LPO online concert programme: 26 May 2021 - Simple Gifts (Joshua Weilerstein/Alina Ibragimova)

SPRING 2021 CONCERT SEASON

IN

THE STREAM OF LIFE PROGRAMME NOTES WEDNESDAY 26 MAY 2021 8PM

SIMPLE GIFTS Coleridge-Taylor Overture: Hiawatha, Op. 30 Prokofiev Violin Concerto No. 1 Copland Appalachian Spring (Orchestral Suite) Joshua Weilerstein conductor Alina Ibragimova violin Generously supported by Victoria Robey OBE

LONDON PHILHARMONIC ORCHESTRA • SIMPLE GIFTS • 26 MAY 2021

CONTENTS CLICK ON THE HEADINGS TO JUMP TO A SECTION

3 PROGRAMME NOTES: COLERIDGE-TAYLOR 4 PROGRAMME NOTES: PROKOFIEV 6 PROGRAMME NOTES: COPLAND 8 JOSHUA WEILERSTEIN 9 ALINA IBRAGIMOVA 10 LONDON PHILHARMONIC ORCHESTRA 11 NEXT CONCERT 12 ON STAGE TONIGHT 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 22 April 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 • SIMPLE GIFTS • 26 MAY 2021

PROGRAMME NOTES SAMUEL COLERIDGE-TAYLOR 1875–1912

OVERTURE: HIAWATHA, OP. 30 1901 – APPROX 11 MINS –

Born in London in 1875, Samuel Coleridge-Taylor was apparently known as a man of dignity and patience.

It seems to have served him well, for while his career as a musician was reasonably successful, one might well wonder how much more he might have achieved had he not suffered the predictable professional setbacks that followed from him being a man of colour.

The son of an English mother and a doctor from Sierra Leone, his talent was clear enough. He entered the Royal College of Music at the age of 15 to study violin, but soon was composing as well, as a pupil of Charles Villiers Stanford. A church anthem by him was published as early as 1891, and works of his received frequent public performances throughout his student years, including chamber music, songs and a symphony.

In 1898, Edward Elgar was approached to write a new commission for the Three Choirs Festival — which he was too busy to be able to accept. But in turning down the request himself, he added: ‘I wish, wish, wish you would ask Coleridge-Taylor to do it. He still wants recognition, and he is far and away the cleverest fellow going amongst the young men.’ The festival heeded Elgar’s advice, and went on to give the premiere of Samuel Coleridge-Taylor’s Ballade in A minor, Op. 33, to huge critical acclaim. So when word got out later that year that a new cantata by Coleridge-Taylor, entitled Hiawatha’s Wedding Feast, was to receive its premiere at the London’s Royal College of Music, expectation soon mounted. As the composer Hubert Parry later recalled, the small room that had been earmarked for the premiere was quickly ‘besieged by eager crowds, –3–

Samuel Coleridge-Taylor

LONDON PHILHARMONIC ORCHESTRA • SIMPLE GIFTS • 26 MAY 2021

PROGRAMME NOTES

a large proportion of whom were shut out — but accommodation was found for Sir Arthur Sullivan and other musicians of eminence.’ The crowds were not disappointed — Hiawatha was an unmitigated triumph.

Parry called it ‘one of the most remarkable events in modern English musical history’. In the years that followed, Hiawatha would receive hundreds of performances around the world, as well as making publishing history with sheet music sales in excess of 200,000 copies during his lifetime.

(Unfortunately for Coleridge-Taylor, he sold off the rights to the music for a small upfront sum, and so never benefitted from the income of these sales.)

Such was the work’s success that in 1899 ColeridgeTaylor composed its follow-up, The Death of Minnehaha, before completing the trilogy with Hiawatha’s Departure in 1900. A year later, he added an Overture to mark the trilogy’s first complete public

performance, although this shimmering, filmic overture is now often performed as a concert work in its own right. The trilogy takes its text from the American poet Henry Wadsworth Longfellow’s epic poem, The Song of Hiawatha, and tells the story of the Native American warrior, Hiawatha, his ill-fated love for Minnehaha and their various adventures along the way. It has all the hallmarks of a captivating Hollywood blockbuster and the same is true of Coleridge-Taylor’s score. The overture alone, at little more eleven minutes long, conveys an astonishing array of colours and moods, from the quaint pastoralism of the opening, to the monumental grandeur of its close. Along the way, we get a sense of Hiawatha’s journey, of the battles he will wage and the hurdles he will overcome, while the score’s distinctive modality — imbued with echoes of Native American folksong — pays homage to the rich musical landscape of Hiawatha’s heritage.

