London Philharmonic Orchestra 17 Mar 2018 concert programme by London Philharmonic Orchestra

CONCERt programme

Changing Faces:

Stravinskyâ&#x20AC;&#x2122;s journey

february â&#x20AC;&#x201C; december 2018 royal festival hall

Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI supported by the Tsukanov Family Foundation Principal Guest Conductor ANDRÉS OROZCO-ESTRADA Leader pieter schoeman supported by Neil Westreich Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

Southbank Centre’s Royal Festival Hall Saturday 17 March 2018 | 7.30pm

Tchaikovsky The Sleeping Beauty (excerpts, arr. Stravinsky) (18’) Tchaikovsky Piano Concerto No. 1 in B flat minor, Op. 23 (33’) Interval (20’)

Contents 2 Welcome Orchestra news 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Changing Faces: Stravinsky’s Journey 8 Vladimir Jurowski 9 Daniil Trifonov 10 Programme notes 13 Recommended recordings Next concerts 15 2018/19 season: on sale now 16 LPO 2017/18 Annual Appeal 17 Sound Futures donors 18 Supporters 20 LPO administration

Stravinsky The Fairy’s Kiss (43’)

Vladimir Jurowski conductor Daniil Trifonov piano

Concert supported by Celebro Media

The timings shown are not precise and are given only as a guide. CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Concert broadcast on Tuesday 20 March at 7.30pm by Radio 3 in Concert, and available for 30 days after broadcast via the Radio 3 website and the BBC iPlayer Radio app.

Welcome

Orchestra news

Welcome to Southbank Centre We hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries please ask any member of staff for assistance. Eating, drinking and shopping? Southbank Centre shops and restaurants include Foyles, EAT, Giraffe, Strada, wagamama, YO! Sushi, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Honest Burger, Côte Brasserie, Skylon and Topolski, as well as cafes, restaurants and shops inside Royal Festival Hall. If you wish to get in touch with us following your visit please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone 020 3879 9555, or email customer@southbankcentre.co.uk

LPO 2018/19 season: on sale now The LPO 2018/19 season is now on sale – turn to page 15 to find out more. You can browse and book online at lpo.org.uk/newseason or call us on 020 7840 4200 to request a season brochure by post.

Virgin Sport British 10k: join Team LPO! On Sunday 15 July 2018, Team LPO will be taking to the pavements of London once again as part of the Virgin Sport British 10k. This year we will be running in aid of our Annual Appeal, celebrating 30 years of our Education and Community Programme and the creation of musical experiences for all. Following the success of our previous teams, who have raised over £27,000, we are looking for runners to take up the mantle for this year’s run. If you are interested in running on behalf of the LPO or would like more information, please contact Ellie Franklin at ellie.franklin@lpo.org.uk or on 020 7840 4225.

We look forward to seeing you again soon. A few points to note for your comfort and enjoyment: PHOTOGRAPHY is not allowed in the auditorium. LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance. RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre. Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended. MOBILES, PAGERS AND WATCHES should be switched off before the performance begins.

New on the LPO Label: Shostakovich Symphony No. 7 (‘Leningrad’) This month’s CD release on our LPO Label is Shostakovich’s Symphony No. 7 conducted by Kurt Masur, recorded live in concert at Royal Festival Hall in 2003 (LPO-0103). The CD is priced at £9.99 and, along with 100+ other titles on the label, is available to buy from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Our recordings are also available to download or stream via iTunes, Amazon Spotify and others.

Wigmore Hall charity concert: LPO Benevolent Fund Out now The Spring/Summer 2018 edition of Tune In, our free twice-yearly magazine. Copies are available at the Welcome Desk in the Royal Festival Hall foyer, or phone the LPO office on 020 7840 4200 to receive one in the post. Also available digitally: issuu.com/londonphilharmonic

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On Sunday 22 April at 7.30pm, the Leonore Piano Trio will give a special fundraising concert at Wigmore Hall in aid of Marie Curie and the LPO Benevolent Fund, which provides crucial financial support to LPO musicians unable to work through illness or injury. The programme will include Schubert’s Piano Trio No. 1 in B flat and works by Haydn and Parry. Tickets are priced from £15–£25 and can be booked via wigmore-hall.org.uk.

On stage tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

Kevin Lin Co-Leader Katalin Varnagy Chair supported by Sonja Drexler

Catherine Craig Thomas Eisner Martin Höhmann Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp

Robert Pool Sarah Streatfeild Yang Zhang Rebecca Shorrock Rasa Zukauskaite Georgina Leo Essi Kiiski Second Violins Tania Mazzetti Principal Chair supported by Countess Dominique Loredan

Helena Smart Kate Birchall Nancy Elan Fiona Higham Chair supported by David & Yi Buckley

Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Ashley Stevens Robin Wilson Greta Mutlu John Dickinson

Violas David Quiggle Principal Michael Casimir Robert Duncan Katharine Leek Susanne Martens Benedetto Pollani Laura Vallejo Naomi Holt Daniel Cornford Richard Cookson Cellos Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden

Pei-Jee Ng Co-Principal Francis Bucknall David Lale Gregory Walmsley Elisabeth Wiklander George Hoult Helen Rathbone Double Basses Kevin Rundell* Principal Sebastian Pennar Co-Principal Hugh Kluger George Peniston Laurence Lovelle Damián Rubido González Tom Walley Flutes Juliette Bausor Principal Sue Thomas* Chair supported by Victoria Robey OBE

Cornets James Fountain David Hilton

Piccolo Katie Bicknell Oboes Ian Hardwick* Principal Alice Munday

Trombones David Whitehouse Principal Richard Watkin

Cor Anglais Sue Böhling* Principal Chair supported by Dr Barry Grimaldi

Clarinets Shirley Brill Guest Principal Thomas Watmough Paul Richards*

Tuba Lee Tsarmaklis* Principal Timpani Henry Baldwin Principal Chair supported by Friends of the Orchestra

Bass Clarinet Paul Richards* Principal Bassoons Jonathan Davies Principal Gareth Newman Horns John Ryan* Principal Chair supported by Laurence Watt

Martin Hobbs Nicholas Mooney Gareth Mollison Duncan Fuller Trumpets Paul Beniston* Principal James Fountain Guest Principal Anne McAneney* Chair supported by Geoff & Meg Mann

