Mark Vines Co-Principal Gareth Mollison

Tuba Lee Tsarmaklis* Principal Timpani Simon Carrington* Principal Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

David Jackson Keith Millar Martin Owens Serge Vuille Sarah Mason Harp Rachel Masters* Principal Chair supported by Friends of the Orchestra

Piano & Celeste Catherine Edwards Pianino John Alley Assistant Conductor Thomas Blunt * Holds a professorial appointment in London

London Philharmonic Orchestra | 3

London Philharmonic Orchestra

After playing so perfectly prepared and beautifully detailed as this, the rest is noise indeed. The Guardian 2 October 2013, Royal Festival Hall: Vladimir Jurowski conducts Britten

The London Philharmonic Orchestra is one of the world’s finest orchestras, balancing a long and distinguished history with its present-day position as one of the most dynamic and forward-looking orchestras in the UK. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, has its own successful CD label, and enhances the lives of thousands of people every year through activities for schools and local communities.

The Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the greatest names in the conducting world, 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, and Yannick Nézet-Séguin is Principal Guest Conductor. Julian Anderson is the Orchestra’s current Composer in Residence.

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The Orchestra is based at Southbank Centre’s Royal Festival Hall in London, where it has performed since 1951 and been Resident Orchestra since 1992. It gives around 40 concerts there each season with many of the world’s top conductors and soloists. 2013/14 highlights include a Britten centenary celebration with Vladimir Jurowski; world premieres of James MacMillan’s Viola Concerto and Górecki’s Fourth Symphony; French repertoire with Yannick Nézet-Séguin including Poulenc, Dutilleux, Berlioz, and Saint-Saëns’s ‘Organ’ Symphony; and two concerts of epic film scores. We welcome soloists including Evelyn Glennie, Mitsuko Uchida, Leif Ove Andsnes, Miloš Karadaglić, Renaud Capuçon, Emanuel Ax, Leonidas Kavakos, Julia Fischer and Simon Trpčeski, and a distinguished line-up of conductors including Christoph Eschenbach, Osmo Vänskä, Vasily Petrenko, Jukka-Pekka Saraste and Stanisław Skrowaczewski. Throughout the second half of 2013 the Orchestra continues its year-long collaboration with Southbank Centre in The Rest Is Noise festival, exploring the influential works of the 20th century.

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 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 and vital part of the Orchestra’s life: highlights of the 2013/14 season include visits to the USA, Romania, Austria, Germany, Slovenia, Belgium, France and Spain.

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from Lawrence of Arabia, The Mission and East is East to Hugo, The Lord of the Rings trilogy and The Hobbit: An Unexpected Journey. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 70 releases available on CD and to download. Recent additions include Mahler’s Symphony No. 1 with Vladimir Jurowski; Mahler’s Das Lied von der Erde with Yannick Nézet-Séguin, Sarah Connolly and Toby Spence; and a disc of new works by the Orchestra’s Composer in Residence, Julian Anderson.

In summer 2012 the Orchestra was invited to take part in The Queen’s Diamond Jubilee Pageant on the River Thames, as well as being chosen to record all the world’s national anthems for the London 2012 Olympics.

The London Philharmonic Orchestra is committed to inspiring the next generation of musicians and audiences through an energetic programme of activities for young people. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; fusion ensemble The Band; the Leverhulme Young Composers project; and the Foyle Future Firsts orchestral training programme for outstanding young players. Over recent years, digital advances and social media have enabled the Orchestra to reach even more people across the globe: all its recordings are available to download from iTunes and, as well as a YouTube channel, iPhone app 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

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Vladimir Jurowski

© Chris Christodoulou

Principal Conductor and Artistic Advisor

One of today’s most sought-after and dynamic conductors, acclaimed worldwide for his incisive musicianship and adventurous artistic commitment, Vladimir Jurowski was born in Moscow, and completed the first part of his musical studies at the Music College of the Moscow Conservatory. In 1990 he relocated with his family to Germany, continuing his studies at the High Schools of Music in 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.

Vladimir Jurowski was appointed Principal Guest Conductor of the London Philharmonic Orchestra in 2003, becoming the Orchestra’s Principal Conductor in September 2007. He also holds the titles of Principal Artist of the Orchestra of the Age of Enlightenment and Artistic Director of the Russian State Academic Symphony Orchestra. He has also 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 Jurowski has appeared on the podium with many leading orchestras in Europe and North America including the Berlin and Vienna Philharmonic orchestras, the Royal Concertgebouw Orchestra, The Philadelphia Orchestra, the Boston and Chicago symphony orchestras, the Tonhalle-Orchester Zürich, the Gewandhausorchester Leipzig, and the Staatskapelle Dresden. Highlights of the 2013/14 season and beyond include his debuts with the New York Philharmonic, NHK Symphony (Tokyo) and San Francisco Symphony orchestras; tours with the Chamber Orchestra of Europe and the Mahler Chamber Orchestra; and return visits to the Chicago Symphony, Berlin Radio Symphony, Cleveland and Philadelphia orchestras, and the Accademia Nazionale di Santa Cecilia.

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Jurowski made his debut at the Metropolitan Opera, New York, in 1999 with Rigoletto, and has since returned for Jenůfa, The Queen of Spades and Hansel and Gretel.

