LPO online concert programme: 30 September 2020 - Tragedy & Triumph - Widmann, Sibelius & Beethoven

AUTUMN CONCERT SEASON 2020

IN

THE STREAM OF LIFE PROGRAMME NOTES WEDNESDAY 30 SEPTEMBER 2020 | 8PM

TRAGEDY AND TRIUMPH Jรถrg Widmann Con brio Sibelius (orch. Rautavaara) In the Stream of Life Beethoven Symphony No. 5 Edward Gardner conductor

Position supported by Mrs Christina Lang Assael

Gerald Finley bass-baritone

LONDON PHILHARMONIC ORCHESTRA • 30 SEPTEMBER 2020

CONTENTS CLICK ON THE HEADINGS TO JUMP TO A SECTION

4 WELCOME 5 HOW TO WATCH 6 PROGRAMME NOTES 10 SONG TEXTS & TRANSLATIONS 15 ON STAGE TONIGHT 16 TONIGHT’S ARTISTS 18 LONDON PHILHARMONIC ORCHESTRA 19 LEADER: PIETER SCHOEMAN 20 AUTUMN CONCERTS 21 PLAY ON APPEAL 22 THANK YOU 24 SOUND FUTURES DONORS 25 SUPPORT US 26 MEMBERSHIPS & DONATION 27 CORPORATE PARTNERSHIPS 28 LPO ADMINISTRATION

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LONDON PHILHARMONIC ORCHESTRA • 30 SEPTEMBER 2020

A WARM WELCOME TO OUR NEW AUTUMN SEASON

© Irina Zakharova

We are thrilled that Edward Gardner, our Principal Conductor Designate, will conduct tonight's concert.

A fitting opening to the season, Beethoven’s Fifth Symphony is a musical drama of Fate versus genius and triumph out of tragedy. To set the scene, Gerald Finley sings the windswept song-cycle by Sibelius from which we have taken inspiration for the title of our autumn season, In the Stream of Life.

It is a great pleasure to welcome you to our Autumn 2020 series of streamed concerts from the Royal Festival Hall. Our world has changed beyond all recognition since we launched our original 2020/21 season back in February, but through your support, and the hard work, creativity and adaptability of our musicians and staff, we have at last been able to plan this long-awaited return to our Southbank home.

Tonight is the first of 13 full-length concerts that we will present between now and December, filmed live at the Royal Festival Hall by Silent Studios, with accompanying insight material from our musicians, conductors and soloists. These will be broadcast online by our streaming partner Marquee TV, and each concert will be available for you to enjoy at home in high cinematic quality, free of charge for an initial 7-day period, and will remain available to Marquee subscribers thereafter.

I would like to thank you for your unwavering support on our journey back to the concert hall – there is still a long way to go, but we are incredibly grateful to all those who have watched our online performances and shown their support via social media, by email, or by writing to us. Thank you to the hundreds of you who have chosen to donate the value of your tickets back to the Orchestra; to those who have given so generously to our Play On Appeal; to those who have made significant gifts to sustain the Orchestra during this time; and to the Friends, Benefactors and Thomas Beecham Group members who continue to offer their ongoing support.

It is my greatest hope that we will be able to once again share the wonder of live orchestral music soon – in the meantime, I hope you enjoy this evening’s concert and the rest of our autumn season.

David Burke Chief Executive, London Philharmonic Orchestra

The London Philharmonic Orchestra is grateful to Dunard Fund and all those whose generous support has made this autumn season possible.

The London Philharmonic Orchestra gratefully acknowledges the financial support of Arts Council England and the Southbank Centre.

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All concerts are performed at the Southbank Centre’s Royal Festival Hall and filmed by Silent Studios. The safety of our musicians and staff is paramount, and filming sessions will adhere strictly to safety measures in line with government guidance.

LONDON PHILHARMONIC ORCHESTRA • 30 SEPTEMBER 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.

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LONDON PHILHARMONIC ORCHESTRA • 30 SEPTEMBER 2020

PROGRAMME NOTES JÖRG WIDMANN BORN 1973

CON BRIO CONCERT OVERTURE FOR ORCHESTRA (2008) – 12 MINS –

Con brio was commissioned by the Bavarian Radio Symphony Orchestra to open a concert that would then proceed to Beethoven’s Symphonies No. 7 and No. 8. Con brio calls for precisely the same instrumentation as those works, although Widmann requires both his flautists to double on piccolo, an instrument that Beethoven did not use in those symphonies. The late Mariss Jansons, who conducted the world premiere on 25 September 2008, suggested the idea that Widmann should refer to musical characteristics in those two classic symphonies.

The work’s publisher explains: ‘Using Widmann’s unique style of “block-composition”, the work showcases the composer’s tonally idiomatic language while interacting with 19th-century musical forms and traditions . Melodies and phrases in Con brio avoid smooth transitions in favour of bold, precise cuts and sudden changes.’ Widmann has said that his goal was to create a sense of ‘fury and insistence’ reminiscent of Beethoven, using the same instrumental forces as the earlier composer.

