Ja
ISLE OF
19
y– December r a 20 u n
NOISES Landmark classics inspired by the British Isles 1689 – 2019
Concert programme
lpo.org.uk
Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI Principal Conductor Designate EDWARD GARDNER Leader PIETER SCHOEMAN supported by Neil Westreich Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM
Southbank Centre’s Royal Festival Hall Saturday 9 November 2019 | 7.30pm
Butterworth A Shropshire Lad (Rhapsody for Orchestra) (12’) Elgar Variations on an Original Theme, Op. 36 (Enigma) (29’) Interval (20’) Walton Belshazzar’s Feast (36’)
Marin Alsop conductor Roderick Williams baritone London Philharmonic Choir Artistic Director: Neville Creed
Free pre-concert event 6.15–6.45pm | Royal Festival Hall Crisis members perform alongside LPO musicians as the culmination of our annual week of creative music-making at the Crisis Skylight Centre in East London.
The timings shown are not precise and are given only as a guide. CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA
ISLE OF
NOISES Contents 2 Welcome LPO Ring Cycle 2021 3 On stage tonight 4 About the Orchestra 5 Leader: Kevin Lin 6 Marin Alsop 7 Roderick Williams 8 London Philharmonic Choir 9 Programme notes 11 Elgar on the LPO Label 13 Recommended recordings Spring 2020 choral highlights 14 Belshazzar’s Feast text 16 New on the LPO Label 17 Sound Futures donors 18 Supporters 20 LPO administration
Welcome Just announced
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 a member of staff for assistance. Eating, drinking and shopping? Enjoy fresh seasonal food for breakfast and lunch, coffee, teas and evening drinks with riverside views at Concrete Cafe, Queen Elizabeth Hall, and Riverside Terrace Cafe, Level 2, Royal Festival Hall. Visit our shops for products inspired by our artistic and cultural programme, iconic buildings and central London location. Explore across the site with Foyles, Giraffe, Strada, wagamama, YO! Sushi, Le Pain Quotidien, Las Iguanas, ping pong, Spiritland, Honest Burger, Côte Brasserie, Skylon and Topolski. If you wish to get in touch with us following your visit, please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone us on 020 3879 9555, or email customer@southbankcentre.co.uk We look forward to seeing you again soon. A few points to note for your comfort and enjoyment: PHOTOGRAPHY is not allowed in the auditorium. LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance. RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre. Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended. MOBILES AND WATCHES should be switched off before the performance begins.
Out now The Autumn 2019 edition of our free LPO magazine, Tune In. Copies are available at the Welcome Desk, Level 2, Royal Festival Hall, or phone the LPO office on 020 7840 4200 to receive one in the post. Also available digitally: issuu.com/londonphilharmonic
2 | London Philharmonic Orchestra
Wagner’s Ring Cycle with Vladimir Jurowski January/February 2021 Join us as we reach the end of a remarkable three-year journey with two star-studded semi-staged complete Ring Cycles at Southbank Centre’s Royal Festival Hall. ‘Jurowski’s Wagner is fit for the gods … Jurowski and the London Philharmonic on fine form had as much to say as many a fully-staged production.’ The Financial Times Ring Cycle 1 Das Rheingold Die Walküre Siegfried Götterdämmerung
Mon 25 Jan 2021 Wed 27 Jan 2021 Fri 29 Jan 2021 Sun 31 Jan 2021
7.00pm 5.00pm 4.00pm 3.00pm
Ring Cycle 2 Das Rheingold Die Walküre Siegfried Götterdämmerung
Fri 5 Feb 2021 Sat 6 Feb 2021 Mon 8 Feb 2021 Wed 10 Feb 2021
7.00pm 4.00pm 4.00pm 3.00pm
On sale now For full cast information and booking, visit lpo.org.uk or call the LPO Ticket Office on 020 7840 4242. Support us as we realise this bold project and enjoy an enhanced concert experience. Include an add-on donation with your order. Visit lpo.org.uk or call 020 7840 4212 for more details.
On stage tonight
First Violins Kevin Lin Leader Chair supported by The Candide Trust
Lasma Taimina Catherine Craig Thomas Eisner Chair supported by the Chiltern Friends of the LPO
Martin Höhmann Yang Zhang Chair supported by Eric Tomsett
Tina Gruenberg Amanda Smith Morane Cohen-Lamberger Raza Zukauskaite Eleanor Bartlett Miranda Allen Alice Hall Sophie Mather Robert Pool Sarah Streatfeild Second Violins Tania Mazzetti Principal Chair supported by Countess Dominique Loredan
Alexandra Lomeiko Clarice Curradi Nancy Elan Fiona Higham
Raquel Bolívar Isabel Pereira Daniel Cornford Cellos Pei-Jee Ng Principal Leonardo Sesenna Francis Bucknall Laura Donoghue David Lale Elisabeth Wiklander Sibylle Hentschel Philip Taylor Helen Rathbone George Hoult Double Basses Kevin Rundell* Principal George Peniston Tom Walley Charlotte Kerbegian Lowri Morgan Adam Wynter David Johnson Jakub Cywinski Flutes Juliette Bausor Principal Sue Thomas*
Bass Clarinet Paul Richards* Principal Alto Saxophone Martin Robertson Bassoons Gareth Newman Principal Laura Vincent Contrabassoon Simon Estell* Principal Horns John Ryan* Principal Martin Hobbs Oliver Johnson Gareth Mollison Andrew Budden Trumpets Paul Beniston* Principal Chair supported by Donors to the 2019 Gala Player Appeal
Anne McAneney* Chair supported by Geoff & Meg Mann
David Hilton Offstage Trumpets Ryan Linham Tony Cross Matthew Williams Gwyn Owen Katie Smith Catherine Knight
Chair supported by David & Yi Buckley
Chair supported by Caroline, Jamie & Zander Sharp
Joseph Maher Marie-Anne Mairesse Sioni Williams Kate Cole John Dickinson Kalliopi Mitropoulou Anna Croad Ashley Stevens Gavin Davies
Stewart McIlwham*
Oboes Ian Hardwick* Principal Alice Munday
Trombones Dudley Bright Guest Principal Benny Vernon
Violas David Quiggle Principal Ting-Ru Lai Katharine Leek Susanne Martens
Clarinets Benjamin Mellefont Principal
Bass Trombone Lyndon Meredith Principal
Chair supported by Gill & Garf Collins
Benedetto Pollani Laura Vallejo Joseph Fisher Martin Wray Martin Fenn
Piccolo Stewart McIlwham* Principal
Chair supported by Friends of the Orchestra
Charys Green Paul Richards* E-flat Clarinet Charys Green
Offstage Trombones David Whitehouse Douglas Coleman Andrew Connington Huw Evans
Offstage Bass Trombones Simon Minshall Joe Arnold Tuba Lee Tsarmaklis* Principal Offstage Tubas Stephen Calow Elliot Launn Timpani Simon Carrington* Principal Chair supported by Victoria Robey OBE
Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport
Henry Baldwin Co-Principal Keith Millar Jeremy Cornes Karen Hutt Harps Sue Blair Guest Principal Emma Ramsdale Piano Catherine Edwards Organ Clíodna Shanahan * Holds a professorial appointment in London
The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: William & Alex de Winton Sonja Drexler Roger Greenwood Dr Barry Grimaldi Sir Simon Robey Bianca & Stuart Roden Neil Westreich
London Philharmonic Orchestra | 3
London Philharmonic Orchestra
The London Philharmonic is playing at the peak of its form. Richard Fairman, The Financial Times (27 September 2019: Jurowski conducts Knussen, Britten & Tchaikovsky at Royal Festival Hall)
One of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with its reputation as one of the UK’s most forward-looking ensembles. As well as its concert performances, the Orchestra also records film soundtracks, releases CDs and downloads on its own label, and reaches thousands of people every year through activities for families, schools and local communities. The Orchestra was founded by Sir Thomas Beecham in 1932, and has since been headed by many great conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. In 2017 Vladimir Jurowski celebrated his tenth anniversary as the Orchestra’s Principal Conductor. Edward Gardner is currently Principal Conductor Designate, and will take up the position when Jurowski’s tenure concludes in September 2021. 4 | London Philharmonic Orchestra
The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Throughout the rest of 2019 we celebrate the music of Britain in our festival Isle of Noises, exploring music from and inspired by the British Isles, from Purcell to the present day. 2020 will see a new series entitled 2020 Vision, which features some of the most exciting works written since 2000, each combined in concert with pieces composed exactly 100 and 200 years earlier. The London Philharmonic Orchestra enjoys flourishing residencies in Brighton, Eastbourne and Saffron Walden, and performs regularly around the UK. Every summer, the Orchestra takes up its annual residency at Glyndebourne Festival Opera, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sellout audiences worldwide.