He has conducted Parsifal and Wozzeck at Welsh National Opera; War and Peace at the Opera National de Paris; Eugene Onegin at Teatro alla Scala, Milan; Ruslan and Ludmila at the Bolshoi Theatre; and Iolanta and Die Teufel von Loudon at the Dresden Semperoper, as well as The Magic Flute, La Cenerentola, Otello, Macbeth, Falstaff, Tristan und Isolde, Die Meistersinger von Nürnberg, Don Giovanni, The Rake’s Progress, The Cunning Little Vixen, Ariadne auf Naxos and Peter Eötvös’s Love and Other Demons at Glyndebourne Festival Opera. This autumn he returned to the Metropolitan Opera for Die Frau ohne Schatten, and future engagements include Moses und Aron at the Komische Oper Berlin and The Fiery Angel at the Bayerische Staatsoper in Munich.

Jurowski’s discography includes the first ever recording of the cantata Exil by Giya Kancheli for ECM; Meyerbeer’s L’étoile du Nord for Marco Polo; Massenet’s Werther for BMG; and a series of records for PentaTone with the Russian National Orchestra. The London Philharmonic Orchestra has released a wide selection of his live recordings on its LPO Live label, including Brahms’s Symphonies Nos. 1 and 2; Mahler’s Symphonies Nos. 1 and 2; Rachmaninoff’s Symphonic Dances; Tchaikovsky’s Symphonies 1, 4, 5, 6 and Manfred; and works by Turnage, Holst, Britten, Shostakovich, Honegger and Haydn. His tenure as Music Director at Glyndebourne has been documented in CD releases of La Cenerentola, Tristan und Isolde and Prokofiev’s Betrothal in a Monastery, and DVD releases of his performances of La Cenerentola, Gianni Schicchi, Die Fledermaus, Die Meistersinger von Nürnberg, Don Giovanni and Rachmaninoff’s The Miserly Knight. Other DVD releases include Hansel and Gretel from the Metropolitan Opera; his first concert as the London Philharmonic Orchestra’s Principal Conductor featuring works by Wagner, Berg and Mahler; and DVDs with the Orchestra of the Age of Enlightenment (Beethoven’s Symphonies Nos. 4 and 7) and the Chamber Orchestra of Europe (Strauss and Ravel), all released by Medici Arts.

Vladimir Jurowski’s position as Principal Conductor and Artistic Advisor of the London Philharmonic Orchestra is generously supported by the Tsukanov Family Foundation and one anonymous donor.

Evelyn Glennie

© Jim Callaghan

percussion

Awarded Dame Commander of the British Empire in 2007, Evelyn Glennie was the first person in musical history to successfully create and sustain a full-time career as a solo percussionist.

As one of the most eclectic and innovative musicians on the scene today, she is constantly redefining the goals and expectations of percussion by creating performances of such vitality they almost constitute a new type of performance.

Since graduating with an honours degree from London’s Royal Academy of Music in 1985 at the age of 19, Evelyn gives more than 100 performances a year worldwide, appearing with the greatest conductors, orchestras and artists. Her diversity of collaborations includes visual mixing of live music with the likes of DJ Yoda and the beatboxer Shlomo. She also worked with choreographer Marc Brew as part of the 2012 Cultural Olympiad. Other collaborations include Naná Vasconcelos, Kodō, Béla Fleck, Bjork, Bobby McFerrin, Sting, Emmanuel Ax, the King’s Singers, the Mormon Tabernacle Choir, Fred Frith, and the Taipei Traditional Chinese Orchestra. Evelyn was a featured solo performer in the opening ceremony of the Deaf Olympics in Taipei in 2009, and a guest performer at the Winter Olympics in Salt Lake City in 2002. In July 2012 she was honoured to take a leading role in the London 2012 Olympics Opening Ceremony. In collaboration with Underworld, she led 1000 drummers in the world premiere of And I Will Kiss, and premiered Caliban’s Dream on a new instrument called the ‘Glennie Aluphone’, accompanying the lighting of the Olympic flame.

Solo recordings now exceed 28 CDs, including the Grammy Award-winning Sonata for Two Pianos and Percussion by Bartók, and a collaboration with Béla Fleck. Shadow Behind the Iron Sun remains a bestselling album, demonstrating the brilliant improvisational skills of this groundbreaking performer. She wrote her autobiography at 24, has written articles for Tom Tom Magazine for female drummers, and remains a keen lobbyist for change and improvement in music education. As an eminent global activist in the world of motivational speaking, her message on ‘How to Listen’ is delivered loud and clear to a variety of diverse corporate companies and key educational institutes as well as public and private events.

In addition to her prestigious music career, Evelyn has created a range of designer jewellery based on her childhood fascination with trinkets. Called ‘Percussion’, it is inspired by her ancestral home in the Orkney Islands and incorporates her own organic individuality with her percussive experience.

With over 86 international awards to date, Evelyn continues to feed the next generation through advice and guidance. As a consultant she offers prestigious and much sought-after masterclasses and lecture demonstrations to all types of instrumentalists.

Evelyn is the commissioner of around 170 new works for solo percussion, from many of the world’s most eminent composers. As a double-Grammy Award winner and BAFTA nominee, she is in demand as a composer in her own right and records music for film, television and music library companies. The film Touch the Sound and her enlightening TED speech remain key visual and audio testimonies to her knowledge and understanding of the world of sound creation. Her most recent film score was Golf in the Kingdom, released in the USA in 2011.

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Programme notes

British music from the 1990s In The Rest Is Noise, Alex Ross describes the British contemporary music scene as ‘a pragmatic, pluralistic musical culture’, without dogmatic affiliations to a particular compositional school or system. This is demonstrated in this programme of four works from the 1990s by four of today’s leading composers. The first two, despite their stylistic differences, have some shared starting-points. Julian Anderson’s The Stations of the Sun of 1997/98, suggested by a book about folk customs in the cycle of the seasons, is partly based on a plainchant melody, and reaches a bell-laden climax corresponding to a celebration of Easter.

