2018/19 Concert Season
AT eastbourne congress theatre & devonshire park theatre
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
Devonshire Park Theatre, Eastbourne Sunday 23 September 2018 | 3.00pm
Rachmaninoff Trio élégiaque No. 1 in G minor (15’) Brahms Piano Trio No. 3 in C minor, Op. 101 (22’) Interval (20’) Schubert Piano Trio No. 2 in E flat major, D929 (48’)
Pieter Schoeman violin Kristina Blaumane cello Katya Apekisheva piano
The Steinway concert piano chosen and hired by the London Philharmonic Orchestra for this performance is supplied and maintained by Steinway & Sons, London. The timings shown are not precise and are given only as a guide. CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA IN ASSOCIATION WITH EASTBOURNE BOROUGH COUNCIL
Contents 2 Welcome Orchestra news 3 About the Orchestra 4 Today's musicians 6 Programme notes 9 Next concerts 10 Supporters 12 LPO administration
Welcome to the Devonshire Park Theatre, Eastbourne Artistic Director Chris Jordan General Manager Gavin Davis Welcome to this afternoon’s performance by the London Philharmonic Orchestra. Please sit back and enjoy the concert and your visit here. As a courtesy to others, please ensure mobile phones and watch alarms are switched off during the performance. Thank you. We are excited to welcome the London Philharmonic Orchestra back to our atmospheric Victorian playhouse, the Devonshire Park Theatre, for the first in this season of afternoon chamber concerts. The historic surroundings and delightful acoustics provide a wonderful backdrop for these much-loved concerts. We’ve worked closely with the Orchestra and its specialists to ensure the venue enhances the orchestral sound and thank you, our audience, for continuing to support the concert series. We welcome comments from our customers. Should you wish to contribute, please speak to the House Manager on duty, email firstname.lastname@example.org or write to Gavin Davis, General Manager, Eastbourne Theatres, The Point, College Road, Eastbourne, East Sussex, BN21 4JJ.
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hank you for joining us for the first of six concerts in the London Philharmonic Orchestra's 2018/19 Eastbourne season. Following the success of the last two seasons' chamber concerts at the Devonshire Park Theatre, we are delighted to return for four more intimate musical afternoons highlighting the talent of some of our key players. In the spring we will return to open the newly renovated Congress Theatre with the full Orchestra. Featuring three talented chamber musicians, today's performance demonstrates the versatility of the piano trio ensemble – whether it’s in the impassioned youthfulness of Rachmaninoff, the tempestuous emotion of Brahms’s sweeping Third Trio, or pure lyrical loveliness from Schubert. We hope you enjoy this afternoon’s performance and look forward to welcoming you again later in the season: see page 9 for details, or browse our full calendar of performances at lpo.org.uk
New on the LPO Label: Prokofiev Recently released on the LPO Label was a disc of works by Prokofiev (LPO-0107). Conducted by Alexander Lazarev, it comprises the Violin Concerto No. 1 with soloist Vadim Repin, the Third Symphony, the 'symphonic poem' Rêves ('Dreams') and the farcical ballet Chout ('The Buffoon'), narrated by Simon Callow and recorded live in concert at Royal Festival Hall in 1997. The double CD is priced at £10.99 and, along with the 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 online via Spotify, Apple Music and others.
London Philharmonic Orchestra
To hear the perfection of an orchestra in total command of its forces was a rare treat. The Argus, April 2016
One of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with its reputation as one of the UK’s most forward-looking ensembles. As well as its concert performances, the Orchestra also records film soundtracks, releases CDs on its own record label, and enhances the lives of thousands of people every year through activities for families, schools and local communities. The Orchestra was founded by Sir Thomas Beecham in 1932, and has since been headed by many great conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. In 2017 Vladimir Jurowski celebrated his tenth anniversary as the Orchestra’s Principal Conductor. Andrés OrozcoEstrada took up the position of Principal Guest Conductor in 2015. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. It also enjoys flourishing residencies in Brighton and here in Eastbourne, and performs regularly around the UK. Every summer, the Orchestra takes up its annual residency at Glyndebourne Festival Opera, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide. Highlights of the 2018/19 season include a major tour of Asia including South Korea, Taiwan and China, as well as performances in Belgium, France, Germany, The Netherlands, Spain, Greece, Switzerland and the USA. The London Philharmonic Orchestra has recorded many blockbuster film scores, 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 Shostakovich’s Symphony
No. 7 conducted by the late Kurt Masur, and a disc of orchestral works by Richard Strauss including An Alpine Symphony, conducted by Vladimir Jurowski. 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, and in 2017/18 we celebrated 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 our BrightSparks schools’ concerts and FUNharmonics family concerts; the LPO 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 and, as well as a YouTube channel and regular 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
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Leader, London Philharmonic Orchestra
Principal Cello, London Philharmonic Orchestra
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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Kristina Blaumane was born in Riga and graduated from the Latvian Academy of Music and the Guildhall School of Music & Drama. © Benjamin Ealovega
© Benjamin Ealovega
Pieter Schoeman was appointed Leader of the London Philharmonic Orchestra in 2008, having previously been Co-Leader since 2002.