Kevin Lin leader
The London Philharmonic Orchestra has recorded many blockbuster film scores, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 100 releases available on CD and to download. Recent additions include Mahler’s Symphony No. 4 conducted by Vladimir Jurowski, Beethoven’s Symphonies Nos. 3 & 5 under the late Kurt Masur, and a film music disc under Dirk Brossé. 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. We recently celebrated the 30th anniversary of our Education and Community department, whose work over three decades has introduced so many people of all ages to orchestral music and created opportunities for people of all backgrounds to fulfil their creative potential. Our dynamic and wide-ranging programme provides first musical experiences for children and families; offers creative projects and professional development opportunities for schools and teachers; inspires talented teenage instrumentalists to progress their skills; and develops the next generation of professional musicians. The Orchestra’s work at the forefront of digital technology has enabled it to reach millions of people worldwide: all its recordings are available to download and stream and, as well as a YouTube channel and podcast series, the Orchestra has a lively presence on social media. lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra
Kevin Lin joined the London Philharmonic Orchestra as Co-Leader in August 2017. Originally from New York, Kevin has received international recognition for his musicianship and ‘soulful’ playing (The Arts Desk). He has performed as a soloist and recitalist in the UK, Taiwan, South Korea and Canada, in addition to numerous performances in the USA. He was previously Guest Concertmaster of the Pittsburgh Symphony and Houston Symphony, and in 2015 was invited to lead the Aspen Philharmonic Orchestra at the Aspen Music Festival and School. He has also served as Concertmaster at The Colburn School and The Curtis Institute of Music. An avid chamber musician, Kevin’s recent collaborations include performances with the Tokyo and Ebène quartets, Edgar Meyer, Cho-Liang Lin, Orion Weiss and Andrew Bain. In recent years he has received prizes from the Irving M. Klein International Competition and the Schmidbauer International Competition, and competed in the George Enescu International Violin Competition and the Menuhin International Violin Competition. Kevin spent his early years studying with Patinka Kopec in New York, before going on to study with Robert Lipsett at The Colburn School in Los Angeles, where he received his Bachelor of Music degree. He then continued his studies at The Curtis Institute in Philadelphia as a Mark E. Rubenstein Fellowship recipient, under the pedagogy of Aaron Rosand.
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Kevin’s chair in the London Philharmonic Orchestra is generously supported by The Candide Trust.
London Philharmonic Orchestra | 5
Marin Alsop conductor
If anyone has the courage and power to change the world through music, it’s Marin Alsop.
© Adriane White
WQXR, March 2017
Marin Alsop is an inspiring and powerful voice, a conductor of vision and distinction who passionately believes that music has the power to change lives. She is recognised internationally for her innovative approach to programming and audience development, and for her deep commitment to education and advocating for music’s importance in the world.
Symphony Orchestra, OSESP, the Sydney and New Zealand symphony orchestras, the Johannesburg and Kwazulu-Natal Philharmonic orchestras, and Southbank Centre, where she is Associate Artist. Further highlights of the 2019/20 season include engagements with the Orchestre de Paris, the Danish National Symphony Orchestra and The Philadelphia Orchestra.
From the start of the 2019/20 season Marin became Chief Conductor of the ORF Vienna Radio Symphony Orchestra. She will conduct the orchestra in its main series at the Konzerthaus and the Musikverein, and will record, broadcast, and tour nationally and internationally. Her first season coincides with the orchestra’s 50th anniversary, and will emphasise women in classical music.
Marin Alsop is a regular guest with the London Philharmonic Orchestra: in January this year she conducted the Orchestra in a concert of new works at Royal Festival Hall, including the world premiere of Helen Grime’s Percussion Concerto with soloist Colin Currie. She has also made a number of recordings with the Orchestra, including a disc of works by James MacMillan, Thomas Adès and Jennifer Higdon on the LPO’s own label (LPO-0035).
Marin’s outstanding success as Music Director of the Baltimore Symphony Orchestra since 2007 has resulted in two extensions in her tenure, until 2021. She led the orchestra on its first European tour in 13 years and created several bold initiatives, including OrchKids, developed for the city’s most disadvantaged young people. At the end of 2019, following a seven-year tenure as Music Director, she becomes Conductor of Honour of the São Paulo Symphony Orchestra (OSESP), where she will return to conduct major projects each season. In 2020 Marin Alsop launches a global project in collaboration with Carnegie Hall to mark Beethoven’s 250th anniversary. Her goal is to bring the messages of tolerance, unity and joy in Beethoven’s Symphony No. 9 to life for the 21st century. She will conduct reimagined performances of the Ninth Symphony on five continents, with newly commissioned texts and music. Partners include the Vienna RSO, the Baltimore
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Marin’s extensive discography has led to multiple Gramophone Awards and includes highly praised Naxos cycles of Brahms with the London Phiharmonic Orchestra, Dvořák with the Baltimore Symphony Orchestra and Prokofiev with OSESP. She is dedicated to new music, demonstrated in her 25-year tenure as Music Director of California’s Cabrillo Festival of Contemporary Music. Marin Alsop is the only conductor to receive the MacArthur Fellowship and, in 2013, made history as the first female conductor of the BBC’s Last Night of the Proms. She attended The Juilliard School and Yale University, where she was awarded an Honorary Doctorate in 2017. Her conducting career was launched in 1989, when she was the first woman to be awarded Tanglewood’s Koussevitzky Conducting Prize and began studying with her closest mentor, Leonard Bernstein.