Julian Anderson

James MacMillan’s virtuoso percussion concerto Veni, Veni, Emmanuel from 1991/92 is permeated by the Advent plainchant of its title, and ends with a ringing coda that reflects the fulfilment of Advent prophecies at Easter. Mark-Anthony Turnage’s 1998 Evening Songs provides a lyrical interlude in the programme, its prevailing mood of intimacy and tenderness explained by the dedications of the three pieces to his two infant sons. In contrast, Thomas Adès’s 1997 Asyla, in four movements suggesting a search for places of refuge, ranges widely from moments of calm to a raucous evocation of club culture.

The Stations of the Sun

born 1967

Julian Anderson has enjoyed a long association with the London Philharmonic Orchestra: he was its Composer in Focus in the 2002/03 season, and has been its Composer in Residence since 2010 (and has also sung frequently in the London Philharmonic Choir). Born in London, he studied composition with John Lambert at the Royal College of Music, with Alexander Goehr at Cambridge University, and in Paris with Tristan Murail.

He has held residencies with Sinfonia 21, the City of Birmingham Symphony Orchestra and the Cleveland Orchestra; from 2002 to 2010 he was Artistic Director of the Philharmonia Orchestra’s early-evening ‘Music of Today’ series. Meanwhile, he has taught at the Royal College of Music, at Harvard University, and since 2007 at the Guildhall School of Music and Drama. Anderson’s music belongs uncompromisingly to the modernist mainstream, but it has always succeeded in making a direct connection with audiences because of his imaginative handling of colour, his clear delineation of mood, and his use of simple melodic material, often

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derived from different folk traditions. His first opera, Thebans, with a libretto by Frank McGuinness based on Sophocles’s three Theban plays, will be premiered by English National Opera in May 2014.

Anderson’s flair for writing for large orchestral forces was demonstrated at a relatively early stage of his career in The Stations of the Sun, written in 1997/98 for the 1998 BBC Proms, at which it was first performed by the BBC Symphony Orchestra and Sir Andrew Davis. It is scored for a very large orchestra, including a wellequipped percussion section, in constantly varied colours and textures. Its title is that of a 1996 book by Ronald Hutton which discusses and analyses annual folk customs in different parts of Britain, treating them in the order of the rotating seasons. From this, Anderson derived not a detailed programme, but the general idea of a work based on the idea of celebrations in a seasonal cycle. Its span of 17 or 18 minutes is therefore divided into four continuous but distinct sections, with

transitions and a coda, and with what the composer calls ‘an increasing amount of interruption and crossreferencing’.

The first section is a scherzo, beginning with interlocking fragments and jazzy syncopations and gradually coalescing in a climax. A transition of woodwind lines over sustained strings leads to the second, slow section, which begins with an unharmonised violin melody over bass drum strokes, and continues as a sequence of free variations on that theme, culminating in a mass of vibrant string tone. A dance-like episode, initiated by flutes and clarinets with harp and temple bells, leads to the third section. This is based on a variant of the theme of the previous section, ‘now revealed’, the composer says, ‘as the plainsong Alleluia Adorabo’. It begins over incisively rhythmic percussion, and gains momentum to arrive at a passage marked Sostenuto estatico, ‘sustained and ecstatic’, which Anderson describes as ‘the central plateau of the work’.

James MacMillan

After this, the fourth section is more fragmented, alternating between and combining material for different families of the orchestra: twining woodwind lines, dancing strings, insistent percussion patterns, and increasingly strident interjections by the brass. These different layers come together to reach the dramatic climax of the work, marked Carillonando tumultuoso, ‘carillonading and tumultuous’ – ‘an evocation of Easter’, Anderson says, ‘with an explosion of bells, both real and imaginary’. A massive collapse leads to the coda, which represents the culmination of the work’s melodic and harmonic development. It begins with quiet tremolando strings and the intertwining woodwind once more, and builds up to a saturated full-orchestra texture drifting over long-sustained Ds in the bass, before an open ending – suggesting, Julian Anderson says, ‘the beginning of something new which is cut off before we can fully glimpse it’.

Veni, Veni, Emmanuel Concerto for percussion and orchestra Evelyn Glennie percussion

born 1959

‘There will be signs in the sun and moon and stars; on earth nations in agony, bewildered by the clamour of the ocean and its waves; men dying of fear as they await what menaces the world, for the powers of heaven will be shaken. And they will see the Son of Man coming in a cloud with power and great glory.

When these things begin to take place, stand erect, hold your heads high, because your liberation is near at hand.’

Verses from the Gospel of St Luke, chapter 21, quoted

by James MacMillan in his programme note for Veni, Veni, Emmanuel

James MacMillan is the leading Scottish composer of his generation, and an influential figure in musical life both north and south of the border. Born in Ayrshire, he studied at Edinburgh University and at Durham University, where his composition tutor was John Casken. He taught at Manchester University from 1986 to 1988 before returning to Scotland. He was Affiliate Composer of the Scottish Chamber Orchestra from 1990 to 2000, and Artistic Director of the Philharmonia Orchestra’s ‘Music of Today’ series from 1992 to 2002.

