LPO online concert programme: 21 April 2021 - The Emperor Concerto (Robin Ticciati/Denis Kozhukhin)

SPRING 2021 CONCERT SEASON

IN

THE STREAM OF LIFE PROGRAMME NOTES WEDNESDAY 21 APRIL 2021 8PM

THE EMPEROR CONCERTO Beethoven Piano Concerto No. 5 (Emperor) Sibelius Symphony No. 7 Robin Ticciati conductor Denis Kozhukhin piano

LONDON PHILHARMONIC ORCHESTRA • THE EMPEROR CONCERTO • 21 APRIL 2021

CONTENTS CLICK ON THE HEADINGS TO JUMP TO A SECTION

3 PROGRAMME NOTES: BEETHOVEN 6 PROGRAMME NOTES: SIBELIUS 8 ROBIN TICCIATI 9 DENIS KOZHUKHIN 10 LONDON PHILHARMONIC ORCHESTRA 11 ON STAGE TONIGHT 12 NEXT CONCERTS 13 ANNUAL APPEAL 2021: MUSIC WITH MEANING 15 MEMBERSHIPS & DONATIONS 16 CORPORATE PARTNERSHIPS 17 SOUND FUTURES DONORS 18 THANK YOU 20 LPO ADMINISTRATION

Concert performed at the Southbank Centre’s Royal Festival Hall on 24 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 • THE EMPEROR CONCERTO • 21 APRIL 2021

PROGRAMME NOTES LUDWIG VAN BEETHOVEN 1770–1827

PIANO CONCERTO NO. 5 IN E FLAT MAJOR, OP. 73 (EMPEROR) 1809–11 – APPROX 38 MINS –

DENIS KOZHUKHIN PIANO 1 ALLEGRO 2 ADAGIO UN POCO MOSSO – 3 RONDO: ALLEGRO One has to wonder whether the organisers of the concert at which Beethoven’s Fifth Piano Concerto received its Viennese premiere in February 1812 – the actual premiere having taken place in Leipzig the previous November – provided the ideal audience.

A contemporary report of the combined concert and art exhibition mounted by the Society of Noble Ladies for Charity tells us that ‘the pictures offer a glorious treat; a new pianoforte concerto by Beethoven failed’.

And it is true that, while it was later to become as familiar a piano concerto as any, in its early years the ‘Emperor’ struggled for popularity. Perhaps its leonine strength and symphonic sweep were simply too much for everyone, not just the Noble Ladies. Cast in the same key as the ‘heroic’ Third Symphony, it breathes much the same majestically confident air, though in a manner one might describe as more macho.

Composed in the first few months of 1809, with war brewing between Austria and France, this is Beethoven in what may have seemed overbearingly optimistic mood.

The Concerto is certainly not reticent about declaring itself. The first movement opens with extravagant flourishes from the piano punctuated with stoic orchestral chords, leading us with an unerring sense of direction towards the sturdy first theme. This marchlike tune presents two important thematic reference-points in the shape of a tight melodic twist (technically known as a ‘turn’) and a tiny figure of just two notes (long and short) which Beethoven refers to constantly in the course of the movement. The latter ushers in the chromatic scale with which the piano re-enters, and the same sequence of events later serves to introduce the development section. Here the turn dominates, dreamily passed around the woodwind, but the two-note figure emerges ever more strongly, eventually firing off a stormy tirade of piano octaves. The air quickly clears, however, and reappearances of the turn lead back to a recapitulation of the opening material. Towards the end of the movement Beethoven makes his most radical formal move. In the early 19th century it was still customary at this point in a concerto for the soloist to improvise –3–

LONDON PHILHARMONIC ORCHESTRA • THE EMPEROR CONCERTO • 21 APRIL 2021

PROGRAMME NOTES a solo passage (or cadenza), but in this work Beethoven for the first time includes one that is not only fully written-out, but involves the orchestra as well. It was an innovation that many subsequent composers, perhaps glad of the extra measure of control, would follow.

The second and third movements together take less time to play than the first. The Adagio, in distant B major, opens with a serene, hymn-like tune from the strings, which the piano answers with a theme of its own before itself taking up the opening one in ornamented form. This in turn leads to an orchestral reprise of the same theme, now with greater participation from the winds and with piano decoration.

