LPO online concert programme: 21 October 2020 - Mark Elder conducts Anna Clyne, Strauss & Beethoven

AUTUMN CONCERT SEASON 2020

IN

THE STREAM OF LIFE PROGRAMME NOTES WEDNESDAY 21 OCTOBER 2020 • 8PM

2012: RAPTURE AND REVELRY Anna Clyne Prince of Clouds R Strauss Suite, Le bourgeois gentilhomme Beethoven Symphony No. 8 Mark Elder conductor Pieter Schoeman violin* Tania Mazzetti violin** *Chair supported by Neil Westreich **Chair supported by Countess Dominique Loredan

LONDON PHILHARMONIC ORCHESTRA • 21 OCTOBER 2020

CONTENTS CLICK ON THE HEADINGS TO JUMP TO A SECTION

3 HOW TO WATCH 3 2020 VISION 4 PROGRAMME NOTES: CLYNE 6 PROGRAMME NOTES: STRAUSS 8 PROGRAMME NOTES: BEETHOVEN 10 LONDON PHILHARMONIC ORCHESTRA 11 MARK ELDER 12 PIETER SCHOEMAN 13 TANIA MAZZETTI 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

Concert recorded at the Southbank Centre’s Royal Festival Hall on 3 October 2020.

–2–

LONDON PHILHARMONIC ORCHESTRA • 21 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

February–December 2020 Tonight’s concert is part of our year-long 2020 Vision series, exploring the journey of music with pioneering works that have defined the sound of the 21st century, alongside music written exactly 100 and 200 years before.

lpo.org.uk/2020vision –3–

LONDON PHILHARMONIC ORCHESTRA • 21 OCTOBER 2020

PROGRAMME NOTES ANNA CLYNE BORN 1980

PRINCE OF CLOUDS DOUBLE CONCERTO FOR TWO VIOLINS AND STRING ORCHESTRA, 2012 – APPROX 15 MINS –

PIETER SCHOEMAN VIOLIN* TANIA MAZZETTI VIOLIN** * Chair supported by Neil Westreich ** Chair supported by Countess Dominique Loredan Anna Clyne was asked to write Prince of Clouds after violinist Jennifer Koh heard the composer’s Within Her Arms (2008–09), a widely performed work for string ensemble filled with emotion and intensity. Inspired by discussions with the violinist for her ‘Two X Four’ commissioning project, Clyne focused on the idea of musical lineage. The composer explains: ‘When writing the work I was contemplating the presence of musical lineage – a family tree of sorts that passes from generation to generation. This transfer of knowledge and inspiration between generations is a beautiful gift.

Composed specifically for Jennifer Koh and Jaime Laredo, her mentor at the Curtis Institute of Music, this thread was in the foreground of my imagination as a dialogue between soloists and ensemble.’

Composed at the Hermitage Artist Retreat, Florida, in summer 2012, Prince of Clouds was inspired by Bach’s celebrated double concerto BWV1043, a landmark work of the Baroque repertory for strings.

Canonic lines in the solo violin parts create both a dialogue between the soloists and between the soloists and the ensemble.

Prince of Clouds was co-commissioned by the Chicago Symphony Orchestra, IRIS Orchestra, Los Angeles Chamber Orchestra and Curtis Institute of Music.

It was premiered in November 2012 at the Performing Arts Center in Germantown, Tennessee, with conductor Michael Stern. Subsequent performances took place in Chicago’s Orchestra Hall with conductor Harry Bicket; Royce Hall, Los Angeles, with conductor Jeffrey Kahane; and at the Miller Theatre in New York City. The work was recorded by Jennifer Koh and Jaime Laredo with the Curtis 20/21 Ensemble under Vinay Parameswaran, released on the 2014 album ‘Two X Four’ on the Cedille label. The work was nominated for a 2015 GRAMMY Award in the ‘Best Contemporary Classical Composition’ category.