Much in demand as a conductor, he was Composer/ Conductor of the BBC Philharmonic in Manchester from 2000 to 2009, and Principal Guest Conductor of the Netherlands Radio Chamber Philharmonic from 2009 until this year. MacMillan’s compositional output draws on many aspects of world culture, and is eclectic in its musical language, but at its heart is a strong and London Philharmonic Orchestra | 9

Programme notes continued

direct expression of his identity as a Scot, a socialist and a Catholic. His works include full-scale and chamber operas, sacred music ranging from exquisite short motets to an extended St John Passion, and orchestral pieces full of colour and drama. His new Viola Concerto will be given its first performance here on 15 January

by Lawrence Power with the London Philharmonic Orchestra and Vladimir Jurowski.

MacMillan’s most successful work to date has been a concerto, Veni, Veni, Emmanuel for percussion and orchestra, which in a little more than two decades has received over 400 performances worldwide. It was commissioned by Christian Salvesen plc for the Scottish Chamber Orchestra, which first performed it at a BBC Prom in London in August 1992, with Jukka-Pekka Saraste conducting and Evelyn Glennie as soloist. The work was composed between Advent Sunday 1991 and Easter Day 1992, and is based on the mediaeval Advent plainchant Veni, Veni, Emmanuel (also known as the hymn tune ‘O come, o come, Emmanuel’). Featuring a vast range of pitched and unpitched percussion instruments (laid out according to a plan printed in the score), it is in one continuous movement, which traces the shape of an arch before a memorable coda.

The concerto begins explosively with an ‘overture’, headed in the score ‘Introit – Advent’, for the soloist, using the whole range of instruments available to her, and the full orchestra; gradually the plainchant begins to emerge in the brass. An episode called ‘Heartbeats’ starts with irregularly pulsing two-note figures, and gradually becomes fuller and more varied in texture.

It leads into ‘Dance – Hocket’, a scherzo in changing

metres which employs the mediaeval technique known as ‘hocketing’ (‘hiccuping’), in which chords are rapidly alternated between different groups. This scherzo alternates with two trio sections, the first without the soloist, the second beginning over regular repeated quavers in the strings.

A ‘Transition – Sequence I’ leads, from a starting-point of high ‘screaming’ strings, into a predominantly tranquil central interlude, ‘Gaude, Gaude’. This is permeated by the two-note falling figure of the refrain of the plainchant, ‘Rejoice! rejoice!’, in drifting textures that form a background to solo marimba. A further ‘Transition – Sequence II’ grows out of a crescendo on a single note, to lead into a varied reprise of the ‘hocketing’ scherzo, with solo vibraphone. This time it is called ‘Dance – Chorale’, and ends with the work’s fullest statement of the plainchant. At its climax it leads into a varied reprise of the ‘overture’, dominated by the soloist.

In his own programme note on the work, James MacMillan stresses the importance of its recurring ‘heartbeats’, which represent ‘the human presence of Christ’. In the church year, Advent is not simply what is known in the commercial world as ‘the run-up to Christmas’, but an austere, penitential period looking ahead to what MacMillan calls ‘the promised day of liberation from fear, anguish and oppression’. As such, its goal is not the birth of Christ but the Resurrection. And indeed the coda of Veni, Veni, Emmanuel, in which the whole orchestra becomes at one with the soloist, refers to the Gloria of the Easter Vigil service – as if, MacMillan says, ‘the proclamation of liberation finds embodiment in the Risen Christ’.

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

World premiere: James MacMillan – Viola Concerto Wednesday 15 January 2014 | 7.30pm | Royal Festival Hall Vladimir Jurowski conductor | Lawrence Power viola | London Philharmonic Orchestra See page 14 for more details and booking information.

Commissioned by the London Philharmonic Orchestra, Luzerner Sinfonieorchester, Bergen Philharmonic Orchestra and Adelaide Symphony Orchestra.

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Mark-Anthony Turnage

Evening Songs Almost Dreaming In the Half Light Still Sleeping

born 1960

Mark-Anthony Turnage is recognised as one of the leading British composers of his generation, equally at ease in the worlds of jazz and classical music, and with a wide expressive range from the bold and aggressive to the lyrical and gentle. His career has been defined largely by a series of residencies that have allowed him to work in the collaborative manner he prefers: with the City of Birmingham Symphony Orchestra, English National Opera and the BBC Symphony Orchestra, and until 2010 with the Chicago Symphony Orchestra and as Composer in Residence with the London Philharmonic Orchestra. His opera Anna Nicole, based on the life and death of the American model, actress and celebrity Anna Nicole Smith, received a sensationally successful premiere production by the Royal Opera in February 2011, and was given its American premiere by New York City Opera earlier this season.

Like many of Turnage’s works, Evening Songs of 1998 was assembled gradually, rather than conceived as a single unit. The first two movements are expanded versions of short piano pieces dedicated to his two sons, and the third is derived from the epilogue to his 1997 chamber opera The Country of the Blind. This third movement, ‘Still Sleeping’, was commissioned for a pre-concert performance by the Ealing Youth Orchestra in the Southbank Centre’s 1998 Turnage festival ‘Fractured Lives’. The complete work was a commission of North German Radio, and was first performed by the NDR Symphony Orchestra, conducted by Christoph Eschenbach, in Hamburg in January 2000. The London Philharmonic Orchestra and Vladimir Jurowski gave the British premiere here in December 2004, a performance that has been issued on the LPO’s own label (see page 13). The scoring is for a large orchestra, including triple woodwind augmented by Turnage’s favourite soprano saxophone, keyboard and harp, and a percussion section with tuned gongs, tubular bells and handbells.