Programme note © Lindsay Kemp/Jo Kirkbride

SERGEI PROKOFIEV 1891–1953

VIOLIN CONCERTO NO. 1 IN D MAJOR, OP. 19 1917 – APPROX 22 MINS –

ALINA IBRAGIMOVA VIOLIN 1 ANDANTINO 2 SCHERZO: VIVACISSIMO 3 MODERATO – ALLEGRO MODERATO –4–

LONDON PHILHARMONIC ORCHESTRA • SIMPLE GIFTS • 26 MAY 2021

PROGRAMME NOTES

When Prokofiev’s first Violin Concerto received its long-awaited premiere in Paris in 1923 – six years after the work’s completion – it was set to be a grand occasion. Serge Koussevitsky conducted the orchestra of the Paris Opera, and among the audience were luminaries including Igor Stravinsky, Pablo Picasso and the prima ballerina Anna Pavlova. But it had taken years to find a violinist willing to take the Concerto on and after several rebuffals from better known violinists, it was the leader of Koussevitsky’s orchestra, Marcel Darrieux, who eventually accepted the challenge.

By all accounts, Darrieux rose to the occasion, but the Paris press was unmoved. The composer Georges Auric called the concerto ‘Mendelssohnian and derivative’.

grasp at a serenity that is now forever out of reach. The shock and horror of the Scherzo cannot be unseen, the blissful naiveté of the first movement is now a hazy and distant memory.

Programme note © Jo Kirkbride

But Prokofiev remained resolute (‘I took the score, looked it all over, and didn’t find a single thing that should be changed’) and the work’s lacklustre reception did not last for long. A year later, the esteemed Hungarian violinist Joseph Szigeti became the Concerto’s champion and won the work a new army of fans through tours across Europe and America.

The Concerto’s success, he would later say, lay in ‘its mixture of fairy-tale naiveté and daring savagery’, and there is little doubt that it is a work of contrasts. It combines an uncharacteristic lyricism — perhaps the root of Auric’s ‘derivative’ claims — with the kind of angular melodic writing more readily associated with Prokofiev’s music.

At times, as in the first movement, Prokofiev flits wilfully between the two, shifting without pause from the ethereal, shimmering textures of the opening, to the snarling, march-like second theme with its distinctive Soviet undercurrent. This spills over into the gutsy central development section which, for all its ferocity, evaporates in an instant, and drops us back into the ‘fairy-like ‘naiveté of the opening. If Prokofiev is intent on surprising his listeners, then the Scherzo does not disappoint. Inverting the traditional fast-slow-fast concerto model, the central movement is a whirling dervish of violin pyrotechnics and orchestral noise, as biting and acerbic as anything Prokofiev ever composed. The unchecked savagery of the Scherzo leaves a lasting imprint on the finale, which seems to

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Sergei Prokofiev

LONDON PHILHARMONIC ORCHESTRA • SIMPLE GIFTS • 26 MAY 2021

PROGRAMME NOTES AARON COPLAND 1900–90

APPALACHIAN SPRING (ORCHESTRAL SUITE) 1943–45 – APPROX 23 MINS –

The work is in eight continuous sections: Copland provided his own descriptions for each, which are included in italics below.

1 VERY SLOWLY

Introduction of the characters, one by one, in a suffused light.

2 FAST/ALLEGRO

Sudden burst of unison strings in A major arpeggios starts the action. A sentiment both elated and religious gives the keynote to this scene.

3 MODERATE/MODERATO

Duo for the Bride and her Intended – scene of tenderness and passion.

4 QUITE FAST

The Revivalist and his flock. Folksy feeling – suggestions of square dances and country fiddlers.

5 STILL FASTER/SUBITO ALLEGRO

Solo dance of the Bride – presentiment of motherhood. Extremes of joy and fear and wonder.

6 VERY SLOWLY (AS AT FIRST)

Transition scene to music reminiscent of the introduction.

7 CALM AND FLOWING/DOPPIO MOVIMENTO

Scenes of daily activity for the Bride and her Farmer husband. There are five variations on a Shaker theme.

The theme, sung by a solo clarinet, was taken from a collection of Shaker melodies compiled by Edward D. Andrews, and published under the title ‘The Gift to Be Simple.’ The melody borrowed and used almost literally is called ‘Simple Gifts.’

8 MODERATE. CODA/MODERATO – CODA

The Bride takes her place among her neighbours. At the end the couple are left ‘quiet and strong in their new house.’ Muted strings intone a hushed prayerlike chorale passage. The close is reminiscent of the opening music.