She has been invited to play as a soloist, recitalist and chamber musician around the world. She has performed as soloist with the London Philharmonic Orchestra, Amsterdam Sinfonietta, Chicago Civic Orchestra, Kremerata Baltica, Britten Sinfonia, Lithuanian Chamber Orchestra, Sofia Soloists, Netherlands Wind Ensemble and Dalarna Sinfonietta, as well as all the main orchestras in Latvia. As a chamber musician Kristina has worked in partnership with such renowned artists as Isaac Stern, Gidon Kremer, Yo Yo Ma, Yuri Bashmet, Leif Ove Andsnes, Janine Jansen, Julian Rachlin, Dmitry Sitkovetsky, Bruno Giuranna, Misha Maisky, Nikolaj Znaider, Tatyana Grindenko and Oleg Maisenberg, among others, and has performed at festivals such as Lockenhaus, Gstaad, Salzburg, Verbier, Basel, Jerusalem, Utrecht, Spitalfields, Cheltenham, Aldeburgh, Homecoming and Crescendo. Kristina is a keen promoter of new music. She has given a number of world premieres and several works are dedicated to her, among them cello concertos by Dobrinka Tabakova, Kristaps Pētersons, Pēteris Plakidis and Artem Vassiliev. Kristina appears as a soloist on the ECM debut disc of composer Dobrinka Tabakova, which reached number 2 in the UK classical charts and received a GRAMMY nomination. Kristina has also recorded for the Onyx, Quartz and BMG labels. Kristina is a winner of many awards including the Latvian Philharmonic Young Musician of the Year, the Latvian television competition ‘Alternativa’, Carmel International Competition, Musicians Benevolent Fund and Lord Mayor’s Prize. She is a two-time laureate of the Great Music Award, the highest prize given by the Latvian State in the field of music (2005 & 2007). Kristina's chair in the London Philharmonic Orchestra is supported by Bianca & Stuart Roden.
© Sim Canetty-Clarke
Katya Apekisheva is in demand internationally as both a soloist and a chamber musician. Since winning prizes at the Leeds International and Scottish International piano competitions, she has performed with many of the world’s leading orchestras and conductors. As a recording artist, Katya has received widespread critical acclaim. Her 2008 recording of Grieg solo piano works was chosen by Classic FM as CD of the Week and by Gramophone as both Editor’s Choice and 2008 Critics’ Choice, also receiving a ‘Rising Star' award in International Piano Magazine. In 2012 Katya released a CD of works by Mussorgsky and Shostakovich, and has also collaborated on several recordings with violinist Jack Liebeck including a Classical BRIT-winning CD of works by Dvořák, and more recently a disc of Kreisler arrangements for Hyperion. Recent seasons’ highlights include performances at the Utrecht, Ancona, Leicester, Oxford, Lincoln, City of London and Elverum festivals, and in the Berlin Spectrum Concert Series, as well as an acclaimed Bach solo recital at Kings Place. She has continued a collaboration with the award-winning Belcea Quartet at Wigmore Hall, and with the Aviv Quartet. In addition she has made a concerto tour of South Africa, performing with all the major orchestras there, and performed with the English Chamber Orchestra, Royal Philharmonic Orchestra, Wiesbaden Orchestra, Santiago Philharmonic and OFUNAM Orchestra (Mexico), collaborating with conductors Jan LathamKoenig, Paul Watkins, Emmanuel Siffert and Jason Lai.