‘PRINCE OF CLOUDS IS WROUGHT WITH CLYNE’S CHARACTERISTIC CRAFT AND CARE, AND OFFERS THE COMPOSER’S BRAND OF REFLECTIVE INTROSPECTION THAT IS CONSISTENTLY ATTRACTIVE.’ CHICAGO CLASSICAL REVIEW –4–

LONDON PHILHARMONIC ORCHESTRA • 21 OCTOBER 2020

COMPOSER PROFILE ANNA CLYNE

© Jennifer Taylor

for solo cello and string orchestra, for the Orlando Symphony.

‘ANNA CLYNE IS SOMEONE I LOOK TO FOR GREAT MUSIC . IT’S ALWAYS EMOTIONAL AND DRIVEN BY HER HEART, BUT SKILFULLY COMPOSED.’ MARIN ALSOP

Last season saw the premieres of Sound and Fury by the Scottish Chamber Orchestra and Pekka Kuusisto in Edinburgh; Breathing Statues, a new string quartet for the Calidore String Quartet; and Shorthand for solo cello and string quintet, premiered by The Knights at Caramoor in New York. Other recent premieres include her Rumi-inspired cello concerto DANCE, premiered

by Inbal Segev at the 2019 Cabrillo Festival of Contemporary Music, led by Cristian Măcelaru; Snake & Ladder, a work for saxophone and electronics premiered by Jess Gillam at the 2019 Cheltenham Music Festival; and Restless Oceans with the Taki Concordia Orchestra and Marin Alsop at the World Economic Forum. In July 2019, Clyne wrote and arranged music from German rock singer Nico’s Marble Index for The Nico Project, a theatrical work presented by the Manchester International Festival.

Clyne has been commissioned by such renowned organisations as Carnegie Hall, Houston Ballet, the Los Angeles Philharmonic and the Southbank Centre.

Clyne’s cello concerto DANCE, performed by Inbal Segev and the London Philharmonic Orchestra under Marin Alsop, was recently released on the Avie label.

The recording has already been streamed over a million times on Spotify, and was submitted for five categories in the 2020 GRAMMY Awards.

London-born Anna Clyne is a Grammy-nominated composer of acoustic and electro-acoustic music.

Described as a ‘composer of uncommon gifts and unusual methods’ in a New York Times profile and as ‘dazzlingly inventive’ by Time Out New York, her work often includes collaborations with cutting-edge choreographers, artists, filmmakers and musicians.

Upcoming premieres include Stride, a new work for string orchestra inspired by Beethoven’s ‘Pathétique’ Sonata for the Australian Composers Orchestra, Scottish Chamber Orchestra, Lausanne Orchestra and River Oaks Chamber Orchestra; Color Field, a new work inspired by the artwork of Mark Rothko for the Baltimore Symphony Orchestra; Overflow, a new work for wind ensemble inspired by the poetry of Emily Dickinson, for the Scottish Chamber Orchestra; The Heart of Night for the Scottish Chamber Orchestra Chorus; Fractured Time for the Los Angelesbased Kaleidoscope Ensemble; and a version of her recent solo cello and string quintet work Shorthand

From 2010–15 Clyne served as a Mead Composer in Residence for the Chicago Symphony Orchestra.

She has also been in residence with the Baltimore Symphony Orchestra, L’Orchestre national d’Île-deFrance, Cabrillo Festival of Contemporary Music and Berkeley Symphony. Clyne currently serves as the mentor composer for the Orchestra of St Luke’s DeGaetano Composer Institute, and as Associate Composer with the Scottish Chamber Orchestra, a residency that includes plans for a series of new works commissioned over three years.

Anna Clyne’s music is published exclusively by Boosey & Hawkes.

Reprinted by kind permission of Boosey & Hawkes.

