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SPRING 2021 CONCERT SEASON

THE STREAM OF LIFE PROGRAMME NOTES WEDNESDAY 14 APRIL 2021 8PM

BOHEMIAN RHAPSODIES Janáček Jealousy Dvořák The Wild Dove Dvořák Cello Concerto Sir Mark Elder conductor Steven Isserlis cello

LONDON PHILHARMONIC ORCHESTRA • BOHEMIAN RHAPSODIES • 14 APRIL 2021

CONTENTS CLICK ON THE HEADINGS TO JUMP TO A SECTION

3 JANÁČEK - JEALOUSY 4 DVOŘÁK – THE WILD DOVE 6 DVOŘÁK – CELLO CONCERTO 8 SIR MARK ELDER 9 STEVEN ISSERLIS 10 LONDON PHILHARMONIC ORCHESTRA 11 ON STAGE TONIGHT 12 NEXT CONCERTS 13 ANNUAL APPEAL 2021: MUSIC WITH MEANING 14 THANK YOU 17 MEMBERSHIPS & DONATIONS 18 CORPORATE PARTNERSHIPS 19 SOUND FUTURES DONORS 20 LPO ADMINISTRATION Concert performed at the Southbank Centre’s Royal Festival Hall on 20 March 2021 and filmed by Intersection. The safety of our musicians and staff is paramount, and filming sessions adhere strictly to safety measures in line with UK Government guidance. The London Philharmonic Orchestra is grateful to all those whose who are generously supporting the Orchestra during the 2020/21 season. This performance has been made possible through a grant from the Cultural Recovery Fund from the Department of Digital, Culture, Media and Sport. #HereForCulture

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LONDON PHILHARMONIC ORCHESTRA • BOHEMIAN RHAPSODIES • 14 APRIL 2021

PROGRAMME NOTES LEOŠ JANÁČEK 1854–1928

JEALOUSY 1894 – APPROX 6 MINS – Several eminent composers were late starters – or at least late maturers – but there can be few cases as spectacular as that of Leoš Janáček. His great career breakthrough came in his 62nd year, when his opera Jenůfa was revived in Prague, to huge acclaim, 12 years after its first performance. It is widely agreed that it was in Jenůfa that Janáček found his mature, distinctive voice for the first time; and, as often with voyages of self-discovery, it took him a long time to complete. By the time Janáček finished the score, in 1903, he’d been at work on it for around ten years. Any sense of achievement he may have felt in that was overshadowed devastatingly by the death of his beloved daughter Olga, at just 21. Towards the end, Janáček was working flat-out in the study next to Olga’s bedroom, painfully aware that she was dangerously ill – though Olga was still strong enough to ask her father to play through the entire opera to her on the piano, not long before she died. ‘I would bind Jenůfa with the black ribbon of the long illness, pain and sighing of my daughter Olga’, Janáček later wrote, and he dedicated the score to her memory. It is likely that the extraordinary empathy for female suffering Janáček shows in Jenůfa, and in several of his later operas, was influenced by the torment of witnessing Olga’s struggles and her dreadfully premature end.

The title Jealousy derives from the folk melody ‘Žárlivec’ (‘The Jealous Man’), which Janáček adapts in his score, suggesting, interestingly, that the emotional perspective here is not that of the tormented heroine herself, but that of her violently envious admirer Laca, who nevertheless turns out to have a bigger, more generous heart in the opera’s wonderful closing scene. There is also a figure of five repeated notes for the timpani, heard right at the opening, which strongly anticipates the ‘Fate’ rhythm heard at the beginning of Janáček’s opera Káťa Kabanová. Janáček may have been right to detach Jealousy from Jenůfa, but it makes a gripping, concise character study in its own right.

Leoš Janáček

Jealousy began life as the overture to Jenůfa, but Janáček seems to have realised quite quickly that this remarkably unconventional opera, with its realistic, un-formal setting of a prose text, didn’t need the conventional formality of a musical curtain-raiser. Still, the overture is a powerful piece in its own right, with no obvious thematic echoes of the opera, and it has acquired a life of its own in the concert hall. –3–

LONDON PHILHARMONIC ORCHESTRA • BOHEMIAN RHAPSODIES • 14 APRIL 2021

PROGRAMME NOTES ANTONÍN DVOŘÁK 1841–1904

THE WILD DOVE, OP. 110 1896 – APPROX 19 MINS –

For most of his mature career Antonín Dvořák managed to sustain a skilful artistic tightrope act. The music of his Bohemian (today Czech) homeland was precious to him, and he continually sought new ways of incorporating its flavoursome characteristics into his own style: up to a point he could be described as a nationalist. But unlike the really hard-line nationalists of his day he also venerated the great German classic-romantic Johannes Brahms; and like his hero, and enthusiastic supporter, Dvořák concentrated a lot of his attention on the established ‘classical’ forms: symphonies, string quartets, conventional religious choral works and two magnificent concertos. If the nationalists would regard all this with suspicion, so too would the modernists – the followers of Richard Wagner and Franz Liszt. For these self-styled ‘progressives’, writing in classical forms was a hopelessly moribund way of thinking: there could be no such thing as ‘absolute’ or ‘abstract’ composition; music only functioned at the height of its powers when it was reunited with other arts – as, for instance, in the Lisztian ‘symphonic poem’, where music was contrived to illustrate stories, paint scenes, or even convey philosophical ideas.