The marking ‘con brio’ (meaning ‘with vigour’) appears in the headings of the last movement of Beethoven’s Seventh Symphony and the first movement of the Eighth. Here, writes the publisher, the term ‘con brio’ ‘is interpreted not only as a tempo notation but also an intimation of Widmann’s concepts of musical deconstructionism’. That may imply a postmodern attitude; and yet this composition would seem atypical of the postmodern stance in that Widmann’s goal seems to be organic growth from his model rather than ironic commentary on it.

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Widmann has said that Con brio contains no literal quotations from Beethoven. His allusions are nonetheless unmistakable. Time and again, a single sound or chord emerges from the surrounding texture, as if momentarily illuminated by lightning, voiced in a way that cries out ‘Beethoven!’ The Seventh and Eighth Symphonies are often the subjects of these references (even their tonalities – A major and F major – hold sway), but Widmann gives occasional shout-outs to other Beethoven masterworks, too. At moments our minds may veer toward the Symphonies Nos. 3 and 5 (both of which open with Allegro con brio movements), the Leonore Overtures, and the Ninth Symphony, thanks to the chords, rhythmic gestures, and melodic contours that pervade this phantasmagoria of Beethovenian memories.

Programme note © James M. Keller James M. Keller is Programme Annotator of the New York Philharmonic and the San Francisco Symphony. This note originally appeared in a programme book of the San Francisco Symphony and is used with permission.

LONDON PHILHARMONIC ORCHESTRA • 30 SEPTEMBER 2020

COMPOSER PROFILE

© Marco Borggreve

Rattle. The Cleveland Orchestra featured Flûte en suite as the centrepiece of their 2014 European tour, and dedicated an entire evening to Widmann’s works at the Berlin Philharmonie. His opera Babylon was premiered in 2012/13 at the Bayerische Staatsoper under the baton of Kent Nagano. Am Anfang by Anselm Kiefer and Jörg Widmann was premiered in July 2009 as part of the 20th anniversary of the Opéra Bastille, in which Widmann was composer, clarinettist, and made his debut as conductor.

Composer, clarinettist and conductor Jörg Widmann is one of the most versatile and intriguing artists of his generation. He studied composition with Kay Westermann, Wilfried Hiller and Wolfgang Rihm.

His works continue to receive many awards such as the prestigious Chamber Music Society of Lincoln Center’s Elise L. Stoeger Prize (2009); the Paul Hindemith Prize (2001); the Arnold Schönberg Prize by the Vienna Arnold Schönberg Centre and the Deutsches Symphonie-Orchester Berlin (2004); and both the SWR Sinfonieorchester Baden-Baden und Freiburg’s Composition Award and the Berlin Philharmonic Academy’s Claudio Abbado Composition Award in 2006.

Widmann’s compositions are performed regularly under conductors such as Daniel Barenboim, Daniel Harding, Valery Gergiev, Kent Nagano, Christian Thielemann, Mariss Jansons, Andris Nelsons and Simon Rattle, and premiered by orchestras including the Vienna Philharmonic, Berlin Philharmonic, New York Philharmonic, Orchestre de Paris, BBC Symphony Orchestra and many others. In February 2020 the London Philharmonic Orchestra performed his Lied for Orchestra under Dima Slobodeniouk at the Royal Festival Hall.

Widmann’s appointment in 2009 as Daniel R. Lewis Young Composer Fellow at The Cleveland Orchestra established an extraordinary artistic collaboration with the orchestra and its Principal Conductor Franz WelserMöst, including the world premiere of Widmann’s Flute Concerto, Flûte en suite, in May 2011, followed by its European premiere in 2012/13 by the Berlin Philharmonic and Emmanuel Pahud under Simon

Widmann has been Artist in Residence at leading festivals and orchestras such as the Lucerne Festival, the Salzburg Festival, the Bamberger Symphoniker, the Tonhalle-Orchester Zürich’s Creative Chair 2015/16, and both BOZAR and the Elbphilarmonie’s Artist in Residence in its opening season. He has been featured in Artist Portraits at Vienna’s Konzerthaus, Frankfurt’s Alte Oper and Cologne’s Philharmonie. In the 2017/18 season he was featured as the first ever Gewandhaus Composer in Leipzig’s history.

Widmann studied clarinet with Gerd Starke in Munich and with Charles Neidich at The Juilliard School in New York. He performs regularly with renowned orchestras such as the Gewandhausorchester Leipzig, Orchestra National de France, Tonhalle-Orchester Zürich, National Symphony Orchestra Washington, Orchestre symphonique de Montréal, Vienna Philharmonic Orchestra, Netherlands Philharmonic Orchestra and Toronto Symphony Orchestra. He collaborates with conductors such as Daniel Barenboim, Christoph Eschenbach and Christoph von Dohnányi.

Widmann gave the world premiere of Mark Andre’s Clarinet Concerto über at the Donaueschinger Musiktage 2015. Other clarinet concertos dedicated to and written for him include Wolfgang Rihm’s Musik für Klarinette und Orchester (1999) and Aribert Reimann’s Cantus (2006).

