London Philharmonic Orchestra 21 Feb 2018 concert programme

CONCERt programme

Changing Faces:

Stravinsky’s journey

february – 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 Wednesday 21 February 2018 | 7.30pm

Debussy (orch Büsser) Printemps: Symphonic Suite (15’) Ravel Piano Concerto for the Left Hand (19’) Interval (20’) Delius Idylle de Printemps (8’) Stravinsky The Rite of Spring (32’)

Juanjo Mena conductor Benedetto Lupo piano

The timings shown are not precise and are given only as a guide.

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Contents 2 Welcome

2018/19 season: on sale now 3 On stage tonight 4 About the Orchestra 5 Leader: Kevin Lin 6 Changing Faces:

Stravinsky’s Journey 8 Juanjo Mena 9 Benedetto Lupo 10 Programme notes 13 Recommended recordings 14 Next concerts 15 LPO 2017/18 Annual Appeal 17 Sound Futures donors 18 Supporters 20 LPO administration

Welcome

LPO 2018/19 season

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 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.

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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The 2018/19 LPO season is now on sale! Browse and book online at lpo.org.uk or call us on 020 7840 4200 to request a season brochure by post.

Highlights of the new season include: Changing Faces: Stravinsky’s Journey We continue our year-long series, delving into some of the composer’s pioneering and provocative works from the 1940s onwards. We pay tribute to his extraordinary legacy, focusing particularly on the latter stages of his life in exile in Hollywood.

Isle of Noises During 2019 we celebrate the music of Britain in this year-long festival. Not only will we explore a range of British music from Purcell, through Elgar, Bax and Walton to the present day, but we’ll also highlight key works by composers with interesting British connections, including music by Handel and Haydn.

Opera in concert We are delighted to bring a variety of opera to the Royal Festival Hall concert platform next season: Vladimir Jurowski conducts Stravinsky’s The Rake’s Progress and, following the success of Das Rheingold last month, brings us the second instalment of our Ring Cycle – Die Walküre.

We also welcome acclaimed tenor Juan Diego Flórez for an evening of popular operatic arias, and are pleased to welcome back Opera Rara to jointly present Puccini’s first opera, Le Villi.

New music Premieres of works by some of today’s most exciting living composers including Magnus Lindberg, Pascal Dusapin, Arne Gieshoff, Erkki-Sven Tüür, Helen Grime and Anders Hillborg.

Complete Beethoven Piano Concertos The flamboyant young Spanish pianist Javier Perianes joins us for two evenings in February 2019 to perform Beethoven’s complete Piano Concertos.

FUNharmonics In October the Orchestra presents the animated film and live orchestral soundtrack to Julia Donaldson’s acclaimed picture book The Highway Rat, suitable for all the family.

Browse the full season at lpo.org.uk/newseason

On stage tonight

First Violins Kevin Lin Leader Vesselin Gellev Sub-Leader JiJi Lee Chair supported by Eric Tomsett

Katalin Varnagy Chair supported by Sonja Drexler

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

Robert Pool Yang Zhang Tina Gruenberg Grace Lee Rebecca Shorrock Katherine Waller Essi Kiiski Georgina Leo Jacqueline Martens Second Violins Tania Mazzetti Principal Nancy Elan Fiona Higham Chair supported by David & Yi Buckley

Nynke Hijlkema Joseph Maher Ashley Stevens Helena Herford Sioni Williams Robin Wilson Harry Kerr Kate Cole Alison Strange John Dickinson Alberto Vidal Violas Richard Waters Guest Principal Robert Duncan Susanne Martens Benedetto Pollani Laura Vallejo Naomi Holt

Alistair Scahill Isabel Pereira Daniel Cornford Martin Fenn Richard Cookson Julia Kornig Cellos Josephine Knight Guest Principal David Lale Gregory Walmsley Elisabeth Wiklander Helen Rathbone George Hoult Sibylle Hentschel Philip Taylor Jonathan Kitchen Jane Lindsay Double Basses Sebastian Pennar Principal George Peniston Laurence Lovelle Damián Rubido González Lowri Morgan Charlotte Kerbegian Jakub Cywinski Kenneth Knussen Flutes Katie Bedford Guest Principal Sue Thomas* Chair supported by Victoria Robey OBE