hero’s welcome he received on his return to Europe in 1895? Whatever, the enthusiasm and delight with which Dvořák approached the medium is audible in all four of these works. Dvořák had in fact produced three semi-programmatic ‘overtures’ already under the heading ‘Nature, Life and Love’ back in 1892, the third of which, Othello, can be read as a tone-poem in all but name. But in these new, openly symphonic-poetic works the element of musical storytelling acquires a new richness and vitality. The Wild Dove (or ‘Wood Dove’) – one of four substantial symphonic poems Dvořák produced in 1896 – is a prime example, transforming its dark story into a haunting, atmospheric musical drama. The Wild Dove is based on a ballad by the influential Czech folklorist Karel Jaromír Erben. In the ballad, a young woman poisons her husband, putting on a spectacular display of grief at his funeral. She then falls for a handsome young man, to whom she’s soon married with plenty of ostentatious celebration. But the eerie, plaintive cooing of a dove stirs her guilty conscience, and eventually, in a fit of remorse, she kills herself.

So when, in 1896, Dvořák suddenly produced a flood of symphonic poems, there was astonishment in some quarters. What on earth was Brahms’s most famous protégé doing writing things like these? Could the fact that Brahms was now mortally ill have been influential – with his father-figure effectively leaving the stage, did Dvořák now feel free to explore new fields? Or was it the effect of his triumphant American sojourn, and the

Dvořák’s musical retelling begins with funeral music (sombre, martial brass and timpani with lamenting melodies for flutes and violins), in which the feigned sobs of the widow can also be heard (again flutes and violins, in weird chromatic falling figures). The comely youth appears (distant trumpets, woodwind and harp, with a sinister colouring provided by bass clarinet), while the dove’s song hovers, as yet unheeded, on flute. Wild wedding festivities follow, eventually subsiding

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LONDON PHILHARMONIC ORCHESTRA • BOHEMIAN RHAPSODIES • 14 APRIL 2021

PROGRAMME NOTES

into gentler, more intimate dance music. However, hushed string tremolos introduce the chilling dove-call (flutes, oboe and fluttering high harp), and anguished crescendos illustrate the widow’s pangs of guilt and eventual self-destruction. But unlike the poet Erben, Dvořák doesn’t stop there: an elegiac string coda is followed by hymn-like woodwind chords, and finally a widely spaced major-key chord on strings suggests atonement and benediction, with the dove’s call now sounding calmly on flutes and harp. Is the dove the voice of the murdered husband, or simply natural justice? Either way, it seems to have been appeased.

‘YOU KNOW WHEN SOMEONE TAKES THE WORDS RIGHT OUT OF YOUR MOUTH BEFORE YOU HAVE EVEN MANAGED TO EXPRESS THEM? THAT’S HOW IT ALWAYS WAS FOR ME IN THE COMPANY OF DVOŘÁK. AS A PERSON, HE WAS LIKE HIS MUSIC; THEY WERE ONE AND THE SAME. HIS MELODIES TRULY ECHO WHAT IS IN MY HEART.’

One other point of interest: The Wild Dove had its first performance in 1898 in Brno, under the baton of a then little-known composer named Leoš Janáček.

LEOŠ JANÁČEK ON HIS FRIEND ANTONÍN DVOŘÁK

Antonín Dvořák –5–

LONDON PHILHARMONIC ORCHESTRA • BOHEMIAN RHAPSODIES • 14 APRIL 2021

PROGRAMME NOTES ANTONÍN DVOŘÁK 1841–1904

CELLO CONCERTO IN B MINOR, OP. 104 1894–5 – APPROX 40 MINS –

STEVEN ISSERLIS CELLO 1 ALLEGRO 2 ADAGIO MA NON TROPPO 3 ALLEGRO MODERATO Few people are surprised today when a composer chooses to write a cello concerto. As the great examples by Dvořák, Elgar, Schumann, Walton and Shostakovich show, this noble, rich-toned, soulfully expressive and remarkably agile instrument makes a splendid concerto soloist. But when the Czech composer Antonín Dvořák wrote his Cello Concerto in 1894–5, even connoisseurs were surprised. When Johannes Brahms – composer of one of the greatest violin concertos in the repertoire – first saw Dvořák’s score, he exclaimed, ‘Why on earth didn’t I know that one could write a cello concerto like this? If I had only known, I would have written one long ago!’

to put up with whenever a cellist gets to work.’ But there is also the issue of balance. The cello may seem to have a powerful voice, but its lower notes in particular can easily be overwhelmed if the orchestral accompaniment is too rich and strong. But Dvořák copes superbly with this potential problem. Though he uses a relatively large orchestra, the cello soloist rarely has to contend with anything like its full force. There are loud, impressive orchestral tuttis, but in these passages the cellist is mostly silent. The result is that, given a reasonably strong player, every note of the cello part should be audible. That must have been one of the Concerto’s features that so impressed Brahms.