–5–

LONDON PHILHARMONIC ORCHESTRA • 21 OCTOBER 2020

PROGRAMME NOTES RICHARD STRAUSS 1864–1949

SUITE: LE BOURGEOIS GENTILHOMME, OP. 60 1917

– APPROX 39 MINS –

1 OVERTURE TO ACT I (JOURDAIN THE BOURGEOIS) 2 MINUET 3 THE FENCING MASTER 4 ENTRY AND DANCE OF THE TAILORS 5 LULLY’S MINUET 6 COURANTE 7 ENTRY OF CLÉONTE 8 PRELUDE TO ACT II (DORANTE AND DORIMÈNE) 9 THE DINNER (TAFELMUSIK AND DANCE OF THE KITCHEN-BOY)

The history of Strauss’s suite Le bourgeois gentilhomme is bound up with that of the opera Ariadne auf Naxos, for which Strauss’s literary collaborator was Hugo von Hofmannsthal. Most of the music began its life in the original version of the opera, first presented in Stuttgart in 1912. In this, Act One consists of a shortened adaptation of Molière’s famous play Le bourgeois gentilhomme; Act Two is the operatic entertainment which the would-be gentleman Monsieur Jourdain offers his guests – with the tragedy and the comedy played simultaneously, to leave time for a firework display. This version, ‘Ariadne One’ as it’s sometimes called for convenience, makes a splendid, if long, evening’s entertainment; but it does require two separate companies of actors and singers, which makes it an impractical proposition for most opera houses.

Accordingly, for a Viennese production in 1916, Strauss and Hofmannsthal devised what is now the standard version of the work, ‘Ariadne Two’, with a sung Prologue, set backstage before the performance of the opera. That left the incidental music for the Molière play high and dry. A new version of the play by Hofmannsthal, for which Strauss wrote some additional numbers, was not a success when it was staged in Berlin in 1918.

So this concert suite, published in the same year, became the final resting-place of Strauss’s witty and tuneful music.

The Suite is scored, like its parent opera, for a chamber orchestra of double woodwind, two horns, trumpet and trombone, timpani and percussion, harp and piano, and 16 strings. The Overture begins with a bustling portrait of the nouveau riche Monsieur Jourdain, leading into an

–6–

LONDON PHILHARMONIC ORCHESTRA • 21 OCTOBER 2020

COMPOSER PROFILE RICHARD STRAUSS The son of a horn player in the Munich Court Orchestra, Richard Strauss’s first efforts in composition were made as early as 1870, when he was aged just six. In 1874 he heard the music of Wagner for the first time; in 1883, in Berlin with his father, he heard his first Brahms. Both encounters marked him deeply. In Berlin he also later enjoyed performances of several of his own works with the Meiningen Orchestra conducted by Hans von Bülow, and in 1884 he conducted the orchestra himself for the first time; within a year he was appointed assistant conductor to von Bülow. He had already composed many of the works that are now permanent parts of the repertoire, including the First Horn Concerto and the song Zueignung. instrumental version of a tender song from the play (later also incorporated into the Prologue of ‘Ariadne Two’), Du Venus’ Sohn. This is followed by three movements involving the artists and craftsmen Monsieur Jourdain has summmoned to help him become a gentleman: a Minuet, in which he fails to follow the lead of his Dancing Master; a swaggering dance for his Fencing Master, with solo piano; and a lively Entry of his Tailors, leading to a Dance for the Master-Tailor, a polonaise featuring a solo violin.

Next come three movements that Strauss added for the 1918 staging of the play: a Minuet arranged from the incidental music written for Molière’s original production in 1670 by his collaborator Jean-Baptiste Lully; a Courante, mostly in canon; and the Entry of Cléonte, which is a free adaptation of a sarabande by Lully. Then there is an intermezzo, heralding the entrance of two aristocratic characters, and marked Andante, galante e grazioso (‘gallant and gracious’).

Finally, there is the extended movement which accompanies the grand dinner given by Monsieur Jourdain. After a march for the arrival of the guests, the music suggests the menu in a series of ingenious allusions: salmon from Wagner’s Rhine; mutton from the flock of sheep attacked by Strauss’s own Don Quixote; larks’ tongues accompanied by the birdsong in Strauss’s Der Rosenkavalier (with, for some reason, hints of Verdi’s ‘La donna è mobile’). The last course is an ‘omelette surprise’: the surprise is that a kitchen-boy jumps out of the dish, and dances a Viennese waltz.