Jörg Widmann is Fellow at the Wissenschaftskollegs in Berlin and a full member of the Bayerischen Akademie of Schönen Künste, and since 2007, the Freien Akademie der Künste Hamburg, the Deutschen Akademie der Darstellenden Künste and the Akademie der Wissenschaften und der Literatur Mainz. He is Professor of Composition at the Barenboim-Said Academy, Berlin.

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LONDON PHILHARMONIC ORCHESTRA • 30 SEPTEMBER 2020

PROGRAMME NOTES JEAN SIBELIUS 1865–1957

IN THE STREAM OF LIFE

SIX SONGS FOR SOLO BARITONE AND ORCHESTRA ORCH. EINOJUHANI RAUTAVAARA (2013) – 16 MINS –

GERALD FINLEY BASS-BARITONE The texts and translations begin on page 10.

1 DIE STILLE STADT THE QUIET TOWN

2 JÄGARGOSSEN THE HUNTER BOY

3 ÄLVEN OCH SNIGELN THE RIVER AND THE SNAIL

4 NÄCKEN THE WATER SPRITE

5 JAG ÄR ETT TRÄD I AM A TREE

6 SVARTA ROSOR BLACK ROSES

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The worldwide fame of Jean Sibelius as a composer is mainly based on his symphonies, the Violin Concerto, and a few minor pieces. But even had he not written a single symphony, he would rank as the most important song composer in Finland. Most of his around 100 songs for solo voice are set to poems in Swedish, his mother tongue. Though the songs were originally written for the domestic combination of voice and piano, quite a few of them have an orchestral character, forming what his biographer Erik Tawaststjerna called ‘incantations’. Only a handful of his songs were orchestrated by the composer himself, which leaves the question open: did he prefer his songs to be performed with piano before a more intimate audience? In any event, several others published orchestrations of songs by Sibelius during his lifetime.

Tonight’s selection was arranged by Einojuhani Rautavaara (1928–2016), and first performed by Gerald Finley and the Bergen Philharmonic Orchestra under Edward Gardner in March 2014.

The greatest songs of Sibelius were inspired by pantheistic and nature-based poems. Among his favourites were those of the national poet of Finland, the great classical-romantic Johan Ludvig Runeberg (1804– 77), whose lifelong interest in birds, hunting and flowers the composer shared. Another important and inspiring literary source was the Swedish painter and poet Ernst Josephson (1851–1906). His poems, eschewing verbal virtuosity, ignited the composer’s musical imagination, though Sibelius wrote in his diary: ‘Beware of this [Josephson’s] terrible cynical outlook on life!’ Generally, nature and its workings highly interested the composer – on his daily walks he made notes on the movements

LONDON PHILHARMONIC ORCHESTRA • 30 SEPTEMBER 2020

PROGRAMME NOTES – CONTINUED –

and migrations of birds. The relation between Finnish nature and Sibelius’s music is often referred to and instinctively felt by listeners. Describing it in musical terms is far more difficult.

The eight Josephson songs of Op. 57 (1909) are among Sibelius’s most progressive. Älven och snigeln (The River and the Snail) has a rough quality, not far from Bartók in its harshness. The complete nakedness of Jag är ett träd (I Am a Tree), like the famous Svarta rosor (Black Roses) from the Six Songs, Op. 36 (also by Josephson), presages the tragic fate of the poet/painter, who suffered from schizophrenia and died in an asylum. The figure of Näcken (The Water Sprite) occupied the artist’s mind for years, Josephson producing some ten oil paintings on the subject and a few pencil drawings, the open homoeroticism of which caused scandal at the time. The semimythological fiddle-playing aquatic sprite, in English known by many names, among them the ‘Neck’, bridges the gap between man and nature and here draws the ecstatic poet into nature’s realm (much as does Ganymede in the poem by Goethe). The twists of the sprite’s wild and capricious playing exceed tonal barriers. At the end the illusion is broken and the poet brought back to reality.

Compared to this, Die stille Stadt (The Quiet Town) by the German Richard Dehmel (1863–1920) reveals a more meditative attitude to nature, the mist descending over a mountain landscape perhaps suggesting an approaching catastrophe. The song of the children here brings comfort, in a safe archaic frame, after the tonal ambivalence of strangely undulating unresolved harmonies. In Jägargossen (The Hunter Boy) by Runeberg, an early song, the approaching darkness of evening and poor hunting fortunes of the boy create an atmosphere of rootless resignation. In an otherwise Schubertian song the heavy chords of the introduction and the postlude remind us of the sinister reality of the boy.

A TRIBUTE TO EINOJUHANI RAUTAVAARA ‘The first piece by Einojuhani Rautavaara that I ever performed was his setting of the Shakespeare sonnet Shall I compare thee to a summer’s day?, which I sang as an encore at a Wigmore Hall recital in celebration of his 79th birthday. I experienced real joy in singing it, the melodic style, which singers crave, enveloped in a harmonic idiom of exceptional deftness.