Actually there’s no reason why Brahms should have known: in his and Dvořák’s day the cello was rarely played well as a solo instrument. In fact the situation seems to have lasted for some time after Dvořák’s death. As late as 1939, the famous Manchester Guardian critic Neville Cardus complained of ‘the wasp-in-the-window effect which most times we have

Beyond that, Brahms can hardly fail to have been impressed by Dvořák’s melodic writing. The Cello Concerto brims over with wonderful long tunes and characterful short motifs. Not all of these are initially identified with the cello. Like most concertos of the Classical era of Mozart and Beethoven, Dvořák begins the first movement with a long passage for orchestra

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LONDON PHILHARMONIC ORCHESTRA • BOHEMIAN RHAPSODIES • 14 APRIL 2021

PROGRAMME NOTES alone. There is a darkly memorable theme for low woodwind at the start, then, after the first big climax, a glorious long tune for solo horn. So when the cello enters for the first time, it not only has to cope with Dvořák’s technical assault-course, it also has to establish a claim to these themes for itself.

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In the slow movement, it is the cellist’s powers as an instrumental singer that are tested to the full. The first theme is relaxed and reflective, with strong suggestions of folksong. But this is interrupted by a darker minor-key central section. Here there is a definite autobiographical element. While Dvořák was working on the Concerto, he heard that his sister-in-law, Josefina Kaunitzova, was seriously ill – in his youth Dvořák had been in love with her. Josefina was particularly fond of Dvořák’s song ‘Leave me alone’ (Op. 82, No. 1), and in this slow movement he has the cello quote its melody just after the first stern entry of the trombones and tuba. This same melody reappears near the end of the finale – this time in response to the news of Josefina’s death. The finale’s opening march theme does return in triumph to end the Concerto, but that poignant reminiscence of lost love lingers in the memory – is this where the Concerto’s heart truly lies?

Have you checked out our LPO podcast, LPO Offstage, yet? Throughout the series, presenter YolanDa Brown chats with members of the Orchestra about their lives off the concert stage. Tune in to hear about brutal conductor takedowns, why you might want to pour water over your double bass, where to get a great post-concert beer, and lots more.

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LONDON PHILHARMONIC ORCHESTRA • BOHEMIAN RHAPSODIES • 14 APRIL 2021

TONIGHT'S ARTISTS SIR MARK ELDER CH CBE CONDUCTOR

Sir Mark Elder has worked with many of the world’s leading symphony orchestras, is a Principal Artist of the Orchestra of the Age of Enlightenment, and has appeared annually at the BBC Proms for many years, including – in 1987 and 2006 – at the internationally televised Last Night. He has enjoyed a long association with the Royal Opera House and appears in many other prominent theatres including the Metropolitan Opera, Opéra de Paris and Glyndebourne Festival Opera. He was the first English conductor to conduct a new production at the Bayreuth Festival. From 2011–19 he was Artistic Director of Opera Rara, and he has made many award-winning recordings in a wide repertoire with the Hallé. Sir Mark Elder was appointed a Companion of Honour in 2017, knighted in 2008 and awarded the CBE in 1989. In 2006 he was named Conductor of the Year by the Royal Philharmonic Society, and he was awarded Honorary Membership of the Royal Philharmonic Society in 2011.

Sir Mark Elder has been Music Director of the Hallé since September 2000. He was previously Music Director of English National Opera (1979–93) and Principal Guest Conductor of the BBC Symphony Orchestra and the City of Birmingham Symphony Orchestra. In October 2020 Sir Mark conducted the LPO in Beethoven’s Symphony No. 8 alongside works by Richard Strauss and Anna Clyne, in a concert streamed by Marquee TV in the Orchestra’s first series of online concerts from the Royal Festival Hall. Previous engagements with the LPO include Puccini’s first opera, Le Villi, in its original version in November 2018: the work’s first UK performance in 120 years, at the Royal Festival Hall in collaboration with Opera Rara. The performance was recorded and subsequently released on the Opera Rara label. In November 2016 Sir Mark conducted Beethoven’s Missa Solemnis with the London Philharmonic Orchestra and Choir, also at the Royal Festival Hall.

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LONDON PHILHARMONIC ORCHESTRA • BOHEMIAN RHAPSODIES • 14 APRIL 2021

TONIGHT'S ARTISTS STEVEN ISSERLIS CELLO

Steven’s wide-ranging discography includes JS Bach’s complete solo cello suites (Gramophone’s Instrumental Album of the Year), Beethoven’s complete works for cello and piano, concertos by CPE Bach and Haydn, the Elgar and Walton concertos, and the Brahms Double Concerto with Joshua Bell and the Academy of St Martin in the Fields.