Programme note by Anthony Burton

In 1886 he left the Meiningen Orchestra to take up the post of third conductor at the Munich Opera Orchestra. A visit to Italy that year provided him with the inspiration for his ‘symphonic fantasy’ Aus Italien, premiered the following year; but it was Don Juan, first performed in 1889, that provided him with his real breakthrough: he was instantly hailed as the most important and forward-looking German composer since Wagner.

The most significant association of Strauss’s operatic career came in 1905, when he collaborated with the poet Hugo von Hoffmansthal on a libretto for Elektra, first performed in Dresden four years later. More Hoffmansthal operas followed: Der Rosenkavalier, his biggest operatic success, was completed in 1910; the first version of Ariadne auf Naxos came two years later; and Die Frau ohne Schatten was begun shortly afterwards, though it had to wait until 1919 for its first performance. Strauss, meanwhile, was garnering a reputation as a conductor, leading to his appointment in 1919 as joint director of the Vienna State Opera. His next opera, Intermezzo (this time to his own libretto), was premiered in Dresden in 1924.

In 1943 Strauss composed his Second Horn Concerto, which ushered in a remarkable Indian summer of gentle autumnal masterpieces including Metamorphosen and the Four Last Songs, perhaps the best-loved orchestral songs by any composer. Strauss was still active as a conductor for his own 85th birthday celebrations, but after a series of heart attacks he died peacefully at home on 8 September 1949.

Reprinted by kind permission of Boosey & Hawkes.

–7–

LONDON PHILHARMONIC ORCHESTRA • 21 OCTOBER 2020

PROGRAMME NOTES LUDWIG VAN BEETHOVEN 1770–1827

SYMPHONY NO. 8 IN F MAJOR, OP. 93 1812

– APPROX 27 MINS –

1 ALLEGRO VIVACE E CON BRIO 2 ALLEGRETTO SCHERZANDO 3 TEMPO DI MENUETTO 4 ALLEGRO VIVACE Beethoven himself called his Eighth Symphony ‘little’, a careless description which over the years has hindered its reputation compared to those of its undeniably grander companions. The fact that it also adopts a less overtly radical style than works such as the Third, Fifth and Ninth symphonies has likewise lessened its standing. How can it be a proper Beethoven symphony when it is so easy on the ear, so jokey? The suggestion is that this is the composer ‘resting’ after the heroic physical efforts of the Seventh Symphony, ‘relaxing’ (perhaps even ‘lapsing’) into the playful, Haydnesque musical world of the 18th century.

bursting with ideas, many of them entirely of a piece with the direction Beethoven’s music was taking at the time, if presented in a more congenial manner. As the 20th-century music writer Hans Keller once put it, ‘when a great composer is complex in one dimension, he tends to be proportionately simple in another, in order to facilitate comprehension’, and the humorous demeanour of the Eighth Symphony does not alter the fact that it is a highly original composition in which Beethoven tries out a number of the formal procedures and concerns that would surface in his later works.

In truth, its first Viennese audience was not enormously impressed by it. One reviewer noted after its premiere in the Grosser Redoutensaal in February 1814, that ‘it did not create a furore’, its effect weakened as a result of being heard straight after a performance of the more powerful Seventh Symphony. But he also declared that ‘if [the Eighth] Symphony should be performed alone hereafter, we have no doubt of its success’, and sure enough once one remembers to listen to it for what it is instead of what it is not, it does not take long to realise what a thorough-going and compact demonstration of Beethovenian brilliance it is.

And a radical one too. The style of the music may be essentially conservative, but structurally the work is

He composed it in the space of a few months in 1812, immediately after completing the Seventh, and right from the start it is clear that he is not in a mood to hang around. The first movement begins without preliminaries, launching in with the first theme and striking off confidently for the second. Yet it takes only 30 seconds or so for the music to lose its way and grind to a standstill before the violins present the rising second theme in what, technically speaking, is the ‘wrong’ key, a faux-pas that the woodwind soon rectify.