At the end, the music dissolves, then eerily drops down a semitone as the piano toys idly with some quiet, thickly scored chords. In a flash, these are then transformed and revealed to be the main theme of the bouncy Rondo finale, which has followed without a break. Physical joins between movements were a trend in Beethoven’s music at this time, but so too were thematic ones. At one point in this finale, with the main theme firmly established, the strings gently put forward the ‘experimental’ version from the end of the slow movement, as if mocking the piano’s earlier tentativeness. The movement approaches its close, however, with piano and timpani in stealthy cahoots before, with a final flurry, the end is upon us.

The Concerto’s nickname was not chosen by Beethoven, and, given the composer’s angry reaction to Napoleon’s self-appointment as Emperor in 1804, it may seem more than usually inappropriate. Yet there is an aptness to it if we take the music’s grandly heroic stance as a picture of what, perhaps, an emperor ought to be. Beethoven once remarked that if he had understood the arts of war as well as he had those of music, he could have defeated Napoleon. Who, listening to this concerto, could doubt that?

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.

• Highly commended in the 2020 Digital Classical Music Awards

• The Sunday Times ‘Pick of the Best Podcasts’

‘Thank you for a truly wonderful insight into the various aspects of the working and ‘social’ life in the LPO. It has been a true pleasure hearing all the wonderful stories and musical matters you have to negotiate before a single note is played!’

– From a listener, via email

Programme note © Lindsay Kemp Find LPO Offstage on Apple Podcasts, Spotify, Acast, or wherever you listen. lpo.org.uk/podcast YolanDa Brown

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LONDON PHILHARMONIC ORCHESTRA • THE EMPEROR CONCERTO • 21 APRIL 2021

© Royal College of Music, London

COMPOSER PROFILE LUDWIG VAN BEETHOVEN

The popular image of Beethoven as a morose individual who shunned society is only partly true.

He did have a serious outlook on life, and in later years he had difficulty mixing with people because of his deafness. Yet he loved company, and had a ready wit.

His letters contain many puns, and it was he who introduced the scherzo (literally, ‘joke’) into the symphony, when he used one in his Symphony No. 2 instead of the customary minuet. This symphony already goes well beyond the models of Haydn and Mozart, the two chief influences on his style. Building on their example, Beethoven continually strove to stretch the bounds of music to new limits, whether in his seven surviving concertos, 16 string quartets, 35 piano sonatas or other works.

Each of his nine symphonies (and an incipient tenth) is completely different from any previous one, and he showed similar originality in every major genre of the time, from his only opera Fidelio and his mighty Missa Solemnis to his numerous settings of folk songs.

He achieved his goal through a combination of natural genius and sheer hard work: every one of his major compositions is the result of painstaking refinement, evident in the many thousands of pages of musical sketches that he wrote.

It is not always realised, however, that Beethoven was extraordinary in other ways too. Having no wife or family of his own, he spent enormous energy on helping his nephew, and he was deeply religious.

Indeed his goodness and kindness were so evident to his contemporaries that at least three of them independently asserted that he was even greater as a human being than as a musician. Considering that many regard him as the greatest composer in history, such praise is astonishing.

Yet it is the quality of his music that has ensured his lasting reputation, as the musical world marked his 250th anniversary last year. Although its novelty initially puzzled some of his contemporaries, repeated hearings and study of Beethoven’s music have shown that it is based on firm foundations. Its combination of beauty and unpredictability, extreme emotional depth and intellectual rigour, across so many genres, is unsurpassed and probably always will be.

Profile © Barry Cooper

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LONDON PHILHARMONIC ORCHESTRA • THE EMPEROR CONCERTO • 21 APRIL 2021

PROGRAMME NOTES JEAN SIBELIUS 1865–1957

SYMPHONY NO. 7 IN C MAJOR, OP. 105 1923–24 – APPROX 22 MINS –

ADAGIO – VIVACISSIMO – ALLEGRO MODERATO – VIVACE – PRESTO – ADAGIO

Jean Sibelius wrote the strangest, the most remarkable and probably the most influential set of symphonies of the 20th century. Tonight, we hear the final symphony he completed: the mighty Seventh, a work that seems to live a whole life in its short span. (The composer started work on an Eighth Symphony but burned the score in a fit of self-criticism.) In the Seventh Symphony, Sibelius’s trademark form of kinetic energy born from the material itself is taken to a level that renders movement breaks and duration entirely irrelevant. The Symphony is cast in one movement that usually lasts a little over 20 minutes in performance. When he started work on the Symphony, Sibelius probably had little idea that would be the case – so organic are the processes at work in this short but gigantic musical journey.