Since 1997, Steven has been Artistic Director of the International Musicians Seminar at Prussia Cove, Cornwall. He also enjoys playing for children, and has created three musical stories with the composer Anne Dudley. His two books for children, published by Faber & Faber, have been translated into many languages; his latest book for Faber is a commentary on Schumann’s Advice for Young Musicians, and a book about the Bach Suites will appear in 2021. He has also devised and written two evenings of words and music, one describing the last years of Robert Schumann, the other devoted to Marcel Proust and his salons, and has presented many programmes for radio, including documentaries about two of his heroes – Robert Schumann and Harpo Marx.

Acclaimed worldwide for his profound musicianship and technical mastery, British cellist Steven Isserlis enjoys a uniquely varied career as a soloist, chamber musician, educator, author and broadcaster. He appears with the world’s leading orchestras and conductors, and gives recitals in major musical centres. As a chamber musician he has curated concert series for many prestigious venues including London’s Wigmore Hall, New York’s 92nd St Y and the Salzburg Festival. Unusually, he also directs chamber orchestras from the cello in classical programmes. Steven’s most recent appearance with the London Philharmonic Orchestra was in December 2016, when he performed Prokofiev’s Cello Concerto in E minor with conductor Vladimir Jurowski at the Royal Festival Hall. Steven has a strong interest in historical performance, working with many period-instrument orchestras and giving recitals with harpsichord and fortepiano. He is also a keen exponent of contemporary music and has given many premieres of new works, including Sir John Tavener’s The Protecting Veil and many other works, Thomas Adès’s Lieux retrouvés, three works for solo cello by György Kurtág, and pieces by Heinz Holliger and Jörg Widmann.

The recipient of many awards, Steven’s honours include a CBE in recognition of his services to music, the Schumann Prize of the City of Zwickau, the Piatigorsky Prize and Maestro Foundation Genius Grant in the US, the Glashütte Award in Germany, the Gold Medal awarded by the Armenian Ministry of Culture, and the Wigmore Medal. Steven plays the ‘Marquis de Corberon’ Stradivarius of 1726, on loan from the Royal Academy of Music.

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LONDON PHILHARMONIC ORCHESTRA • BOHEMIAN RHAPSODIES • 14 APRIL 2021

LONDON PHILHARMONIC ORCHESTRA

PRINCIPAL CONDUCTOR AND ARTISTIC ADVISOR VLADIMIR JUROWSKI PRINCIPAL CONDUCTOR DESIGNATE EDWARD GARDNER SUPPORTED BY MRS CHRISTINA LANG ASSAEL PRINCIPAL GUEST CONDUCTOR KARINA CANELLAKIS • LEADER PIETER SCHOEMAN SUPPORTED BY NEIL WESTREICH ARTISTIC DIRECTOR CRISTINA ROCCA • CHIEF EXECUTIVE DAVID BURKE • PATRON HRH THE DUKE OF KENT KG

One of the finest orchestras on the international stage, the London Philharmonic Orchestra was founded in 1932 by Sir Thomas Beecham. Since then, its Principal Conductors have included Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. In 2007 Vladimir Jurowski became the Orchestra’s current Principal Conductor. Edward Gardner is Principal Conductor Designate, and will take up the position from 2021. Karina Canellakis is the Orchestra’s current Principal Guest Conductor. The London Philharmonic Orchestra has performed at Southbank Centre’s Royal Festival Hall since it opened in 1951, becoming Resident Orchestra in 1992. It also has residencies at Glyndebourne and in Brighton, Eastbourne and Saffron Walden, and performs regularly around the UK. The Orchestra also tours internationally, performing to audiences worldwide. The Orchestra broadcasts regularly on television and radio, and has recorded soundtracks for numerous films including The Lord of the Rings. In 2005 it began releasing live, studio and archive recordings on its own

CD label, which now numbers over 100 releases. The Orchestra’s work at the forefront of digital technology has enabled it to reach millions of people worldwide: all its own-label recordings are available to download and stream and, as well as a YouTube channel and ‘LPO Offstage’ podcast series, the Orchestra has a lively presence on social media. Over the pandemic period the LPO has further developed its relationship with UK and international audiences through its ‘LPOnline’ digital content: over 100 videos of performances, insights, and introductions to playlists, which have so far collectively received over 3 million views worldwide and led to the LPO being named runner-up in the Digital Classical Music Awards 2020. During Autumn 2020 and once again from March 2021, the Orchestra is delighted to be able to return to its Southbank Centre home to perform a season of concerts filmed live and streamed for audiences to enjoy at home free of charge via Marquee TV. lpo.org.uk

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LONDON PHILHARMONIC ORCHESTRA • BOHEMIAN RHAPSODIES • 14 APRIL 2021

ON STAGE TONIGHT FIRST VIOLINS Pieter Schoeman* LEADER

CELLOS Kristina Blaumane PRINCIPAL

Vesselin Gellev SUB-LEADER Kate Oswin Lasma Taimina

Pei-Jee Ng CO-PRINCIPAL Francis Bucknall Laura Donoghue David Lale Elisabeth Wiklander