Bass Trombone Simon Minshall

Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Harp Rachel Masters Principal Piano Catherine Edwards Assistant Conductor James Henshaw * Holds a professorial appointment in London

Meet our members: lpo.org.uk/players

Katie Bicknell

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: The Candide Trust • William & Alex de Winton • Sir Simon Robey • Eric Tomsett

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London Philharmonic Orchestra

The LPO’s playing was often formidable in its detail and dramatic fire and there were numerous high points ... the evening belonged to Jurowski and his orchestra, who were simply outstanding. Tim Ashley, The Guardian, 28 January 2018 (Wagner’s Das Rheingold at Royal Festival Hall) Recognised today as one of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with a reputation as one of the UK’s most forwardlooking ensembles. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, releases CDs on its own record label, and reaches thousands of people every year through activities for families, schools and local communities. Celebrating its 85th anniversary this season, 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 this season we celebrate the tenth anniversary of this extraordinary partnership. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in September 2015. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Our year-long Belief and Beyond 4 | London Philharmonic Orchestra

Belief festival in partnership with Southbank Centre ran throughout 2017, exploring what it means to be human in the 21st century. In 2018, we explore the life and music of Stravinsky in our series Changing Faces: Stravinsky’s Journey, charting the life and music of one of the 20th century’s most influential composers. Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, 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: tours in 2017/18 include Romania, Japan, China, the Czech Republic, Germany, Belgium, Austria, Spain, Italy and France, and plans for 2018/19 include a major tour of China and Asia, as well as Belgium, France, Germany, The Netherlands, Spain, Switzerland and the USA.

Pieter Schoeman leader

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 through an energetic programme of activities for young people. In 2017/18 we celebrate the 30th anniversary of our 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. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the Young Composers Programme; and the Foyle Future Firsts orchestral training programme for outstanding young players. Its work at the forefront of digital engagement and social media has enabled the Orchestra to reach even more people worldwide: all its recordings are available to download from iTunes and, as well as regular concert streamings and a popular podcast series, the Orchestra has a lively presence on social media. lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra youtube.com/londonphilharmonicorchestra instagram.com/londonphilharmonicorchestra

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

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. Recent additions include Beethoven’s Symphony No. 3 and Fidelio Overture conducted by Vladimir Jurowski, Mozart and Rachmaninoff piano concertos performed by Aldo Ciccolini under Yannick Nézet-Séguin, and Shostakovich’s Symphony No. 7 under Kurt Masur.

Born in South Africa, Pieter made his solo debut aged 10 with the Cape Town Symphony Orchestra. Five years later 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 Southbank Centre’s Queen Elizabeth Hall in London. As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. At the invitation of Yannick Nézet-Séguin he has been part of the ‘Yannick and Friends’ chamber group, performing at festivals in Dortmund and Rheingau. Pieter has performed several times as a soloist with the LPO, and his live recording of Britten’s Double Concerto with Alexander Zemtsov was released on the Orchestra’s own label to great critical acclaim. He has also recorded numerous violin solos for film and television, and led the LPO in its soundtrack recordings for The Lord of the Rings trilogy. In 1995 Pieter became Co-Leader of the Orchestre Philharmonique de Nice. Since then he has appeared frequently 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 Leader with the Leipzig Gewandhaus Orchestra for Kurt Masur’s memorial concert. He is a Professor of Violin at Trinity Laban Conservatoire of Music and Dance in London. Pieter’s chair in the London Philharmonic Orchestra is supported by Neil Westreich.

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Changing Faces: Stravinsky’s journey

Richard Bratby introduces our festival, which runs throughout 2018 On 24 November 1944, a new musical called Seven Lively Arts opened at the Forrest Theatre, Philadelphia. The composer was Cole Porter, the producer was Billy Rose, and their aim was to make entertainment out of the greatest talents in contemporary art. Benny Goodman and Dolores Gray starred; Salvador Dali created artwork for the foyer. And right in the middle – setting the stamp of greatness on the show’s highbrow aspirations – was a new ballet by Igor Stravinsky. Rose had offered Stravinsky $5000 (the equivalent of over half a million today) for 15 minutes of music. But even so, he felt something wasn’t quite right. Luckily he had the top Broadway arranger Robert Russell Bennett on call. After the first night, he telegraphed Stravinsky: YOUR MUSIC GREAT SUCCESS. COULD BE SENSATIONAL SUCCESS IF YOU WOULD AUTHORISE ROBERT RUSSELL BENNETT RETOUCH ORCHESTRATION. Without missing a beat, Stravinsky telegraphed straight back: SATISFIED WITH GREAT SUCCESS. It’s a great story: and like the best Stravinsky stories, it’s also true. This is where Stravinsky was in the middle of the 20th century – a celebrity, a wit; a man who moved with total assurance between the biggest names in contemporary culture. You didn’t have to know anything about classical music to know that Stravinsky was the world’s greatest living composer: that his Russian name and long, angular face stood for the most modern kind of genius. ‘I’ve interviewed the great Stravinsky’, sang the heroine of Rodgers and Hart’s Pal Joey in 1940, and the orchestra responded with a dissonant shriek. A month earlier, Walt Disney had released Fantasia, in which cartoon dinosaurs cavorted to Stravinsky’s most notorious hit, The Rite of Spring. It played to millions. Why wouldn’t an ambitious Broadway producer want to get Stravinsky on board? And why wouldn’t a major orchestra want to celebrate his music? On one level, the question is redundant. Stravinsky’s great scores for the Ballets Russes – The Firebird (1910), Petrushka (1911) and The Rite of Spring (1913) – are as central to modern concert life as Beethoven or Mahler. But as contemporaries sensed, there was more to Stravinsky than an explosion of innovation and colour just before the Great War. How did 6 | London Philharmonic Orchestra