It was through a family connection that I had the first opportunity to come to know Einojuhani Rautavaara in person, as a colleague and then friend. On our first meeting, he said, “I have something that I want to write for you”, and only a short time later his orchestral piece for baritone, Rubáiyát, arrived. It was a personal and valued gift, and I felt that he shared his love of life through it. When a singer recognises a special relationship with a composer, he conceives a need for more work from that composer.

Although I considered Rubáiyát to be a most generous gift to me, I needed guidance in pursuing orchestrations of songs by Sibelius for which few suitable arrangements were available. It was natural to offer the task to Einojuhani. It was he who selected these songs, and I am flattered that he chose them with my voice in mind. They suited his view of the world, and followed quite logically from the style of his own music. Thank you, Einojuhani.’ © 2017 Gerald Finley

© 2017 Gustav Djupsjöbacka

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LONDON PHILHARMONIC ORCHESTRA • 30 SEPTEMBER 2020

SONG TEXTS & TRANSLATIONS SIBELIUS IN THE STREAM OF LIFE 1 DIE STILLE STADT

THE QUIET TOWN

Liegt eine Stadt im Tale, Ein blasser Tag vergeht; Es wird nicht lange dauern mehr, Bis weder Mond noch Sterne, Nur Nacht am Himmel steht.

Von allen Bergen drücken Nebel auf die Stadt; Es dringt kein Dach, nicht Hof noch Haus, Kein Laut aus ihrem Rauch heraus, Kaum Türme noch und Brücken.

Doch als den Wandrer graute, Da ging ein Lichtlein auf im Grund, Und durch den Rauch und Nebel Begann ein leiser Lobgesang Aus Kindermund.

A town lies in the valley; A pale day fades.

It will not last much longer Till neither moon nor stars, Only night spans the heavens.

From all the mountains, heavy Fog descends upon the town; No roof emerges, not yard nor house, No sound from out the smoke, Barely even towers or bridges.

But as the wanderer shivered with dread A little light appeared in the depths, And through the smoke and fog A soft song of praise began To sound from the mouths of children.

No. 5 of Six Songs, Op. 50 (1906) Richard Fedor Leopold Dehmel (1863–1920)

2 JÄGARGOSSEN

THE HUNTER BOY

På marken vistas fogeln blott, Och löfven skymma än, Jag har ej gjort ett enda skott, Och det blir qväll igen.

Om vintern komme hit engång Med drifvor i sitt fjät, Jag såge bättre ripans gång Och orren hölle trä’t.

Om luften ville blifva sval, Och löfven falla se’n, Jag såg kanske i nästa dal En flock af järpar re’n.

Dock snart skall ripans spår sig te Och järpens skygd förgå; Men den, som helst jag ville se, Skall jag ej se ändå.

Jag blickar här, hon blickar der, Men ack, vi mötas ej!

Jag kunde stå, der blicken är,

In the field, the bird stayed low, And the leaves gave cover still, I have not fired a single shot, And evening falls again.

If winter should arrive here one day, With snowdrifts in its wake, I should better see the ptarmigan’s traces And the black grouse in the tree.

If the air should turn balmy, And the leaves then fall, I should perhaps in the next valley see Already a flock of grouse.

Though soon the ptarmigan’s tracks will be visible And the grouse’s shelter disappear; But she, whom I should most want to see, I shall still not see.

I glance here, she glances there, But, ah, we do not meet!

I could stand where the glance falls

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LONDON PHILHARMONIC ORCHESTRA • 30 SEPTEMBER 2020

SONG TEXTS & TRANSLATIONS – CONTINUED –

Och såge henne ej.

Emellan oss är sjö, är fjäll, Är mo med furu på, Emellan oss är dag och qväll Och kanske natt också.

And still not see her.

Between us is sea, is mountain, Is heath with pine trees growing, Between us are day and evening And perhaps night also.

No. 7 of Seven Songs, Op. 13 (1891) Johan Ludvig Runeberg (1804–77)

3 ÄLVEN OCH SNIGELN

THE RIVER AND THE SNAIL

Den breda älv genom skogens barm Sitt blånande bälte drar.

Allt måste följa med makt och larm, Som trotsat dess bölja har.

Allt hastar till vredgade segrarens fot, Till skogens brusande älv, Stock, sten och träd, och krypande rot, Att smickra och spegla sig sjelf.

Men snigeln på mossiga stenen en gång Fått fäste bland böljornas brus.

Den mäktige ryster, och gör förfång, Och spottar jemt på hans hus.

Men snigeln håller sig stadigt fast, Densamme i ebb och i flod, Föraktad att yttre fägring den brast, Men derför ej mindre god.

Så kom där en barfotad gosse glad Att plocka musslor vid strand.

Han bröt dem sakta ur vågens bad, Vår snigels hus deribland.

Men när han öppnade det han såg En ren, en strålande glans.

I musslans sargade sköte låg Den skönsta perla som fanns.