The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: David & Yi Buckley Andrew Davenport William & Alex de Winton Sonja Drexler Friends of the Orchestra Dr Barry Grimaldi Countess Dominique Loredan Geoff & Meg Mann Sir Simon Robey Victoria Robey OBE Caroline, Jamie & Zander Sharp Eric Tomsett Laurence Watt
Date for your diary: A Christmas celebration with the LPO Sunday 2 December 2018 | 3.00pm Devonshire Park Theatre, Eastbourne Gabrieli O Magnum Mysterium Byrd O Magnum Mysterium Praetorius In dulci jubilo Cornelius The Three Kings Scheidt Battle Suite Schütz Also hatt Gott die Welt geliebt Schütz Hodie Christus Natus Est Mathias Sir Christemas Trad arr. Wood Ding Dong! Merrily on High Niles arr. Harvey I Wonder as I Wander Trad arr. Carter Lord of the Dance Iveson A selection from Christmas Crackers Trad. arr Rutter Shepherd’s Pipe Carol Lauridsen O Magnum Mysterium Trad arr. Rutter The Twelve Days of Christmas
Last season's highlights include concerto debuts in Poland with Jerzy Maksymiuk (Białystok and Szczecin Philharmonic orchestras), and solo and chamber music concerts at major venues and festivals. Katya recently released a new solo CD with impromptus by Chopin, Fauré and Scriabin on the Champs Hill label.
Neville Creed conductor Soloists of the London Philharmonic Orchestra London Philharmonic Choir
Katya is a Professor of Piano at the Guildhall School of Music & Drama in London.
Box Office: 01323 412000 eastbournetheatres.co.uk
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Speedread The trio for violin, cello and piano had its origins as a form in the 18th-century ‘accompanied piano sonata’, a genteel genre that evolved to suit the needs of amateur players. Haydn and Mozart soon elevated its intellectual and musical ambitions, however, and by the time Beethoven and Schubert had deepened its emotional message it was already beginning to turn itself into a form that was capable
both of challenging professional musicians and of articulating a wide spectrum of emotions. The three trios in tonight’s concert, all by giants of musical Romanticism, showcase many of the piano trio’s attributes, including pianistic virtuosity, singing strings, full-textured climaxes and compelling delicacy. It’s amazing what just three instruments can do!
Trio élégiaque No. 1 in G minor
Rachmaninoff composed two piano trios, both of them in his late teens, and to both he gave the descriptor ‘elegiac’. Tchaikovsky’s Piano Trio – inspired by the death of the pianist and composer Nikolay Rubinstein in 1882 – seems to have inaugurated a brief vogue in Russia for trios that memorialised fellow musicians; Arensky wrote one in honour of a cellist friend in 1894, and Rachmaninoff’s powerful second Trio élégiaque as a response to the sudden death of Tchaikovsky himself in 1893. We do not know why he had given the same title to his earlier trio, however, especially as its primary function seems to have been to give himself something to play in his first self-promoted public concert, given in January 1892 during his last months as a student at the Moscow Conservatory. Perhaps the fact that it was composed in the space of just three or four days helped focus and articulate his state of mind at a time when he had been enduring several months of ill-health. And presumably the prospect of confusion between his two trios never bothered him, as the first was not performed again in his lifetime, and not even published until 1947.
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The piece is in one movement, cast in a broadly laid-out sonata form lasting about 15 minutes. Young though he was, Rachmaninoff was clearly already adept at the kind of smooth-running thematic manipulation he would display so resourcefully in his maturer works. The rising four-note theme first announced by the piano after an eerie cello opening contributes to much of the melodic material of the movement, though subsequent appearances of it are often subtly altered; even the romantic contrasting melody eventually introduced by the violin can be heard as deriving from an inverted version of its first notes. The developmental central section makes more persistently active play with this material, but after a return to the themes in their original forms the work closes with a funereal coda.
Johannes Brahms 1833–97
In the summer of 1886 Brahms went to stay at Thun in Switzerland, not far from the house of his friend the poet Joseph Victor Widmann. Rumour had it that the two men were working on an opera together, but in fact Brahms used the visit to compose three works in rather more characteristic instrumental vein: the Second Cello Sonata, the Second Violin Sonata and the Third Piano Trio. The magnificent scenery in which he found himself (Lake Thun, and a view from his rooms of the Bernese Oberland) clearly had something of a rejuvenating effect on the 53-year-old composer, for these pieces seem to recapture some of the vigour of earlier times, tempered now by the accumulated musical wisdom of late middle-age. Nowhere is this mixture of youthfulness and experience more in evidence than in the powerful first movement of the C minor Piano Trio. Stormy and romantic, it is at the same time one of Brahms’s most tightly controlled structures, with a succinctness of utterance that bespeaks a mature composer. Thus, there is no repeat of the opening exposition, and the later recapitulation of it
Piano Trio No. 3 in C minor, Op. 101 1 2 3 4
Allegro energico Presto non assai Andante grazioso Allegro molto
is considerably condensed, creeping in not with the heroic theme with which the movement began, but instead under the disguise of its subsidiary motif. The material of the first few bars does, however, serve as the driving force of the central development section, and also features prominently in the long coda. The second movement has the formal design and function of a scherzo, though Brahms does not call it that, and its mood is nothing so orthodox; this is a fleeting, ghost-like movement (the strings muted) which, in the words of the great early 20th-century analyst Donald Tovey, ‘hurries by like a frightened child’. In contrast, the next movement is a warm-hearted C major Andante grazioso which, despite an apparently complex mixture of five- and seven-in-a-bar, has a gentle lyrical flow that could hardly be more natural. The sonata-form finale returns to the troubled C minor of the first two movements, but in the coda Brahms switches to the major to end the work in more hopeful mood.