Igor Stravinsky’s star on the Hollywood Walk of Fame. He was inducted in 1960 for his work in radio. a singer’s son from the Russia of Tsar Alexander III end up as the toast of jazz-age Paris? How did a highbrow European modernist find himself courted by Hollywood’s top studio bosses? And how did the most famous classical composer on earth suddenly – in the last two decades of his career – become more controversial than he’d ever been? From his birth into a Russia that had been unchanged for millennia, to his funeral in Venice in 1971, watched by the world’s TV cameras, Stravinsky’s changing faces reflected more than just music. Stravinsky’s journey is the story of Western culture in the 20th century. So if it sounds like the LPO has been here before – well, in a sense it has. ‘For me, this Stravinsky journey is the second edition of The Rest Is Noise’, says Vladimir Jurowski, referring to the year-long exploration of 20th-century music and art through which he led the Orchestra in 2013. Changing Faces: Stravinsky’s Journey revisits that story and refines the focus. ‘In The Rest Is Noise we couldn’t concentrate upon any one composer’, Jurowski explains. ‘But here we’ve chosen to go through the years with one particular composer who reflected an entire century. Sometimes it’s chronological; sometimes it’s stylistic. His works are accompanied by the works of the people who he knew personally, who surrounded him, who preceded or succeeded him.’ That’s a vital point. Stravinsky had a gift for putting himself wherever the cultural action was: whether in

music, visual art, literature, cinema, politics or even fashion. In the first years of the century, there was no artistic force more thrilling than Serge Diaghilev’s Ballets Russes. But Stravinsky went on to party with Cole Porter in Venice, to sleep with Coco Chanel in Paris, and on one famous occasion in May 1922, to have dinner with James Joyce, Marcel Proust and Pablo Picasso. (It didn’t go well: Joyce fell asleep on the table and Proust got on Stravinsky’s nerves). Mussolini courted him – happily with little success. After he moved to the USA in 1939 he socialised with Fred Astaire, Alfred Hitchcock, Greta Garbo and Man Ray, while fellow exiles ranging from Rachmaninoff to Gone With the Wind composer Max Steiner ate pirozhki and drank champagne at Stravinsky’s Hollywood home. His creative partnerships embraced Benny Goodman, George Balanchine, Jean Cocteau, WH Auden, TS Eliot and Modoc – a dancing elephant in Barnum & Bailey’s circus. So Changing Faces: Stravinsky’s Journey places his music in context alongside music that Stravinsky influenced and (perhaps less obviously) that influenced him. ‘We’re trying to follow Stravinsky’s life, and with him, to follow the development of music in the 20th century – because effectively he went through almost every style change’, says Jurowski. So the journey begins not with the three great Diaghilev ballets (though they certainly feature) but in the sumptuous world of Imperial Russia’s so-called ‘Silver Age’, placing Stravinsky’s youthful music next to that of his teacher Rimsky-Korsakov and the fairytale music of Anatoly Liadov who, by fumbling his commission for The Firebird, accidentally gave Stravinsky the biggest break of his career. There’s also a chance to hear the music of Alexander Glazunov – who Stravinsky later derided, but whose influence can be heard in every note of the 24-year-old Igor’s delightful Symphony in E flat. And the journey continues, through revolutions both artistic and political. In the wake of the First World War, Stravinsky led the way in creating something bold, new, and yet strangely familiar from the wreckage of a civilisation. ‘His style kept evolving and changing’, says Jurowski. ‘At first it was Italian baroque music that interested him, but later Bach – and again, later there were all sorts of other things.’ ‘Neo-classicism’, it’s been called, but no label can fully cover the wit of Stravinsky’s reinvention of Pergolesi in Pulcinella, his playful not-quite-mockery of German romantics like Weber and Schubert, and the timeless clarity of the classical

language he created on his own terms in works like Apollon musagète and the Symphony in C. ‘He used to call himself an inventor of music rather than a composer, and I don’t think he was deluding himself’, says Jurowski. ‘What I find fascinating is that whatever style he explores, he always makes it sound as if he alone, Igor Stravinsky, has invented this style. He has this chameleon-like ability – and at the same time this incredibly strong individual voice.’ That ability to make the musical world turn around him would stand Stravinsky in good stead in the later years of his career, and as well as his 1951 opera The Rake’s Progress, later LPO concerts in 2018 will examine his decision (as seismic in its time as Bob Dylan going electric) to embrace the 12-tone system. It’s one reason why contemporary composers find him so compelling: the series features Stravinsky-influenced premieres by Gerald Barry and Anders Hillborg, while Thomas Adès conducts Perséphone. But there are also glimpses of the sometimes unpredictable man behind the mask of genius. His love for Tchaikovsky and the lost Russia he embodied; his fondness for poker (translated into the brilliantly deadpan ballet Jeu de cartes), and his profound religious faith, expressed in the Symphony of Psalms – ‘composed for the glory of God’. His biographer Robert Craft – a prim progressive – was ‘astonished’ by the respect that Stravinsky showed to exiled Russian royalty. But Stravinsky never followed the modernist script. He wrote it. And that force of personality – that electrifying creativity – overflowed into everything he touched. Vladimir Jurowski remembers handling the manuscript of The Rite of Spring in the Paul Sacher Archive in Basel. ‘What struck me was the incredible artistic quality of the score, as draughtsmanship. If you look at it not as a musician but simply the way you would look at a piece of art, it looks like an incredible cubist or Futurist design.’ Genius will out, and Stravinsky himself gives the best rationale for following his journey from beginning to end, in a world whose face is changing faster than ever. ‘I live neither in the past nor the future. I am in the present. I can know only what the truth is for me today. That is what I am called upon to serve, and I serve it in all lucidity.’ Richard Bratby writes about music for The Spectator, Gramophone and the Birmingham Post. lpo.org.uk/stravinsky

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Vladimir Jurowski conductor

Ten years of Vladimir Jurowski in London have brought a non-stop journey of discovery. As the London Philharmonic Orchestra celebrates his decade as music director, it can look back on a period of unrivalled adventure, taking audiences to places other orchestras never reach. © Drew Kelley

Richard Fairman, Financial Times, 30 November 2017

Vladimir Jurowski was appointed Principal Guest Conductor of the London Philharmonic Orchestra in 2003, becoming Principal Conductor in 2007: this season we celebrate the tenth anniversary of this extraordinary partnership. One of today’s most sought-after conductors, acclaimed worldwide for his incisive musicianship and adventurous artistic commitment, Vladimir Jurowski was born in Moscow and studied at the Music Academies of Dresden and Berlin. In 1995 he made his international debut at the Wexford Festival conducting Rimsky-Korsakov’s May Night, and the same year saw his debut at the Royal Opera House, Covent Garden, with Nabucco. In 2017 Vladimir took up the position of Chief Conductor and Artistic Director of the Berlin Radio Symphony Orchestra. In addition he holds the titles of Principal Artist of the Orchestra of the Age of Enlightenment, Artistic Director of the Russian State Academic Symphony Orchestra and Artistic Director of the George Enescu International Festival, Bucharest. He has previously held the positions of First Kapellmeister of the Komische Oper Berlin (1997–2001), Principal Guest Conductor of the Teatro Comunale di Bologna (2000–03), Principal Guest Conductor of the Russian National Orchestra (2005–09), and Music Director of Glyndebourne Festival Opera (2001–13). Vladimir is a regular guest with many leading orchestras in both Europe and North America, including the Royal Concertgebouw Orchestra; the Accademia Nazionale di Santa Cecilia, Rome; the New York Philharmonic; The Philadelphia Orchestra; The Cleveland Orchestra; the Boston, San Francisco