Roderick Williams baritone
© Benjamin Ealovega
Williams proved a natural and expressive communicator ... He imbued each song with myriad colorful nuances, his rich, burnished baritone lovely throughout the evening. The New York Times (Schubert’s Schwanengesang at Park Avenue Armory)
Roderick Williams is one of the most sought-after baritones of his generation. He performs a wide repertoire, from Baroque to contemporary music, in the opera house and on the concert platform, and is in demand as a recitalist worldwide. He enjoys relationships with all the major UK opera houses and has given world premieres of operas by David Sawer, Sally Beamish, Michael van der Aa, Robert Saxton and Alexander Knaifel. Recent and future engagements include the title role in Eugene Onegin for Garsington Opera; the title role in Billy Budd with Opera North; Papageno for the Royal Opera House, Covent Garden; and productions with Dallas Opera, English National Opera and The Netherlands Opera. In 2015 he sang Christus in Peter Sellars’s staging of Bach’s St John Passion with the Berlin Philharmonic under Simon Rattle, and earlier this year he again performed the role with both the Berlin Philharmonic and the Orchestra of the Age of Enlightenment. Roderick sings regularly with all the major UK and BBC orchestras: last month he appeared with the London Philharmonic Orchestra at Royal Festival Hall as Jesus in Elgar’s The Apostles under Martyn Brabbins. He has also performed with the Berlin Philharmonic, Deutsches Symphonie-Orchester Berlin, Russian National Orchestra, Orchestre Philharmonique de Radio France, Ensemble Orchestral de Paris, Accademia Nazionale di Santa Cecilia in Rome, Cincinnati Symphony, Music of the Baroque Chicago, New York Philharmonic, London Symphony Orchestra and Bach Collegium Japan, among others. His many festival appearances include the BBC Proms (including the Last Night in 2014) and the Edinburgh International, Cheltenham, Bath, Aldeburgh and Melbourne festivals.
In 2015 Roderick began a three-year odyssey of the Schubert song-cycles, culminating in performances at Wigmore Hall in the 2017/18 season, and is now in the process of recording them for Chandos. He has also appeared in recital at venues and festivals including Kings Place, LSO St Luke’s, Perth Concert Hall, Oxford Lieder Festival, London Song Festival, the Vienna Musikverein, the Amsterdam Concertgebouw and on Radio 3, where he has participated in Iain Burnside’s ‘Voices’ programme. Roderick Williams has an extensive discography: his numerous recordings include Vaughan Williams, Berkeley and Britten operas for Chandos, and an extensive repertoire of English song with pianist Iain Burnside for Naxos. He is also a composer and has had works premiered at Wigmore Hall, the Barbican, the Purcell Room and live on national radio. In 2016 he won the prize for best choral composition at the British Composer Awards. Roderick Williams was Artistic Director of Leeds Lieder in April 2016 and won the RPS Singer of the Year Award in May 2016. He was awarded an OBE in June 2017.
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London Philharmonic Choir Patron HRH Princess Alexandra | President Sir Mark Elder | Artistic Director Neville Creed Chairman Tessa Bartley | Choir Manager Bethea Hanson-Jones | Accompanist Jonathan Beatty
Founded in 1947 as the chorus for the London Philharmonic Orchestra, the London Philharmonic Choir is widely regarded as one of Britain’s finest choirs. For the last seven decades the Choir has performed under leading conductors, consistently meeting with critical acclaim and recording regularly for television and radio. Enjoying a close relationship with the London Philharmonic Orchestra, the Choir frequently joins it for concerts in the UK and abroad. Recent highlights have included Mahler’s Symphonies Nos. 2 & 8 and and Tallis’s Spem in alium with Vladimir Jurowski; Verdi’s Requiem with Edward Gardner; Beethoven’s Missa Solemnis with the Choir’s President, Sir Mark Elder; and Haydn’s The Creation with Sir Roger Norrington. The Choir appears annually at the BBC Proms at the Royal Albert Hall, and performances have included the UK premieres of Mark-Anthony Turnage’s A Relic of Memory and Goldie’s Sine Tempore in the Evolution! Prom. The Choir has been engaged by the BBC for all the Doctor Who Proms and, in recent years, has given performances of works by Beethoven, Elgar, Howells, Liszt, Orff, Vaughan Williams, Verdi and Walton. A well-travelled choir, it has visited numerous European countries and performed in Kuala Lumpur, Hong Kong and Australia. The Choir has appeared twice at the Touquet International Music Masters Festival and was delighted to travel to the Théâtre des Champs-Elysées, Paris, in December 2017 to perform Bach’s Christmas Oratorio with the London Philharmonic Orchestra. The Choir prides itself on achieving first-class performances from its members, who are volunteers from all walks of life. This year the Choir is proud to be supporting homeless charity Crisis by leading a choral force behind the fight to end homelessness. The Choir is encouraging choruses around the UK to programme Paul Fincham’s Ring the Bells in their Christmas concerts and services, with all composer royalties being donated to Crisis. For more information visit lpc.org.uk/ringthebells.