Interval – 20 minutes An announcement will be made five minutes before the end of the interval.
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Programme notes continued
Franz Schubert 1797–1828
In the 1820s, the piano trio was still a young form. Its first master had been Haydn in the second half of the 18th century, and the lead had been seamlessly picked up from him in the century’s final decade by Beethoven. From Beethoven’s last trio – the so-called ‘Archduke’ of 1811 – to the next completed examples of the form to come from a major composer there was, however, a gap of 16 years. Schubert’s two piano trios both date from the last months of 1827, a year in which the composer – still known to the world primarily for his songs – seems to have consciously set out to establish himself as a successor to Beethoven in the field of instrumental music. When the great man died that March, Schubert had been a torchbearer at his funeral, and it is possible that he had also visited him on his deathbed; between that time and his own death at the end of 1828, Schubert turned his energies with increased earnestness towards large-scale ‘Beethovenian’ instrumental forms, producing not only the two trios, but also the String Quintet and the last three piano sonatas. The second of the trios, in E flat major, was probably the one performed at the only concert during Schubert’s lifetime to have been devoted entirely to his music. Given with the support of friends and fellow musicians and organised with the intention of promoting Schubert’s meagre fame, the concert took place at the Philharmonic Hall in Vienna on 26 March 1828, and also contained a movement from one of his string quartets, some choral items and some songs, including a setting of verses by Rellstab that Beethoven had intended to set himself. Significantly, the concert had originally been planned for the 21st, but Schubert postponed it so that it would fall on the first anniversary of Beethoven’s death.
Piano Trio No. 2 in E flat major, D929 1 Allegro 2 Andante con moto 3 Scherzando: Allegro moderato 4 Allegro moderato
The spirit of Beethoven certainly seems to inhabit the Trio’s vigorous opening, though some of the later themes are more recognisably Schubertian in their lyricism, as is the music’s gently unfolding timescale. Despite the many repetitions of this movement, however, the music sustains an unhurried momentum throughout, evoking, in the writer Jack Westrup’s words, ‘a jogging movement towards a goal which has been foreseen’. The slow movement is justly celebrated for its starkly beautiful and haunting main theme, given out against a dark march-like accompaniment, which tradition has it Schubert borrowed from a Swedish song he had heard performed at a friend’s house. It was not until the 1970s that the song was rediscovered and the similarity revealed to be somewhat passing, but its title, ‘Se solen sjunker’ (The sun has set), could easily do service for the stalkingly nocturnal trio movement. After this, the Scherzando is a sparkling movement which makes deft play with canonic imitation between piano and strings, and, perhaps even more strikingly, contains an unmistakable echo or two of the Scherzo of Beethoven’s ‘Archduke’. The finale is an unusually long movement, even for Schubert, who made substantial cuts to it after the first performance. Its formally diffuse character has been criticised by some commentators, as has its apparent levity, though this is to underestimate the complex contradictions in Schubert’s character that could perplex even his closest friends. Surely few listeners would deny the effectiveness with which the slow movement’s ‘Swedish’ theme twice resurfaces in this movement. Even at this seemingly carefree juncture, it returns to the piece an air of distant menace which may just be what Schubert meant when he described it as having ‘passed across the face of the musical world like some angry portent in the sky’. Programme notes © Lindsay Kemp
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in our 2018/19 eastbourne season
devonshire park theatre sunday 11 november 2018 3.00pm
sunday 2 december 2018 3.00pm
sunday 10 february 2019 3.00pm
Dvořák Serenade in D minor, Op. 44 Mozart Wind Serenade No. 10 (Gran Partita)
A Celebration of Christmas with Soloists of the London Philharmonic Orchestra and the London Philharmonic Choir
Mozart Oboe Quartet Beethoven String Quartet Op. 18/1 Brahms Clarinet Quintet
Soloists of the London Philharmonic Orchestra
Neville Creed conductor
Soloists of the London Philharmonic Orchestra
See page 5 for full programme.