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and Chicago symphony orchestras; and the TonhalleOrchester Zürich, Leipzig Gewandhausorchester, Mahler Chamber Orchestra, Staatskapelle Dresden and Chamber Orchestra of Europe. His opera engagements have included Rigoletto, Jenůfa, The Queen of Spades, Hansel and Gretel and Die Frau ohne Schatten at the Metropolitan Opera, New York; Parsifal and Wozzeck at Welsh National Opera; War and Peace at the Opéra National de Paris; Eugene Onegin at the Teatro alla Scala, Milan; Ruslan and Ludmila at the Bolshoi Theatre; Salome with the State Academic Symphony of Russia; Moses und Aron at the Komische Oper Berlin; Iolanta and Die Teufel von Loudun at Semperoper Dresden, and numerous operas at Glyndebourne including Otello, Macbeth, Falstaff, Tristan und Isolde, Don Giovanni, The Cunning Little Vixen, Peter Eötvös’s Love and Other Demons, and Ariadne auf Naxos. In 2017 he made an acclaimed Salzburg Festival debut with Wozzeck and his first return to Glyndebourne as a guest conductor, in the world premiere production of Brett Dean’s Hamlet with the LPO. The London Philharmonic Orchestra has released a wide selection of Vladimir Jurowski’s live recordings with the Orchestra on its own label, including Brahms’s complete symphonies; Mahler’s Symphonies Nos. 1 and 2; and Rachmaninoff’s Symphony No. 3 and Symphonic Dances. Autumn 2017 saw the release of a sevendisc set of Tchaikovsky’s complete symphonies under Jurowski (LPO-0101), and a special anniversary sevendisc set of his previously unreleased recordings with the LPO spanning the symphonic, choral and contemporary genres (LPO-1010). Visit lpo.org.uk/recordings to find out more.

Daniil Trifonov piano

He has everything: sensitivity, intelligence, and a technique that has to be seen and heard to be believed. The Sunday Telegraph, April 2016

Born in Nizhny Novgorod in 1991, Daniil Trifonov has gained a reputation for his outstanding performances, musical insight and expressive intensity. Tonight’s concert is the culmination of a week’s tour of Germany with the London Philharmonic Orchestra and Vladimir Jurowski, performing Tchaikovsky’s Piano Concerto No. 1 to audiences in Düsseldorf, Hamburg, Frankfurt and Munich. Other recent and forthcoming concerto highlights include the Berlin Philharmonic under Sir Simon Rattle, the Vienna Philharmonic under Andris Nelsons, the London Symphony and Mariinsky orchestras with Valery Gergiev, the Israel Philharmonic with Zubin Mehta, the Los Angeles Philharmonic Orchestra with Miguel Harth-Bedoya, The Philadelphia Orchestra with Cristian Măcelaru, the San Francisco Symphony and Minnesota orchestras with Osmo Vänskä, the Russian National Orchestra with Mikhail Pletnev, the New York Philharmonic with Alan Gilbert, The Cleveland Orchestra with James Gaffigan, the Boston Symphony with Giancarlo Guerrero, the Orchestra dell’Accademia Nazionale di Santa Cecilia with Sir Mark Elder, the Oslo Philharmonic with Vasily Petrenko and the Danish Radio Symphony with Gianandrea Noseda. This season he also tours with the Royal Concertgebouw Orchestra under Daniele Gatti, including performances in Vienna, Prague, Dresden and Paris. In the 2016/17 season Daniil was ‘Capell-Virtuos’ with the Staatskapelle Dresden, which included concerts at the BBC Proms, the Salzburg Easter Festival and the Vienna Musikverein, and he performed the complete Rachmaninoff Piano Concerto cycle with the Mariinsky Orchestra and the Munich Philharmonic under Valery Gergiev. In 2016 he was Artist of the Year at the

Gramophone Awards, and was also awarded the Royal Philharmonic Society Award in the Instrumentalist category. Recent and forthcoming recitals include London’s Royal Festival Hall, Wigmore Hall and Barbican; the Stern Auditorium at Carnegie Hall in New York; Washington’s Kennedy Center, Boston Celebrity Series, the Berlin Philharmonie, the Concertgebouw’s Master Piano Series, the Philharmonie de Paris, the Leipzig Gewandhaus, the Zurich Tonhalle and Tokyo’s Opera City, amongst many others. Daniil Trifonov has also appeared at major European festivals including Verbier, Lucerne, Montreux, Tivoli, Salzburg, Edinburgh, Lockenhaus, Grafenegg, La Roque d’Anthéron, Klavier Festival Ruhr; and in the USA at Blossom, Ravinia and Chautauqua. Daniil Trifonov studied at the Moscow Gnesin School of Music from 2000–09. From 2006 he also studied composition, and has since continued to compose piano, chamber and orchestral music. When he premiered his own piano concerto in 2014, The Cleveland Plain Dealer commented: ‘Even having seen it, one cannot quite believe it. Such is the artistry of pianist-composer Daniil Trifonov.’ In 2013 Deutsche Grammophon announced the signing of an exclusive recording agreement with Daniil Trifonov. His first recording as an exclusive Deutsche Grammophon artist (Trifonov: The Carnegie Recital) won a Grammy Award nomination. His latest release, Transcendental, was awarded the ECHO Klassik 2017 award for Best Solo Recording for piano music composed in the 19th century.