As its title and the individual movement titles suggest, the work is nocturnal in atmosphere: Turnage says that it deals with ‘the tranquil aspects of night’, though there are enough forceful interventions to remind us that night is also a time for dreams and even nightmares. ‘Almost Dreaming’ (which has the dedication ‘for William and Edward’) begins with animated movement, led by the wind, over a calm background; after a slightly faster middle section, with gently pulsing percussion and a long, arabesque-laden melodic line led by horn and flute, it returns to its initial tempo, with little slides in the strings perhaps suggesting childish yawns on the edge of sleep. ‘In the Half Light’ (‘for my son Edward, aged one week’) is an interlude, marked ‘Bright and Airy’, with a continuously evolving melodic line shared around the strings and repeatedly climbing into the heights, over a rich accompaniment. ‘Still Sleeping’ (‘for William, aged three months’) is ‘Tranquil and serene’: it begins with a scrap of melody for piccolo, like a half-remembered nursery rhyme, but then a solo viola initiates a more extended vein of melody shared between strings and brass; after a passage suggesting ticking and chiming clocks, the melody reaches a bluesy climax in the upper woodwind, followed by an episode of ‘things that go bump in the night’ and a quiet ending.

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Programme notes continued

Thomas Adès born 1971

Thomas Adès is a formidably well-equipped musician: a gifted pianist, an inspiring conductor, an imaginative programme planner, and a composer who draws on an eclectic range of stylistic influences to create works of instant and widespread appeal. A Londoner by birth, he studied piano and composition at the Guildhall School of Music and Drama, and then read music at King’s College, Cambridge, studying composition with Alexander Goehr and Robin Holloway. He was Composer in Association to the Hallé Orchestra in Manchester from 1993 to 1995, Music Director of Birmingham Contemporary Music Group from 1998 to 2000, and Artistic Director of the Aldeburgh Festival from 1999 to 2008. He has enjoyed considerable success in the opera house with his sensational 1995 chamber opera Powder Her Face and his 2004 version of Shakespeare’s The Tempest; both are among a large number of his compositions recorded by EMI. Adès’s ambitious orchestral piece Asyla was written in 1997 as one of the prestigious series of Feeney Trust commissions for the City of Birmingham Symphony Orchestra, and first performed by the CBSO under Simon Rattle in October that year. It was repeated

by Sir Simon in his last concerts as Music Director of the CBSO in 1998, and in his first as Chief Conductor of the Berlin Philharmonic in 2002. It won Adès the Grawemeyer Award of the University of Louisville in 2000, and was one of the works played by the London Philharmonic Orchestra when he was its Composer in Focus in the 2000/01 season. The work is scored for a large orchestra, with three of each woodwind (including rarities such as bass flute, bass oboe and contrabass clarinet), a standard brass section, harp, and a large string section. The two keyboard players share a grand piano, a celeste, an upright piano, and a second upright piano tuned a quarter-tone flat (or an electronic substitute). The six percussionists require a large array

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Asyla I ♩ = 76 – II ♩ = 58-62 III (Ecstasio) = 65 – ♩ = 130 – IV Quasi leggiero ♩ = 52

of tuned and untuned instruments, including water gongs, a selection of large tins, a bag full of knives and forks, and a washboard. The score is full of fantastically imagined colours and mixtures of colour, all notated with Adès’s characteristic precision of detail, not only in respect of pitches, rhythms and dynamics, but also in the instructions for playing techniques.

The title of the work, Asyla, is the plural of ‘asylums’: the word is used in the archaic sense of ‘madhouse’, but also to mean ‘refuge’ or ‘sanctuary’. The work seems to exist at different times in different worlds, some of them confused and chaotic (especially through the use of the detuned piano, together with percussion instruments of imprecise tuning), before it ends with the feeling of attaining a place of safety. This sense of a final resolution allies the work to the tradition of the symphony, as does its four-movement outline of opening movement, slow movement, scherzo and conclusion – though the first two and last two movements are played without a break, and the internal form of each movement is far from traditional.

The first of the four movements grows out of the melody introduced by the horns near the beginning, and later taken up by various string and wind instruments in different combinations. After a more animated middle section for the wind and percussion, the short final section brings together all the previous ideas of the movement. According to an early note on the work by Matías Tarnopolsky, the second movement was originally to have been called ‘Vatican’, and evokes ‘a vast enclosed space’. The opening section is full of falling melodic shapes; the middle section begins with one of the descending chromatic chord-sequences that occur in many of Adès’s works, here on three solo violins constricted by practice mutes; later this section becomes more warmly expressive. The final section

brings back and intensifies the falling melodic shapes, but combined with a solo violin line rising into the heights.

The third movement is called ‘Ecstasio’, a mediaeval Latin word for ‘ecstasy’, and it suggests the much more closely enclosed spaces of contemporary club culture. Almost from the start there are passages of drumming in regular rhythms, albeit counterpointed by lines of much greater metrical complexity; and later the movement breaks out in brutally simple repeated patterns over a thumping beat – though there is still a lot else going on as well. The final movement begins quietly, as if in the lee of this outburst; its middle section brings back ideas from the first and third movements, and the descending chord-sequence of the second. The coda falls away from a huge chord of E flat minor (anticipated grotesquely by the detuned piano), and after a final flurry of activity ends calmly and quietly.

Programme notes by Anthony Burton © 2013

‘The assimilation of new [British] work into the mainstream is helped by the fact that the internal politics of modern music has never been as fraught in Britain as in continental Europe or America. The dominant 20thcentury trends have all found a native following, but without the constant background noise of ideological disputation. This may be because British music has no tragic past attached to it, no stain of totalitarian aesthetics. What results is a pragmatic, pluralistic musical culture where unexpected combinations are the rule. … Adès’s … Asyla, a fourmovement symphonic work from 1997, exemplifies pragmatism in action. It cobbles together Ligeti’s crazy-quilt tonality, the player-piano polyrhythms of Conlon Nancarrow, the Nordic landscapes of Sibelius, and a dozen other choice sounds. The composer dramatises his own struggle to define himself within and against modernity, seeking ‘asylums’ of one kind or another.’