Emilia Zakrzewska Stewart McIlwham* Piccolos Stewart McIlwham* Principal Hannah Grayson Alto Flute Sue Thomas* Oboes Ian Hardwick* Principal Alice Munday Amy Roberts Ilid Jones

Cors Anglais Patrick Flanaghan Ilid Jones Clarinets Sang Yoon Kim Guest Principal James Maltby Massimo Di Trolio Bass Clarinets Paul Richards* Principal James Maltby E flat Clarinet Thomas Watmough Principal Bassoons Jonathan Davies Principal Gareth Newman Emma Harding Gareth Twigg Contrabassoons Simon Estell* Principal Gareth Twigg Horns David Pyatt* Principal Chair supported by Sir Simon Robey

John Ryan* Principal Chair supported by Laurence Watt

Martin Hobbs Mark Vines Co-Principal Gareth Mollison Duncan Fuller Jonathan Quaintrell-Evans Stephen Nicholls Jason Koczur Wagner Tubas John Ryan* Martin Hobbs

Trumpets Paul Beniston* Principal Anne McAneney* Chair supported by Geoff & Meg Mann

James Fountain David Hilton Toby Street Piccolo Trumpet James Fountain Bass Trumpet David Whitehouse Trombones Mark Templeton* Principal Chair supported by William & Alex de Winton

David Whitehouse Richard Ward Bass Trombone Lyndon Meredith Principal Tubas Lee Tsarmaklis* Principal Stephen Calow Timpani Simon Carrington* Principal Jeremy Cornes Percussion Henry Baldwin Principal Chair supported by Friends of the Orchestra

Keith Millar Jeremy Cornes Feargus Brennan Karen Hutt Harp Rachel Masters Principal Piano Catherine Edwards John Alley * Holds a professorial appointment in London

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: The Candide Trust • Andrew Davenport • Dr Barry Grimaldi • Sir Simon Robey • Bianca & Stuart Roden Caroline, Jamie & Zander Sharp • Neil Westreich

London Philharmonic Orchestra | 3

London Philharmonic Orchestra

The LPO musicians really surpassed themselves in playing of élan, subtlety and virtuosity. Matthew Rye, Bachtrack, 24 September 2017 (Enescu’s Oedipe 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 Belief festival in partnership with Southbank Centre ran

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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 new 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: the 2016/17 season included visits to New York, Germany, Hungary, Spain, France, Belgium, The Netherlands and Switzerland, and tours in 2017/18 include Romania, Japan, China, the Czech Republic, Germany, Belgium, Austria, Spain, Italy and France.

Kevin Lin leader

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 Dvořák’s Symphonies 6 & 7 conducted by Yannick Nézet-Séguin; Beethoven’s Symphony No. 3 and Fidelio Overture conducted by Vladimir Jurowski; and Mozart and Rachmaninoff piano concertos performed by Aldo Ciccolini, again under Nézet-Séguin.

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

Kevin Lin joined the London Philharmonic Orchestra as Co-Leader in August 2017.

Originally from New York, Kevin has performed as a soloist and recitalist in the UK, Taiwan, South Korea and Canada, in addition to numerous performances in the USA. He was previously Guest Concertmaster of the Houston Symphony and in 2015 was invited to lead the Aspen Philharmonic Orchestra at the Aspen Music Festival and School. He has also served as Concertmaster and Principal Second Violin at The Colburn School and The Curtis Institute of Music.

An avid chamber musician, Kevin has collaborated with the Tokyo and Ebène quartets, Edgar Meyer, MengChieh Liu, John Perry, Hal Robinson of The Philadelphia Orchestra and Andrew Bain of the Los Angeles Philharmonic.

In recent years he has received prizes from the Irving M. Klein International Competition and the Schmidbauer International Competition, and competed in the George Enescu International Violin Competition and the Menuhin International Violin Competition.

Kevin spent his early years studying with Patinka Kopec in New York, before going on to study with Robert Lipsett at The Colburn School in Los Angeles, where he received his Bachelor of Music degree.