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Programme notes

Speedread Igor Stravinsky enjoyed posing as a cold, ruthless modernist, a creative mind who despised romantic notions of ‘sentiment’ and emotional ‘interpretation’. But his love for Tchaikovsky was stronger than his adopted purism. When it became clear, in the 1920s, that the Communist Revolution had made a return to his native Russia impossible, Stravinsky characteristically tried to mask his grief, yet it found outlet in his beautiful, surprisingly heartfelt Tchaikovsky-based ballet The Fairy’s Kiss. For Stravinsky, Tchaikovsky was a direct line to St Petersburg, the beloved city of his childhood,

Pyotr Ilyich Tchaikovsky

and one can hear that in The Fairy’s Kiss and in the movements he orchestrated from Tchaikovsky’s great ballet The Sleeping Beauty. At its climax is an ardent transformation of Tchaikovsky’s famous song of exile, ‘None but the lonely heart’. Between these comes one of Tchaikovsky’s best-loved utterances: his impassioned, dramatic, brilliant and exquisitely tender First Piano Concerto. Tchaikovsky’s genius for creating heart-melting melodies was never more evident than in this Concerto, which opens with what is simply one of the greatest tunes ever composed – and that’s only the beginning!

The Sleeping Beauty (excerpts, arr. Stravinsky) 1 Bluebird Pas-de-Deux (Act III) 2 Variation d’Aurore (Act II) 3 Entr’acte (Act II)

1840–93

For most of the 20th century’s leading modernists, Tchaikovsky was an embarrassment. He was the embodiment of luscious, escapist old-world romanticism, the very thing the progressives were striving to get away from. Hard-line revolutionaries like Arnold Schoenberg turned the full force of their scorn on him – and yet he remained so infuriatingly popular! So there was some astonishment when, in the 1920s, Igor Stravinsky, creator of one of music’s most notorious shock-successes with his ballet The Rite of Spring (1913), came out in public as a ‘heartfelt’ admirer of Tchaikovsky’s ‘wonderful talent’. The ultimate fruit of that admiration was to be his ballet The Fairy’s Kiss (1928), but before that, in 1921, Stravinsky orchestrated two numbers from Act II of Tchaikovsky’s The Sleeping Beauty, at the request of the great ballet impresario Serge Diaghilev. Tchaikovsky had cut these two items from the ballet after its premiere in St Petersburg,

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and his own orchestrations were lost. Later, in 1941, Stravinsky made a version of the famous Act III ‘Bluebird Pas-de-Deux’ for reduced orchestra for the New York Ballet Theatre – wartime austerity meant that a full orchestral version was just too expensive. Practical necessity may have prompted Stravinsky to make these arrangements, yet they are equally acts of homage, lovingly recreating Tchaikovsky’s unique soundworld. As Stravinsky later confessed, it was a sound that always took him back to St Petersburg, the beloved city of his childhood, and to Russia itself, from which he was to remain painfully exiled until the last years of his long life.

Pyotr Ilyich Tchaikovsky

Piano Concerto No. 1 in B flat minor, Op. 23

Tchaikovsky was always terribly vulnerable to criticism. So one can readily imagine the effect on him when the pianist and composer Nikolai Rubinstein pronounced judgement on his newly completed First Piano Concerto. From the start Tchaikovsky had been particularly keen that Rubinstein perform the Concerto in one of his prestigious concerts. But when Tchaikovsky played the first movement to Rubinstein, on Christmas Eve 1874, the response was withering. ‘It turned out that my concerto was worthless and unplayable’, Tchaikovsky recalled soon afterwards, ‘passages were so fragmented, so clumsy, so badly written that they were beyond rescue; the work itself was bad, vulgar; in places I had stolen from other composers; only two or three pages were worth preserving; the rest must be thrown away or completely rewritten.’

comments in particular must have been made with great tact, because the normally touchy Tchaikovsky thanked him for his ‘very sensible and practical suggestions’, and took them to heart when he revised the Concerto in 1878 – and possibly when he refined it further in 1888. That is the version we hear regularly today.

Fortunately for us, Tchaikovsky didn’t follow Rubinstein’s advice and destroy the Concerto; instead he recovered his nerve and sent it to the German pianist and conductor Hans von Bülow, whose reaction could hardly have been more different: the Concerto, Bülow replied, was ‘so original in thought (yet never affected), so noble, so strong, so interesting in details ... In short, this is a real pearl and you deserve the gratitude of all pianists.’ And that, broadly speaking, is how posterity has come to view the First Piano Concerto. Even so, Tchaikovsky did make some revisions after hearing the work in concert. Bülow made a few recommendations, as did the pianist Edward Dannreuther. Dannreuther’s

Daniil Trifonov piano 1 2 3

Allegro non troppo e molto maestoso – Allegro con spirito Andantino semplice – Prestissimo Allegro con fuoco

Bülow’s comments about originality and nobility are born out right from the start. A few bars of dark fanfare, led by the horns, are swept aside by the piano’s sonorous major-key chords, then one of Tchaikovsky’s grandest and most glorious long melodies surges in on strings. After a period of extended development this theme is dropped, never to return again – to the disappointment of some first-time listeners, yet in fact this tune turns out to contain the seeds of many important themes to come. The long first movement is also striking for the way it dramatises the relationship between piano and orchestra – sometimes an heroic struggle, sometimes closer to a tender or turbulent love affair. After this the Andantino middle movement offers gentle relief, its faster central section based on a French folk-tune Tchaikovsky used to sing with his brothers Modest and Anatoly, ‘One must have fun, dance and sing’. Then the finale is a terrific, exhilarating workoutcum-fireworks-display based on a Ukrainian folk song, with another splendid ‘Big Tune’, which returns in triumph to end this passionate, stunningly theatrical concerto.

Interval – 20 minutes An announcement will be made five minutes before the end of the interval.