He began work on the Symphony in earnest in 1923.

As he did so, Sibelius noted that his own sense of selfcriticism had grown to ‘impossible proportions’.

Day-to-day domestic life in the Sibelius household was fraught with tension too. The composer’s return to alcohol had resulted in two embarrassing public episodes following which his wife, Aino, began communicating with the composer via handwritten notes left around the house. Sibelius’s modus operandi at this time was to work through the night until losing consciousness either through drunkenness or tiredness; Aino would usually find him slumped over his desk in the morning.

If that paints a sorrowful picture of a towering artistic mind, then the music of the Seventh Symphony does the opposite. There is a remarkable poignancy and nobility in its taut, rapid discourse. When it was first performed on 24 March 1924 in Stockholm, Sibelius probably didn’t believe it would be his final symphony.

But still, it’s a fitting culmination – profound, majestic, transcendent and quite unlike anything else that had gone before it.

As in his earlier symphonies, Sibelius lets the musical material dictate the direction of the Seventh’s river-like flow. But the churn of that material throws up a single ‘motto’ that occurs at three vital junctures along the way. We hear it first, around five minutes into the Symphony, faintly outlined in a hymn-like passage on strings and then traced on a solo trombone as if outlining a mountainous horizon on top of the orchestral landscape.

The trombone theme returns twice. Its first reappearance comes after the Symphony’s scherzo section, when that playful material is reprised only for the strings to start urgently thrusting out an up-down scale idea from earlier in the journey. Now the trombone theme is troubled, in a minor key, bated by its fellow brass players and unsettled by those heaving, oceanic strings. But its second, final reappearance couldn’t be more different. Now it appears in a state of

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LONDON PHILHARMONIC ORCHESTRA • THE EMPEROR CONCERTO • 21 APRIL 2021

COMPOSER PROFILE JEAN SIBELIUS majestic transcendence which cues the start of the Symphony’s strained but climactic bid for closure.

That the trombone theme is structurally born of the string passage that prefaces it speaks of the ‘inner connection between all the motifs’ that Sibelius described in particular relation to this Symphony.

But there is something more significant in its final appearance. The music is running at a higher than ever velocity at this point, while the trombone theme retains its original speed. But the feeling, in absolute contradiction, is that the trombone theme is slower and more majestic than ever. The music seems to be operating at two speeds and on two concurrent planes – a phenomenon pushed right through to the Symphony’s weightless final bars.

Programme note © Andrew Mellor

Sibelius is widely recognised as his country’s greatest composer, his music often credited with having helped Finland to develop a national identity during its struggle for independence from Russia. Born in 1865, Sibelius studied at the country’s first Finnish-speaking school, where he came into contact with Finnish literature and in particular with the mythological epic the Kalevala, which remained for him a constant source of inspiration.

Despite obvious early talent as a violinist, Sibelius began studying law at university. However, he soon abandoned law to study music full-time, and received his first formal composition lessons at the Helsinki Music Institute (now the Sibelius Academy). When the composer Ferruccio Busoni joined the Institute as a piano teacher, the two became friends and Busoni encouraged his composition.

In 1892 Sibelius married his wife Aino, and they later had five children. In addition to periods spent studying in Vienna and Berlin (1889–91), in 1900 Sibelius and his family spent a year in Italy. During the following decade his fame spread abroad, and he was admired in Britain by figures such as the composer Granville Bantock and the conductor Henry Wood. In 1905 he paid the first of five visits to Britain, largely to conduct.

The core of Sibelius’s oeuvre is his set of seven symphonies, which he described as ‘confessions of faith from the different stages of my life’. Other wellknown compositions include Finlandia, the Karelia Suite and Valse triste, the Violin Concerto, the choral symphony Kullervo, and the Lemminkäinen Suite.

Other works include pieces inspired by nature, Nordic mythology and the Kalevala, over 100 songs for voice and piano, and incidental music for numerous plays.

‘A GREAT SUCCESS. THERE IS NO DENYING IT: MY NEW WORK IS ONE OF THE BEST. TONE AND COLOUR BOTH POWERFUL ... ’ JEAN SIBELIUS, DURING REHEARSALS FOR THE SEVENTH SYMPHONY’S PREMIERE IN 1924

Sibelius composed prolifically until the mid-1920s, but after completing his Seventh Symphony (1924), the incidental music for The Tempest (1926) and the tonepoem Tapiola (1926), he stopped producing major works in his last 30 years, a period commonly referred to as ‘The Silence of Järvenpää’, the location of his home.