Alex Ross in The Rest Is Noise southbankcentre.co.uk/therestisnoise

Music by tonight’s composers on the LPO Label

£9.99 | LPO-0007

£9.99 | LPO-0035

£9.99 | LPO-0074

New!

Julian Anderson

James MacMillan

Mark-Anthony Turnage

Fantasias; The Crazed Moon; The Discovery of Heaven

The Confession of Isobel Gowdie

Scherzoid; Evening Songs; When I Woke; Yet Another Set To

Vladimir Jurowski | Ryan Wigglesworth conductors

Chamber Symphony

Marin Alsop | Jonathan Nott | Vladimir Jurowski conductors

Thomas Adès

Marin Alsop conductor

CDs available from lpo.org.uk/recordings, the LPO Box Office (020 7840 4242), all good CD outlets, and the Royal Festival Hall shop.

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Next LPO concerts at Royal Festival Hall

Saturday 14 December 2013 | 7.30pm

Wednesday 22 January 2014 | 7.30pm

John Adams El Niño (Nativity Oratorio)

J S Bach Violin Concerto No. 1 in A minor, BWV 104 Hartmann Concerto funebre Beethoven Symphony No. 3 (Eroica)

Vladimir Jurowski conductor Rosemary Joshua soprano Kelley O’Connor mezzo-soprano Matthew Rose bass Daniel Bubeck countertenor Brian Cummings countertenor Steven Rickards countertenor London Philharmonic Choir The Coloma St Cecilia Singers Trinity Boys Choir Mark Grey sound designer Free pre-concert performance 5.00–5.45pm | The Clore Ballroom at Royal Festival Hall The London Philharmonic Orchestra’s creative ensemble for 15–19 year-olds, The Band, performs its latest set – new music inspired by John Adams’s El Niño and its source texts.

Vladimir Jurowski conductor Leonidas Kavakos violin Generously supported by the Sharp Family.

Wednesday 29 January 2014 | 7.30pm Kodály Dances of Galánta Grieg Piano Concerto Dvořák Symphony No. 7 Andrés Orozco-Estrada conductor Rudolf Buchbinder piano

Friday 14 February 2014 | 7.30pm JTI Friday Series

Wednesday 15 January 2014 | 7.30pm James MacMillan Viola Concerto (world premiere) Mahler Symphony No. 6 Vladimir Jurowski conductor Lawrence Power viola Free pre-concert discussion 6.15–6.45pm | Royal Festival Hall James MacMillan discusses his new Viola Concerto.

Valentine’s Day Concert Dvořák Carnival Overture Rachmaninoff Piano Concerto No. 2 Wagner Prelude and Liebestod from Tristan und Isolde Tchaikovsky Romeo and Juliet (Fantasy Overture) Stuart Stratford conductor Sa Chen piano

Booking details

Friday 17 January 2014 | 7.30pm JTI Friday Series Brahms Piano Concerto No. 1 Beethoven Symphony No. 6 (Pastoral) Vladimir Jurowski conductor Yulianna Avdeeva piano

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

Southbank Centre Ticket Office 0844 847 9920 Daily 9.00am–8.00pm southbankcentre.co.uk Transaction fees: £1.75 online, £2.75 telephone No transaction fee for bookings made in person

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Virtual Christmas Gifts from the London Philharmonic Orchestra Want to give a different present to your music-loving friends or family this Christmas? How about a stocking filler, or a gift for someone who has everything? Celebrate with the London Philharmonic Orchestra by giving one or more of our Virtual Gifts.

Each gift comes with a bespoke Christmas card which we can send to you or directly to the recipient with your own personal greeting.

Virtual Gifts start from just £10. You can choose to support one of the iconic moments of the Orchestra’s 2013/14 season, or alternatively your gift can go towards our exciting and enriching work in south London schools. Whatever you choose, your gift will have an impact long after the celebration itself.

Iconic moments: £10 Your opportunity to support a sensational musical moment from the London Philharmonic Orchestra in one of our forthcoming concerts. Choose from: • • • • • • • • •

Beethoven’s Symphony No. 6 (Pastoral) Grieg’s Piano Concerto in A minor Rachmaninoff’s Piano Concerto No. 2 Wagner’s Prelude to Tristan und Isolde Tchaikovsky’s Romeo and Juliet (Fantasy Overture) Beethoven’s Symphony No. 9 (Choral) Saint-Saëns’s Symphony No. 3 (Organ) Brahms’s Symphony No. 4 Tchaikovsky’s Symphony No. 6 (Pathétique)

Adopt A Class: £30 Your gift will pay for an LPO player to spend an hour with disabled children in a London school and help them overcome their disabilities through music.

Roll Call: £40 Help us liven up an assembly in one of south London’s schools by sending in a group of LPO musicians.

Centre Stage: £50 Your gift will help us offer the opportunity for a south London school child to perform at the Royal Festival Hall.

Visit lpo.org.uk/virtualgifts to hear soundclips of the iconic moments and buy your gift online, or call Katherine Hattersley on 020 7840 4212 to buy over the phone.

We also have a range of LPO Friends or Contemporaries gift memberships available, as well as concert gift vouchers and CD subscriptions. Just visit lpo.org.uk/gifts to find out more.