London Philharmonic Orchestra | 11

Programme notes continued

Igor Stravinsky

The Fairy’s Kiss

1882–1971

Stravinsky loved making provocative statements about music – especially when it came to the subject of emotion in music: ‘Music of itself can express nothing’; ‘Music is far closer to mathematics than to literature’. In performances of his own music he was quick to condemn anything that smacked of ‘interpretation’. Remarks like these have led to a widespread misconception that Stravinsky was a cold or clinical musician. Privately he seems to have seen it differently. ‘Passionate emotion’, he said, could also be expressed within the most ‘limiting conventions’, and he praised the medieval Persian miniaturists who, despite being forbidden to show facial expressions, still managed to convey intense feelings through the positioning of hands or the tilt of a head. But this advocate of extreme self-discipline also loved the music of his great fellow Russian, Tchaikovsky – surely one of the most passionate and self-revealing of all composers. Tchaikovsky’s ‘Pathétique’ Symphony (No. 6) made a terrific impression on him as a boy, and years later, when he knew he was dying, Stravinsky found he was unable to listen to it on the radio – it stirred him too deeply. When the dancer Ida Rubinstein came to Stravinsky in 1927 with the suggestion that he compose a ballet inspired by the music of Tchaikovsky, Stravinsky did not hesitate. ‘It would’, he said, ‘give me an opportunity of paying my heartfelt homage to Tchaikovsky’s wonderful talent’. Stravinsky made a selection of melodies and motifs from Tchaikovsky’s solo piano pieces and songs, which he then reworked – sometimes completely transforming their character in the process – as the basis of his ballet score. For the story he turned to Hans Christian Andersen’s fairytale The Ice Maiden, about the Swiss boy, Rudy, who as a baby is claimed by the Ice Fairy with a magic kiss, and later carried off by her forever on the eve of his wedding. The story, said Stravinsky, became an allegory of Tchaikovsky’s own destiny: ‘the Muse having similarly branded 12 | London Philharmonic Orchestra

Tchaikovsky with her own fatal kiss, whose mysterious imprint made itself felt in all this great artist’s work.’ As to the specific nature of that ‘fatal kiss’, Stravinsky seems to have been reluctant to go further. Whatever the motivation, it is remarkable how lovingly Stravinsky treats many of the Tchaikovsky themes he uses in The Fairy’s Kiss. However brilliant and subtle his reworking, there is little of the ironic distortion one finds in the Pergolesi-based ballet Pulcinella or the Grand Opera parodies of Oedipus Rex. Often Stravinsky finds orchestral colours that sound distinctly Tchaikovskian, though Stravinsky’s own voice, crisp and clear as ever, is also hard to miss. Most surprising is the ardent full-orchestral climax at the end of Scene 3, based on the melody of Tchaikovsky’s famous song ‘None but the lonely heart’. One may feel that Stravinsky comes very close to baring his own heart at this point – little sign of ‘limiting conventions’ here. The ballet score of The Fairy’s Kiss is laid out in four scenes. In Scene 1 a mother is separated from her child in a mountain storm. The Ice Fairy finds him and kisses him. Later he is rescued by a group of villagers. Scene 2 shows the child now grown to a young man, enjoying the village fête with his fiancée. The Ice Fairy approaches disguised as a gypsy and tells him his fortune, promising him great things. Bridal dances begin Scene 3 as the young man prepares for his wedding, but the Ice Fairy disguises herself as his fiancée and spirits him away to her everlasting dwelling place. There, in Scene 4, she now claims him forever by kissing him on the sole of his foot. The music at the close is hushed and restrained, but – despite the presence of the Ice Fairy – far from cold. Programme notes © Stephen Johnson

Recommended recordings of tonight’s works

Stravinsky on the LPO Label

Tchaikovsky (arr. Stravinsky): The Sleeping Beauty (excerpts) Bergen Philharmonic Orchestra | Andrew Litton (streaming only) or BBC Symphony Orchestra | Gennady Rozhdestvensky (complete ballet; BBC Legends via Amazon)

Stravinsky: Petrushka (1911 version) Symphonies of Wind Instruments (original 1920 version) Orpheus: ballet in three scenes

Tchaikovsky: Piano Concerto No. 1 Sviatoslav Richter | Vienna Symphony Orchestra Herbert von Karajan (Deutsche Grammophon)

LPO-0091 | £9.99

Stravinsky: The Fairy’s Kiss Royal Scottish National Orchestra | Neeme Järvi (Chandos)

Vladimir Jurowski conductor London Philharmonic Orchestra

Available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets Download or stream online via iTunes, Spotify, Amazon and others

Next concerts at Southbank Centre’s Royal Festival Hall wednesday 21 march 2018 7.30pm

saturday 24 march 2018 7.30pm

wednesday 11 april 2018 7.30pm

Stravinsky Apollon musagète Weber Konzertstück for piano and orchestra Stravinsky Capriccio for piano and orchestra Schubert Symphony No. 3

Stravinsky Symphony of Psalms Stravinsky Violin Concerto Stravinsky Credo Stravinsky Ave Maria Stravinsky Pater Noster Bernstein Chichester Psalms

Thomas Adès Suite from Powder Her Face (UK premiere)* Gerald Barry Organ Concerto (London premiere)

Andrés Orozco-Estrada conductor Peter Donohoe piano

Andrés Orozco-Estrada conductor Patricia Kopatchinskaja violin London Philharmonic Choir

Stravinsky Perséphone Thomas Adès conductor Thomas Trotter organ Toby Spence tenor London Philharmonic Choir Trinity Boys Choir Concert generously supported by Victoria Robey OBE. * Supported by the Boltini Trust

Book now at lpo.org.uk or call 020 7840 4242 Season discounts of up to 30% available

London Philharmonic Orchestra | 13

George Li

Tuesday 20 March Beethoven, Chopin, Rachmaninov, Liszt

Stephen Hough

Thursday 5 April Debussy, Schumann, Beethoven

Khatia Buniatishvili Wednesday 9 May Brahms, Liszt, Tchaikovsky, Stravinsky

Pierre-Laurent Aimard Saturday 12 May Ligeti

Benjamin Grosvenor

Paul Lewis

Bach, Brahms, Brett Dean, Debussy, Berg, Ravel

Beethoven, Haydn, Brahms

Thursday 26 April

southbankcentre.co.uk 020 3879 9555

14 | London Philharmonic Orchestra

Tuesday 5 June

GeT

closer

2018/19 concerT season

aT souThbank cenTre’s royal FesTival hall

on sale now hiGhliGhTs include chanGinG Faces: sTravinsky’s Journey we continue our yearlong series, delving into the composer’s works from the 1940s onwards.

opera in concerT wagner’s Die Walküre and stravinsky’s The Rake’s Progress under vladimir Jurowski, and puccini’s first opera, Le Villi.

isle oF noises Throughout 2019 this year-long festival celebrates the music of britain, from purcell, through elgar, bax and walton, to the present day.

beeThoven piano concerTos The flamboyant young spanish pianist Javier perianes joins us for two evenings to perform beethoven’s complete piano concertos.

book now aT lpo.orG.uk or call 020 7840 4242 season discounTs oF up To 30% available

2017/18 annual appeal

Sharing the Wonder 30 years of music for all

For 30 years we have taken ourselves off the concert platform and out into the world around us, driven by the desire to share the power and wonder of orchestral music with everyone. We strive to create stories and experiences that others will call their own. From planting the seed in those who have never heard orchestral music to reawakening others to joys they may have forgotten. We work to awaken passions, develop talent and nurture ability. Help us celebrate this 30th year of the London Philharmonic Orchestra’s Education and Community Programme by giving to our Appeal. Your gift will support us as we invest in the creation of future experiences. Together we can unlock discoveries not only in musical abilities, but also in confidence, creativity and self-belief; helping create stories of change and journeys of progression.