This may seem like a rather academic kind of joke, but its effect can be felt even if not understood, both here and in the numerous other places in this Symphony where comparable coups are made. The central development section is surprisingly stormy and leads to a noisy return of the main theme in which the upper

–8–

LONDON PHILHARMONIC ORCHESTRA • 21 OCTOBER 2020

COMPOSER PROFILE LUDWIG VAN BEETHOVEN strings play tremolando while the theme itself is transferred to the lower instruments. It is the theme’s last appearance however, right at the end of the movement, that is the most delightful and witty.

There is no slow movement; instead, a scherzo-like Allegretto whose monotonous repeated notes are said to have been inspired by the recent invention by one of Beethoven’s acquaintances of the metronome. The veracity of this story is questionable, but perhaps Viennese music-lovers in the composer’s day would have found a stronger reminiscence here of the slow movement of Haydn’s ‘Clock’ Symphony.

The ‘scherzo-in-place-of-the-slow-movement’ is followed by a ‘minuet-instead-of-a-scherzo’, an elegantly flowing third movement enriched by touches of graceful counterpoint and, in the middle section, courtly writing for clarinet and horns. The Symphony ends with a scampering, pell-mell finale groaning with jokes, from the startling ‘wrong note’ that interrupts the main theme, to the very sudden, almost accidental arrival at the serene second theme, to any number of stop-start, what-happens-next? moments. Formally, this is the most adventurous movement in the Symphony, a sonata-rondo with two development sections, but it is also such a hoot that the listener can be forgiven for neither noticing nor caring.

© Royal College of Music, London

Programme note by Lindsay Kemp

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 second 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. © Barry Cooper –9–

LONDON PHILHARMONIC ORCHESTRA • 21 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 was founded in 1932 by Sir Thomas Beecham. Since then, its Principal Conductors have included Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. In 2007 Vladimir Jurowski became the Orchestra’s current Principal Conductor. Edward Gardner is Principal Conductor Designate, and will take up the position from 2021.

The London Philharmonic Orchestra has performed at Southbank Centre’s Royal Festival Hall since it opened in 1951, becoming Resident Orchestra in 1992. It also has residencies at Glyndebourne and in Brighton, Eastbourne and Saffron Walden, and performs regularly around the UK. The Orchestra also tours internationally, performing to audiences worldwide.

The Orchestra broadcasts regularly on television and radio, and has recorded soundtracks for numerous films including The Lord of the Rings. In 2005 it began releasing live, studio and archive recordings on its own CD label, which now numbers over 100 releases.

The Orchestra’s work at the forefront of digital technology has enabled it to reach millions of people worldwide: all its 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 pandemic 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

– 10 –

LONDON PHILHARMONIC ORCHESTRA • 21 OCTOBER 2020

TONIGHT'S ARTISTS SIR MARK ELDER CH CBE CONDUCTOR

Opéra de Paris and Glyndebourne Festival Opera.

He was the first English conductor to conduct a new production at the Bayreuth Festival. From 2011–19 he was Artistic Director of Opera Rara, and he has made many award-winning recordings in a wide repertoire with the Hallé.

© Benjamin Ealovega

Sir Mark Elder was appointed a Companion of Honour in 2017, knighted in 2008 and awarded the CBE in 1989.

In 2006 he was named Conductor of the Year by the Royal Philharmonic Society, and he was awarded Honorary Membership of the Royal Philharmonic Society in 2011.

Tonight’s originally advertised conductor, Karina Canellakis, is hugely disappointed not to be able to fulfil this engagement owing to the current travel and quarantine restrictions between the UK and the Netherlands. The London Philharmonic Orchestra is very grateful to Sir Mark Elder for stepping in to conduct tonight’s concert.

Sir Mark Elder has been Music Director of the Hallé since September 2000. He was previously Music Director of English National Opera (1979–93) and Principal Guest Conductor of the BBC Symphony Orchestra and the City of Birmingham Symphony Orchestra.