In order to guarantee delivery by Christmas please order by Thursday 19 December 2013. Virtual gifts are intended as a way to show your support for the Orchestra’s charitable objectives this Christmas. The London Philharmonic Orchestra reserves the right to vary concert programmes if necessary. The London Philharmonic Orchestra is a registered charity No. 238045.

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London Philharmonic Orchestra Annual Appeal 2013/14

Tickets Please!

Do you remember the first time you saw a symphony orchestra live on stage?

Every year the London Philharmonic Orchestra’s schools’ concerts allow over 16,000 young people to see and hear the Orchestra live. The LPO is the only orchestra in the UK to offer specific and tailored orchestral concerts for all ages – from primary school children aged five, through to 18-year-old A-level students. Six out of ten children attending the concerts will be experiencing an orchestra for the very first time.

Tickets for the concerts cost £9. We want to offer free tickets to 2,500 children from the most disadvantaged schools and we need your help to make this happen.

For a donation of just £9 you could buy a ticket for a child to attend one of our schools’ concerts. If you would like to donate more, you could buy tickets for three children (£27), a row of seats in the stalls (£108), or a whole class to attend (£270). Every donation of any size from our supportive audience will help us to fill our concert hall with new young audience members.

Please visit lpo.org.uk/ticketsplease, where you can select the seats you wish to buy, or call Katherine Hattersley on 020 7840 4212 to donate over the phone.

Thank you for supporting Tickets Please!

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www.evelyn.co.uk

  London Philharmonic Orchestra | 17

©Rachel Blackwell Photography

Catalyst: Double Your Donation

The London Philharmonic Orchestra is building its first ever endowment fund, which will support the most exciting artistic collaborations with its partner venues here in London and around the country.

Thanks to a generous grant pledge from Arts Council England’s Catalyst programme, the Orchestra is able to double the value of all gifts from new donors up to a maximum value of £1 million. Any additional gifts from existing generous donors will also be matched.

By the end of the campaign we aim to have created an endowment with a value of £2 million which will help us work with partners to provide a funding injection for activities across the many areas of the Orchestra’s work, including: • More visionary artistic projects like The Rest Is Noise at Southbank Centre • Educational and outreach activities for young Londoners like this year’s Noye’s Fludde performance project • Increased touring to venues around the UK that might not otherwise have access to great orchestral music To give, call Development Director Nick Jackman on 020 7840 4211, email support@lpo.org.uk or visit www.lpo.org.uk/support/double-your-donation.html

Catalyst Endowment Donors Masur Circle Arts Council England Emmanuel & Barrie Roman The Sharp Family The Underwood Trust Welser-Möst Circle John Ireland Charitable Trust Tennstedt Circle Simon Robey The late Mr K Twyman Solti Patrons Anonymous Suzanne Goodman The Rothschild Foundation Manon Williams & John Antoniazzi Haitink Patrons Lady Jane Berrill Moya Greene Tony and Susie Hayes Lady Roslyn Marion Lyons Diana and Allan Morgenthau Charitable Trust Sir Bernard Rix TFS Loans Limited The Tsukanov Family Foundation Guy & Utti Whittaker

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Pritchard Donors Anonymous Linda Blackstone Michael Blackstone Jan Bonduelle Richard Brass Britten-Pears Foundation Lady June Chichester Lindka Cierach Mr Alistair Corbett Mark Damazer David Dennis Bill & Lisa Dodd Mr David Edgecombe David Ellen Commander Vincent Evans Mr Daniel Goldstein Ffion Hague Rebecca Halford Harrison Michael & Christine Henry Honeymead Arts Trust John Hunter Ivan Hurry Tanya Kornilova Howard & Marilyn Levene Mr Gerald Levin Geoff & Meg Mann Ulrike Mansel

Marsh Christian Trust John Montgomery Rosemary Morgan John Owen Edmund Pirouet Mr Michael Posen John Priestland Ruth Rattenbury Tim Slorick Howard Snell Stanley Stecker Lady Marina Vaizey Helen Walker Laurence Watt Des & Maggie Whitelock Victoria Yanakova Mr Anthony Yolland

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 Anonymous Simon Robey The Sharp Family Julian & Gill Simmonds Garf & Gill Collins Andrew Davenport Mrs Sonja Drexler David & Victoria Graham Fuller John & Angela Kessler Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Eric Tomsett Guy & Utti Whittaker Manon Williams & John Antoniazzi Principal Benefactors Mark & Elizabeth Adams Jane Attias Lady Jane Berrill Desmond & Ruth Cecil Mr John H Cook David Ellen

Commander Vincent Evans Mr Daniel Goldstein Don Kelly & Ann Wood Peter MacDonald Eggers Mr & Mrs David Malpas Mr Maxwell Morrison Mr Michael Posen Mr & Mrs Thierry Sciard Mr & Mrs G Stein Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Lady Marina Vaizey Howard & Sheelagh Watson Mr Anthony Yolland Benefactors Mrs A Beare Mrs Alan Carrington Mr & Mrs Stewart Cohen Mr Alistair Corbett William and Alex de Winton Mr David Edgecombe Mr Richard Fernyhough Ken Follett Michael & Christine Henry Malcolm Herring Ivan Hurry Mr Glenn Hurstfield Mr R K Jeha

Per Jonsson Mr Gerald Levin Sheila Ashley Lewis Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Mr Frank Lim Paul & Brigitta Lock Mr Brian Marsh Andrew T Mills John Montgomery Mr & Mrs Andrew Neill Edmund Pirouet Professor John Studd Mr Peter Tausig Mrs Kazue Turner Mr Laurie Watt 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 Edmund Pirouet Mrs Jackie Rosenfeld OBE