Sopranos Pippa Alderson Annette Argent Chris Banks Hilary Bates Sarah Bindon Catherine Boxall Vicki Brammall Laura Buntine Carole Cameron Charlotte Cantrell Olivia Carter Paula Chessell Millie Church Sally Cottam Rachel Cristy Sarah Davies Jessica Dixon Lucy Doig Rachel Gibbon Anna Greco Rosie Grigalis Jane Hanson Sally Harrison Plyphon Jones Joy Lee Katharina Leitz Martha MacBean Janey Maxwell Christina McNeill Katie Milton Harriet Murray Amy Ogier Kathryn O’Leary Linda Park Stephanie Rawlins Danielle ReeceGreenhalgh Emma Secher Rebecca Sheppard Victoria Smith Tania Stanier Katie Stuffelbeam Susan Thomas Elizabeth Townsend Jo Webster Charlotte Yates
Altos Deirdre Ashton Phye Bell Jenny Burdett Andrei Caracoti Isabelle Cheetham Noel Chow Sara De La Serna Andrea Easey Sarah Finkemeyer Henrietta Fisher Kathryn Gilfoy Jane Goddard Rachel Halstead Bethea HansonJones Katie Hickson Cailin Howarth Judy Jones Andrea Lane Ethel Livermore Lisa MacDonald Miroslava Mala Laetitia Malan Ian Maxwell Nicola Mooney Caroline Morris Sophie Morrison Anna Mulroney Rachel Murray Sheila Rowland Jenny Ryall Rima Sereikiene Annette Strzedulla Eleni Thwaites Erica Tomlinson Susi Underwood Jenny Watson
Basses Martyn Atkins Jonathon Bird Peter Blamire Alex Britton Julian CasselsBrown Geoffrey Clare Marcus Daniels Tom Fayle Paul Fincham Christopher Fitzgerald Ian Frost Paul Gittens Nicholas HennellFoley Mark Hillier Stephen Hines David Hodgson Borja Ibarz Gabardos John Luff Christopher Mackay John G Morris John D Morris Joel Nulsen Tenors Will Parsons Geir Andreassen Johannes Pieters Tim Appleby John Salmon Christopher Beynon Philip Tait Samuel Butter Peter Taylor Tim Clark Alex Thomas James Clarke James Torniainen Gary Cupido Geoff Walker Fred Fisher Trevor Watson John Wood
Join us: lpc.org.uk facebook.com/LondonPhilharmonicChoir twitter.com/lpchoir
Supported by
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Robert Geary Alan Glover Peter Goves Josh Haley Iain Handyside David Hoare Stephen Hodges James Hopper Patrick Hughes Tony Masters Simon Pickup Claudio Tonini
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Programme notes
Speedread ‘Art for art’s sake has never flourished in England’, Ralph Vaughan Williams declared in 1912. ‘We are often called inartistic because our art is unconscious. Our drama and poetry, like our laws and our constitution, have evolved by accident while we thought we were doing something else, and so it will be with music.’ But British music did flourish, and for many this is still encapsulated in the sweep of nostalgic pastoralism that took hold in the first part of the 20th century, a deliberate and concerted reaction to the AustroGermanic dominance of the nineteenth. With Elgar it took on a more monumental form — rich, opulent
George Butterworth
and at times even grandiloquent. And although Elgar maintained he was no musical nationalist, he understood that his music often stirred the popular imagination and had, as Shakespeare wrote in Othello, ‘all the quality, pride, pomp and circumstance of glorious war.’ By the time Walton took the baton from Elgar, however, ‘Britishness’ had developed into something different again — by turns angular, taut and robust, then devastatingly tender. Britten would describe Walton as ‘the head prefect of English music’, his style assimilated from influences far and wide, yet still unequivocally British.
A Shropshire Lad (Rhapsody for Orchestra)
1885–1916
Although George Butterworth grew up in a musical household – his mother was a singer and gave him early music lessons – he seemed destined to become a solicitor. A promising education at Eton College led on to a place to study law at Trinity College, Oxford, and any hopes for a career in music seemed to have been shelved. But it was while studying at Oxford that he met the folksong collector, Cecil Sharp, and composer, Ralph Vaughan Williams. The three formed a strong musical alliance that was to spawn many subsequent collaborations, and Butterworth soon began to accompany Vaughan Williams on folksong-collecting expeditions. By the time he graduated, Butterworth’s focus on law had been abandoned in favour of music, and he began an itinerant career that combined composing and teaching with musical criticism for The Times.
Still, it was only in 1911, when Butterworth composed a series of settings by the Shropshire-born poet A.E. Housman, that he earned public recognition. These songs remain his best-known works, later inspiring an orchestral rhapsody of the same name, A Shropshire Lad. A work that captures the many idyllic hours he spent researching in the English countryside, A Shropshire Lad forms a kind of orchestral epilogue to the eleven poems he set in 1910/11 and was intended, as Butterworth put it, ‘to express the homethoughts of the exiled Lad’. These were the years of the First World War and Butterworth – whose life was tragically cut short just two years later when he was killed by a sniper’s rifle in France – elegantly captures the intertwined feelings of heartache and nostalgia that saturates the poetry of this time. The pensive main theme, first heard in the clarinet at the opening, is
London Philharmonic Orchestra | 9
Programme notes continued
taken from his song ‘Loveliest of Trees’, whose text centres on the cycle of the seasons and the transience of life. When this theme is echoed by the trumpet as the work comes to a close it becomes eerily prophetic, the solemn beat of the drums an ominous sign of things to come.
Edward Elgar
Variations on an Original Theme, Op. 36 (Enigma)
1857–1934
While the wistful melancholy of A Shropshire Lad is characteristic of the English pastoralism that coursed through the British Isles in the first part of the 20th century, this is not the only means by which British composers were carving out an identity for themselves. Edward Elgar, by this time one of the elder statesmen of the English musical mainstream, had also established a distinctive British sound, one that is often celebrated in the pomp and bombast of his grand ‘occasion’ pieces and his larger-than-life symphonies. But he also showed remarkable capacity for heartfelt tenderness, something that is manifested in the intimate personal connections woven within his ‘Enigma’ Variations of 1899. Based on an original theme and dedicated to his ‘friends pictured within’, the 14 variations of his orchestral tone poem are each given a title in the form of a name or set of initials, most of which have since been decoded: 1 C.A.E: His wife Alice. 2 HDS-P: Hew David Steuart-Powell, an amateur pianist. 3 RBT: Richard Baxter Townshend, and his brokenvoiced participation in amateur theatricals. 4 WMB: William Meath Baker, a country squire who was in the habit of giving house-guests brisk instructions for the day.
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5 RPA: Richard, son of the poet Matthew Arnold, who mixed serious conversation with witty remarks. 6 Ysobel: Isabel Flitton, a tall and statuesque amateur viola player. 7 Troyte: Arthur Troyte Griffith, a boisterous character and somewhat clumsy pianist. 8 WN: The graceful ladies of the Norbury family – in particular Winifred – who lived in an 18thcentury house. 9 Nimrod: A.J. Jaeger, Elgar’s publisher and loyal supporter; his famous variation, the emotional core of the work, recalls a conversation about Beethoven’s slow movements. 10 Dorabella: Dora Penny, a lively and frequent guest at the Elgars’ house. 11 GRS: G.R. Sinclair, the organist of Hereford Cathedral – or rather his dog Dan, who is depicted falling into the River Wye and climbing out again with a bark. 12 BGN: Basil Nevinson, an amateur cellist. 13 * * * (Romanza): Lady Mary Lygon, who left England for Australia by sea in 1899; the timpani rumble is supposed to represent the low hum of the ship’s engines. Elgar’s use of asterisks in the score, as well as the subtitle, have prompted commentators to
speculate that he was alluding to some other more meaningful relationship. 14 EDU: Elgar himself. Despite Elgar’s reticence to place undue emphasis on the programmatic elements of the work, preferring instead for audiences to appreciate it as a piece of music in its own right, he eventually acknowledged that the
‘real’ theme of the variations remains an enigma. ‘The enigma I will not explain – its ‘dark saying’ must be left unguessed, and I warn you that the apparent connection between the Variations and the Theme is often of the slightest texture; further, through and over the whole set another and larger theme ‘goes’, but is not played... So the principal Theme never appears, even as in some late dramas... the chief character is never on stage.’
Interval – 20 minutes An announcement will be made five minutes before the end of the interval.
On the LPO Label
Elgar Introduction and Allegro for string quartet and string orchestra Britten Our Hunting Fathers Elgar Enigma Variations Bernard Haitink conductor Heather Harper soprano London Philharmonic Orchestra £9.99 | LPO-0002
CDs available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Download or stream online via Spotify, Apple Music, Idagio and others.