Chair supported by Neil Westreich

Chair supported by Irina Gofman & Mr Rodrik V. G. Cave

Minn Majoe Katalin Varnagy

Chair supported by Sonja Drexler

Yang Zhang

Chair supported by Eric Tomsett

Martin Höhmann Catherine Craig Thomas Eisner

Chair supported by Bianca & Stuart Roden

DOUBLE BASSES Kevin Rundell* PRINCIPAL Sebastian Pennar CO-PRINCIPAL George Peniston Tom Walley Laura Murphy Chair supported by Friends of the Orchestra

SECOND VIOLINS Tania Mazzetti PRINCIPAL

Chair supported by Countess Dominique Loredan

Emma Oldfield Helena Smart Ashley Stevens Kate Birchall Marie-Anne Mairesse Nancy Elan Joseph Maher Fiona Higham

Chair supported by David & Yi Buckley

Nynke Hijlkema

VIOLAS Richard Waters PRINCIPAL Ting-Ru Lai Laura Vallejo Benedetto Pollani Stanislav Popov Naomi Holt Joseph Fisher Martin Wray

FLUTES Juliette Bausor PRINCIPAL

Chair supported by Caroline, Jamie & Zander Sharp

HORNS Mark Vines PRINCIPAL Martin Hobbs Duncan Fuller Gareth Mollison Elise Campbell TRUMPETS Paul Beniston* PRINCIPAL James Fountain* PRINCIPAL Anne McAneney* TROMBONES Mark Templeton* PRINCIPAL

Chair supported by William & Alex de Winton

David Whitehouse

BASS TROMBONE Lyndon Meredith PRINCIPAL

Stewart McIlwham*

OBOES Ian Hardwick* PRINCIPAL Alice Munday COR ANGLAIS Sue Böhling* PRINCIPAL

Chair supported by Dr Barry Grimaldi

CLARINETS Benjamin Mellefont PRINCIPAL Thomas Watmough Chair supported by Roger Greenwood

BASS CLARINET Paul Richards* PRINCIPAL BASSOONS Jonathan Davies PRINCIPAL Chair supported by Sir Simon Robey

Gareth Newman Simon Estell*

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TUBA Lee Tsarmaklis* PRINCIPAL TIMPANI Simon Carrington* PRINCIPAL Chair supported by Victoria Robey OBE

PERCUSSION Andrew Barclay* PRINCIPAL Henry Baldwin CO-PRINCIPAL Keith Millar HARP Rachel Masters PRINCIPAL * Holds a professorial appointment in London

LONDON PHILHARMONIC ORCHESTRA • BOHEMIAN RHAPSODIES • 14 APRIL 2021

NEXT CONCERTS SPRING 2021 CONCERT SEASON WITH MARQUEE TV THE EMPEROR CONCERTO WEDNESDAY 21 APRIL 2021 8PM Beethoven Piano Concerto No. 5 (Emperor) Sibelius Symphony No. 7 Robin Ticciati conductor Denis Kozhukhin piano

LA VIE PARISIENNE WEDNESDAY 28 APRIL 2021 8PM Ravel Mother Goose: Suite Ravel Piano Concerto in G Offenbach Gaîté Parisienne: Ballet Suite Fabien Gabel conductor Alexandra Dariescu piano

WEDNESDAY 5 MAY 2021 8PM Berlioz Les nuits d’été Schumann Symphony No. 4 Maxim Emelyanychev conductor Miah Persson soprano Generously supported by the

WEDNESDAY 12 MAY 2021 8PM Arvo Pärt Fratres Mozart Symphony No. 35 Tchaikovsky Violin Concerto Ryan Bancroft conductor Gil Shaham violin

WEDNESDAY 19 MAY 2021 8PM Brahms Tragic Overture Brahms Piano Concerto No. 1

Alexandra Dariescu

Lionel Bringuier conductor Stephen Hough piano

FURTHER ARTISTS AND PROGRAMMES TO BE ANNOUNCED LATER IN THE SPRING. Each concert will be available via marquee.tv for 7 days for free, no payment details required. To access the full season please subscribe to Marquee TV and enjoy the LPO collection together with the world’s best opera, dance, theatre and ideas. Details of how to subscribe and start your free trial at marquee.tv/freetrial

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ANN UAL APPE AL 20 21

MUSIC WITH MEANING S U P PO RT U S A S W E C R E ATE A N D C ELEB R ATE Music is powerful. It can move, excite and inspire us, creating moments fixed in time and memories to last a lifetime. Until we can enjoy live performances together again, we want to celebrate past musical moments that have a special meaning to you, in the knowledge that these times will come again.

Tell us about a moment of joy or a memory of being moved or transported by music. Whether your moment is an LPO performance from years ago, a recording which has a special place in your heart or a more recent experience with any orchestra, we want to hear from you, the LPO family.

