LPO online concert programme: 14 October 2020 - Julian Anderson, Nielsen & Beethoven

AUTUMN CONCERT SEASON 2020

IN

THE STREAM OF LIFE PROGRAMME NOTES WEDNESDAY 14 OCTOBER 2020 | 8PM

2011: STORMING THE HEAVENS Julian Anderson Van Gogh Blue* Nielsen Violin Concerto, Op. 33 Beethoven Symphony No. 7 John Storgårds conductor Simone Lamsma violin * Generously supported by Resonate.

Resonate is a PRS Foundation initiative in partnership with the Association of British Orchestras, BBC Radio 3 and Boltini Trust.

LONDON PHILHARMONIC ORCHESTRA • 14 OCTOBER 2020

CONTENTS CLICK ON THE HEADINGS TO JUMP TO A SECTION

3 HOW TO WATCH 4 PROGRAMME NOTES: ANDERSON 6 PROGRAMME NOTES: NIELSEN 8 PROGRAMME NOTES: BEETHOVEN 10 JOHN STORGÅRDS 11 SIMONE LAMSMA 12 LONDON PHILHARMONIC ORCHESTRA 13 LEADER: PIETER SCHOEMAN 14 ON STAGE TONIGHT 15 AUTUMN CONCERTS 16 PLAY ON APPEAL 17 SOUND FUTURES DONORS 18 THANK YOU 21 MEMBERSHIPS & DONATIONS 22 CORPORATE PARTNERSHIPS 23 LPO ADMINISTRATION

2

LONDON PHILHARMONIC ORCHESTRA • 14 OCTOBER 2020

HOW TO WATCH TONIGHT’S CONCERT Go to marquee.tv Each concert will be available for 7 days for free, no registration required. To access the full season please subscribe to MarqueeTV 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

Watch anytime, anywhere Watch on your tablet or phone wherever you are – or download to watch on the go – via the Marquee TV iOS and Android apps.

Watch on the big screen For the ultimate viewing experience, download the Marquee TV app directly on your Apple TV, Amazon Fire TV, Android TV, Roku TV or Samsung (coming soon). Alternatively, cast from your phone/ tablet to your Smart TV via AirPlay or Google Chromecast.

www.marquee.tv

Vital new music support.

Supporting talented UK music creators and organisations since 2000 with timely grants to create, record, promote and tour new music.

Find out more: www.prsfoundation.com @PRSFoundation #FundedByPRSF

3

LONDON PHILHARMONIC ORCHESTRA • 14 OCTOBER 2020

PROGRAMME NOTES JULIAN ANDERSON BORN 1967

VAN GOGH BLUE FOR ENSEMBLE (2015) – APPROX 23 MINS –

1 L’AUBE, SOLEIL NAISSANT 2 LES VIGNOBLES 3 LES ALPILLES 4 EYGALIERES 5 LA NUIT, PEINDRE LES ÉTOILES (LE 25 MAI 1889, 4:40AM) Generously supported by Resonate. Resonate is a PRS Foundation initiative in partnership with the Association of British Orchestras, BBC Radio 3 and Boltini Trust.

Co-commissioned by The Serge Koussevitzsky Music Foundation in the Library of Congress and dedicated to the memory of Serge and Natalie Koussevitzky, Wigmore Hall with the support of André Hoffmann, president of the Fondation Hoffmann, a Swiss grant-making foundation, and Casa da Música.

Van Gogh’s numerous letters to his brother Theo are a touching and vivid record of his creative impulses during his amazingly short artistic career. One thing stands out: for Van Gogh the true excitement of painting was in its materials, the sheer stuff of which his art is made – colour. There are innumerable references to his shades of colour and different kinds of paint he used to render them on canvas. The colour blue was a particular and now famous obsession of his.

Surprised that no shade of blue was named after him, I decided to give my piece the title of this non-existent colour, in hommage to a creative artist for whose work I have always felt a strong affinity.

The five movements follow a trajectory from dawn to midnight, as indicated by the titles. The two clarinets are mobile: in the first and third movements they sit within the ensemble; in the second movement they stand at either side of the stage, whilst in the fourth they are amongst the audience. In the fifth movement the clarinets are removed to the gallery, and one of them is tuned a quarter-tone flat. This final movement, reflecting upon his celebrated Starry Night, eventually brings the music full-circle via a sustained lament for the whole ensemble. The coda was influenced by recent research suggesting that Van Gogh was murdered, rather than committing suicide as had been previously believed. © 2019 Julian Anderson

4

LONDON PHILHARMONIC ORCHESTRA • 14 OCTOBER 2020

COMPOSER PROFILE JULIAN ANDERSON

© John Batten

premiered the violin concerto In liebliche Bläue: this, along with The Stations of the Sun and Alleluia, was released on a second LPO Label disc in 2016.

Julian Anderson is among the most esteemed and influential composers of his generation. He was born in London in 1967 and studied composition with John Lambert, Alexander Goehr and Tristan Murail. His career was launched in 1992 when, at the age of 25, he was awarded a prestigious RPS Composition Prize for his Diptych (1990) for orchestra. His success as a composer has also fed a prominent academic career, which has included Senior Composition Professorships at the Royal College of Music (1996– 2004), where he was also Head of Composition for five years; Harvard University (2004–07); and the Guildhall School of Music & Drama, where he is Professor of Composition and Composer in Residence. Anderson is also much in demand as a concert programmer and public speaker. Between 2002 and 2011 he was Artistic Director of the Phiharmonia Orchestra’s ‘Music of Today’ concert series, and from 2013–16 he was Composer in Residence at Wigmore Hall.