He then continued his studies at The Curtis Institute in Philadelphia as a Mark E. Rubenstein Fellowship recipient, under the pedagogy of Aaron Rosand.

youtube.com/londonphilharmonicorchestra instagram.com/londonphilharmonicorchestra

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Changing Faces: Stravinsky’s journey

Richard Bratby introduces our new 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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Juanjo Mena conductor

Mena loves to put a singing quality into phrases, to find little bends and breaths within a tempo, to make as big an effort for delicious pianissimos as for thunderous explosions.

© Michal Nowak

The Baltimore Sun

Chief Conductor of the BBC Philharmonic in Manchester, Juanjo Mena is one of Spain’s most distinguished international conductors. He has conducted most of the leading orchestras in North America including the Chicago, Boston, Baltimore, Cincinnati, Montreal and Toronto symphony orchestras, the New York and Los Angeles Philharmonic orchestras, the Cleveland Orchestra, the Minnesota Orchestra and The Philadelphia Orchestra. This season he assumes the role of Principal Conductor of the Cincinnati May Festival.

Throughout Europe, Juanjo Mena has been Artistic Director of the Bilbao Symphony Orchestra, Chief Guest Conductor of the Orchestra del Teatro Carlo Felice in Genoa, and Principal Guest Conductor of the Bergen Philharmonic Orchestra. He has worked with many prestigious orchestras such as the London Philharmonic Orchestra, Berlin Philharmonic, Oslo Philharmonic Orchestra, Danish National Symphony Orchestra, Orchestre national de France, Orchestra Filarmonica della Scala, Milan, Bavarian Radio Orchestra, Dresden Philharmonic and Swedish Radio Symphony Orchestra, as well as all the major orchestras in Spain.

A guest of international festivals, Mena has appeared at the Stars of White Nights Festival in St Petersburg, the Hollywood Bowl, Grant Park (Chicago), Tanglewood and La Folle Journée (Nantes). He has led the BBC Philharmonic on tours of Europe and Asia including performances in Cologne, Munich, Vienna, Madrid, Beijing and Seoul, and performs with them every year at the BBC Proms in London.

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His operatic work includes The Flying Dutchman, Salome, Elektra, Ariadne auf Naxos, Duke Bluebeard’s Castle, Fidelio and Erwartung, and productions including Eugene Onegin in Genoa, The Marriage of Figaro in Lausanne and Billy Budd in Bilbao.

He has made several recordings with the BBC Philharmonic including a recent release of Ginastera’s orchestral works to mark the composer’s centenary; two discs of works by Manuel de Falla, one of which was a BBC Music Magazine Recording of the Month; a Gabriel Pierné release which was a Gramophone Editor’s Choice; and works by Albéniz, Montsalvatge, Weber and Turina, which have gained excellent reviews from the specialist music press. He has also recorded Messiaen’s Turangalîla Symphony for Hyperion with the Bergen Philharmonic Orchestra, an interpretation said to ‘utterly redefine the terms under which past/current/ future Turangalîlas need to be judged’ (Gramophone, October 2012).

Highlights of Mena’s 2017/18 season include his debut with the National Symphony Orchestra, Washington DC, as well as return visits to the Orchestre symphonique de Montréal and the Pittsburgh Symphony Orchestra. juanjomena.com twitter.com/maestromena

Benedetto Lupo piano

An exceptionally fine pianist ... who has a remarkably fine touch and beautiful tone control.

The Oregonian

After winning the Bronze Medal in the 1989 Van Cliburn International Piano Competition, Benedetto Lupo made acclaimed debuts with several major American orchestras, as well as chamber appearances with the Tokyo String Quartet. His New York City recital debut at Alice Tully Hall followed in 1992, the same year in which he won the Terence Judd International Award, which in turn led to his debut at London’s Wigmore Hall.