We need your support now to ensure that we can continue to create new musical moments and memories. A gift from you will help sustain the LPO, securing the future of the Orchestra and allowing us to make more moments that matter.

‘The moment

ss d connectedne of pure joy an heimer’s, listened

20/21 who ha s Alz my Grandma,.’ Inês, LPO Foyle Future First 20 to et to Rigol

‘I wa sb at O ewitched It wa xford’s She by Yehud s a lif e-chaldonian Thei Menuhin ’s v nging atre o mome n 12 Ma iolin playin y nt fo r me. 1959. g ’ De s mond

g Anna Clyne’s ‘ The LPO playin ds. The otherworldliness Prince of Clou le!’ Peter & Lucy

of it made us ting

o I feel Concertuinsually I n li io V ’s – Portnofnfd can be heardArtist 2020/21 ‘Playing voice a O Junior I have a shy.’ Danya, LP y am ver

PLEASE DONATE IF YOU CAN AND SHARE A MOMENT THAT HAS BEEN SPECIAL TO YOU. A GIFT OF ANY SIZE WILL HELP US WEATHER THIS STORM.

Visit lpo.org.uk/musicwithmeaning to donate, to share your moment and to read more.

LONDON PHILHARMONIC ORCHESTRA • BOHEMIAN RHAPSODIES • 14 APRIL 2021

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 Anonymous donors Mrs Aline Foriel-Destezet Mrs Christina Lang Assael Sir Simon & Lady Robey OBE Orchestra Circle The Candide Trust William & Alex de Winton Mr & Mrs Philip Kan Neil Westreich Principal Associates Richard Buxton In memory of Brenda Lyndoe Casbon In memory of Ann Marguerite Collins Hamish & Sophie Forsyth The Tsukanov Family Associates An anonymous donor Steven M. Berzin Irina Gofman & Mr Rodrik V. G. Cave Gill & Garf Collins Countess Dominique Loredan Mr & Mrs Makharinsky George Ramishvili Stuart & Bianca Roden Julian & Gill Simmonds In memory of Hazel Amy Smith Deanie & Jay Stein Gold Patrons An anonymous donor David & Yi Buckley David & Elizabeth Challen In memory of Allner Mavis Channing Andrew Davenport Sonja Drexler Peter & Fiona Espenhahn Marie-Laure Favre-Gilly de Varennes de Beuill Virginia Gabbertas MBE Mr Roger Greenwood Robert Markwick & Kasia Robinski Francis & Marie-France Minkoff Dame Theresa Sackler Eric Tomsett Andrew & Rosemary Tusa The Viney Family Jenny Watson CBE

Silver Patrons Dr Christopher Aldren David Burke & Valerie Graham The Rt Hon. The Lord Burns GCB Bruno De Kegel Ulrike & Benno Engelmann Simon & Meg Freakley Pehr G Gyllenhammar John & Angela Kessler The Metherell Family Andrew Neill Mikhail Noskov & Vasilina Bindley Laurence Watt Guy & Utti Whittaker Grenville & Krysia Williams Bronze Patrons Anonymous donors Michael Allen Dr Manon Antoniazzi Mr Philip Bathard-Smith Sir Peter Bazalgette Mr Bernard Bradbury Sally Bridgeland In memory of Julie Bromley The Earl & Countess of Chichester Mr John H Cook Howard & Veronika Covington David Ellen David & Jane Gosman Mr Gavin Graham Mrs Dorothy Hambleton Malcolm Herring The Jackman Family Jan & Leni Du Plessis Jamie & Julia Korner Rose & Dudley Leigh Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Drs Frank & Gek Lim Geoff & Meg Mann Mrs Elizabeth Meshkvicheva Peter & Lucy Noble Mr Michael Parlof Marianne Parsons Dr Wiebke Pekrull Jacopo Pessina Mr Roger Phillimore Gillian Pole Mr Michael Posen Sir Bernard Rix Tom & Phillis Sharpe Matthew Stephenson & Roman Aristarkhov

Charlotte Stevenson Mr Robert Swannell Tony & Hilary Vines Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Marina Vaizey Mr John Weekes Christopher Williams Principal Supporters Anonymous donors Mr Mark Astaire Sir John Baker Mrs A Beare Mr Anthony Boswood Dr Carlos Carreno Desmond & Ruth Cecil Mr Julien Chilcott-Monk Mr & Mrs Stewart Cohen David & Liz Conway Mr Alistair Corbett Mrs Sam Dawson Mr Simon Douglas Mr Richard Fernyhough Mrs Janet Flynn Mrs Ash Frisby Mr Stephen Goldring Mr Milton Grundy Nerissa Guest & David Foreman The Jeniffer & Jonathan Harris Charitable Trust Michael & Christine Henry J Douglas Home Ivan Hurry Per Jonsson Alexandra Jupin & John Bean Paul & Brigitta Lock Mr Peter Mace Nicholas & Lindsay Merriman Andrew T Mills Simon & Fiona Mortimore Mr Gerald Pettit Mr James Pickford Michael & Carolyn Portillo Mr Christopher Querée Mr Robert Ross Mr David Russell Colin Senneck & the Hartley and District LPO Group Priscylla Shaw Nigel Silby Mr Brian Smith Martin & Cheryl Southgate Mr & Mrs G Stein