London Philharmonic Orchestra | 11
Programme notes continued
William Walton
Belshazzar’s Feast Roderick Williams baritone London Philharmonic Choir
1902–83
The text begins on page 14. By the time William Walton’s career took flight in the 1920s, Elgar’s was on the wane. But the resurgence in the English symphonic tradition — something that Elgar had almost singlehandedly overseen — was soon adopted by Walton, his style effortlessly combining Elgar’s influence with those of Stravinsky, Sibelius, Hindemith and Ravel. Unlike many of his contemporaries, Walton worked in relative isolation: largely self-taught, he had no pupils, held no posts at conservatoires and gave no public lectures. He was a slow worker and by no means prolific as a composer, though he would go on to enjoy significant success as a film composer. While this often led critics to dismiss his music as too ‘lightweight’ and ‘populist’ to be considered alongside other luminaries of the 20th century, this criticism overlooks the remarkable assimilation of styles elsewhere within his music. It also ignores works such as Façade, which, although it stirred up controversy at its first performance, is now celebrated as a turning point in 20th-century composition. It says something of the high regard in which Walton was held by the establishment that he was commissioned to write coronation anthems for the crowning of two 20th-century monarchs: Crown Imperial for the coronation of George VI in 1937, and Orb and Sceptre (1953) for the coronation of Queen Elizabeth II seventeen years later. In 1929 Walton was commissioned by the BBC to compose a ‘small-scale’ choral work suitable for broadcasting. It was to be written for a small choir, soloist and a modest orchestra comprising no more than 15 instrumentalists. Two years later Walton responded with one of his biggest scores to date – a mammoth oratorio for baritone soloist, chorus, organ and symphony orchestra, its barrage of percussion alone requiring at least four different players. On seeing a draft of the
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unfinished score, Sir Thomas Beecham, director of the Leeds Festival where the work was to receive its premiere, slyly remarked: ‘As you’ll never hear the thing again, my boy, why not throw in a couple of brass bands?’ Walton did so, and Belshazzar’s Feast (1931) was complete.
Those who experienced the tremendous impact of its first performance had full justification for feeling that a great composer had arisen in our land, a composer to whose potentialities it was impossible to set any limits. Critic at the premiere of Belshazzar’s Feast at the Leeds Festival, 8 October 1931. The libretto, crafted by Osbert Sitwell (brother of Edith, with whom Walton had previously collaborated on Façade), sees excerpts from the Old Testament woven together to tell the story of the Babylonian king, Belshazzar. It is loosely divided into three parts (although the music is more or less continuous), opening with the devastating lamentations of the Jews, who have been cast into exile. A solemn trombone fanfare sets the tone, the torment palpable in the anguished chromaticism of the opening chorus. But torment soon turns to outrage, and thence to resignation. ‘How shall we sing the Lord’s song in a strange land?’, the choir asks, plaintively, their disbelief answered by a fervent display of anger from the baritone soloist: ‘If I forget thee, O Jerusalem, Let my right hand forget her cunning.’ As another explosion of fury subsides, a strident recitative takes us into the central section, where the soloist details the splendours of Babylon — quite at odds
with the grave plight of the Jews — and Belshazzar’s decadent feast. This is music of opulence, grandeur and delight, a glittering contrast with the greyscale sobriety of the opening. The choir, transformed, sets forth in a series of resplendent hymns of praise, but the mood of celebration is soon cut short. His guests, it is revealed, are committing heresy in drinking from vessels stolen from Jerusalem by his father, their songs of praise offered up to false gods. At this, the baritone soloist returns with a chilling proclamation: And the King saw The part of the hand that wrote. And this was the writing that was written: ‘MENE, MENE, TEKEL UPHARSIN’ ‘THOU ART WEIGHED IN THE BALANCE AND FOUND WANTING’. The King is summarily slain — the deed itself announced with an almighty shout by the chorus — his Kingdom is divided and Babylon returns to its former splendour. The final section is given over to a hymn of praise that comprises, by turns, some of the most opulent and tender writing in all of Walton’s oeuvre. Programme notes © Jo Kirkbride
Recommended recordings of tonight’s works by Laurie Watt Butterworth: A Shropshire Lad London Philharmonic Orchestra | Adrian Boult (Lyrita) Elgar: Enigma Variations London Philharmonic Orchestra | Bernard Haitink (LPO Label LPO-0002: see page 11) or London Philharmonic Orchestra | Leonard Slatkin (RCA) Walton: Belshazzar’s Feast London Philharmonic Orchestra & Choir Thomas Allen | Leonard Slatkin (RCA Victor Red Seal) or BBC Symphony Orchestra, BBC Symphony Chorus & BBC Singers | Bryn Terfel | Andrew Davis (Apex)
SPRING 2020 CHORAL HIGHLIGHTS with the London Philharmonic Choir at Southbank Centre’s Royal Festival Hall Saturday 18 January 2020 | 7.30pm Poulenc Seven Tenebrae Responses Poulenc Organ Concerto Fauré Requiem Bertrand de Billy conductor James O’Donnell organ Katerina Tretyakova soprano Stéphane Degout baritone London Philharmonic Choir
Saturday 4 April 2020 | 7.30pm Beethoven King Stephen Overture Beethoven Grosse Fuge Beethoven Ah! Perfido Beethoven Cantata on the Death of Emperor Joseph II Vladimir Jurowski conductor Lise Davidsen soprano London Philharmonic Choir For full list of soloists see lpo.org.uk
Saturday 25 April 2020 | 7.30pm Sibelius Pohjola’s Daughter Lutosławski Concerto for Orchestra* Janáček Glagolitic Mass Edward Gardner conductor London Philharmonic Choir For soloists see lpo.org.uk * Generously supported by the Adam Mickiewicz Institute through the Polska Music Programme.
BOOK NOW AT LPO.ORG.UK OR CALL 020 7840 4242
London Philharmonic Orchestra | 13
Walton: Belshazzar’s Feast text
Chorus Thus spake Isaiah: Thy sons that thou shalt beget They shall be taken away, And be eunuchs In the palace of the King of Babylon Howl ye, howl ye, therefore: For the day of the Lord is at hand! By the waters of Babylon, There we sat down: yea, we wept And hanged our harps upon the willows. For they that wasted us Required of us mirth; They that carried us away captive Required of us a song. Sing us one of the songs of Zion. How shall we sing the Lord’s song In a strange land?
Cinnamon, odours and ointments, Of frankincense, wine and oil, Fine flour, wheat and beasts, Sheep, horses, chariots, slaves And the souls of men. Chorus In Babylon Belshazzar the King made a great feast, Made a feast to a thousand of his lords, And drank wine before the thousand. Belshazzar, while he tasted the wine, Commanded us to bring the gold and silver vessels: Yea! the golden vessels Which his father, Nebuchadnezzar, Had taken out of the temple that was in Jerusalem. He commanded us to bring the golden vessels Of the temple of the house of God, That the King, his Princes, his wives And his concubines might drink therein.