Benedetto Lupo’s recent North American performances include the Tanglewood Festival, the Los Angeles Philharmonic, the Baltimore Symphony, the Chicago Symphony and the Mostly Mozart Festival. In Europe, he has appeared in his native Italy with the Orchestra della Svizzera Italiana, the Accademia Nazionale di Santa Cecilia, the Orchestra Sinfonica di Milano Giuseppe Verdi, the National RAI Orchestra and the Maggio Musicale in Florence. He celebrated Liszt’s 200th anniversary by performing the composer’s Concerto No. 1 and Totentanz with the Gewandhaus Orchestra in Leipzig; he performed Nino Rota’s Concerto Soirée with the Spanish National Orchestra in Madrid to mark the composer’s 100th anniversary; and he has appeared with the Hallé, the Bilbao Symphony Orchestra, the Budapest Philharmonic Orchestra, the Orchestre Philharmonique de Nantes with Jean-Jacques Kantorow, the Liege Philharmonie with Christian Arming and Louis Langrée, the Orquesta Sinfonica de Navarra (Spain), the Bergen Philharmonic and the Rotterdam Philharmonic.

including the first CD recording of the piano version of Konzertstück, Op. 86, for the Arts label.

Benedetto Lupo teaches at the Accademia Santa Cecilia in Rome and gives masterclasses around the world. He is featured on the Emmy Award-winning documentary ‘Here to Make Music: The Eighth Van Cliburn International Piano Competition’ and the seven-part series ‘Encore! The Final Round of Performances of the Eighth Van Cliburn International Piano Competition’, both for PBS. In December 2015 he was named Accademico di Santa Cecilia.

Benedetto Lupo’s recordings include an acclaimed version of Nino Rota’s Concerto Soirée on the Harmonia Mundi label, for which he received the prestigious Diapason d’Or award. With Peter Maag and the Orchestra della Svizzera Italiana he recorded Schumann’s complete works for piano and orchestra,

London Philharmonic Orchestra | 9

Programme notes

Speedread The London Philharmonic Orchestra’s chronological survey of the music of Igor Stravinsky arrives tonight at a major landmark: the ballet score The Rite of Spring, which was given its tumultuous premiere in Paris in 1913. Although based largely on fragments of Russian folk music, this reached new heights of modernism, especially in rhythm and harmony, in its thrilling depiction of a pagan tribe sacrificing a young girl to the god of spring. As in several other recent LPO concerts, the programme follows a seasonal theme: The Rite of Spring is matched with

Claude Debussy

the young Claude Debussy’s teeming two-movement symphonic suite Spring, written in Rome in 1887, and the little-known Spring Idyll by Debussy’s contemporary Frederick Delius, composed in France two years later. But there are no springtime pictures in Maurice Ravel’s masterly 1930 Piano Concerto for the Left Hand, a single-movement piece in which the soloist’s virtuosity and the colourful orchestral writing strike sparks of light against a darkly atmospheric background.

Printemps: Symphonic Suite (orch. Büsser) 1 Très modéré 2 Modéré

1862–1918

Debussy composed Printemps (‘Spring’) as a piece for orchestra with piano duet and wordless chorus in early 1887, towards the end of his sojourn at the Villa Medici in Rome as a winner of the annual Prix de Rome. After he had submitted it to the Institut de France, which administered the prize, the score was lost in a fire. But a piano duet arrangement survived, and was published in 1904. Having intended for some time to re-orchestrate the work, Debussy eventually delegated the task to the conductor and composer Henri Büsser, who carried it out (under Debussy’s supervision) in 1912. This version dispensed with the chorus, but retained the piano duet within the orchestra. It was first performed in Paris in April 1913 (a few weeks before the premiere of Stravinsky’s Rite of Spring). The following year, when Debussy failed to deliver a ballet score commissioned for a revue at the Alhambra music hall in London, Printemps was pressed into service, and ran for over 300 performances.

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While he acknowledged a source of inspiration for the work in Botticelli’s famous painting Primavera, Debussy was insistent that it had no detailed programme.

Instead, he wrote to a friend, he ‘wanted to express the slow, laborious birth of beings and things in nature, then the mounting fluorescence, and finally a burst of joy at being reborn to a new life’. He called the resulting work a ‘symphonic suite’, indicating not its formal shape but its methods of working with a number of closely related motifs – in which it anticipates his mature masterpiece La Mer, which he subtitled ‘three symphonic sketches’. There are two movements, the first volatile in tempo but with slow and expressive interludes, the second accelerating towards a closing section with a hint of Parisian jauntiness, as if to express Debussy’s longing for his return home from Rome.