£30

will contribute to our work, wherever we need it most

£50

will hire a venue for a 30-minute mentor session for an LPO Junior Artist

£85

will hire a set of 30 chime bars for Creative Classrooms

£120

will pay for a class of 30 children to attend a subsidised BrightSparks concert

£300

will pay for 30 teacher resource packs, used prior to attending a BrightSparks concert

£500

will pay for 30 teachers to attend a musical INSET training day

Read some of the stories so far, find out more and donate to help share the wonder

lpo.org.uk/appeal

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

The Rothschild Foundation Tom & Phillis Sharpe The Viney Family

Haitink Patrons Mark & Elizabeth Adams Dr Christopher Aldren Mrs Pauline Baumgartner Welser-Möst Circle Lady Jane Berrill William & Alex de Winton Mr Frederick Brittenden John Ireland Charitable Trust David & Yi Yao Buckley The Tsukanov Family Foundation Mr Clive Butler Neil Westreich Gill & Garf Collins Tennstedt Circle Mr John H Cook Valentina & Dmitry Aksenov Mr Alistair Corbett Richard Buxton Bruno De Kegel The Candide Trust Georgy Djaparidze Michael & Elena Kroupeev David Ellen Kirby Laing Foundation Christopher Fraser OBE & Lisa Fraser Mr & Mrs Makharinsky David & Victoria Graham Fuller Alexey & Anastasia Reznikovich Goldman Sachs International Sir Simon Robey Mr Gavin Graham Bianca & Stuart Roden Moya Greene Simon & Vero Turner Mrs Dorothy Hambleton The late Mr K Twyman Tony & Susie Hayes Malcolm Herring Solti Patrons Catherine Høgel & Ben Mardle Ageas Mrs Philip Kan John & Manon Antoniazzi Rehmet Kassim-Lakha de Morixe Gabor Beyer, through BTO Rose & Dudley Leigh Management Consulting AG Lady Roslyn Marion Lyons Jon Claydon Miss Jeanette Martin Mrs Mina Goodman & Miss Duncan Matthews QC Suzanne Goodman Diana & Allan Morgenthau Roddy & April Gow Charitable Trust The Jeniffer & Jonathan Harris Dr Karen Morton Charitable Trust Mr Roger Phillimore Mr James R.D. Korner Ruth Rattenbury Christoph Ladanyi & Dr Sophia The Reed Foundation Ladanyi-Czernin The Rind Foundation Robert Markwick & Kasia Robinski The Maurice Marks Charitable Trust Sir Bernard Rix David Ross & Line Forestier (Canada) Mr Paris Natar

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 AM Christopher Williams Peter Wilson Smith Mr Anthony Yolland and all other donors who wish to remain anonymous

London Philharmonic Orchestra | 17

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 An anonymous donor Victoria Robey OBE Orchestra Circle The Tsukanov Family Principal Associates An anonymous donor The Candide Trust In memory of Miss Ann Marguerite Collins Alexander & Elena Djaparidze Mr & Mrs Philip Kan Mr & Mrs Makharinsky Sergey Sarkisov & Rusiko Makhashvili Julian & Gill Simmonds Neil Westreich Dr James Huang Zheng (of Kingdom Music Education Group) Associates Steven M. Berzin Gabor Beyer Kay Bryan William & Alex de Winton HH Prince George-Constantin von Sachsen-Weimar Eisenach Virginia Gabbertas Hsiu Ling Lu Oleg & Natalya Pukhov George Ramishvili Sir Simon Robey Stuart & Bianca Roden Gold Patrons Evzen & Lucia Balko David & Yi Buckley Garf & Gill Collins Andrew Davenport Sonja Drexler Mrs Gillian Fane Marie-Laure Favre Gilly de Varennes de Bueil Hamish & Sophie Forsyth

Sally Groves & Dennis Marks The Jeniffer & Jonathan Harris Charitable Trust John & Angela Kessler Vadim & Natalia Levin Countess Dominique Loredan Geoff & Meg Mann Tom & Phillis Sharpe Eric Tomsett The Viney Family Laurence Watt Guy & Utti Whittaker Silver Patrons Michael Allen Mrs Irina Gofman David Goldberg Mr Gavin Graham Mr Roger Greenwood Pehr G Gyllenhammar Catherine Høgel & Ben Mardle Matt Isaacs & Penny Jerram Rose & Dudley Leigh Mrs Elizabeth Meshkvicheva The Metherell Family Mikhail Noskov & Vasilina Bindley Jacopo Pessina Brian & Elizabeth Taylor Bronze Patrons Anonymous donors Dr Christopher Aldren Mrs Margot Astrachan Mrs A Beare Richard & Jo Brass Peter & Adrienne Breen Mr Jeremy Bull Mr Alan C Butler Richard Buxton John Childress & Christiane Wuillaimie Mr Geoffrey A Collens Mr John H Cook Bruno De Kegel Georgy Djaparidze David Ellen Ulrike & Benno Engelmann