The Finnish 100-mark note featured Sibelius’s image until 2002, when the Euro was adopted. Since 2011, Finland has celebrated a Flag Day on 8 December, the composer’s birthday, known as ‘Day of Finnish Music’.

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LONDON PHILHARMONIC ORCHESTRA • THE EMPEROR CONCERTO • 21 APRIL 2021

TONIGHT'S ARTISTS ROBIN TICCIATI OBE CONDUCTOR

and Eugene Onegin at both the Royal Opera House and the Metropolitan Opera.

© Camille Blake

On 11 March 2020 Robin Ticciati conducted the London Philharmonic Orchestra in its last Royal Festival Hall concert with a live audience, just before the first 2020 lockdown: the programme included Beethoven’s Triple Concerto with Anne-Sophie Mutter, Khatia Buniatishvili and Pablo Ferrández, as well as Mahler’s Symphony No. 1. In summer 2020 he conducted the Orchestra in a series of outdoor garden concerts at Glyndebourne, featuring music by Gabrieli, Wagner, Ives, Mahler and Takemitsu. This summer at Glyndebourne he will conduct the LPO in Janáček’s Kát’a Kabanová and semi-staged concert performances of Wagner’s Tristan und Isolde, as well as a series of concert performances including the Glyndebourne premiere of Mahler’s Symphony No. 4.

Robin Ticciati OBE has been Music Director of the Deutsches Symphonie-Orchester Berlin since 2017 and Music Director of Glyndebourne Festival Opera since 2014. He was Principal Conductor of the Scottish Chamber Orchestra from 2009–18.

He is a regular guest conductor with the London Philharmonic Orchestra, London Symphony Orchestra, Symphonieorchester des Bayerischen Rundfunks, Budapest Festival Orchestra and Chamber Orchestra of Europe. Guest conducting highlights in recent years also include the Vienna Philharmonic, Czech Philharmonic, Swedish Radio Symphony, Royal Concertgebouw Orchestra, Orchestre National de France, Philadelphia Orchestra, Cleveland Orchestra, Gewandhausorchester Leipzig and Staatskapelle Dresden.

Since becoming Music Director at Glyndebourne, Robin Ticciati has conducted new productions of Berlioz’s La damnation de Faust, Debussy’s Pelléas et Mélisande and Strauss’s Der Rosenkavalier (all with the LPO), as well as Mozart’s Die Entführung aus dem Serail and La clemenza di Tito. Highlights as a guest opera conductor include Peter Grimes at La Scala, Le nozze di Figaro at the Salzburg Festival,

Robin Ticciati’s highly acclaimed discography includes Berlioz with the Swedish Radio Symphony Orchestra; Haydn, Schumann, Berlioz and Brahms with the Scottish Chamber Orchestra; Dvořák, Bruckner and Brahms with the Bamberg Symphony Orchestra; and Debussy, Duruflé, Duparc, Fauré, Ravel and Bruckner with the Deutsches Symphonie-Orchester Berlin.

Born in London, Robin Ticciati is a violinist, pianist and percussionist by training. He was a member of the National Youth Orchestra of Great Britain when, aged 15, he turned to conducting under the guidance of Sir Colin Davis and Sir Simon Rattle. He holds the position of ‘Sir Colin Davis Fellow of Conducting’ at the Royal Academy of Music. Robin was awarded an OBE for services to music in the Queen’s Birthday Honours (2019).

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LONDON PHILHARMONIC ORCHESTRA • THE EMPEROR CONCERTO • 21 APRIL 2021

TONIGHT'S ARTISTS DENIS KOZHUKHIN PIANO

with Janine Jansen, and appear in recital at the Boulez Saal, Hamburg Elbphilharmonie, Wiener Konzerthaus, Casa da Música (Porto) and Harpa in Reykjavík. This season he will be a guest artist at the Prague Spring Festival, Malta International Festival, Klavier Ruhr Festival, Armenia Festival and Jerusalem Chamber Music Festival.

Winner of the First Prize in the 2010 Queen Elisabeth Competition in Brussels at the age of 23, Denis Kozhukhin has established himself as one of the greatest pianists of his generation. He frequently appears with leading international orchestras such as the Royal Concertgebouw, Staatskapelle Berlin, NDR Radiophilharmonie, Philadelphia, London Symphony, Chicago Symphony, San Francisco Symphony, Vienna Symphony, Philharmonia, Israel Philharmonic, Rotterdam Philharmonic, St Petersburg Philharmonic, Royal Stockholm Philharmonic and Oslo Philharmonic orchestras, among others. In January 2018 he made his London Philharmonic Orchestra debut on tour in Spain with Vladimir Jurowski. The same year he made his BBC Proms debut, performing Shostakovich’s Piano Concerto No. 2 with Aurora Orchestra.