Maurice Ravel

Piano Concerto for the Left Hand Benedetto Lupo piano Lento – Allegro – Tempo Primo

1875–1937

Ravel began writing two piano concertos simultaneously in 1929: the Concerto in G major for two hands, and the Concerto in D major for the left hand. Completed in 1930, the latter was commissioned by the Austrian pianist Paul Wittgenstein (a brother of the philosopher), who had lost his right arm in the First World War. Wittgenstein gave the first performance in Vienna in January 1932; but he annoyed Ravel by making substantial changes to the solo part. In fact, Ravel, always intrigued by a technical challenge, had framed the part with great care and ingenuity. Arpeggio figures cover the whole range of the keyboard; fully scored chords impart weight; the part frequently splits into two component lines, often in conflicting rhythms, creating a full texture (with the help of vertiginous skips of the hand). Because one hand simply cannot make as much sound as two, the piano and the orchestra are kept apart more than in most concertos; but when they do come together the orchestral colouring includes some brilliant high sonorities to offset the soloist’s concentration on the bass end of the keyboard.

The Concerto is in a single movement, with a slow–fast– slow outline. It begins in the depths of the orchestra, with cellos and double basses sustaining a continuous background to a rising contrabassoon melody. This melody finds fuller expression in the arresting cadenza with which the soloist makes his first entrance; and it goes on to dominate the rest of the opening section.

The central section is in relentless quick-march time, beginning with scraps of ideas tossed around between the soloist and different sections of the orchestra.

At the centre of this section there is a long bassoon melody with blues-like colouring; in the manner of Ravel’s 1928 Bolero, this is repeated with variegated instrumental colouring. The closing section begins with a sonorous proclamation by soloist and orchestra, followed by a cadenza that weaves brilliant tracery around the bluesy melody of the middle section. To end the work, the demands of symmetry seem to point to a return to the depths of the opening; but Ravel has other ideas …

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

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Programme notes continued

Frederick Delius

Idylle de Printemps

1862–1934

After receiving an informal musical education while living on an orange grove in Florida, and a more formal training at the Leipzig Conservatoire, Delius moved in 1888 to the country where he was to spend the rest of his life, France. The following year, while living in rural surroundings outside Paris, he composed one of his earliest surviving orchestral works, Idylle de Printemps (‘Spring Idyll’). Although the manuscript score was once owned by the conductor Sir Thomas Beecham, a staunch advocate of Delius, the work remained unpublished until 1992 and unperformed until 1995.

This long period of neglect is surprising: despite an

obvious stylistic debt to Delius’s mentor Grieg, the Idylle is an already characteristic example of Delius’s familiar vein of nature painting, with phrases of decorated melody exchanged among different instruments over shifting harmonies. In this ‘morceau symphonique’, or ‘symphonic piece’, as Delius called it, an introduction leads to an opening paragraph (complete with a repeat mark) growing out of a simple oboe melody; a series of episodes in contrasting tempos follows, reaching a vehement climax and then falling away; and a reprise of the oboe melody (now initially on flute) shades into a receding coda.

Igor Stravinsky

The Rite of Spring: scenes of pagan Russia in two parts

1882–1971

Part 1: The Adoration of the Earth Introduction – The Augurs of Spring (Dances of the young girls) – Ritual of abduction – Spring rounds – Ritual of the rival tribes – Procession of the Sage – The Sage – Dance of the Earth Part 2: The Sacrifice Introduction – Mystic circles of the young girls – Glorification of the chosen one – Evocation of the ancestors – Ritual action of the ancestors – Sacrificial Dance (The chosen one)