Baritone and Chorus If I forget thee, O Jerusalem, Let my right hand forget her cunning. If I do not remember thee, Let my tongue cleave to the roof of my mouth. Yea, if I prefer not Jerusalem above my chief joy. Chorus By the waters of Babylon There we sat down: yea, we wept. O daughter of Babylon, who art to be destroyed, Happy shall he be that taketh thy children And dasheth them against a stone, For with violence shall that great city Babylon be thrown down And shall be found no more at all.
Then the King commanded us: Bring ye the cornet, flute, sackbut, psaltery And all kinds of music. They drank wine again, Yea, drank from the sacred vessels, And then spake the King: Baritone Praise ye the God of Gold! Praise ye the God of Silver! Praise ye the God of Iron! Praise ye the God of Wood! Praise ye the God of Stone! Praise ye the God of Brass! Praise ye the Gods! Chorus
Baritone Babylon was a great city, Her merchandise was of gold and silver, Of precious stones, of pearls, of fine linen, Of purple, silk and scarlet, All manner vessels of ivory, All manner vessels of most precious wood, Of brass, iron and marble,
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Thus in Babylon, the mighty city, Belshazzar the King made a great feast, Made a feast to a thousand of his lords And drank wine before the thousand. Belshazzar, while he tasted the wine Commanded us to bring the gold and silver vessels
That his Princes, his wives and his concubines Might rejoice and drink therein. After they had praised their strange gods, The idols and the devils, False gods who can neither see nor hear, Called they for the timbrel and the pleasant harp To extol the glory of the King. Then they pledged the King before the people, Crying, Thou, O King, art King of Kings: O King, live for ever. Baritone And in that same hour, as they feasted Came forth fingers of a man’s hand And the King saw The part of the hand that wrote.
Then sing aloud to God our strength: Make a joyful noise unto the God of Jacob, While the Kings of the Earth lament And the merchants of the Earth Weep, wail and rend their raiment. They cry, Alas, Alas, that great city, In one hour is her judgement come. The trumpeters and pipers are silent, And the harpers have ceased to harp, And the light of a candle shall shine no more. Then sing aloud to God our strength. Make a joyful noise to the God of Jacob. For Babylon the Great is fallen. Alleluia! Words selected from Biblical sources by Sir Osbert Sitwell and reprinted by permission of Oxford University Press.
And this was the writing that was written: MENE, MENE, TEKEL UPHARSIN. Chorus THOU ART WEIGHED IN THE BALANCE AND FOUND WANTING. Baritone In that night was Belshazzar the King slain Chorus Slain! Baritone And his Kingdom divided. Chorus Then sing aloud to God our strength: Make a joyful noise unto the God of Jacob. Take a psalm, bring hither the timbrel, Blow up the trumpet in the new moon, Blow up the trumpet in Zion, For Babylon the Great is fallen. Alleluia!
Rembrandt’s Belshazzar’s Feast, depicting the moment in the book of Daniel when a divine hand appeared. Oil on canvas, c.1635–38. © The National Gallery, London. Bought with a contribution from the National Art Collections Fund, 1964.
London Philharmonic Orchestra | 15
New charity Christmas single out on 29 November
RING THE BELLS A new Christmas carol from composer Paul Fincham and the London Philharmonic Choir. Proceeds from the single will go towards Crisis and its mission to end homelessness.
Download or stream online from all major platforms.
#ringthebells lpc.org.uk
lpo.org.uk/recordings
crisis.org.uk
£10.99 | LPO-0114
£9.99 | LPO-0113
£9.99 | LPO-0112
New and recent releases on the LPO Label
BEETHOVEN
MAHLER
MOZART
Symphonies Nos. 3 & 5
Symphony No. 4
Kurt Masur conductor
Vladimir Jurowski conductor Sofia Fomina soprano
Flute Concerto No. 2 Sinfonia Concertante for Four Winds Bassoon Concerto
£9.99 LPO-0112 Released March 2019
£9.99 LPO-0113 Released July 2019
CDs available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Download or stream online via Spotify, Apple Music, Idagio and others.
16 | London Philharmonic Orchestra
Vladimir Jurowski conductor Juliette Bausor flute Jonathan Davies bassoon Ian Hardwick oboe John Ryan horn Thomas Watmough clarinet
£9.99 | LPO-0114 Release date 15 November 2019
Sound Futures donors
We are grateful to the following donors for their generous contributions to our Sound Futures campaign. Thanks to their support, we successfully raised £1 million by 30 April 2015 which has now been matched pound for pound by Arts Council England through a Catalyst Endowment grant. This has enabled us to create a £2 million endowment fund supporting special artistic projects, creative programming and education work with key venue partners including our Southbank Centre home. Supporters listed below donated £500 or over. For a full list of those who have given to this campaign please visit lpo.org.uk/soundfutures. Masur Circle Arts Council England Dunard Fund Victoria Robey OBE Emmanuel & Barrie Roman The Underwood Trust
The Rothschild Foundation Tom & Phillis Sharpe The Viney Family
Haitink Patrons Mark & Elizabeth Adams Dr Christopher Aldren Mrs Pauline Baumgartner Welser-Möst Circle Lady Jane Berrill William & Alex de Winton Mr Frederick Brittenden John Ireland Charitable Trust David & Yi Yao Buckley The Tsukanov Family Foundation Mr Clive Butler Neil Westreich Gill & Garf Collins Tennstedt Circle Mr John H Cook Valentina & Dmitry Aksenov Mr Alistair Corbett Richard Buxton Bruno De Kegel The Candide Trust Georgy Djaparidze Michael & Elena Kroupeev David Ellen Kirby Laing Foundation Christopher Fraser OBE Mr & Mrs Makharinsky David & Victoria Graham Fuller Alexey & Anastasia Reznikovich Goldman Sachs International Sir Simon Robey Mr Gavin Graham Bianca & Stuart Roden Moya Greene Simon & Vero Turner Mrs Dorothy Hambleton The late Mr K Twyman Tony & Susie Hayes Malcolm Herring Solti Patrons Catherine Høgel & Ben Mardle Ageas Mrs Philip Kan John & Manon Antoniazzi Rehmet Kassim-Lakha de Morixe Gabor Beyer, through BTO Rose & Dudley Leigh Management Consulting AG Lady Roslyn Marion Lyons Jon Claydon Miss Jeanette Martin Mrs Mina Goodman & Miss Duncan Matthews QC Suzanne Goodman Diana & Allan Morgenthau Roddy & April Gow Charitable Trust The Jeniffer & Jonathan Harris Dr Karen Morton Charitable Trust Mr Roger Phillimore Mr James R.D. Korner Ruth Rattenbury Christoph Ladanyi & Dr Sophia The Reed Foundation Ladanyi-Czernin The Rind Foundation Robert Markwick & Kasia Robinski The Maurice Marks Charitable Trust Sir Bernard Rix David Ross & Line Forestier (Canada) Mr Paris Natar
Carolina & Martin Schwab Dr Brian Smith Lady Valerie Solti Mr & Mrs G Stein Dr Peter Stephenson Miss Anne Stoddart TFS Loans Limited Marina Vaizey Jenny Watson Guy & Utti Whittaker Pritchard Donors Ralph & Elizabeth Aldwinckle Mrs Arlene Beare Mr Patrick & Mrs Joan Benner Mr Conrad Blakey Dr Anthony Buckland Paul Collins Alastair Crawford Mr Derek B. Gray Mr Roger Greenwood The HA.SH Foundation Darren & Jennifer Holmes Honeymead Arts Trust Mr Geoffrey Kirkham Drs Frank & Gek Lim Peter Mace Mr & Mrs David Malpas Dr David McGibney Michael & Patricia McLaren-Turner Mr & Mrs Andrew Neill Mr Christopher Querée The Rosalyn & Nicholas Springer Charitable Trust Timothy Walker AM Christopher Williams Peter Wilson Smith Mr Anthony Yolland and all other donors who wish to remain anonymous
London Philharmonic Orchestra | 17
Thank you
We are extremely grateful to all donors who have given generously to the LPO over the past year. Your generosity helps maintain the breadth and depth of the LPO’s activities, as well as supporting the Orchestra both on and off the concert platform.