Snart blef så älven till is försatt.

Ty vinter följde på höst; Men perlan smyckade dag och natt Den skönaste drottnings bröst.

The wide river through the forest’s lap, Draws its blue-tinged belt.

All things must follow, with force and noise, That have resisted its wave.

All things hurry to the wrathful conqueror’s foot, To the forest’s churning river, Stick, stone, and tree, and creeping root, To admire their own reflections.

But a snail, on a moss-grown stone, once Held fast among the churning waves.

The mighty flood shakes, doing much harm, And keeps spitting on his house.

But the snail holds ever so fast, Alike in ebb and in flood, Despised for its lack of exterior beauty, It was no less good for all that.

Then came a barefooted, happy boy, To pick clams along the shore.

He pulled them slowly from the bath of the wave, Our snail’s house among them.

But when he opened it he saw A pure, a radiant gleam.

In the clam’s lacerated bosom lay The most beautiful pearl in existence.

Soon after, the river was plunged in ice, For winter succeeded autumn; But the pearl adorned day and night The most beautiful Queen’s breast.

No. 1 of Eight Songs, Op. 57 (1909) Ernst Josephson (1851–1906)

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LONDON PHILHARMONIC ORCHESTRA • 30 SEPTEMBER 2020

SONG TEXTS & TRANSLATIONS – CONTINUED –

4 NÄCKEN

THE WATER SPRITE

Djup stod färgen på fura och på sten, Furor och stenar, de kasta skuggor hän, I skummande silver och gull.

Sitter på stenen i skuggans breda famn Svartlockig gosse så bleknad som en hamn, Och trevar med stråke på sträng.

Näckens gullharpa spelar opp en dans, Gigan går efter och mistar all sin sans För elvkung med silver i skägg.

Gossen var blott min egen fantasi, Näcken var forsen, som brusade förbi Och stänkte sitt skum på min kind.

Deep sat the colour on fir and on stone, Fir trees and stones, both cast long shadows, In foaming silver and gold.

On a stone, in the shadow’s deep embrace, Sits a boy with black locks, grown as pale as a ghost, And gropes with bow on string.

The water sprite’s golden harp strikes up a dance, The fiddler follows and loses all his senses Before the elf king with silver in his beard.

The boy was purely my own imagination, The water sprite was the torrent that tumbled past and sprayed its foam on my cheek.

No. 8 of Eight Songs, Op. 57 (1909) Ernst Josephson

5 JAG ÄR ETT TRÄD

I AM A TREE

Jag är ett träd, som lofvat godt och säkert hållit vid,

I am a tree, which promised much and surely would have kept my word Had storms not robbed me of my leaves in the middle of my summer.

When in despair I stretch naked branches up towards the sky, Nearly all around me bears the colour of summer and makes a lovely sight.

Oh, when may I conceal myself, when be allowed to die?

Oh, how I long for you, you cold, white snow!

Om storm ej plundrat mig på blad midt i min sommars tid.

När sträcker nakna grenar jag förtviflad opp mot skyn, Fast allt omkring bär sommarns färg och ter en härlig syn.

O, när skall jag mig dölja få, när unnas jag att dö?

O, hvad jag längtar efter dig, du kalla, hvita snö!

No. 1 of Eight Songs, Op. 57 (1909) Ernst Josephson

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LONDON PHILHARMONIC ORCHESTRA • 30 SEPTEMBER 2020

SONG TEXTS & TRANSLATIONS – CONTINUED –

6 SVARTA ROSOR

BLACK ROSES

Säg hvarför är du så ledsen i dag, Du, som alltid är så lustig och glad?

Och inte är jag mera ledsen i dag Än när jag tyckes dig lustig och glad; Ty sorgen har nattsvarta rosor.

I mitt hjerta der växer ett rosendeträd Som aldrig nånsin vill lemna mig fred, Och på stjelkarne sitter det tagg vid tagg, Och det vållar mig ständigt sveda och agg; Ty sorgen har nattsvarta rosor.

Men af rosor blir det en hel klenod, Än hvita som döden, än röda som blod.

Det växer och växer. Jag tror jag förgår, I hjertträdets rötter det rycker och slår; Ty sorgen har nattsvarta rosor.

Say, why are you so sad today, You, who always are so joyful and happy?

And no more sad am I today Than when you think me joyful and happy; For the roses of grief are black as night.

In my heart there grows a rose tree That never ever will allow me peace, And on the stems sit thorn by thorn, And it causes me constantly pain and agony; For the roses of grief are black as night.

But from roses come a trove of treasures, Some white as death, some red as blood.

It grows and grows. I think I am perishing, In the roots of my heart-tree it tears and beats; For the roses of grief are black as night.