The 2020/21 season brings debuts with the Los Angeles Philharmonic, Malmö Symphony, Antwerp Symphony, ADDA (Valencia), Bilbao Symphony and Szczecin Philharmonic orchestras, alongside returns to the Philharmonia, BBC Scottish Symphony, Belgian National Symphony, Moscow State Symphony, St Petersburg Philharmonic, Iceland Symphony, Gävle Symphony, Colorado Symphony and NCPA orchestras. Denis will tour in Europe and the USA

Denis Kozhukhin’s most recent recording, featuring Franck’s Symphonic Variations with the Luxembourg Philharmonic under Gustavo Gimeno, was released by Pentatone in June 2020, receiving rave reviews. His last solo album, including Mendelssohn’s Songs Without Words and Grieg’s Lyric Pieces, was chosen by Gramophone as ‘Album of the Month’, as well as nominated for the 2020 Opus Klassik Awards in the Solo Recording and Instrumentalist of the Year categories.

An avid chamber musician, Kozhukhin is frequently invited to the most renowned festivals, and collaborates with such artists as Janine Jansen, Jörg Widmann, Julian Rachlin, Vadim Repin, Leonidas Kavakos, Michael Barenboim, Vilde Frang, Renaud and Gautier Capuçon, the Jerusalem Quartet, the Pavel Haas Quartet, Elena Bashkirova, Radovan Vlatković, Emmanuel Pahud, Alisa Weilerstein, Nicolas Alstaedt, Julian Steckel and Pablo Ferrández, among others.

Born in Nizhni Novgorod, Russia, in 1986 into a family of musicians, Denis Kozhukhin began his piano studies at the age of five with his mother. As a boy, he attended the Balakirev School of Music, where he studied under Natalia Fish. From 2000–07 he studied at the Reina Sofía School of Music in Madrid with Dimitri Bashkirov and Claudio Martínez Mehner. He completed his studies at the Piano Academy at Lake Como, where he received advice from Fou Ts’ong, Stanislav Yudenitch, Peter Frankl, Boris Berman, Charles Rosen and Andreas Staier, and with Kirill Gerstein in Stuttgart. In recent years he has been mentored by maestro Daniel Barenboim.

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LONDON PHILHARMONIC ORCHESTRA • THE EMPEROR CONCERTO • 21 APRIL 2021

LONDON PHILHARMONIC ORCHESTRA

© Benjamin Ealovega

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

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.

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

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 • THE EMPEROR CONCERTO • 21 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 Elisabeth Wiklander Laura Donoghue David Lale

Chair supported by Neil Westreich

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

Minn Majoe Yang Zhang

Chair supported by Eric Tomsett

Catherine Craig Katalin Varnagy

Chair supported by Sonja Drexler

Thomas Eisner Amanda Smith

SECOND VIOLINS Tania Mazzetti PRINCIPAL

Chair supported by Countess Dominique Loredan

Emma Oldfield Helena Smart Kate Birchall Nancy Elan Ashley Stevens Fiona Higham

Chair supported by David & Yi Buckley

Marie-Anne Mairesse Nynke Hijlkema Joseph Maher

VIOLAS Richard Waters PRINCIPAL Ting-Ru Lai Katharine Leek Benedetto Pollani Laura Vallejo Martin Wray Joseph Fisher Raquel López Bolívar

Chair supported by Bianca & Stuart Roden

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

FLUTES Juliette Bausor PRINCIPAL

HORNS John Ryan* PRINCIPAL Martin Hobbs Mark Vines CO-PRINCIPAL Gareth Mollison Duncan Fuller TRUMPETS Paul Beniston* PRINCIPAL James Fountain* PRINCIPAL Anne McAneney* TROMBONES Mark Templeton* PRINCIPAL

Chair supported by William & Alex de Winton

Will Foster

BASS TROMBONE Lyndon Meredith PRINCIPAL

Chair supported by Caroline, Jamie & Zander Sharp

Stewart McIlwham*

PICCOLOS Juliette Bausor Stewart McIlwham* PRINCIPAL

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

OBOES Ian Hardwick* PRINCIPAL Alice Munday

* Holds a professorial appointment in London

CLARINETS Benjamin Mellefont PRINCIPAL Thomas Watmough Chair supported by Roger Greenwood