congress theatre sunday 24 march 2019 3.00pm
sunday 7 april 2019 3.00pm
Glinka Overture, Ruslan and Ludmilla Bax Tintagel Elgar Cello Concerto Grieg Piano Concerto Tchaikovsky Symphony No. 5 Sibelius Belshazzar’s Feast Suite, Op. 51 Darrell Ang conductor Sibelius Symphony No. 5 Kian Soltani cello London Philharmonic Orchestra Osmo Vänskä conductor Jan Lisiecki piano London Philharmonic Orchestra
Book now at eastbournetheatres.co.uk or call 01323 412000 Season discounts of up to 25% available
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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 Sir Simon & Lady Robey OBE Orchestra Circle The Candide Trust Mr & Mrs Philip Kan Neil Westreich The Tsukanov Family Dr James Huang Zheng (of Kingdom Music Education Group) Principal Associates Gabor Beyer, through BTO Management Consulting AG In memory of Ann Marguerite Collins Mr & Mrs Makharinsky Associates Steven M. Berzin Kay Bryan William & Alex de Winton George Ramishvili Stuart & Bianca Roden In memory of Hazel Amy Smith Gold Patrons David & Yi Buckley John Burgess Richard Buxton In memory of Allner Mavis Channing Garf & Gill Collins Andrew Davenport Sonja Drexler Mrs Gillian Fane Marie-Laure Favre-Gilly de Varennes de Beuill Hamish & Sophie Forsyth Virginia Gabbertas The Jeniffer and Jonathan Harris Charitable Trust Rehmet Kassim-Lakha de Morixe Countess Dominique Loredan Geoff & Meg Mann Sally Groves & Dennis Marks
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Ms Elizabeth Shaw Ms Natalie Spraggon & Mr David Thomson Mr John Weekes Joanna Williams 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 (China/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/ 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: Simon Freakley Chairman Xenia Hanusiak Alexandra Jupin William A. Kerr Kristina McPhee 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 Christian Dior Couture Faraday Fenchurch Advisory Partners IMG Pictet Bank Steppes Travel White & Case LLP
Corporate Members Gold freuds Sunshine Silver After Digital Berenberg Carter-Ruck French Chamber of Commerce Bronze Ageas Lazard Russo-British Chamber of Commerce Walpole Preferred Partners Fever-Tree Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic Sipsmith Steinway Villa Maria In-kind Sponsor Google Inc Trusts and Foundations The Bernarr Rainbow Trust The Boltini Trust Sir William Boreman’s Foundation Borletti-Buitoni Trust Boshier-Hinton Foundation The Candide Trust The 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 The Radcliffe Trust 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 The Clarence Westbury Foundation Garfield Weston Foundation The Barbara Whatmore Charitable Trust The William Alwyn Foundation and all others who wish to remain anonymous.
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Board of Directors Victoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-President Dr Catherine C. Høgel Vice-Chairman Henry Baldwin* Roger Barron Richard Brass David Buckley Bruno De Kegel Martin Höhmann* Al MacCuish Susanne Martens* Pei-Jee Ng* Andrew Tusa 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 Rehmet Kassim-Lakha Jamie Korner Geoff Mann Clive Marks OBE FCA Stewart McIlwham Andrew Neill 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)
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Graham Wood Concerts and Recordings Manager 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 Hannah Verkerk Orchestra Co-ordinator and Auditions Administrator
Christina McNeill Corporate Relations Manager Rosie Morden Individual Giving Manager Anna Quillin Trusts and Foundations Manager Ellie Franklin Development Assistant Georgie Gulliver Development Assistant Kirstin Peltonen Development Associate Marketing Kath Trout Marketing Director Libby Papakyriacou Marketing Manager Megan Macarte Box Office Manager (Tel: 020 7840 4242) Rachel Williams Publications Manager Harriet Dalton Website Manager (maternity leave) Rachel Smith Website Manager (maternity cover) Greg Felton Digital Creative Alexandra Lloyd Marketing Co-ordinator Oli Frost Marketing Assistant
12 | London Philharmonic Orchestra
Philip Stuart Discographer
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: email@example.com 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 Printer Cantate