The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged: Corporate Members

Trusts and Foundations

Silver: AREVA UK British American Business Carter Ruck Thomas Eggar LLP

Angus Allnatt Charitable Foundation Ambache Charitable Trust Ruth Berkowitz Charitable Trust The Boltini Trust Borletti-Buitoni Trust Britten-Pears Foundation The Candide Trust The Ernest Cook Trust The Coutts Charitable Trust The D’Oyly Carte Charitable Trust Dunard Fund Embassy of Spain, Office for Cultural and Scientific Affairs The Equitable Charitable Trust Fidelio Charitable Trust The Foyle Foundation J Paul Getty Junior Charitable Trust Lucille Graham Trust The Jeniffer and Jonathan Harris Charitable Trust The Hobson Charity The Idlewild Trust Kirby Laing Foundation The Leverhulme Trust Marsh Christian Trust

Bronze: Lisa Bolgar Smith and Felix Appelbe of Ambrose Appelbe Appleyard & Trew LLP Berenberg Bank Berkeley Law Charles Russell Leventis Overseas Preferred Partners Corinthia Hotel London Heineken Lindt & Sprüngli Ltd Sipsmith Steinway Villa Maria In-kind Sponsors Google Inc Sela / Tilley’s Sweets

The Mayor of London’s Fund for Young Musicians Adam Mickiewicz Institute The Peter Minet Trust Maxwell Morrison Charitable Trust Musicians Benevolent Fund The Ann and Frederick O’Brien Charitable Trust Palazzetto Bru Zane – Centre de musique romantique française Polish Cultural Institute in London PRS for Music Foundation The R K Charitable Trust Serge Rachmaninoff Foundation The Samuel Sebba Charitable Trust Ernst von Siemens Music Foundation The David Solomons Charitable Trust John Thaw Foundation The Tillett Trust Sir Siegmund Warburg’s Voluntary Settlement Garfield Weston Foundation The Barbara Whatmore Charitable Trust Youth Music and others who wish to remain anonymous

London Philharmonic Orchestra | 19

Administration

Board of Directors Victoria Sharp Chairman Stewart McIlwham* President Gareth Newman* Vice-President Richard Brass Desmond Cecil CMG Vesselin Gellev* Jonathan Harris CBE FRICS Dr Catherine C. Høgel Martin Höhmann* George Peniston* Sir Bernard Rix Kevin Rundell* Julian Simmonds Mark Templeton* Natasha Tsukanova Timothy Walker AM Laurence Watt Dr Manon Williams * Player-Director Advisory Council Victoria Sharp Chairman Christopher Aldren Richard Brass Sir Alan Collins KCVO CMG Lord David Currie Andrew Davenport Jonathan Dawson Christopher Fraser OBE Lord Hall of Birkenhead CBE Clive Marks OBE FCA Stewart McIlwham Baroness Shackleton Lord Sharman of Redlynch OBE Martin Southgate Sir Philip Thomas 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 Peter M. Felix CBE Alexandra Jupin Dr. Felisa B. Kaplan Jill Fine Mainelli Kristina McPhee Dr. Joseph Mulvehill Harvey M. Spear, Esq. Danny Lopez Hon. Chairman Noel Kilkenny Hon. Director Victoria Sharp Hon. Director

Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP

Orchestra Personnel

Public Relations

Andrew Chenery Orchestra Personnel Manager

Albion Media (Tel: 020 3077 4930)

Chief Executive

Sarah Thomas Librarian (maternity leave)

Archives

Timothy Walker AM Chief Executive and Artistic Director

Sarah Holmes Librarian (maternity cover)

Philip Stuart Discographer

Finance

Christopher Alderton Stage Manager

Gillian Pole Recordings Archive

Brian Hart Transport Manager

Professional Services

David Burke General Manager and Finance Director David Greenslade Finance and IT Manager

Julia Boon Assistant Orchestra Personnel Manager

Concert Management

Development

Roanna Gibson Concerts Director

Nick Jackman Development Director

Graham Wood Concerts and Recordings Manager

Helen Searl Corporate Relations Manager

Jenny Chadwick Tours Manager Tamzin Aitken Glyndebourne and UK Engagements Manager Alison Jones Concerts and Recordings Co-ordinator Jo Cotter PA to the Chief Executive / Tours Co-ordinator Matthew Freeman Recordings Consultant Education and Community Patrick Bailey Education and Community Director Alexandra Clarke Education and Community Project Manager Lucy Duffy Education and Community Project Manager Richard Mallett Education and Community Producer

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Katherine Hattersley Charitable Giving Manager Melissa Van Emden Events Manager Sarah Fletcher Development and Finance Officer Rebecca Fogg Development Assistant Marketing Kath Trout Marketing Director Mia Roberts Marketing Manager Rachel Williams Publications Manager Samantha Kendall Box Office Manager (Tel: 020 7840 4242) Libby Northcote-Green Marketing Co-ordinator Lily Oram Intern Digital Projects Alison Atkinson Digital Projects Manager

Charles Russell Solicitors Crowe Clark Whitehill LLP Auditors Dr Louise Miller Honorary Doctor London Philharmonic Orchestra 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Fax: 020 7840 4201 Box Office: 020 7840 4242 Email: admin@lpo.org.uk lpo.org.uk The London Philharmonic Orchestra Limited is a registered charity No. 238045.

Photograph credits: Julian Anderson © Maurice Foxall; James MacMillan © Philip Gatward; MarkAnthony Turnage © Hanya Chlala/ArenaPAL; Thomas Adès © Brian Voice Front cover photograph © Patrick Harrison.

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