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LONDON PHILHARMONIC ORCHESTRA • SIMPLE GIFTS • 26 MAY 2021

PROGRAMME NOTES Best-known as the early 20th century’s quintessential ‘American’ composer, Copland began his early career studying with the modernists in Paris, and only ever intended for his ‘American’ phase to be short-lived.

During the years of the Depression, few composers considered writing music for the US elite, appealing instead to the common man to rally together and try to create a sense of community. Copland’s most famous work, Fanfare for the Common Man, boasts this agenda unashamedly. So, encouraged by teaching from Nadia Boulanger, who influenced the use of folklore in the likes of Stravinsky and Rimsky-Korsakov, Copland turned to his American heritage for inspiration. Initially, he explored using jazz and blues idioms as the source of his national style, but soon found that these works often proved too austere for many audiences. In turn, he began to use traditional American hymns, folksong and cowboy melodies in his future works, while nevertheless retaining the jazz-like flavours that mark out his unique style.

And although he did return to more modernist music in the later part of his career, it is for his characterful middle-period works that he is best-known, the greatest of which are the three ballets Billy the Kid (1938), Rodeo (1942) and Appalachian Spring (1944).

Copland received the commission for Appalachian Spring from the Elisabeth Sprague Coolidge Foundation in 1943, on the understanding that the ballet would be performed by Martha Graham and her dance company the following year. At the time, the work had no title – Copland simply referred to it as Ballet for Martha – but Graham had given him a rough outline of the action that should take place: ‘This has to do with living in a new town, some place where the first fence has just gone up.

Spring was celebrated by a man and a woman building a house with joy and love and prayer; by a revivalist and his followers in their shouts of exaltation; by a pioneering woman with her dreams of the Promised Land.’

Aaron Copland

Crane and retitled it Appalachian Spring. When Aaron appeared in Washington for a rehearsal … he said to me, “Martha, what have you named the ballet?” And when I told him, he asked, “Does it have anything to do with the ballet?” “No,” I said. “I just like the title.”’

The title could hardly have been more fitting and for many years afterwards, members of the public would tell Copland how well he had captured the Appalachians within his music – something that never ceased to amuse him. While many of Copland’s most iconic ‘American’ works make explicit reference to existing folksongs, Appalachian Spring is one of the notable exceptions, instead distilling the style and colour of traditional American music into a work that is almost entirely comprised of original music. But there is one significant melody in the work that Copland imported from elsewhere – the Shaker song ‘Simple Gifts’, which forms the centrepiece of the ballet from which the rest of the material ebbs and flows. Its text is a fitting description of Copland’s own musical style (‘‘Tis a gift to be simple, ‘tis a gift to be free’), a delicate balance of simplicity, economy and lyricism that truly embraces the Shaker spirit.

Programme note © Jo Kirkbride

The ballet did not take the title Appalachian Spring until shortly before its premiere, when Graham discovered a line in a poem by the American writer Hart Crane, entitled The Dance, referring to an Appalachian Spring (in this case a river, rather than the season). Graham recalls: ‘I took some words from the poetry of Hart

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LONDON PHILHARMONIC ORCHESTRA • SIMPLE GIFTS • 26 MAY 2021

TONIGHT'S ARTISTS JOSHUA WEILERSTEIN CONDUCTOR

© Sim Canetty-Clark

Over the past six seasons, the Orchestre de Chambre de Lausanne has thrived under Weilerstein’s leadership and cemented its reputation as one of Europe’s leading chamber orchestras. Weilerstein has greatly expanded the scope of the orchestra’s repertoire, and together they have released successful and critically acclaimed recordings, and toured throughout Europe, joined by soloists such as Juan Diego Flórez, Lucas Debargue and Albrecht Mayer.

Joshua Weilerstein is the Artistic Director of the Orchestre de Chambre de Lausanne, where his contract has been extended until the end of the 2020/21 season. He also enjoys a flourishing guest conducting career and has established a number of close relationships in both the US and Europe, including with the Orchestre Philharmonique de Radio France, Deutsche Kammerphilharmonie Bremen, Bergen Philharmonic, Royal Stockholm Philharmonic, Finnish Radio Symphony, New York Philharmonic, and the symphony orchestras of Baltimore, Detroit and Milwaukee, among others.

Joshua Weilerstein last appeared with the London Philharmonic Orchestra in October 2020, when he conducted a streamed concert of works by Sibelius, Ravel, Schubert and Magnus Lindberg at the Royal Festival Hall. Other highlights of the 2020/21 season include three live-streamed programmes with the Royal Liverpool Philharmonic Orchestra, his debut with the Gürzenich Orchestra Cologne, and return engagements with the NDR Radiophilharmonie Hannover, Danish National Symphony, Oslo Philharmonic, Belgian National and Netherlands Philharmonic orchestras.