Paul Richards*

BASSOONS Jonathan Davies PRINCIPAL Chair supported by Sir Simon Robey

Gareth Newman Simon Estell*

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The London Philharmonic Orchestra also acknowledges the following chair supporter whose player is not present at this concert: Dr Barry Grimaldi

LONDON PHILHARMONIC ORCHESTRA • THE EMPEROR CONCERTO • 21 APRIL 2021

NEXT CONCERTS SPRING 2021 CONCERT SEASON WITH MARQUEE TV LA VIE PARISIENNE WEDNESDAY 28 APRIL 2021 8PM

EAST MEETS WEST WEDNESDAY 12 MAY 2021 8PM

Ravel Mother Goose: Suite Ravel Piano Concerto in G Offenbach Gaîté Parisienne: Ballet Suite

Arvo Pärt Fratres Mozart Symphony No. 35 Tchaikovsky Violin Concerto

Fabien Gabel conductor Alexandra Dariescu piano

Ryan Bancroft conductor Gil Shaham violin

SPRING STORMS AND SUMMER NIGHTS WEDNESDAY 5 MAY 2021 8PM Berlioz Les nuits d’été Schumann Symphony No. 4 Gil Shaham

Maxim Emelyanychev conductor Miah Persson soprano Generously supported by the

HOUGH PLAYS BRAHMS WEDNESDAY 19 MAY 2021 8PM Brahms Tragic Overture Brahms Piano Concerto No. 1 Lionel Bringuier conductor Stephen Hough piano

Miah Persson

Generously supported by Victoria Robey OBE

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 performances please create an account with Marquee TV. You will be asked to provide your email address and create a password but you do not need to take out a payment plan or start a free trial to watch the LPO concerts in the first 7 days of their release.

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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.

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

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WONDER AT THE WORLD OF THE LONDON PHILHARMONIC ORCHESTRA

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LONDON PHILHARMONIC ORCHESTRA • THE EMPEROR CONCERTO • 21 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 • THE EMPEROR CONCERTO • 21 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 Roger & Clare Barron 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 Mr Christopher Querée 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 Richard & Briony Linsell 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 Robert Ross Mr David Russell Colin Senneck & the Hartley and District LPO Group Priscylla Shaw Nigel Silby

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Mr Brian Smith Martin & Cheryl Southgate Mr & Mrs G Stein 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 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

LONDON PHILHARMONIC ORCHESTRA • THE EMPEROR CONCERTO • 21 APRIL 2021

THANK YOU – CONTINUED –

Ms Janette Storey Ms Caroline Tate 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.

LONDON PHILHARMONIC ORCHESTRA • THE EMPEROR CONCERTO • 21 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

PUBLIC RELATIONS Premier: classical@premiercomms.com Tel: 020 7292 7355/ 020 7292 7335

Christina McNeill Corporate Relations Manager

ARCHIVES

Rosie Morden Individual Giving Manager

Graham Wood Concerts and Recordings Manager

Anna Quillin Trusts and Foundations Manager

Fabio Sarlo Glyndebourne and Projects Manager

Izzy Keig Development Assistant ~

Grace Ko Tours Manager

Nick Jackman Campaigns and Projects Director

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

DEVELOPMENT Laura Willis Development Director

Kirstin Peltonen Development Associate FINANCE Frances Slack Finance Director Dayse Guilherme Finance Manager Jean-Paul Ramotar Finance and IT Officer

Laura Kitson Stephen O’Flaherty Stage Managers

MARKETING Kath Trout Marketing Director

Damian Davis Transport Manager

Mairi Warren Marketing Manager

EDUCATION AND COMMUNITY Isabella Kernot Education and Community Director (maternity leave) Lindsay Wilson Education and Community Director (maternity cover) Talia Lash Education and Community Manager Emily Moss Education and Community Project Manager

Alexandra Lloyd Projects and Residencies Marketing Manager Megan Macarte Box Office Manager Rachel Williams Publications Manager Harrie Mayhew Website Manager Greg Felton Digital Creative Sophie Harvey Marketing and Digital Officer

Hannah Tripp Education and Community Project Co-ordinator

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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.

COVER PHOTOGRAPH @ Silent Studios/Intersection: James Wicks