Julian Anderson was the London Philharmonic Orchestra’s Composer in Residence from 2010–14.

The residency began with a fanfare for the Royal Society’s 350th anniversary celebrations at the Southbank Centre in June 2010, and continued with performances of The Stations of the Sun (2010), The Crazed Moon (2011), Fantasias (2011), and the premiere of The Discovery of Heaven (2012), which won a 2013 South Bank Sky Arts Award. In 2013 the LPO released on its own label a recording of the award-winning performance, together with Fantasias and The Crazed Moon. In 2015 the LPO and soloist Carolin Widmann

Fantasias (2009) for The Cleveland Orchestra won a British Composer Award. Further orchestral commissions include Incantesimi (2016), commissioned by the Berlin Philharmonic, Boston Symphony Orchestra and Royal Philharmonic Society and premiered under Simon Rattle; and The Imaginary Museum (2017), a piano concerto for Steven Osborne co-commissioned by the Bergen Philharmonic Orchestra, Sydney Symphony Orchestra and BBC Scottish Symphony Orchestra, who premiered the work at the 2017 BBC Proms under Ilan Volkov.

Anderson’s strong relationships with ensembles including BCMG, the Nash Ensemble, London Sinfonietta and Asko-Schönberg Ensemble have also resulted in many commissions. Book of Hours (2004) was written for BCMG and Oliver Knussen. The work won the RPS Award for Large Scale Composition in 2006, and the following recording on NMC won the 2007 Gramophone Award. Commissioned by Wigmore Hall, the Koussevitzky Foundation and Casa da Música and premiered by the Nash Ensemble, Van Gogh Blue (2015) won both a BASCA Award and the RPS Award for Small Scale Composition.

Alongside this impressive catalogue of instrumental works is a rich body of choral music. Four American Choruses (2003) was premiered by the Groot Omroepkoor at the Concertgebouw in Amsterdam.

The 2006 oratorio, Heaven is Shy of Earth (rev. 2009), was premiered at the BBC Proms by the BBC Symphony Orchestra and Chorus conducted by Andrew Davis, and went on to win a 2007 BASCA award for Choral Composition. Further choral works include a Magnificat (2016) for ORA and a Nunc Dimittis (2017) for the Choir of Gonville & Caius College, Cambridge.

Thebans, Anderson’s opera based on the Oedipus myth, was highly praised at its premiere production at English National Opera in 2014 and its German premiere in Bonn in 2015. His music is frequently used for dance, and his association with choreographer Mark Baldwin led to the 2009 ballet The Comedy of Change, which toured nationally.

5

LONDON PHILHARMONIC ORCHESTRA • 14 OCTOBER 2020

PROGRAMME NOTES CARL NIELSEN 1865–1931

VIOLIN CONCERTO, OP. 33 1911

– APPROX 42 MINS –

SIMONE LAMSMA VIOLIN 1 PRAELUDIUM: LARGO – ALLEGRO CAVALLARESCO 2 POCO ADAGIO – RONDO: ALLEGRETTO SCHERZANDO

Like his Nordic contemporary Sibelius, Carl Nielsen was trained as a violinist – indeed, for several years early in his career he held down a job in the second violin section of the Royal Danish Orchestra. He wrote two sonatas for the instrument but, again like Sibelius, only one concerto. This he began in June 1911, shortly after completing his Third Symphony, the Sinfonia Espansiva; at the time he was staying at Troldhaugen, the country house outside Bergen that had been Edvard Grieg’s home for the last years of his life.

He continued working on the Concerto through the summer, and in the autumn whenever his duties as conductor at the Royal Danish Opera allowed, before eventually completing it in December. The work was first performed in Copenhagen in February 1912, in the same concert as the Espansiva; the composer conducted and the soloist was the Danish violinist Peder Møller. Nielsen clearly remained fond of it, including it for example in his 60th birthday concert in 1925. It was also in the programme of a radio concert which he was to have conducted in October 1931.

But he was taken ill, and instead listened to the broadcast on headphones in a hospital bed, only two days before his death.

6

The Concerto is a highly virtuosic piece, including some extended and brilliant cadenzas, and for the most part lightly accompanied by an orchestra of moderate dimensions (albeit larger than those of Nielsen’s much later concertos for flute and clarinet). It combines bravura with melodies of Romantic lyricism, but also with music of lighter texture perhaps echoing the composer’s 1906 opera Maskarade, a comedy with an 18th-century setting. There are more specific 18th-century allusions to the characteristic figuration of Bach’s solo violin sonatas and partitas, and to Bach’s personal motto; and the whole piece has the slow–fast–slow–fast outline of the Baroque sonata.

The work begins with a Prelude (in G minor and major moving to D major), alternating between brilliant accompanied cadenzas and episodes of calm decorated melody. This leads into a ‘chivalrous’ Allegro (in G major) based on a sturdy, rigaudon-like first melody and a more flowing second subject with a skittish continuation. The latter pair of ideas forms the basis of the discussion in the development section, which culminates in a cadenza, this time unaccompanied.