Born into a musical family, Joshua Weilerstein’s formative experience with classical music was as a violinist on tour to Panama and Guatemala with the Youth Philharmonic Orchestra of Boston, where the orchestra performed for thousands of young people who had never before heard a live orchestra concert.

This sparked a desire in Weilerstein to pursue a career in classical music. While pursuing his Master’s degree in violin and conducting at the New England Conservatory, he won both the First Prize and the Audience Prize at the 2009 Malko Competition for Young Conductors in Copenhagen. He was subsequently appointed as Assistant Conductor of the New York Philharmonic, where he served from 2012–15.

Weilerstein is deeply committed to programming both traditional and contemporary repertoire, and endeavours to present music from under-represented composers at each concert. He hosts a wildly successful classical music podcast called ‘Sticky Notes’ for music lovers and newcomers alike, which has been downloaded nearly a million times in 154 countries. An advocate for easy communication between the audience and the concert stage, Weilerstein encourages discussion about all aspects of classical music, programming, and the experience of concert-going. @JoshWeilerstein Facebook.com/joshuaweilerstein –8–

LONDON PHILHARMONIC ORCHESTRA • SIMPLE GIFTS • 26 MAY 2021

TONIGHT'S ARTISTS ALINA IBRAGIMOVA VIOLIN

© Eva Vermandel

In recital Alina has appeared at the Southbank Centre, Amsterdam’s Concertgebouw, Salzburg’s Mozarteum, Vienna’s Musikverein, Carnegie Hall, Pierre Boulez Saal and the Royal Albert Hall, where she performed Bach’s Sonatas and Partitas for solo violin as part of the 2015 BBC Proms. Her longstanding partnership with pianist Cédric Tiberghien has seen the duo tour extensively worldwide and win acclaim for their traversals of sonatas by Mozart and Beethoven. Alina is also a founding member of the Chiaroscuro Quartet – one of the most sought-after period ensembles – and records for Hyperion Records.

Performing music from Baroque to new commissions on both modern and period instruments, Alina Ibragimova has established a reputation for versatility and the ‘immediacy and honesty’ (The Guardian) of her performances. Highlights of the 2021/22 season include returns to the Royal Concertgebouw, London Symphony and Philharmonia orchestras; debuts with the Mahler Chamber Orchestra and the St Petersburg Philharmonic; and appearances at Hamburg’s Elbphilharmonie, Vienna’s Konzerthaus and London’s Wigmore Hall.

In September 2017 Alina performed Prokofiev’s Violin Concerto No. 1 with the LPO and Vladimir Jurowski at the BBC Proms, followed by a second performance on tour with the Orchestra in Prague. Recent seasons have also seen Alina perform with the Bavarian Radio Symphony Orchestra, Chamber Orchestra of Europe, Swedish Radio Symphony Orchestra, Seattle Symphony, Orchestra of the Age of Enlightenment, Deutsches Symphonie-Orchester Berlin and TonhalleOrchester Zürich, collaborating with conductors including Vladimir Jurowski, Sir John Eliot Gardiner, Jakob Hrůša, Robin Ticciati, Daniel Harding, Edward Gardner and Bernard Haitink.

Born in Russia in 1985, Alina studied at the Moscow Gnesin School before moving with her family to the UK in 1995, where she studied at the Yehudi Menuhin School and the Royal College of Music. She was also a member of the Kronberg Academy Masters programme. Her teachers have included Natasha Boyarsky, Gordan Nikolitch and Christian Tetzlaff.

Alina is the recipient of awards including the Royal Philharmonic Society Young Artist Award 2010, the Borletti-Buitoni Trust Award 2008 and the Classical BRIT Young Performer of the Year Award 2009, and was a member of the BBC New Generation Artists Scheme from 2005–07. She was made an MBE in the 2016 New Year Honours List.

Alina performs on a c.1775 Anselmo Bellosio violin kindly provided by Georg von Opel. alinaibragimova.com

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LONDON PHILHARMONIC ORCHESTRA • SIMPLE GIFTS • 26 MAY 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

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 performances in the concert hall, the Orchestra also records film and video game 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. It has since been headed by many of the world’s greatest conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is the Orchestra’s current Principal Conductor and Artistic Advisor, and in 2017 we celebrated the tenth anniversary of this extraordinary partnership. In July 2019 Edward Gardner was announced as the Orchestra’s Principal Conductor Designate, and will take up the position when Jurowski’s tenure concludes in September 2021. Karina Canellakis is the Orchestra’s current Principal Guest Conductor.