18 | London Philharmonic Orchestra

Ignor & Lyuba Galkin Mr Daniel Goldstein Mrs Dorothy Hambleton Martin & Katherine Hattrell Wim & Jackie Hautekiet-Clare Michael & Christine Henry J Douglas Home Mr Glenn Hurstfield Elena Lileeva & Adrian Pabst Drs Frank & Gek Lim Peter MacDonald Eggers Isabelle & Adrian Mee Maxim & Natalia Moskalev Mr & Mrs Andrew Neill Peter & Lucy Noble Noel Otley JP & Mrs Rachel Davies Roderick & Maria Peacock Mr Roger Phillimore Mr Michael Posen Sir Bernard Rix Mr Robert Ross Dr Eva Lotta & Mr Thierry Sciard Barry & Gillian Smith Anna Smorodskaya Lady Valerie Solti Mr & Mrs G Stein Mr Christopher Stewart Mrs Anne Storm Sergei & Elena Sudakov Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Marina Vaizey Grenville & Krysia Williams Mr Anthony Yolland Principal Supporters An anonymous donor Ralph & Elizabeth Aldwinckle Roger & Clare Barron Mr Geoffrey Bateman David & Patricia Buck Dr Anthony Buckland Desmond & Ruth Cecil Mr & Mrs Stewart Cohen David & Liz Conway Mr Alistair Corbett

Mr Peter Cullum CBE Mr Timonthy Fancourt QC Mr Richard Fernyhough Mr Derek B. Gray Malcolm Herring Ivan Hurry Per Jonsson Mr Raphaël Kanzas Rehmet Kassim-Lakha de Morixe Mr Colm Kelleher Peter Kerkar Mr Gerald Levin Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Paul & Brigitta Lock Mr John Long Mr Peter Mace Brendan & Karen McManus Kristina McPhee Andrew T Mills Randall & Maria Moore Dr Karen Morton Olga Pavlova Dr Wiebke Pekrull Mr James Pickford Andrew & Sarah Poppleton Tatiana Pyatigorskaya Mr Christopher Querée Martin & Cheryl Southgate Matthew Stephenson & Roman Aristarkhov Andrew & Rosemary Tusa Anastasia Vvedenskaya Howard & Sheelagh Watson Des & Maggie Whitelock Holly Wilkes Christopher Williams Mr C D Yates Bill Yoe Supporters Anonymous donors Mr John D Barnard Mrs Alan Carrington Miss Siobhan Cervin Gus Christie Alison Clarke & Leo Pilkington Mr Joshua Coger

Timothy Colyer Miss Tessa Cowie Lady Jane Cuckney DBE Mr David Devons Cameron & Kathryn Doley Stephen & Barbara Dorgan Mr Nigel Dyer Sabina Fatkullina Mrs Janet Flynn Christopher Fraser OBE Peter and Katie Gray The Jackman Family Mrs Irina Tsarenkov Mr David MacFarlane Mr John Meloy Mr Stephen Olton Robin Partington Mr David Peters Mr Ivan Powell Mr & Mrs Graham & Jean Pugh Mr David Russell Mr Kenneth Shaw Ms Natalie Spraggon Michael & Katie Urmston Damien & Tina Vanderwilt Timothy Walker AM Mr John Weekes 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) Gabor Beyer (Hungary) Kay Bryan (Australia)

HH Prince George-Constantin von Sachsen-Weimar Eisenach (Germany) Marie-Laure Favre Gilly de Varennes de Bueil (France) Joyce Kan (China/Hong Kong) Hsiu Ling Lu (China/Shanghai) Olivia Ma (Greater China Area) Olga Makharinsky (Russia) George Ramishvili (Georgia) Victoria Robey OBE (USA) Dr James Huang Zheng (of Kingdom Music Education Group) (China/ Shenzhen) 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: William A. Kerr Chairman Xenia Hanusiak Alexandra Jupin Kristina McPhee David Oxenstierna Natalie Pray Stephanie Yoshida Antony Phillipson Hon. Chairman Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Corporate Donors Arcadis Bonhams Christian Dior Couture Faraday Fenchurch Advisory Partners Giberg Goldman Sachs Pictet Bank White & Case LLP

Corporate Members Gold freuds Sunshine Silver After Digital Berenberg Carter-Ruck French Chamber of Commerce Bronze Accenture Ageas Lazard Russo-British Chamber of Commerce Willis Towers Watson Preferred Partners Fever-Tree Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic Sipsmith Steinway Villa Maria In-kind Sponsor Google Inc Trusts and Foundations The Boltini Trust Sir William Boreman’s Foundation Borletti-Buitoni Trust Boshier-Hinton Foundation The Candide Trust The Ernest Cook Trust Diaphonique, Franco-British Fund for contemporary music The D’Oyly Carte Charitable Trust Dunard Fund The Foyle Foundation Lucille Graham Trust Help Musicians UK

John Horniman’s Children’s Trust The Idlewild Trust Embassy of the State of Israel to the United Kingdom Kirby Laing Foundation The Lawson Trust The Leverhulme Trust Andrew Lloyd Webber Foundation London Stock Exchange Group Foundation Lord & Lady Lurgan Trust Marsh Christian Trust The Mercers’ Company Adam Mickiewicz Institute Newcomen Collett Foundation The Stanley Picker Trust The Austin & Hope Pilkington Trust PRS For Music Foundation Rivers Foundation Romanian Cultural Institute The R K Charitable Trust The Sampimon Trust Schroder Charity Trust Serge Rachmaninoff Foundation Ernst von Siemens Music Foundation The David Solomons Charitable Trust Souter Charitable Trust The Steel Charitable Trust Spears-Stutz Charitable Trust The John Thaw Foundation The Thistle Trust UK Friends of the FelixMendelssohn-BartholdyFoundation Garfield Weston Foundation The Barbara Whatmore Charitable Trust The William Alwyn Foundation and all others who wish to remain anonymous.

London Philharmonic Orchestra | 19

Administration

Board of Directors Victoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-President Henry Baldwin* Roger Barron Richard Brass David Buckley Bruno De Kegel Al MacCuish Susanne Martens* George Peniston* Natasha Tsukanova Mark Vines* Timothy Walker AM Neil Westreich David Whitehouse* * Player-Director Advisory Council Martin Höhmann Chairman Rob Adediran Christopher Aldren Dr Manon Antoniazzi Richard Brass 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 Amanda Hill Dr Catherine C. Høgel Rehmet Kassim-Lakha Jamie Korner Geoff Mann Clive Marks OBE FCA Stewart McIlwham 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 Timothy Walker AM Laurence Watt Elizabeth Winter

General Administration Timothy Walker AM Chief Executive and Artistic Director

Education and Community Isabella Kernot Education and Community Director

Public Relations Albion Media (Tel: 020 3077 4930)

David Burke General Manager and Finance Director

Talia Lash Education and Community Project Manager