The recapitulation is followed by a headlong coda.

LONDON PHILHARMONIC ORCHESTRA • 14 OCTOBER 2020

COMPOSER PROFILE CARL NIELSEN The second movement opens with a Poco adagio (in D minor moving to A major). At the start, the oboe plays the four-note motto corresponding to Bach’s initials, B–A–C–H in German notation, or B flat–A–C– B natural; but the subsequent searching discussion concentrates on the shape of this phrase rather than the exact notes or intervals. A more static passage follows before the arrival of the final rondo. This has a springing main theme, contrasting episodes which are generally more tranquil in tone, a recurring link of rough-hewn orchestral counterpoint, and shortly before the end, another virtuoso cadenza.

Programme note by Anthony Burton

Carl Nielsen is indisputably the most influential figure in Danish musical history. His widespread fame is largely down to his writing complex and modern music for the concert hall as well as simple yet unforgettable songs for the Danish public, without compromising his own personal style.

Nielsen was born into a poor family in rural Funen.

During his childhood, he played in his father’s amateur orchestra and worked as a military musician in Odense. In 1884, he was accepted into the Royal Danish Academy of Music. After graduating, he played violin in the Royal Danish Orchestra from 1889–1905. Later, he became concertmaster of the Orchestra, conducting several of his own works.

Nielsen’s First Symphony was composed in 1892, and he was to write a total of six. Around the turn of the century, he wrote his two operas, Saul and David (1901) and Maskarade (1906) – the latter is widely recognized as the Danish ‘national opera’. His public breakthrough was also due to the success of Jens Vejmand (‘Jens the Road-mender’) (1907), a folk-like song that anticipated the song style of his later years: alongside the increasingly modernist instrumental works, Nielsen worked with his friend Thomas Laub to reform the Danish national song tradition. This resulted in a number of collections of simple strophic songs where he deliberately tried to perpetuate the ideals of J.A.P. Schulz’s Lieder im Volkston (1784).

‘[THE CONCERTO] MUST BE GOOD MUSIC, AND YET ALWAYS MAKE ALLOWANCES FOR THE ACTIVITY OF THE SOLO INSTRUMENT IN THE BEST LIGHT, THAT IS RICH IN CONTENT, POPULAR AND DAZZLING WITHOUT BECOMING SUPERFICIAL.’ CARL NIELSEN, DURING THE COMPOSITION OF HIS VIOLIN CONCERTO IN 1911

From the earliest works onward, Nielsen’s compositions were permeated by a Classicist aesthetic which deliberately avoided any element of late Romanticism. But during the 1910s and 1920s he oriented himself more towards the new currents in European music, working modernist elements into his music without ever abandoning his very characteristic personal style. This development is particularly clear in the last three symphonies.

During the 1920s Nielsen’s music started to receive international acclaim. Towards the end of his life, his 60th birthday was celebrated nationwide and he became director of the Royal Danish Academy of Music.

Profile © Wise Music Classical 7

LONDON PHILHARMONIC ORCHESTRA • 14 OCTOBER 2020

PROGRAMME NOTES LUDWIG VAN BEETHOVEN 1770–1827

SYMPHONY NO. 7 IN A, OP. 92 1811/12

– APPROX 41 MINS –

1 POCO SOSTENUTO – VIVACE 2 ALLEGRETTO 3 PRESTO – ASSAI MENO PRESTO 4 ALLEGRO CON BRIO Beethoven’s Seventh Symphony was composed at the end of 1811 and the beginning of 1812, and first performed in Vienna in December 1813, to an enthusiastic audience which, perhaps understandably, mistook its Olympian rejoicing for a celebration of the recent downfall of Napoleon and the coming of peace.

The Symphony is justly famous for its breadth and power – yet (even leaving the ‘Choral’ out of consideration) it is neither Beethoven’s longest symphony, nor his most fully scored. There is certainly a special brilliance and tension in the orchestral sonorities, stemming from the Symphony’s key of A major. This brings into play the resonance of the violins’ upper A and E strings; and in Beethoven’s time it also required the use of high and bright-sounding crooks for the valveless brass instruments: horns in A, trumpets in D. But the orchestral sound by itself is not enough to explain why the work seems so big and so powerful.

The principal source of the breadth of the Seventh is Beethoven’s masterly proportioning and balancing of different key-areas within the work. The spacious introduction establishes this at once: it begins in the home key of A, and ends poised on its dominant, E; but the tune that the oboe plays near the beginning is in C major, and the flute’s later repetition of this tune is in 8

F major – two keys closely related to each other, but both distant from A. This unconventional scheme sets up an opposition, between A and its closely related keys on the one hand and C and F on the other, which runs almost throughout the work: it reaches its most extreme form in the scherzo, which is in F major but gravitates to A at the first double-bar; and it is resolved only in the finale. An architectural analogy for this double plan might be found in one of those East Anglian church interiors with a roof so elaborately constructed that it seems to create an alternative church in the air.

Beethoven’s tonal plan is animated by the work’s rhythmic energy, which stems from an unprecedented use of repetition of small units. Even the slow introduction to the first movement is full of passages of insistent repeated semiquavers; and the main Vivace, in the dance metre of 6/8, is driven throughout by multiple repetitions of the three-note dotted rhythm with which it begins. The famous main theme of the walking-pace A minor Allegretto is based on a single two-bar rhythmic unit, repeated many times through successive variations and even in a fugal passage; and the long–short–short rhythm of the first of the two bars is repeated with even greater regularity in the bass line of the two contrasting major-key episodes.