No. 1 of Six Songs, Op. 36 (1899) Ernst Josephson

English translations © Chandos Records Ltd

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LONDON PHILHARMONIC ORCHESTRA • 30 SEPTEMBER 2020

PROGRAMME NOTES LUDWIG VAN BEETHOVEN 1770–1827

SYMPHONY NO. 5 IN C MINOR, OP. 67 – 33 MINS –

1 ALLEGRO CON BRIO 2 ANDANTE CON MOTO 3 ALLEGRO 4 ALLEGRO Beethoven was a revolutionary artist in a revolutionary world. He began sketching his Fifth Symphony in February 1804, not long after completing the ‘Eroica’ Symphony (No. 3). It took another four years to reach completion, by which time he had also written and published the symphony known as No. 4. The fact that the Fifth was begun so early is important. Beethoven had originally intended to dedicate the ‘Eroica’ to the great revolutionary hero Napoleon Bonaparte. But when he heard the news that Napoleon had proclaimed himself Emperor, Beethoven is said to have torn out the dedication shouting, ‘So he is nothing but an ordinary being! Now he will trample the rights of men under foot and pander to his own ambition; he will place himself high above his fellow creature and become a tyrant!’

But Napoleon’s coronation did not take place until 2 December 1804, by which time the Fifth Symphony would have had time to take shape in Beethoven’s mind. Even after Napoleon’s act of political betrayal in 1804, Beethoven’s feelings about him continued to fluctuate. And if his faith in Napoleon suffered a severe blow in 1804, his belief in the revolutionary ideals of ‘Liberty, Equality, Fraternity’ was clearly more robust.

There is a strong case for seeing the Fifth Symphony as a massive reassertion of belief in those ideals, despite the course the revolution had taken. If so, the first movement’s famous da-da-da-DA motif can be 14

heard as a gesture of embattled hope, and the music’s driven obsession with this figure acquires a distinct political edge. But then so too does the wonderful haunting moment, just after the return of the first theme, where an oboe meditates plaintively for a moment – a moment of doubt, perhaps?

The da-da-da-DA rhythmic motif continues to assert itself in the brass and timpani fanfares that repeatedly interrupt the lyrical flow of the slow movement, and in the horns’ fortissimo call to resume the struggle not long after the start of the much darker scherzo.

Eventually, after an eerie hush, with quietly throbbing timpani notes, the music boils up in a massive crescendo. Then the finale storms in triumphantly, enhanced by the addition of piccolo, contrabassoon and three trombones (a combination unprecedented in a Classical symphony). The seminal da-da-da-DA rhythm is heard again in the second theme, and is later sung out defiantly by trombones at the movement’s central climax, like a crowd singing hymns to hope in the midst of struggle. But just as we seem to be preparing for a clinching return of the finale’s triumphant first theme, there’s another eerie hush, and the ghost of the scherzo returns briefly on plucked strings, with a passing reminder of the oboe’s ‘moment of doubt’ from the first movement. After this, it is up to the listener to decide whether the coda’s notorious protracted insistence of the ‘triumph’ key of C major represents certainty of final triumph, or a determined attempt to hold on to hope by a man who, though he still believes in democratic ideals, has begun to doubt whether human beings are truly capable of achieving them. Either way, it’s a thrilling ending.

Programme note © Stephen Johnson

LONDON PHILHARMONIC ORCHESTRA โ ข 30 SEPTEMBER 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 Yang Zhang Chair supported by Eric Tomsett

Catherine Craig Katalin Varnagy Chair supported by Sonja Drexler

Thomas Eisner Martin Hรถhmann SECOND VIOLINS Tania Mazzetti PRINCIPAL Chair supported by Countess Dominique Loredan

Emma Oldfield Helena Smart Ashley Stevens Marie-Anne Mairesse Kate Birchall Joseph Maher Nancy Elan Nynke Hijlkema Fiona Higham Chair supported by David & Yi Buckley

VIOLAS Richard Waters PRINCIPAL Robert Duncan Ting-Ru Lai Katharine Leek Benedetto Pollani Laura Vallejo Naomi Holt Stanislav Popov CELLOS Kristina Blaumane PRINCIPAL Chair supported by Bianca & Stuart Roden

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

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

FLUTES Juliette Bausor PRINCIPAL Hannah Grayson Stewart McIlwham*

Chair supported by William & Alex de Winton

TROMBONES Mark Templeton* PRINCIPAL David Whitehouse BASS TROMBONE Lyndon Meredith PRINCIPAL

PICCOLOS Stewart McIlwham* PRINCIPAL Juliette Bausor

TIMPANI Simon Carrington* PRINCIPAL

OBOES Ian Hardwick* PRINCIPAL Alice Munday

PERCUSSION Andrew Barclay* PRINCIPAL

CLARINETS Benjamin Mellefont PRINCIPAL Thomas Watmough

HARP Rachel Masters PRINCIPAL

Chair supported by Roger Greenwood

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

Gareth Newman CONTRABASSOON Simon Estell* PRINCIPAL

Chair supported by Victoria Robey OBE

Chair supported by Andrew Davenport

* Holds a professorial appointment in London

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Gill & Garf Collins Dr Barry Grimaldi Caroline, Jamie & Zander Sharp

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

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

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LONDON PHILHARMONIC ORCHESTRA • 30 SEPTEMBER 2020

TONIGHT'S ARTISTS EDWARD GARDNER LPO PRINCIPAL CONDUCTOR DESIGNATE Position supported by Mrs Christina Lang Assael

© Benjamin Ealovega

undertaking a European tour, and celebrating Beethoven’s 250th anniversary with a two-week festival.