12 | London Philharmonic Orchestra

The Rite of Spring is the last of the trilogy of orchestral ballets on Russian themes that Stravinsky composed for Sergei Diaghilev’s Ballets Russes in the years before the First World War. It was as he was putting the finishing touches to The Firebird in St Petersburg in the spring of 1910 that he had his first, fleeting vision of ‘a solemn pagan rite: wise elders, seated in a circle, watching a young girl dance herself to death. They were sacrificing her to propitiate the god of spring.’ Diaghilev approved this idea, as yet unclothed in music, as the subject of a ballet. But the composition of Petrushka intervened, and it was not until the summer of 1911 that Stravinsky returned to the project. He worked

out a more detailed scenario with the painter and archaeologist Nicolas Roerich; he composed much of the score, in a tiny hotel room in Clarens in Switzerland, in the winter of 1911/12; and he completed the work in various further instalments by the end of March 1913.

– What did you love most in Russia?

‘The violent Russian spring that seemed to begin in an hour and was like the whole earth cracking. That was the most wonderful event of every year of my childhood.’

awakening of nature from the long Russian winter; there are ritual dances for the girls of the tribe and the men; a wise elder gives the signal for an orgiastic ‘Dance of the Earth’. Part Two is called ‘The Sacrifice’, and has an introduction evoking an atmosphere of nocturnal mystery. From among the virgins of the tribe, a victim is chosen and honoured; and the ancients of the tribe gather to witness her final ‘Sacrificial Dance’, the subject of Stravinsky’s initial vision.

Programme notes © Anthony Burton

From Igor Stravinsky’s Memories and Commentaries, in conversation with Robert Craft The first performance of The Rite of Spring took place at the Théâtre des Champs-Elysées in Paris on 29 May 1913; and it provoked a famous riot. Some of the audience’s noisy protests were directed at Vaclav Nijinsky’s choreography; but others were in reaction to the uncompromisingly aggressive modernity of the score. This extended to every aspect of the music: orchestration, with the very large woodwind and brass sections playing the leading role (often in extreme registers), strings used sparingly, and percussion taking on a new importance; rhythm, with much use of repeated figures, off-beat accents and cross-rhythms against a regular pulse, and rapidly changing metres; melody, largely short fragments drawn from Russian folk music, sometimes starkly primitive and sometimes intricately decorated; and harmony, consistently dissonant to an unprecedented degree. All these features were to be of enormous significance in the development of 20th-century music; but the work itself had remarkably few direct successors, and Stravinsky soon turned down very different stylistic paths. In fact, with hindsight, The Rite now seems to be not only a monument of modernity, but also the culmination of the tradition of picturesque Russian orchestral writing beginning with Glinka and handed down through Borodin, Mussorgsky and Stravinsky’s teacher RimskyKorsakov.

Stravinsky subtitled The Rite of Spring ‘scenes of pagan Russia in two parts’. Part One is called ‘The Adoration of the Earth’, and is set ‘at the foot of a sacred hill, in a lush plain, where Slavonic tribes are gathered to celebrate the spring rites’. An introduction depicts the

Watch Principal Bassoon Jonathan Davies talking about his opening solo in The Rite of Spring: youtube.com/londonphilharmonicorchestra

Recommended recordings of tonight’s works Debussy: Printemps Royal Concertgebouw Orchestra | Bernard Haitink (Philips) Ravel: Piano Concerto for the Left Hand Philip Fowke | London Philharmonic Orchestra Serge Baudo (Classics for Pleasure) Delius: Idylle de Printemps Royal Scottish National Orchestra | Andrew Davis (Chandos) Stravinsky: The Rite of Spring London Philharmonic Orchestra | Bernard Haitink (Philips) or London Philharmonic Orchestra Sir Charles Mackerras (Eminence) London Philharmonic Orchestra | 13

Next concerts at Southbank Centre’s Royal Festival Hall friday 23 february 2018 7.30pm

wednesday 28 february 2018 saturday 3 march 2018 7.30pm 7.30pm

Stravinsky The Song of the Nightingale Elgar Cello Concerto Rimsky-Korsakov Scheherazade

Stravinsky Pulcinella (Suite) Tchaikovsky Violin Concerto Ravel Daphnis et Chloé (Suites Nos. 1 & 2)

Vasily Petrenko conductor Andreas Brantelid cello

Vasily Petrenko conductor Sergej Krylov violin

Elgar In the South R Strauss Four Last Songs Brahms Symphony No. 2 Sir Antonio Pappano conductor Diana Damrau soprano Concert generously supported by Sir Simon and Lady Robey.