LONDON PHILHARMONIC ORCHESTRA • 14 OCTOBER 2020

COMPOSER PROFILE LUDWIG VAN BEETHOVEN The scherzo is in a very fast one-in-a-bar, grouped mostly in four-bar units, but with elisions and extensions which mean that it never settles into a regular pattern. The momentum it generates is enough to carry it through two complete statements of the more static trio section, and to brush away a hint of another return at the end. The even more relentless drive of the finale is based not, as in the first two movements, on multiple repetitions of one all-pervasive rhythmic figure, but on the repetition of different rhythms within different sections. Most of these, though, have in common an accent on the second beat of the 2/4 bar, which gives the movement an irresistible forward push – until the very last moment.

Programme note by Anthony Burton

‘THIS SYMPHONY IS THE APOTHEOSIS OF DANCE HERSELF: IT IS DANCE IN HER HIGHEST ASPECT, AS IT WERE THE LOFTIEST DEED OF BODILY MOTION INCORPORATED IN AN IDEAL MOULD OF TONE. ’

© Royal College of Music, London

RICHARD WAGNER (TRANSLATED BY H. ASHTON ELLIS)

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 marks his 250th anniversary in 2020. 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 9

LONDON PHILHARMONIC ORCHESTRA • 14 OCTOBER 2020

TONIGHT'S ARTISTS JOHN STORGÅRDS CONDUCTOR

© Marco Borggreve

including Per Nørgård’s Symphony No. 8 and Kaija Saariaho’s Nocturne for solo violin. He conducted the world premiere production of Sebastian Fagerlund’s opera Höstsonaten (Autumn Sonata) at the Finnish National Opera, directed by Stéphane Braunschweig.

The title was a finalist at the 2018 International Opera Awards and was revived in autumn 2019. Storgårds also conducted the Finnish premieres of Schumann’s only opera, Genoveva, and the early ‘Zwickau’ Symphony, as well as the world premieres of Sibelius’s Suite Op. 117 for violin and strings and the Late Fragments. As soloist he gave the Finnish premiere of Schumann’s own violin transcription of the Cello Concerto, as well as the Violin Sonata No. 3.

Chief Guest Conductor of the BBC Philharmonic and Principal Guest Conductor of Canada’s National Arts Centre Orchestra Ottawa, John Storgårds enjoys a dual career as a conductor and violin virtuoso, and is widely recognised for his creative flair for programming.

As Artistic Director of the Lapland Chamber Orchestra – a title he has held for nearly 25 years – Storgårds has earned global critical acclaim for the ensemble’s adventurous performances and award-winning recordings.

Storgårds appears with such orchestras as the London Philharmonic Orchestra, BBC Symphony Orchestra, WDR Sinfonieorchester Köln, Gewandhausorchester Leipzig, Orchestre Philharmonique de Radio France, Orchestre National de France and Orchestra Sinfonica Nazionale della RAI, as well as the Helsinki Philharmonic Orchestra, where he was Chief Conductor from 2008– 15. Further afield, he appears with the Sydney, Melbourne, Yomiuri Nippon and NHK symphony orchestras, as well as the Boston Symphony Orchestra, Cleveland Orchestra and New York Philharmonic.

Embracing contemporary repertoire in his programmes, Storgårds regularly performs world premieres, with many works being dedicated to him 10

In summer 2020 Storgårds conducted the BBC Philharmonic at the virtual BBC Proms, followed by a month of studio concert recordings in Manchester.

Further highlights this season include returns to the ORF Radio-Symphonieorchester Wien, the Bamberg Symphony, and the Netherlands and Dresden Philharmonics, as well as the Swedish, Scottish and Munich chamber orchestras. Following a successful collaboration last season, Storgårds will once again join forces with Barbara Hannigan for a return to the Munich Philharmonic. In April 2021 he will conduct a complete Sibelius symphony cycle with the Lucerne Symphony Orchestra, as well as the Humoresques for violin and orchestra.

Storgårds’ award-winning discography includes recordings of works by Schumann, Mozart, Beethoven and Haydn, but also rarities by Vagn Holmboe and Pēteris Vasks featuring him as soloist. Two cycles of symphonies, by Sibelius (2014) and Nielsen (2015), with the BBC Philharmonic were released to critical acclaim

by Chandos. Their latest project, recording the late symphonies of Shostakovich, commenced in April 2020 with the release of Symphony No. 11.

LONDON PHILHARMONIC ORCHESTRA • 14 OCTOBER 2020

TONIGHT'S ARTISTS SIMONE LAMSMA VIOLIN

© Otto van den Toorn

Highlights of the 2020/21 and 2021/22 seasons include debuts with the Konzerthaus Orchester Berlin, Gürzenich Orchester and Vienna Symphony Orchestra, and return invitations to the London Philharmonic Orchestra, City of Birmingham Symphony Orchestra, Royal Liverpool Philharmonic Orchestra, Yomiuri Nippon Symphony, Houston Symphony, Oregon Symphony Orchestra, Hallé, RTE Symphony Orchestra, Bournemouth Symphony Orchestra, Residentie Orkest, Dutch Radio Philharmonic Orchestra and National Arts Center Orchestra Ottawa.