Guest conducting highlights include performances with the Bavarian Radio Symphony Orchestra and Orchestre Philharmonique de Radio France; projects postponed

by COVID-19 include the Cleveland Orchestra, Chicago and Montreal symphony orchestras, Deutsches Symphonie-Orchester Berlin and Finnish Radio Symphony Orchestra. He also continues his longstanding collaborations with the City of Birmingham Symphony Orchestra, where he was Principal Guest Conductor from 2010–16, and the BBC Symphony Orchestra, whom he has conducted at both the First and Last Nights of the BBC Proms.

Edward Gardner was announced as the London Philharmonic Orchestra's Principal Conductor Designate in July 2019. He will become Principal Conductor from September 2021, succeeding Vladimir Jurowski. Following tonight’s opening concert he will return to conduct a second concert with the Orchestra next Wednesday (7 October), featuring a programme of Messiaen and Schoenberg.

Chief Conductor of the Bergen Philharmonic since October 2015, Edward Gardner has led the orchestra on multiple international tours and at the BBC Proms and the Edinburgh International Festival. In demand as a guest conductor, the previous two seasons saw Edward debut with the New York Philharmonic, Chicago Symphony Orchestra, Philadelphia Orchestra, San Francisco Symphony, Berlin Radio Symphony, Royal Stockholm Philharmonic, Vienna Symphony, and the Royal Opera House in a new production of Káťa Kabanová; while returns included engagements with the Gewandhausorchester Leipzig, Philharmonia Orchestra, Orchestra del Teatro alla Scala di Milano and Royal Opera House (Massenet’s Werther).

Highlights with the Bergen Philharmonic during the 2020/21 season include Verdi’s Macbeth in concert, 16

Music Director of English National Opera for ten years (2006–15), Edward also has an ongoing relationship with New York’s Metropolitan Opera, where he has conducted productions of La damnation de Faust, Carmen, Don Giovanni, Der Rosenkavalier and Werther.

Elsewhere, he has conducted at La Scala, Chicago Lyric Opera, Glyndebourne Festival Opera and Opéra National de Paris.

A passionate supporter of young talent, Edward founded the Hallé Youth Orchestra in 2002 and regularly conducts the National Youth Orchestra of Great Britain. He has a close relationship with The Juilliard School of Music and with the Royal Academy of Music, who appointed him their inaugural Sir Charles Mackerras Conducting Chair in 2014.

Born in Gloucester in 1974, Edward was educated at the University of Cambridge and the Royal Academy of Music. He went on to become Assistant Conductor of The Hallé and Music Director of Glyndebourne Touring Opera. His many accolades include being named Royal Philharmonic Society Award Conductor of the Year (2008), an Olivier Award for Outstanding Achievement in Opera (2009) and receiving an OBE for Services to Music in the Queen’s Birthday Honours (2012).

LONDON PHILHARMONIC ORCHESTRA • 30 SEPTEMBER 2020

TONIGHT'S ARTISTS GERALD FINLEY BASS-BARITONE

© Sim Canetty-Clarke

by the composer. His Arias in English CD, recorded with the LPO and Edward Gardner on the Chandos label, received the Canadian Juno Award for Best Album in Vocal Performance. In 2012, the DVD release of Doctor Atomic in which Gerald Finley appeared as J. Robert Oppenheimer was awarded the Grammy for Best Opera Recording.

Grammy-award-winning Canadian bass-baritone Gerald Finley is a leading singer and dramatic interpreter of his generation, with acclaimed performances at the world’s major opera and concert venues and award-winning recordings. His career is devoted to the wide range of vocal art, encompassing opera, orchestral and song, collaborating with the greatest orchestras and conductors of our time.

His career began with the baritone roles of Mozart; his Don Giovanni and Count in The Marriage of Figaro have been heard live throughout the world and on DVD. Recent signature roles include Guillaume Tell, J. Robert Oppenheimer in John Adams’s Doctor Atomic, and Jaufré Rudel in Kaija Saariaho’s L’Amour de loin. He also created Harry Heegan in Mark-Anthony Turnage’s The Silver Tassie. In recent years, critical successes have been in the Wagner repertoire: as Hans Sachs at the Glyndebourne Festival and Opéra de Paris; as Amfortas in Parsifal at the Royal Opera, Covent Garden; and as Wolfram in Tannhäuser at the Lyric Opera of Chicago. Concert appearances include the title role in Dallapiccola’s Il prigioniero (New York Philharmonic with Alan Gilbert, and the Bavarian Radio Symphony Orchestra), and Chou en Lai in Adams’s Nixon in China with the BBC Symphony at the BBC Proms conducted

Gerald’s concert work is a vital part of his flourishing career: his 2019/20 season began with performances as Iago in Otello in Kanagawa Hall in Yokohama and Bunka Kaikan Hall in Tokyo on tour with the Royal Opera House, Covent Garden; he then returned to the Royal Opera House for performances as Traveller in Death in Venice before performing as Don Alfonso in Così fan tutte at the Metropolitan Opera.