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

StravinSky’S Journey

AT THE ROYAL COLLEGE OF MUSIC 7.30pm | 27 February 2018

renard Concerto for piano and wind instruments Symphonies of wind instruments Mavra Singers from Moscow Tchaikovsky Conservatory join the RCM Symphony Orchestra under the baton of Martyn Brabbins. tickets: £10, £15 rCM Box office 020 7591 4314 | www.rcm.ac.uk/events

14 | London Philharmonic Orchestra

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

#BachNelsonMass

HAYDN

NELSON MASS 7.30pm | TUESDAY 6TH MARCH 2018

ROYAL FESTIVAL HALL LONDON

PHILHARMONIA ORCHESTRA Conductor | DAVID HILL Soprano | CAROLYN SAMPSON Mezzo | KATHRYN RUDGE

PLUS

Tenor | ANDREW TORTISE

Baritone | JAMES PLATT

ICH BIN DER WELT ABHANDEN GEKOMMEN | Mahler, arr Gottwald QUIET CITY | Copland PASSION AND RESURRECTION | Esenvalds

TICKETS | £10–£50 Transaction fees apply: £2.50 online, £3 over the phone | 020 3879 9555 | southbankcentre.co.uk GROUP TICKET OFFER: 20% discount when you book ten or more tickets. Call 020 7960 4225 (Mon–Fri 9.30am–5.30pm), or email groups@southbankcentre.co.uk.

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 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 Virginia Gabbertas 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 Ignor & Lyuba Galkin Mr Daniel Goldstein Mrs Dorothy Hambleton Martin & Katherine Hattrell Wim & Jackie Hautekiet-Clare Michael & Christine Henry J Douglas Home

18 | London Philharmonic Orchestra

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 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) Marie-Laure Favre Gilly de Varennes de Bueil (France) Joyce Kan (Hong Kong) 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)

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 Anthony 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 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 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

Archives

Tom Proctor PA to the Chief Executive/ Administrative Assistant

Emily Moss Education and Community Project Manager

Gillian Pole Recordings Archive

Finance Frances Slack Finance and Operations Manager

Development Nick Jackman Development Director

Dayse Guilherme Finance Officer

Catherine Faulkner Development Events Manager

Concert Management Roanna Gibson Concerts Director (maternity leave)

Laura Willis Corporate Relations Manager

Liz Forbes Concerts Director (maternity cover)

Anna Quillin Trusts and Foundations Manager

Graham Wood Concerts and Recordings Manager

Ellie Franklin Development Assistant

Sophie Richardson Tours Manager Tamzin Aitken Glyndebourne, Special Projects and Opera Production Manager Alison Jones Concerts and Recordings Co-ordinator Jo Cotter Tours Co-ordinator Matthew Freeman Recordings Consultant Andrew Chenery Orchestra Personnel Manager Sarah Holmes Sarah Thomas Librarians Christopher Alderton Stage Manager Damian Davis Transport Manager Madeleine Ridout Orchestra Co-ordinator and Auditions Administrator Andy Pitt Assistant Transport/Stage Manager

20 | London Philharmonic Orchestra

Rosie Morden Individual Giving Manager

Athene Broad Development Assistant Kirstin Peltonen Development Associate Marketing Kath Trout Marketing Director Libby Papakyriacou Marketing Manager Samantha Cleverley Box Office Manager (maternity leave) Megan Macarte Box Office Manager (maternity cover) (Tel: 020 7840 4242) Rachel Williams Publications Manager Harriet Dalton Website Manager Greg Felton Digital Creative Alexandra Lloyd Marketing Co-ordinator Oli Frost Marketing Assistant

Philip Stuart Discographer

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.

Composer photographs courtesy of the Royal College of Music, London.

Cover artwork Ross Shaw Cover photograph Igor Stravinsky, composer, New York, 8 January 1959.

Photograph by Richard Avedon. Copyright © The Richard Avedon Foundation.

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