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Dr Peter Stephenson Mr Ian Tegner Howard & Sheelagh Watson Mr John Wright Supporters Anonymous donors Ralph & Elizabeth Aldwinckle Julian & Annette Armstrong Lindsay Badenoch Mr John Barnard Mr John D Barnard Damaris, Richard & Friends Mr David Barrett Diana Barrett Mr Andrew Botterill Julian & Margaret Bowden & Mr Paul Michel Mr Lawrence Alfred Bradley Richard & Jo Brass Mr Shaun Brown Mr Alan C Butler Lady Cecilia Cadbury Alison Clarke & Leo Pilkington J Clay Mr Joshua Coger Mr Martin Compton Miss Tessa Cowie Mr David Davies Mr Roderick Davies Mr David Devons Anthony & Jo Diamond Mr Kevin Fogarty Christopher Fraser OBE Mrs Adele Friedland & Friends Mr Daniel Goldstein Mr & Mrs Jeffrey Herrmann Dr Joan Hester Mr David Hodgson The Jackman Family Mr Justin Kitson Richard & Briony Linsell Mr David MacFarlane Dame Jane Newell DBE Mr Stephen Olton Mr David Peters Mr & Mrs Graham & Jean Pugh Mr Kenneth Shaw Ruth Silvestre Barry & Gillian Smith Ms Natalie Spraggon & David Thomson Ms Mary Stacey Ms Janette Storey Ms Caroline Tate

LONDON PHILHARMONIC ORCHESTRA • BOHEMIAN RHAPSODIES • 14 APRIL 2021

THANK YOU – CONTINUED –

Mr Peter Thierfeldt Dr Ann Turrall Michael & Katie Urmston Dr June Wakefield Mr Dominic Wallis Joanna Williams Mr C D Yates Mr Anthony Yolland 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) Marie-Laure Favre Gilly de Varennes de Bueil (France) Aline Foriel-Destezet (France) Irina Gofman (Russia) Countess Dominique Loredan (Italy) Olivia Ma (Greater China Area) Olga Makharinsky (Russia) George Ramishvili (Georgia) Victoria Robey OBE (USA) Jay Stein (USA) Thomas Beecham Group Members David & Yi Buckley Gill & Garf Collins William & Alex de Winton 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 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 Jay Goffman Alexandra Jupin William A. Kerr Kristina McPhee Natalie Pray Damien Vanderwilt Antony Phillipson Hon. Chairman Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP

Corporate Donors AT&T Barclays L Catterton CHANEL Fund for Women in the Arts and Culture Paul Hastings LLP Payne Hicks Beach Pictet Bank Velocity Black White & Case LLP

Preferred Partners After Digital Lidl Lindt & Sprüngli Ltd London Orthopaedic Clinic Steinway

Dunard Fund Ernst von Siemens Music Foundation The Fidelio Charitable Trust Foyle Foundation Garrick Charitable Trust The Leche Trust Lucille Graham Trust John Horniman’s Children’s Trust John Thaw Foundation The Idlewild Trust Kirby Laing Foundation The Lawson Trust Andrew Lloyd Webber Foundation Lord & Lady Lurgan Trust Adam Mickiewicz Institute PRS Foundation The Radcliffe Trust Rivers Foundation The R K Charitable Trust Romanian Cultural Institute RVW Trust Schroder Charity Trust Serge Rachmaninoff Foundation Souter Charitable Trust The Steel Charitable Trust The Thomas Deane Trust The Thriplow Charitable Trust The Victoria Wood Foundation The Viney Family Garfield Weston Foundation The Barbara Whatmore Charitable Trust The William Alwyn Foundation

In-kind Sponsor Google Inc

and all others who wish to remain anonymous.

LPO Corporate Circle Leader freuds Sunshine Principal Berenberg Bloomberg Carter-Ruck French Chamber of Commerce Tutti Ageas Lazard Russo-British Chamber of Commerce Walpole

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

Trusts and Foundations The Bernarr Rainbow Trust The Boltini Trust Borletti-Buitoni Trust Boshier-Hinton Foundation The Candide Trust The Chalk Cliff Trust Cockayne – Grants for the Arts The London Community Foundation The David Solomons Charitable Trust The D’Oyly Carte Charitable Trust

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The LPO would also like to acknowledge all those who have made donations to the Play On Appeal and who have supported the Orchestra during the current pandemic.

WONDER AT THE WORLD OF THE LONDON PHILHARMONIC ORCHESTRA

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MEMBERSHIPS AND DONATIONS There are many ways in which you can support the LPO at this time: by making a donation, joining as a member, or buying a gift membership for someone else. With your help we can ensure that this Orchestra will not only survive, but thrive. However you choose to give at this time, we remain committed to our supporters and will continue to deliver a range of benefits and exclusive opportunities.