As part of his dedication to preserving and enhancing the singing tradition, Gerald gives masterclasses throughout the world – most recently at The Juilliard School – and continues to work with the Jette Parker Young Artists Programme at the Royal Opera House and the Lindemann Young Artist Development Program at the Metropolitan Opera.

Born in Montreal, Canada, Gerald Finley began singing as a chorister in Ottawa, and completed his musical studies in the UK at the Royal College of Music, King’s College, Cambridge, and the National Opera Studio.

He is a Fellow and Visiting Professor at the Royal College of Music. In 2014 he climbed Kilimanjaro for the charity Help Musicians UK. In 2017 he was appointed Commander of the Order of the British Empire, after previously being appointed an Officer of the Order of Canada. He also features on a Canadian stamp celebrating Canadians in opera.

17

LONDON PHILHARMONIC ORCHESTRA • 30 SEPTEMBER 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 18

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 • 30 SEPTEMBER 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. Tonight sees the Orchestra return at last to its Royal Festival Hall home to perform the first of 13 full-length 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.

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LONDON PHILHARMONIC ORCHESTRA • 30 SEPTEMBER 2020

MORE ONLINE CONCERTS THIS AUTUMN WEDNESDAY 7 OCTOBER 2020

WEDNESDAY 4 NOVEMBER 2020

SATURDAY 5 DECEMBER 2020

Messiaen Et exspecto resurrectionem mortuorum Schoenberg Verklärte Nacht

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

by Mozart, Op. 132

Ravel Le tombeau de Couperin Schubert Symphony No. 6 Jonathan Dove Vadam et circuibo civitatem (a cappella) Prokofiev Piano Concerto No. 3

Thierry Fischer conductor Pieter Schoeman violin (Chair supported by Neil Westreich) Kristina Blaumane cello (Chair supported by Bianca and Stuart Roden)

Thomas Søndergård conductor Alexander Gavrylyuk piano London Philharmonic Choir

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

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

Edward Gardner conductor (Position supported by Mrs Christina Lang Assael)

WEDNESDAY 14 OCTOBER 2020 Julian Anderson Van Gogh Blue* Nielsen Violin Concerto Beethoven Symphony No. 7 John Storgårds conductor Simone Lamsma violin *Supported by Resonate. Resonate is a PRS Foundation initiative in partnership with the Association of British Orchestras, BBC Radio 3 and Boltini Trust.

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 9 DECEMBER 2020

Vladimir Jurowski conductor Tamara-Anna Cislowska piano *Generously supported by the Romanian Cultural Institute.

WEDNESDAY 11 NOVEMBER 2020 WEDNESDAY 21 OCTOBER 2020 Anna Clyne Prince of Clouds R Strauss Suite, Le bourgeois gentilhomme Beethoven Symphony No. 8 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.

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.

WEDNESDAY 25 NOVEMBER 2020 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 Jukka-Pekka Saraste conductor Anssi Karttunen cello Sally Matthews soprano

Concert generously supported by the

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

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

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

Hannu Lintu conductor Gábor Boldoczki trumpet

Vivaldi Overture, La verità in cimento Spohr Symphony No. 2 Honegger Pastorale d’été Bliss Rout James MacMillan Sinfonietta

This concert is supported in part by the Adam Mickiewicz Institute through Polska Music Programme and their partnership with LOT Polish Airlines.

WEDNESDAY 30 DECEMBER 2020

Vladimir Jurowski conductor Mary Bevan soprano

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 20

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 21

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

LONDON PHILHARMONIC ORCHESTRA • 30 SEPTEMBER 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

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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 Nigel & Yvonne Jackman 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 • 30 SEPTEMBER 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.

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LONDON PHILHARMONIC ORCHESTRA • 30 SEPTEMBER 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

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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

WONDER AT THE WORLD OF THE LONDON PHILHARMONIC ORCHESTRA

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LONDON PHILHARMONIC ORCHESTRA • 30 SEPTEMBER 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 26

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 • 30 SEPTEMBER 2020

LPO ADMINISTRATION BOARD OF DIRECTORS Victoria Robey OBE Chairman Martin Höhmann* President Gareth Newman* Vice-President Dr Catherine C. Høgel Vice-Chairman Henry Baldwin* Roger Barron David Buckley Bruno De Kegel Tanya Joseph Al MacCuish Stewart McIlwham* Pei-Jee Ng* Andrew Tusa Neil Westreich David Whitehouse* * Player-Director

ADVISORY COUNCIL Martin Höhmann Chairman Rob 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 Cameron Doley Edward Dolman 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 Sir John Tooley Chris Viney Laurence Watt Elizabeth Winter 28

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 & 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 Georgie Gulliver Marketing Assistant

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