Sir Mark last appeared with the London Philharmonic Orchestra in November 2018, when he conducted Puccini’s first opera, Le Villi, in its original version: its first UK performance in 120 years, in collaboration with Opera Rara at the Royal Festival Hall. The performance was recorded and subsequently released on the Opera Rara label. Previous engagements with the LPO include Beethoven’s Missa Solemnis with the London Philharmonic Choir at the Royal Festival Hall in November 2016.

Sir Mark has worked with many of the world’s leading symphony orchestras, is a Principal Artist of the Orchestra of the Age of Enlightenment, and has appeared annually at the BBC Proms for many years, including – in 1987 and 2006 – at the internationally televised Last Night. He has enjoyed a long association with the Royal Opera House and appears in many other prominent theatres including the Metropolitan Opera,

– 11 –

LONDON PHILHARMONIC ORCHESTRA • 21 OCTOBER 2020

TONIGHT'S ARTISTS PIETER SCHOEMAN VIOLIN • LEADER CHAIR SUPPORTED BY NEIL WESTREICH

© Benjamin Ealovega

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. He frequently records violin solos for film and television, and led the LPO in its soundtrack recordings for The Lord of the Rings trilogy, as well as The Hobbit and Eastern Promises among others.

He also led the LPO in its recording of all the world’s national anthems for the London 2012 Olympics.

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 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.

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.

– 12 –

LONDON PHILHARMONIC ORCHESTRA • 21 OCTOBER 2020

TONIGHT'S ARTISTS TANIA MAZZETTI VIOLIN CHAIR SUPPORTED BY COUNTESS DOMINIQUE LOREDAN

Since joining the London Philharmonic Orchestra Tania has performed several chamber music concerts with her LPO colleagues, in venues such as Wigmore Hall in London and the Romanian Athenaeum in Bucharest as part of the Enescu Festival.

Tania Mazzetti joined the London Philharmonic Orchestra in 2016 as Co-Principal Second Violin, and was appointed Principal Second Violin in November 2018.

Tania grew up in Italy, studying violin with Glauco Bertagnin, Salvatore Accardo and Dora Schwarzberg, and chamber music with the Altenberg Trio Wien.

She graduated in 2000 with the highest score possible.

Tania began her orchestral career with the Orchestra Symphonica Toscanini under Lorin Maazel. She has also played in the Orchestra del Teatro alla Scala, the Filarmonica della Scala, the Orchestra del Teatro La Fenice di Venezia and the Mahler Chamber Orchestra, and was a regular guest of the Orchestra dell’Accademia Nazionale di Santa Cecilia. From 2014–16 she was Concertmaster of the Orchestra del Teatro Lirico di Cagliari in Sardinia.

A keen chamber musician, Tania has performed recitals with piano throughout Italy. She also founded the Archi Riflessi String Quartet, which uses innovative and interactive modes of communication to engage wider and more diverse audiences with classical music.

– 13 –

LONDON PHILHARMONIC ORCHESTRA • 21 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 Martin Höhmann Katalin Varnagy

Chair supported by Sonja Drexler

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

TRUMPETS Paul Beniston* PRINCIPAL James Fountain* PRINCIPAL Anne McAneney*

Chair supported by Friends of the Orchestra

TROMBONE Lyndon Meredith PRINCIPAL

FLUTES Juliette Bausor PRINCIPAL Sue Thomas*

TIMPANI Simon Carrington* PRINCIPAL

Thomas Eisner Yang Zhang

Chair supported by Caroline, Jamie & Zander Sharp

Catherine Craig

PICCOLOS Stewart McIlwham* PRINCIPAL Juliette Bausor

Chair supported by Eric Tomsett

SECOND VIOLINS Tania Mazzetti PRINCIPAL

Chair supported by Countess Dominique Loredan

Helena Smart Nancy Elan Kate Birchall Fiona Higham

Chair supported by David & Yi Buckley

Ashley Stevens Nynke Hijlkema Marie-Anne Mairesse Joseph Maher Amanda Smith

Stewart McIlwham*

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

Chair supported by Victoria Robey OBE

PERCUSSION Andrew Barclay* PRINCIPAL Chair supported by Andrew Davenport

Henry Baldwin CO-PRINCIPAL Keith Millar Jeremy Cornes Karen Hutt HARP Rachel Masters PRINCIPAL