Hailed for her ‘brilliant … polished, expressive and intense’ (Cleveland Plain Dealer) and ‘absolutely stunning’ (Chicago Tribune) playing, Dutch violinist Simone Lamsma is respected by critics, peers and audiences as one of today’s most striking and captivating musical personalities .

With an extensive repertoire of over 60 violin concertos, Simone’s recent seasons have seen her perform with many of the world’s leading orchestras. Notable recent highlights include her debuts with the New York Philharmonic under Jaap van Zweden, Chicago Symphony Orchestra, Pittsburgh Symphony Orchestra, Orchestre Symphonique de Montréal, Sydney Symphony Orchestra, Royal Stockholm Philharmonic and Orchestre Philharmonique de Luxembourg, as well as return invitations to the Royal Concertgebouw Orchestra, Cleveland Orchestra, Houston Symphony Orchestra, BBC Philharmonic, Seoul Philharmonic, Rotterdam Philharmonic, San Francisco Symphony, Hong Kong Philharmonic, Antwerp Symphony Orchestra, Warsaw Philharmonic and Dallas Symphony Orchestra.

As well as her close collaboration with Jaap van Zweden, Simone has performed with many other eminent conductors including John Storgårds, Vladimir Jurowski, Edward Gardner, Karina Canellakis, François-Xavier Roth, Juraj Valčuha, Omer Meir Wellber, Kent Nagano, Gustavo Gimeno, Mark Wigglesworth, Neville Marriner, Mark Elder, Yannick Nézet-Séguin, Jukka-Pekka Saraste, James Gaffigan, Sir Andrew Davis, Robert Trevino, Andrès Orozco-Estrada, Jiří Bělohlávek, Carlos Kalmar, Kirill Karabits, Stéphane Denève, Hannu Lintu, Fabien Gabel and Andris Poga.

Simone’s most recent recording, featuring Shostakovich’s Violin Concerto No. 1 and Gubaidulina’s In tempus praesens with the Netherlands Radio Philharmonic under James Gaffigan and Reinbert de Leeuw, was released in 2017 on Challenge Classics and received high accolades from the press.

Simone began studying the violin at the age of five and moved to the UK aged 11 to study at the Yehudi Menuhin School. She continued her studies at the Royal Academy of Music, from which she graduated aged 19 with First Class honours and several prestigious awards. In 2019 she was made a Fellow of the Royal Academy of Music.

Simone plays the ‘Mlynarski’ Stradivarius (1718), on generous loan to her by an anonymous benefactor.

11

LONDON PHILHARMONIC ORCHESTRA • 14 OCTOBER 2020

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 PATRON HRH THE DUKE OF KENT KG • CHIEF EXECUTIVE DAVID BURKE

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.

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 12

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: highlights of recent seasons 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 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.

LONDON PHILHARMONIC ORCHESTRA • 14 OCTOBER 2020

PIETER SCHOEMAN LEADER

Chair supported by Neil Westreich In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Music Award for Ensemble.

The London Philharmonic Orchestra is committed to inspiring the next generation of musicians. It 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: all its recordings are available to download and stream and, as well as a YouTube channel and podcast series, the Orchestra has a lively presence on social media. Over the lockdown period the LPO has sustained its relationship with UK and international audiences through ‘LPOnline’, reaching many thousands of people. From initial individual player performances recorded at home, to online engagement intitiatives such as its wellbeing strand Lean In and Listen, the Orchestra progressed over time to larger-scale split-screen performances, before finally being able to play together in small chamber groups for the free LPO Summer Sessions from Henry Wood Hall, as well as small-scale outdoor performances at Glyndebourne. This autumn the Orchestra returns at last to its Royal Festival Hall home to perform 13 fulllength concerts filmed live and streamed for audiences to enjoy at home via Marquee TV. lpo.org.uk

Pieter Schoeman was appointed Leader of the London Philharmonic Orchestra in 2008, having previously been Co-Leader since 2002.

Born in South Africa, Pieter made his solo debut aged 10 with the Cape Town Symphony Orchestra. Five years later, while studying with Jack de Wet, he won the World Youth Concerto Competition in Michigan. Aged 17, he moved to the US to further his studies in Los Angeles and Dallas. In 1991 his talent was spotted by Pinchas Zukerman who, after several consultations, recommended that he move to New York to study with Sylvia Rosenberg.

Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and London’s Royal Festival Hall.

As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. His chamber music partners have included Anne-Sophie Mutter, Veronika Eberle, Patricia Kopatchinskaja, Boris Garlitsky, Jean-Guihen Queyras, Yannick Nézet-Séguin and Martin Helmchen.

Pieter has performed numerous times as a soloist with the London Philharmonic Orchestra. Highlights have included an appearance as both conductor and soloist in Vivaldi’s Four Seasons at the Royal Festival Hall, the Brahms Double Concerto with Kristina Blaumane, and the Britten Double Concerto with Alexander Zemtsov, which was recorded and released on the LPO Label to great critical acclaim.

Pieter has appeared as Guest Leader with the Barcelona, Bordeaux, Lyon, Baltimore and BBC Symphony orchestras, and the Rotterdam and BBC Philharmonic orchestras. In April 2016 he was Guest Concertmaster with the Leipzig Gewandhaus Orchestra for Kurt Masur’s memorial concert.