Artistic Director’s Circle An anonymous donor Sir Simon & Lady Robey OBE Orchestra Circle The Candide Trust Mr & Mrs Philip Kan Neil Westreich Principal Associates Richard Buxton In memory of Brenda Lyndoe Casbon In memory of Ann Marguerite Collins Associates Steven M. Berzin Kay Bryan William & Alex de Winton Hamish & Sophie Forsyth Mrs Irina Gofman Countess Dominique Loredan Mr & Mrs Makharinsky George Ramishvili Stuart & Bianca Roden In memory of Hazel Amy Smith Gold Patrons An anonymous donor David & Yi Buckley In memory of Allner Mavis Channing The Chiltern Friends of the LPO Gill & Garf Collins Andrew Davenport Sonja Drexler Mrs Gillian Fane Marie-Laure Favre-Gilly de Varennes de Beuill Virginia Gabbertas MBE Mr Roger Greenwood The Jeniffer and Jonathan Harris Charitable Trust Geoff & Meg Mann Francis & Marie-France Minkoff Julian & Gill Simmonds Eric Tomsett The Viney Family Laurence Watt
Silver Patrons Ms Terri Borain Andrea d’Avack Georgy Djaparidze Ulrike & Benno Engelmann Peter & Fiona Espenhahn Rehmet Kassim-Lakha de Morixe John & Angela Kessler Jamie & Julia Korner The Metherell Family Denis & Yulia Nagy Mikhail Noskov & Vasilina Bindley Tom & Phillis Sharpe Andrew & Rosemary Tusa Guy & Utti Whittaker Grenville & Krysia Williams Bronze Patrons Anonymous donors Michael Allen Mr Mark Astaire Margot Astrachan Mr Geoffrey Bateman Mrs A Beare Dr Anthony Buckland Mr Alan C Butler Desmond & Ruth Cecil The Earl & Countess of Chichester Mr Michael Cole-Fontayn Mr John H Cook Howard & Veronika Covington Mrs Maria Danilova Guy Davies Bruno De Kegel Cameron & Kathryn Doley Jill Dyal David Ellen Ignor & Lyuba Galkin Mr Daniel Goldstein David & Jane Gosman Mr Gavin Graham Lord & Lady Hall Mrs Dorothy Hambleton Wim & Jackie Hautekiet-Clare Eugene & Allison Hayes Ms Elena Heinz Malcolm Herring Catherine Høgel & Ben Mardle J Douglas Home Rose & Dudley Leigh
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Elena Lileeva & Adrian Pabst Drs Frank & Gek Lim Mrs Elizabeth Meshkvicheva Maxim & Natalia Moskalev Mr & Mrs Andrew Neill Peter & Lucy Noble Linda & Tim O’Neill Jacopo Pessina Mr Alex Petrov Mr Roger Phillimore Mr Michael Posen Mr Alex Smedley Ms Nadia Stasyuk Ms Sharon Thomas Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Marina Vaizey Ms Jenny Watson CBE Christopher Williams Mr Anthony Yolland Principal Supporters Anonymous donors Ralph & Elizabeth Aldwinckle Helen Brocklebank Mr Philip Bathard-Smith Ms Phyllia Chen Mr & Mrs Stewart Cohen David & Liz Conway Mr Alistair Corbett In honour of Bea Crumbine Mr Jonathan Davies Mr Richard Fernyhough Mr Michael Fox Mr Stephen Goldring Mr Milton Grundy Mr Ian Haslegrave Michael & Christine Henry Lady Hill Mrs Maureen Hooft-Graafland Jamilya Jakisheva Per Jonsson Vadim Levin Lady Leonora, Countess of Lichfield Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Paul & Brigitta Lock Mr Peter Mace Michael & Patricia MclarenTurner Alice P. Melly
Mr John Meloy Andrew T Mills Dr Karen Morton Maxim & Natalia Moskalev Mrs Jannifer Oxley Mr James Pickford Natalie Pray Mr Christopher Querée Sir Bernard Rix Mr Robert Ross Barry & Gillian Smith Mr Bill Smith Martin & Cheryl Southgate Mr & Mrs G Stein Dr Peter Stephenson Matthew Stephenson & Roman Aristarkhov Marina Vaizey Howard & Sheelagh Watson Supporters Anonymous donors Mr John D Barnard Mr Bernard Bradbury Mr Richard Brooman Mrs Alan Carrington Mr Julien Chilcott-Monk Alison Clarke & Leo Pilkington Mr Joshua Coger Mr Geoffrey A Collens Miss Tessa Cowie Lady Jane Cuckney OBE Mr David Devons Samuel Edge Manuel Fajardo & Clémence Humeau Mrs Janet Flynn Scott & Icy Frantz Christopher Fraser OBE Will Gold Mr Peter Gray The Jackman Family Mr & Mrs Bon Jasperson Mr David MacFarlane Peter & Isabel Malkin Mr Frederic Marguerre Mr Mark Mishon Trevor Mulineaux Bill & Jane Nickerson Mr Stephen Olton Anju & Radhika Patel Mr David Peters Candace Procaccini
Mr & Mrs Graham & Jean Pugh Mr David Russell Deb & Jay Shaw Ms Elizabeth Shaw Mr Kenneth Shaw Ms Natalie Spraggon & Mr David Thomson Mrs John E Stauffer Ronald & Davidde Strackbein Mr John Weekes Joanna Williams Hon. Benefactor Elliott Bernerd Hon. Life Members Alfonso Aijón Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Mrs Jackie Rosenfeld OBE Laurence Watt LPO International Board of Governors Natasha Tsukanova Chair Steven M. Berzin (USA) Veronika Borovik-Khilchevskaya (Cyprus) Kay Bryan (Australia) Marie-Laure Favre Gilly de Varennes de Bueil (France) Irina Gofman (Russia) Joyce Kan (China/Hong Kong) Countess Dominique Loredan (Italy) Olivia Ma (Greater China Area) Olga Makharinsky (Russia) George Ramishvili (Georgia) Victoria Robey OBE (USA)
Thomas Beecham Group Members David & Yi Buckley The Candide Trust The Chiltern Friends of the LPO Gill & Garf Collins Andrew Davenport William & Alex de Winton Donors to the 2019 Gala Player Appeal Sonja Drexler The Friends of the LPO Irina Gofman Roger Greenwood Dr Barry Grimaldi Mr & Mrs Philip Kan John & Angela Kessler Countess Dominique Loredan Sir Simon Robey Victoria Robey OBE Bianca & Stuart Roden Caroline, Jamie & Zander Sharp Julian & Gill Simmonds Eric Tomsett Natasha Tsukanova Neil Westreich Guy & Utti Whittaker We are grateful to the Board of the American Friends of the London Philharmonic Orchestra, who assist with fundraising for our activities in the United States of America: Simon Freakley Chairman Alexandra Jupin William A. Kerr Kristina McPhee Natalie Pray Stephanie Yoshida Antony Phillipson Hon. Chairman Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP
Connecticut Gala Committee Bea Crumbine & Jill Dyal Co-Chairmen Rodica Brune Mandy DeFilippo Rachel Franco Nick Gutfreund Mary Hull Steve Magnuson Natalie Pray Victoria Robey OBE Lisa & Scot Weicker Corporate Donors Barclays L Catterton Paul Hastings LLP Payne Hicks Beach Pictet Bank White & Case LLP LPO Corporate Circle Leader freuds Sunshine Principal Berenberg Carter-Ruck French Chamber of Commerce Tutti Ageas Lazard Russo-British Chamber of Commerce Walpole Preferred Partners After Digital Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic Steinway Villa Maria In-kind Sponsor Google Inc
Trusts and Foundations The Bernarr Rainbow Trust The Boltini Trust Sir William Boreman’s Foundation Borletti-Buitoni Trust Boshier-Hinton Foundation The Candide Trust The Chalk Cliff Trust Cockayne – Grants for the Arts The D’Oyly Carte Charitable Trust Dunard Fund Ernst von Siemens Music Foundation The Fidelio Charitable Trust Foyle Foundation Lucille Graham Trust John Horniman’s Children’s Trust John Thaw Foundation The Idlewild Trust Kirby Laing Foundation The Lawson Trust The Leverhulme Trust Andrew Lloyd Webber Foundation The London Community Foundation Lord & Lady Lurgan Trust Marsh Christian Trust Adam Mickiewicz Institute PRS For Music Foundation The Radcliffe Trust Rivers Foundation Romanian Cultural Institute RVW Trust The Sampimon Trust Schroder Charity Trust Serge Rachmaninoff Foundation The Steel Charitable Trust Spears-Stutz Charitable Trust The Thomas Deane Trust The Viney Family The Clarence Westbury Foundation Garfield Weston Foundation The Barbara Whatmore Charitable Trust The William Alwyn Foundation and all others who wish to remain anonymous.
London Philharmonic Orchestra | 19
Administration
Board of Directors Victoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-President Dr Catherine C. Høgel Vice-Chairman Henry Baldwin* Roger Barron David Buckley Bruno De Kegel Martin Höhmann* Al MacCuish Susanne Martens* Pei-Jee Ng* Andrew Tusa Timothy Walker AM Neil Westreich David Whitehouse* * Player-Director Advisory Council Martin Höhmann Chairman Rob Adediran Christopher Aldren Dr Manon Antoniazzi Richard Brass Helen Brocklebank Desmond Cecil CMG Sir Alan Collins KCVO CMG Andrew Davenport William de Winton Cameron Doley Edward Dolman Christopher Fraser OBE Lord Hall of Birkenhead CBE Jonathan Harris CBE FRICS Amanda Hill Rehmet Kassim-Lakha Jamie Korner Geoff Mann Clive Marks OBE FCA Stewart McIlwham Andrew Neill Jamie Njoku-Goodwin Nadya Powell Sir Bernard Rix Victoria Robey OBE Baroness Shackleton Thomas Sharpe QC Julian Simmonds Barry Smith Martin Southgate Andrew Swarbrick Sir John Tooley Chris Viney Timothy Walker AM Laurence Watt Elizabeth Winter
General Administration Timothy Walker AM Chief Executive and Artistic Director
Education and Community Isabella Kernot Education and Community Director
David Burke General Manager and Finance Director
Talia Lash Education and Community Manager
Sarah Gee PA to the Chief Executive/ Office Administrator
Emily Moss Education and Community Project Manager
Finance Frances Slack Finance and Operations Manager
Hannah Tripp Education and Community Project Co-ordinator
Dayse Guilherme Finance Officer
Development Laura Willis Development Director
Concert Management Roanna Gibson Concerts Director
Vicky Moran Development Events Manager
Graham Wood Concerts and Recordings Manager Sophie Richardson Glyndebourne and Projects Manager (maternity leave) Fabio Sarlo Glyndebourne and Projects Manager (maternity cover) Grace Ko Tours Manager Alison Jones Concerts and Recordings Co-ordinator Christina Perrin Concerts and Tours Assistant Matthew Freeman Recordings Consultant Andrew Chenery Orchestra Personnel Manager Sarah Holmes Sarah Thomas Librarians Christopher Alderton Stage Manager Damian Davis Transport Manager Hannah Verkerk Orchestra Co-ordinator and Auditions Administrator Laura Kitson Assistant Transport & Stage Manager
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Christina McNeill Corporate Relations Manager Rosie Morden Individual Giving Manager Anna Quillin Trusts and Foundations Manager Izzy Keig Development Assistant Lewis Hammond Development Assistant ~ Nick Jackman Campaigns and Projects Director Kirstin Peltonen Development Associate Marketing Kath Trout Marketing Director Mairi Warren Marketing Manager Alexandra Lloyd Projects and Residencies Marketing Manager Megan Macarte Box Office Manager (Tel: 020 7840 4242) Rachel Williams Publications Manager Rachel Smith Website Manager Greg Felton Digital Creative Georgie Gulliver Marketing Assistant
Public Relations Premier classical@premiercomms.com Tel: 020 7292 7355/ 020 7292 7335 Archives Philip Stuart Discographer Gillian Pole Recordings Archive Professional Services Charles Russell Speechlys Solicitors Crowe Clark Whitehill LLP Auditors Dr Barry Grimaldi Honorary Doctor Mr Chris Aldren Honorary ENT Surgeon Mr Brian Cohen Mr Simon Owen-Johnstone Honorary Orthopaedic Surgeons London Philharmonic Orchestra 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Box Office: 020 7840 4242 Email: admin@lpo.org.uk lpo.org.uk The London Philharmonic Orchestra Limited is a registered charity No. 238045. Composer photographs courtesy of the Royal College of Music, London. Cover artwork Ross Shaw @JMG Studio Printer Cantate