Chair supported by Dr Barry Grimaldi

PIANO Catherine Edwards

CLARINETS Benjamin Mellefont PRINCIPAL Thomas Watmough

* Holds a professorial appointment in London

Chair supported by Roger Greenwood

VIOLAS Richard Waters PRINCIPAL Ting-Ru Lai David Quiggle PRINCIPAL Laura Vallejo Katharine Leek Benedetto Pollani Naomi Holt Stanislav Popov CELLOS Kristina Blaumane PRINCIPAL

Chair supported by Bianca & Stuart Roden

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

BASSOONS Jonathan Davies PRINCIPAL Chair supported by Sir Simon Robey

Gareth Newman Simon Estell*

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

– 14 –

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: William & Alex de Winton

LONDON PHILHARMONIC ORCHESTRA • 21 OCTOBER 2020

MORE ONLINE CONCERTS THIS AUTUMN WEDNESDAY 28 OCTOBER 2020

WEDNESDAY 25 NOVEMBER 2020

WEDNESDAY 16 DECEMBER 2020

Sibelius The Bard Magnus Lindberg Cello Concerto No. 2 (UK premiere) Ravel Trois poèmes de Stéphane Mallarmé Schubert Symphony No. 1

Schubert Symphony No. 3 Penderecki Concertino for Trumpet and Orchestra Lotta Wennäkoski Verdigris (London premiere) Sibelius Symphony No. 5

J S Bach Brandenburg Concerto No. 5 Brett Dean The Players (UK premiere) Stravinsky Pulcinella (complete)

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.

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.

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)

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

Generously supported by Cockayne – Grants for the Arts and The London Community Foundation

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.

WEDNESDAY 11 NOVEMBER 2020 Chevalier de Saint-Georges Overture, L’amant anonyme Beethoven Piano Concerto No. 4 Beethoven Ah! Perfido Beethoven Symphony No. 4 Daniele Rustioni conductor Nicolas Namoradze piano Sophie Bevan soprano 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.

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

WEDNESDAY 9 DECEMBER 2020 J S Bach Orchestral Suite No. 1 Elena Kats-Chernin Piano Concerto No. 3 (European premiere) Enescu Decet, Op. 14* Enescu Chamber Symphony* Vladimir Jurowski conductor Tamara-Anna Cislowska piano Concert supported by the *Generously supported by the Romanian Cultural Institute.

– 15 –

Vladimir Jurowski conductor Pieter Schoeman violin (Chair supported by Neil Westreich) Juliette Bausor flute Catherine Edwards harpsichord Bartosz Glowacki accordion* Angharad Lyddon soprano Sam Furness tenor Matthew Rose bass* Generously supported by Cockayne – Grants for the Arts and The London Community Foundation.

*Please note changes of soloists from originally advertised.

WEDNESDAY 30 DECEMBER 2020 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

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

LONDON PHILHARMONIC ORCHESTRA • 21 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

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

– 17 –

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 • 21 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

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 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 Simon & Fiona Mortimore 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

– 18 –

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 • 21 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

LPO Corporate Circle Leader freuds Sunshine Principal Berenberg 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 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 In-kind Sponsor Google Inc Trusts and Foundations The Bernarr Rainbow Trust The Boltini Trust Borletti-Buitoni Trust Boshier-Hinton Foundation The Candide Trust The Chalk Cliff Trust Cockayne – Grants for the Arts The 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

– 19 –

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 The Steel Charitable 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.

WONDER AT THE WORLD OF THE LONDON PHILHARMONIC ORCHESTRA

– 20 –

LONDON PHILHARMONIC ORCHESTRA • 21 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 • 21 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* 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

– 23 –

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