Pieter is a Professor of Violin at Trinity Laban Conservatoire of Music & Dance in London. He has given public masterclasses in Los Angeles, New York, Wrocław, Shanghai, Taipei and London. Pieter proudly plays strings by Thomastik-Infeld.

13

LONDON PHILHARMONIC ORCHESTRA โ ข 14 OCTOBER 2020

ON STAGE TONIGHT FIRST VIOLINS Pieter Schoeman* LEADER Chair supported by Neil Westreich

Vesselin Gellev SUB-LEADER Kate Oswin Lasma Taimina Chair supported by Irina Gofman & Mr Rodrik V. G. Cave

Minn Majoe Thomas Eisner Martin Hรถhmann Catherine Craig Katalin Varnagy Chair supported by Sonja Drexler

Yang Zhang Chair supported by Eric Tomsett

SECOND VIOLINS Tania Mazzetti PRINCIPAL Chair supported by Countess Dominique Loredan

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

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

Chair supported by Caroline, Jamie & Zander Sharp

Stewart McIlwham* PICCOLO Stewart McIlwham* PRINCIPAL OBOES Ian Hardwick* PRINCIPAL Alice Munday CLARINETS Benjamin Mellefont PRINCIPAL Thomas Watmough Chair supported by Roger Greenwood

Paul Richards*

Marie-Anne Mairesse Nynke Hijlkema Joseph Maher

E FLAT CLARINET Benjamin Mellefont

CELLOS Pei-Jee Ng PRINCIPAL Francis Bucknall Laura Donoghue Elisabeth Wiklander Gregory Walmsley Susanna Riddell

14

TROMBONES Mark Templeton* PRINCIPAL Chair supported by William & Alex de Winton

FLUTES Juliette Bausor PRINCIPAL Sue Thomas*

Chair supported by David & Yi Buckley

VIOLAS Richard Waters PRINCIPAL Robert Duncan Ting-Ru Lai David Quiggle PRINCIPAL Laura Vallejo Benedetto Pollani Naomi Holt Alistair Scahill

TRUMPETS Paul Beniston* PRINCIPAL Anne McAneney* David Hilton

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

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

David Whitehouse BASS TROMBONE Lyndon Meredith PRINCIPAL TIMPANI Simon Carrington* PRINCIPAL Chair supported by Victoria Robey OBE

HARP Rachel Masters PRINCIPAL PIANO Catherine Edwards * Holds a professorial appointment in London

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Andrew Davenport Dr Barry Grimaldi Bianca & Stuart Roden

LONDON PHILHARMONIC ORCHESTRA • 14 OCTOBER 2020

MORE ONLINE CONCERTS THIS AUTUMN WEDNESDAY 21 OCTOBER 2020

WEDNESDAY 11 NOVEMBER 2020

WEDNESDAY 9 DECEMBER 2020

Anna Clyne Prince of Clouds R Strauss Suite, Le bourgeois gentilhomme Beethoven Symphony No. 8

Chevalier de Saint-Georges Overture, L’amant anonyme Beethoven Piano Concerto No. 4 Beethoven Ah! Perfido Beethoven Symphony No. 4

J S Bach Orchestral Suite No. 1 Elena Kats-Chernin Piano Concerto No. 3 (European premiere) Enescu Decet, Op. 14* Enescu Chamber Symphony*

Daniele Rustioni conductor Nicolas Namoradze piano Sophie Bevan soprano

Vladimir Jurowski conductor Tamara-Anna Cislowska piano

Mark Elder conductor* Pieter Schoeman violin (Chair supported by Neil Westreich) Tania Mazzetti violin (Chair supported by Countess Dominique Loredan) * Please note change of conductor: sadly Karina Canellakis is no longer able to conduct this concert, owing to the current travel and quarantine restrictions between the UK and the Netherlands.

Concert generously supported by Mrs Aline Foriel-Destezet.

This concert will be broadcast live at 7.30pm on Friday 23 October on BBC Radio 3, as part of the Southbank Centre’s Inside Out festival.

WEDNESDAY 28 OCTOBER 2020 Sibelius The Bard Magnus Lindberg Cello Concerto No. 2 (UK premiere) Ravel Trois poèmes de Stéphane Mallarmé Schubert Symphony No. 1 Joshua Weilerstein conductor* Anssi Karttunen cello Sally Matthews soprano * Please note change of conductor: sadly Jukka-Pekka Saraste is no longer able to conduct this concert, owing to the current travel and quarantine restrictions between the UK and Switzerland.

WEDNESDAY 4 NOVEMBER 2020 Vivaldi La stravaganza, Concerto No. 1 Schubert Symphony No. 2 Thomas Larcher Ouroboros Reger Variations and Fugue on a Theme

by Mozart, Op. 132 Thierry Fischer conductor Pieter Schoeman violin (Chair supported by Neil Westreich) Kristina Blaumane cello (Chair supported by Bianca and Stuart Roden) Generously supported by Cockayne – Grants for the Arts and The London Community Foundation

WEDNESDAY 25 NOVEMBER 2020 Schubert Symphony No. 3 Penderecki Concertino for Trumpet and Orchestra Lotta Wennäkoski Verdigris (London premiere) Sibelius Symphony No. 5 Hannu Lintu conductor Gábor Boldoczki trumpet Concert supported by the This concert is supported in part by the Adam Mickiewicz Institute through Polska Music Programme and their partnership with LOT Polish Airlines.