The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Outside London, the Orchestra has flourishing residencies in Brighton, Eastbourne and at Saffron Hall in Essex, and performs regularly around the UK. Each summer the Orchestra takes up its annual residency at Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra.

Touring remains a large part of the Orchestra’s life: recent highlights have included a major tour of Asia including South Korea, Taiwan and China, as well as performances in Belgium, France, Germany, The Netherlands, Spain, Greece, Switzerland and the USA. The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and

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LONDON PHILHARMONIC ORCHESTRA • SIMPLE GIFTS • 26 MAY 2021

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 Shostakovich’s Symphony No. 11 under Vladimir Jurowski, a disc of works by Krzysztof Penderecki conducted by the composer and Michał Dworzyński, and a commemorative box-set of historic recordings with former Principal Conductor Sir Adrian Boult.

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.

NEXT CONCERT WITH MARQUEE TV WEDNESDAY 2 JUNE 2021 8PM Join us for Vladimir Jurowski’s final Royal Festival Hall concert as Principal Conductor and Artistic Advisor of the LPO

Tchaikovsky Swan Lake

The London Philharmonic Orchestra is committed to inspiring the next generation of musicians, and recently celebrated the 30th anniversary of its 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. Its 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. 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 Spring 2021, the Orchestra was 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.

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(original 1877 version)

Vladimir Jurowski conductor Generously supported by Mrs Aline ForielDestezet and The Candide Trust

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LONDON PHILHARMONIC ORCHESTRA • SIMPLE GIFTS • 26 MAY 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 Yang Zhang

Chair supported by Eric Tomsett

Catherine Craig Katalin Varnagy

Chair supported by Sonja Drexler

Thomas Eisner Martin Höhmann

SECOND VIOLINS Tania Mazzetti PRINCIPAL

Chair supported by Countess Dominique Loredan

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

Chair supported by David & Yi Buckley

VIOLAS Richard Waters CO-PRINCIPAL Ting-Ru Lai David Quiggle PRINCIPAL Laura Vallejo Stanislav Popov Michelle Bruil Martin Wray Raquel Bolivar

Chair supported by Bianca & Stuart Roden

TRUMPETS Paul Beniston* PRINCIPAL James Fountain* PRINCIPAL Anne McAneney* TROMBONES Mark Templeton* PRINCIPAL

Chair supported by William & Alex de Winton

David Whitehouse DOUBLE BASSES Kevin Rundell* PRINCIPAL Sebastian Pennar CO-PRINCIPAL Hugh Kluger George Peniston Tom Walley Laura Murphy

BASS TROMBONE Lyndon Meredith PRINCIPAL TUBA Lee Tsarmaklis* PRINCIPAL

Chair supported by Friends of the Orchestra

FLUTES Juliette Bausor PRINCIPAL

TIMPANI Simon Carrington* PRINCIPAL Chair supported by Victoria Robey OBE

Chair supported by Caroline, Jamie & Zander Sharp

Clare Childs Stewart McIlwham*

OBOES Ian Hardwick* PRINCIPAL Alice Munday CLARINETS Benjamin Mellefont PRINCIPAL Thomas Watmough

PERCUSSION Andrew Barclay* PRINCIPAL Henry Baldwin CO-PRINCIPAL HARP Rachel Masters PRINCIPAL PIANO Catherine Edwards

Chair supported by Roger Greenwood

BASSOONS Jonathan Davies PRINCIPAL

* Holds a professorial appointment in London

Chair supported by Sir Simon Robey

Gareth Newman Simon Estell*

HORNS John Ryan* PRINCIPAL Martin Hobbs Mark Vines CO-PRINCIPAL Gareth Mollison

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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

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.

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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 • SIMPLE GIFTS • 26 MAY 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 • SIMPLE GIFTS • 26 MAY 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 Mr Brian Smith Martin & Cheryl Southgate

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Mr & Mrs G Stein Dr Peter Stephenson Mr Ian Tegner Dr June Wakefield Howard & Sheelagh Watson Roger Woodhouse 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 Ms Janette Storey

LONDON PHILHARMONIC ORCHESTRA • SIMPLE GIFTS • 26 MAY 2021

THANK YOU – CONTINUED –

Ms Caroline Tate Mr Peter Thierfeldt Dr Ann Turrall Michael & Katie Urmston 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

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 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 Stanley Picker Trust The Steel Charitable Trust The Thomas Deane Trust The Thriplow Charitable Trust The Vaughan Williams 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 Borrows Charitable 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 Dunard Fund

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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 • SIMPLE GIFTS • 26 MAY 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

Stef Woodford 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 Gavin Miller Sales and Ticketing 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