Friends

Benefactors

Support the orchestra that you love. Get priority booking for our Southbank Centre concerts plus access to final rehearsals.

Join a circle of dedicated supporters and get access to the Beecham Bar, special events and Glyndebourne.

From £60

From £600

Gifts in wills

Thomas Beecham Group

Help others to experience the wonder of music by remembering the Orchestra in your will.

Give a major supporting gift and build significant relationships within the Orchestra. Donors can choose to have their gift associated with a player’s chair. From £5,000

lpo.org.uk/support/individuals 020 7840 4212

CORPORATE PARTNERSHIPS Partner with the London Philharmonic Orchestra and enjoy the opportunity to align your business with a world-class orchestra who are committed to delivering music throughout the pandemic. Whether streaming from the concert stage to a global audience, or delivering as much Education and Community work as possible to children, talented young musicians and people with disabilities, the LPO’s activity is varied, engaging, and delivers meaningful benefits to its audiences, participants and partners. A partnership with the LPO offers companies the opportunity for brand exposure and to meet CSR needs at a time when charitable community work is facing severe disruption.

Principal Partner

OrchLab Project Partner

Principal Supporters

lpo.org.uk/corporate 020 7840 4210

The Victoria Wood Foundation The Victoria Wood Foundation

The Victoria Wood Foundation

LONDON PHILHARMONIC ORCHESTRA • BOHEMIAN RHAPSODIES • 14 APRIL 2021

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 Welser-Möst Circle William & Alex de Winton John Ireland Charitable Trust The Tsukanov Family Foundation Neil Westreich Tennstedt Circle Valentina & Dmitry Aksenov Richard Buxton The Candide Trust Michael & Elena Kroupeev Kirby Laing Foundation Mr & Mrs Makharinsky Alexey & Anastasia Reznikovich Sir Simon Robey Bianca & Stuart Roden Simon & Vero Turner The late Mr K Twyman Solti Patrons Ageas John & Manon Antoniazzi Gabor Beyer, through BTO Management Consulting AG Jon Claydon Mrs Mina Goodman & Miss Suzanne Goodman Roddy & April Gow The Jeniffer & Jonathan Harris Charitable Trust Mr James R.D. Korner Christoph Ladanyi & Dr Sophia LadanyiCzernin Robert Markwick & Kasia Robinski The Maurice Marks Charitable Trust Mr Paris Natar The Rothschild Foundation Tom & Phillis Sharpe The Viney Family

Haitink Patrons Mark & Elizabeth Adams Dr Christopher Aldren Mrs Pauline Baumgartner Lady Jane Berrill Mr Frederick Brittenden David & Yi Yao Buckley Mr Clive Butler Gill & Garf Collins Mr John H Cook Mr Alistair Corbett Bruno De Kegel Georgy Djaparidze David Ellen Christopher Fraser OBE David & Victoria Graham Fuller Goldman Sachs International Mr Gavin Graham Moya Greene Mrs Dorothy Hambleton Tony & Susie Hayes Malcolm Herring Catherine Høgel & Ben Mardle Mrs Philip Kan Rehmet Kassim-Lakha de Morixe Rose & Dudley Leigh Lady Roslyn Marion Lyons Miss Jeanette Martin Duncan Matthews QC Diana & Allan Morgenthau Charitable Trust Dr Karen Morton Mr Roger Phillimore Ruth Rattenbury The Reed Foundation The Rind Foundation Sir Bernard Rix David Ross & Line Forestier (Canada) 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

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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 CBE AM Christopher Williams Peter Wilson Smith Mr Anthony Yolland and all other donors who wish to remain anonymous

LONDON PHILHARMONIC ORCHESTRA • BOHEMIAN RHAPSODIES • 14 APRIL 2021

LPO ADMINISTRATION BOARD OF DIRECTORS Victoria Robey OBE Chairman Martin Höhmann* President Dr Catherine C. Høgel Vice-Chairman Henry Baldwin* Vice-President Roger Barron David Buckley David Burke Bruno De Kegel Tanya Joseph Al MacCuish Tania Mazzetti* Stewart McIlwham* Pei-Jee Ng* Cristina Rocca Andrew Tusa Mark Vines* David Whitehouse* * Player-Director ADVISORY COUNCIL Martin Höhmann Chairman Robert Adediran Christopher Aldren Dr Manon Antoniazzi Richard Brass Helen Brocklebank Simon Callow CBE Desmond Cecil CMG Sir Alan Collins KCVO CMG Andrew Davenport William de Winton Guillaume Descottes Cameron Doley Christopher Fraser OBE Lord Hall of Birkenhead CBE Jonathan Harris CBE FRICS Marianna Hay MBE 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 Chris Viney Laurence Watt Elizabeth Winter

GENERAL ADMINISTRATION Cristina Rocca Artistic Director David Burke Chief Executive CONCERT MANAGEMENT Roanna Gibson Concerts Director

Vicky Moran Development Events Manager

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Christina McNeill Corporate Relations Manager