Concert supported by the *Generously supported by the Romanian Cultural Institute.

WEDNESDAY 16 DECEMBER 2020 J S Bach Brandenburg Concerto No. 5 Brett Dean The Players (UK premiere) Stravinsky Pulcinella (complete) Vladimir Jurowski conductor Pieter Schoeman violin (Chair supported by Neil Westreich) Juliette Bausor flute Catherine Edwards harpsichord James Crabb accordion Angharad Lyddon soprano Sam Furness tenor David Soar bass Generously supported by Cockayne – Grants for the Arts and The London Community Foundation.

WEDNESDAY 30 DECEMBER 2020 WEDNESDAY 2 DECEMBER 2020 Prokofiev Symphony No. 1 (Classical) Anders Hillborg Bach Materia Schubert Overture in B flat, D470 Schubert Symphony No. 5 Thomas Søndergård conductor Pekka Kuusisto violin

Vivaldi Overture, La verità in cimento Spohr Symphony No. 2 Honegger Pastorale d’été Bliss Rout James MacMillan Sinfonietta Vladimir Jurowski conductor Mary Bevan soprano

SATURDAY 5 DECEMBER 2020 This concert will be broadcast live at 7.30pm on Wednesday 21 October on BBC Radio 3, as part of the Southbank Centre’s Inside Out festival.

Ravel Le tombeau de Couperin Schubert Symphony No. 6 Jonathan Dove Vadam et circuibo civitatem (a cappella) Prokofiev Piano Concerto No. 3 Thomas Søndergård conductor Alexander Gavrylyuk piano London Philharmonic Choir

15

PLAY ON APPEAL HELP US CONTINUE TO SHARE THE WONDER OF MUSIC WITH EVERYONE Whether you are a seasoned concert-goer or new to orchestral music, we are delighted to present our autumn season of concerts, on Marquee TV, free of charge for everyone for the first seven days of broadcast.

As you enjoy this performance please consider, if you are able, making a donation to support the Orchestra.

The LPO has always been an orchestra of the people, for the people, and is driven by an inclusive spirit. Despite facing an uncertain future because of the ongoing devastating impact of the COVID-19 pandemic, we are committed to sharing as much music as possible: to delivering world-class performances to global audiences; to inspiring school students of all ages at our BrightSparks concerts and recordings; to nurturing a fully-inclusive next generation of talented instrumentalists and composers; and to enriching the lives of disadvantaged people and people with disabilities of all ages through the power of music.

We may be back on stage, but with the doors to our concerts sadly closed and with no box office income, it is only with your help that we can continue to provide these concerts and our vital Education and Community Programme. With the help of our generous supporters we have made great progress back to the concert platform and are another step closer to returning as the Orchestra you know and love. With your help we will still be here when the time comes to throw our open our doors and welcome you back into the hall to be inspired, moved, challenged and uplifted by the music of the London Philharmonic Orchestra.

Thank you to everyone who has supported our Play On Appeal so far. It is with your kind support that we have been able to build back the Orchestra to return to the concert platform for our autumn season.

HELP US PLAY ON 16

To make a donation visit lpo.org.uk/donate or call Rosie Morden, Individual Giving Manager, on 020 7840 4212

LONDON PHILHARMONIC ORCHESTRA • 14 OCTOBER 2020

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

17

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

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 • 14 OCTOBER 2020

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 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 Francis & Marie-France Minkoff Dame Theresa Sackler Eric Tomsett Andrew & Rosemary Tusa The Viney Family Jenny Watson CBE

18

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 Geoff & Meg Mann The Metherell Family Andrew Neill Mikhail Noskov & Vasilina Bindley Tom & Phillis Sharpe Laurence Watt Guy & Utti Whittaker Grenville & Krysia Williams Bronze Patrons Anonymous donors Michael Allen Mr Philip Bathard-Smith Sir Peter Bazalgette 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 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 Dr Manon Antoniazzi Mr Mark Astaire Sir John Baker Mrs A Beare Mr Bernard Bradbury Dr Carlos Carreno Desmond & Ruth Cecil Mr Julien Chilcott-Monk Mr & Mrs Stewart Cohen David & Liz Conway Mr Alistair Corbett Mr Simon Douglas Mr Richard Fernyhough Mrs Janet Flynn Mrs Ash Frisby Mr Stephen Goldring Mr Milton Grundy The Jeniffer & Jonathan Harris Charitable Trust Michael & Christine Henry J Douglas Home Ivan Hurry Per Jonsson Alexandra Jupin & John Bean Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Paul & Brigitta Lock Mr Peter Mace Nicholas & Lindsay Merriman Andrew T Mills Mr Gerald Pettit Mr James Pickford Mr Christopher Querée Mr Robert Ross Mr David Russell Priscylla Shaw Nigel Silby 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 Mr John Barnard Mr John D Barnard Damaris, Richard & Friends Mr David Barrett Mr Andrew Botterill 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 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 Mr Peter Thierfeldt Dr Ann Turrall Michael & Katie Urmston Dr June Wakefield Mr Dominic Wallis Joanna Williams Mr C D Yates Mr Anthony Yolland

LONDON PHILHARMONIC ORCHESTRA • 14 OCTOBER 2020

THANK YOU – CONTINUED –

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 The Candide Trust Gill & Garf Collins Andrew Davenport 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 Jill Dyal Alexandra Jupin William A. Kerr Kristina McPhee Natalie Pray Antony Phillipson Hon. Chairman Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Connecticut Gala Committee Bea Crumbine & Jill Dyal Co-Chairmen Rodica Brune Mandy DeFilippo Rachel Franco Nick Gutfreund Mary Hull Steve Magnuson Natalie Pray Victoria Robey OBE Lisa & Scot Weicker Corporate Donors 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

LPO Corporate Circle Leader freuds Sunshine Principal Berenberg Carter-Ruck French Chamber of Commerce Tutti Ageas Lazard Russo-British Chamber of Commerce Walpole Preferred Partners After Digital Lidl Lindt & Sprüngli Ltd London Orthopaedic Clinic Steinway In-kind Sponsor Google Inc Trusts and Foundations The Bernarr Rainbow Trust The Boltini Trust Sir William Boreman’s Foundation Borletti-Buitoni Trust Boshier-Hinton Foundation The Candide Trust The Chalk Cliff Trust Cockayne – Grants for the Arts The David Solomons Charitable Trust The D’Oyly Carte Charitable Trust 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

The London Community Foundation Lord & Lady Lurgan Trust Marsh Christian 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 The Steel Charitable Trust Spears-Stutz Charitable Trust The Thistle Trust The Thomas Deane Trust The Thriplow Charitable Trust The Viney Family Garfield Weston Foundation The Barbara Whatmore Charitable Trust The William Alwyn Foundation and all others who wish to remain anonymous.

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.

19

WONDER AT THE WORLD OF THE LONDON PHILHARMONIC ORCHESTRA

20

LONDON PHILHARMONIC ORCHESTRA • 14 OCTOBER 2020

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 21

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 significant brand exposure and an opportunity to meet CSR needs at a time when charitable community work is facing severe disruption.

Principal Partner

OrchLab Project Partner

Principal Supporters

Andrew Lloyd Webber Foundation

lpo.org.uk/corporate 020 7840 4210

Andrew Lloyd Webber Foundation Andrew Lloyd Webber Foundation

Andrew Lloy Founda

LONDON PHILHARMONIC ORCHESTRA • 14 OCTOBER 2020

LPO ADMINISTRATION BOARD OF DIRECTORS Victoria Robey OBE Chairman Martin Höhmann* President Dr Catherine C. Høgel Vice-Chairman Henry Baldwin* Roger Barron David Buckley Bruno De Kegel Tanya Joseph Al MacCuish Tania Mazzetti* Stewart McIlwham* Pei-Jee Ng* Andrew Tusa Mark Vines* Neil Westreich 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 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 David Burke Chief Executive CONCERT MANAGEMENT Roanna Gibson Concerts Director Graham Wood Concerts and Recordings Manager Fabio Sarlo Glyndebourne and Projects Manager Grace Ko Tours Manager Alison Jones Concerts and Recordings Co-ordinator Christina Perrin Concerts and Tours Assistant Matthew Freeman Recordings Consultant Andrew Chenery Orchestra Personnel Manager Sarah Holmes Sarah Thomas Librarians Laura Kitson Stephen O’Flaherty Stage Managers Damian Davis Transport Manager Hannah Verkerk Orchestra Co-ordinator and Auditions Administrator 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 Hannah Tripp Education and Community Project Co-ordinator

DEVELOPMENT Laura Willis Development Director Vicky Moran Development Events Manager Christina McNeill Corporate Relations Manager Rosie Morden Individual Giving Manager Anna Quillin Trusts and Foundations Manager Izzy Keig Lewis Hammond Development Assistants ~ Nick Jackman Campaigns and Projects Director Kirstin Peltonen Development Associate FINANCE Frances Slack Finance Director Dayse Guilherme Finance Manager Jean-Paul Ramotar Finance and IT Officer MARKETING Kath Trout Marketing Director Mairi Warren Marketing Manager Alexandra Lloyd Projects and Residencies Marketing Manager Megan Macarte Box Office Manager (maternity leave) Alice Harvey Box Office Manager (maternity cover) Rachel Williams Publications Manager Rachel Smith Website Manager Greg Felton Digital Creative Sophie Harvey Marketing and Digital Officer

PUBLIC RELATIONS Premier classical@premiercomms.com Tel: 020 7292 7355/ 020 7292 7335 ARCHIVES Philip Stuart Discographer Gillian Pole Recordings Archive PROFESSIONAL SERVICES Charles Russell Speechlys Solicitors Crowe Clark Whitehill LLP Auditors Dr Barry Grimaldi Honorary Doctor Mr Chris Aldren Honorary ENT Surgeon Mr Brian Cohen Mr Simon Owen-Johnstone Honorary Orthopaedic Surgeons LONDON PHILHARMONIC ORCHESTRA 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Box Office: 020 7840 4242 Email: admin@lpo.org.uk lpo.org.uk The London Philharmonic Orchestra Limited is a registered charity No. 238045.

COVER ARTWORK Ross Shaw @ JMG Studio

23