London Philharmonic Orchestra 28 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 28 February 2018 | 7.30pm

Stravinsky Pulcinella (Suite) (1949 version) (20’) Tchaikovsky Violin Concerto in D major, Op. 35 (34’) Interval (20’) Ravel Daphnis et Chloé (Suites Nos. 1 & 2) (30’)

Vasily Petrenko conductor Sergej Krylov violin

Free pre-concert event 6.15–6.45pm | Royal Festival Hall Join Vasily Petrenko as he explores Stravinsky’s Pulcinella Suite, answers your questions and reveals where Stravinsky sits in his top five picks.

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 Vasily Petrenko 9 Sergej Krylov 10 Programme notes 13 Recommended recordings 14 Next concerts 15 New on the LPO Label 16 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 Thomas Eisner Martin Hรถhmann Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp

Robert Pool Sarah Streatfeild Yang Zhang Tina Gruenberg Grace Lee Rebecca Shorrock Amanda Smith Jacqueline Martens Second Violins Tania Mazzetti Principal Helena Smart Kate Birchall Nancy Elan Fiona Higham Chair supported by David & Yi Buckley

Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Ashley Stevens Lorenzo Gentili-Tedeschi Robin Wilson Sioni Williams Sheila Law Kate Cole Violas David Quiggle Principal Robert Duncan Benedetto Pollani Naomi Holt Daniel Cornford

Isabel Pereira Stanislav Popov Alistair Scahill Martin Fenn Cristina Gestido Julia Kornig Charles Cross

Oboes Ian Hardwick* Principal Alice Munday

Trombones Mark Templeton* Principal

Cor Anglais Sue Bรถhling* Principal

David Whitehouse

Cellos Kristina Blaumane Principal

Clarinets Timothy Lines Guest Principal Thomas Watmough Massimo Di Trolio

Tuba Lee Tsarmaklis* Principal

Bass Clarinet Paul Richards* Principal

Percussion Andrew Barclay* Principal

Chair supported by Bianca & Stuart Roden

Pei-Jee Ng Co-Principal David Lale Gregory Walmsley Elisabeth Wiklander Sue Sutherley Tom Roff Helen Rathbone Sibylle Hentschel Philip Taylor Double Basses Kevin Rundell* Principal George Peniston Laurence Lovelle Tom Walley Damiรกn Rubido Gonzรกlez Lowri Morgan Charlotte Kerbegian Jakub Cywinski Flutes Juliette Bausor Principal Hannah Grayson Stewart McIlwham* Piccolos Stewart McIlwham* Principal Hannah Grayson Alto Flute Sue Thomas* Chair supported by Victoria Robey OBE

Chair supported by William & Alex de Winton

Bass Trombone Lyndon Meredith Principal

Chair supported by Dr Barry Grimaldi

Timpani Simon Carrington* Principal

Chair supported by Andrew Davenport

E flat Clarinet Thomas Watmough Principal

Henry Baldwin Co-Principal Chair supported by Friends of the Orchestra

Bassoons Jonathan Davies Principal Gareth Newman Emma Harding Contrabassoon Simon Estell* Principal Horns David Pyatt* Principal Chair supported by Sir Simon Robey

John Ryan* Principal Chair supported by Laurence Watt

Martin Hobbs James Pillai Gareth Mollison Trumpets Paul Beniston* Principal Anne McAneney*

Keith Millar Jeremy Cornes Oliver Yates Feargus Brennan Barnaby Archer Tom Lee Jude Carlton Harps Sue Blair Guest Principal Lucy Haslar Celeste Catherine Edwards * Holds a professorial appointment in London Meet our members: lpo.org.uk/players

Chair supported by Geoff & Meg Mann

David Hilton Toby Street

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: The Candide Trust โ ข Neil Westreich

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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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Vasily Petrenko conductor

[Petrenko’s] performance with the London Philharmonic was enthralling from start to finish.

© Mark McNulty

Tim Ashley, The Guardian, 25 February 2016 (Tchaikovsky’s Manfred Symphony with the LPO at Royal Festival Hall)

Vasily Petrenko was born in 1976 and studied at the St Petersburg Conservatoire. Following success in a number of international conducting competitions, he was appointed Chief Conductor of the St Petersburg State Academic Symphony Orchestra from 2004–07.

Vasily Petrenko is Chief Conductor of the Oslo Philharmonic Orchestra (appointed in 2013/14), Chief Conductor of the Royal Liverpool Philharmonic Orchestra (a position he adopted in 2009 as a continuation of his period as Principal Conductor, which commenced in 2006), Chief Conductor of the European Union Youth Orchestra (since 2015) and Principal Guest Conductor of the State Academic Symphony Orchestra of Russia (since 2016). He has also served as Principal Conductor of the National Youth Orchestra of Great Britain from 2009–13, and Principal Guest Conductor of the Mikhailovsky Theatre.

In December 2017 Petrenko conducted the London Philharmonic Orchestra on a major tour of China.

He has worked with many other prestigious orchestras including the Berlin Philharmonic, London Symphony Orchestra, Philharmonia Orchestra, Russian National Orchestra, Orchestre national de France, Czech Philharmonic Orchestra, Finnish Radio Symphony, NHK Symphony Tokyo and Sydney Symphony. He has appeared at the Edinburgh Festival with the Oslo Philharmonic, and the Grafenegg Festival with the European Union Youth Orchestra and the State Academic Symphony of Russia, and made frequent appearances at the BBC Proms. Recent years have seen a series of highly successful North American debuts including The Philadelphia Orchestra, The Cleveland Orchestra, the Los Angeles Philharmonic, and the San Francisco, Boston, Chicago and Montreal symphony orchestras.

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Equally at home in the opera house, Petrenko made his debuts in 2010 at Glyndebourne Festival Opera (Macbeth) and the Opéra de Paris (Eugene Onegin), and in recent seasons has conducted The Queen of Spades at Hamburg State Opera; Boris Godunov at the National Reisopera; Eugene Onegin, La bohème and Carmen at the Mikhailovsky Theatre; Carmen and Lady Macbeth of Mtsensk at Zurich Opera; Tosca, Falstaff and Parsifal with the Royal Liverpool Philharmonic Orchestra; and The Flying Dutchman with the Oslo Philharmonic and at the Mikhailovsky Theatre. 2016 saw a highly successful debut at the Bayerische Staatsoper with Boris Godunov.

Vasily Petrenko has established a strong profile as a recording artist. His Shostakovich symphony cycle with the Royal Liverpool Philharmonic Orchestra garnered worldwide acclaim, and 2016 saw the release of the complete Tchaikovsky symphonies. With the Oslo Philharmonic Orchestra he has released the Shostakovich cello concertos with Truls Mørk, the Szymanowski violin concertos with Baiba Skride, and the first two instalments in a cycle of Scriabin symphonies, and in autumn 2016 Lawo Classics released Prokofiev’s complete ballet Romeo and Juliet.

In 2017 Vasily Petrenko was named Artist of the Year at the annual Gramophone Awards (ten years after receiving the Young Artist of the Year Award), and in 2010 he won Male Artist of the Year at the Classical BRIT Awards. He is only the second person to have been awarded Honorary Doctorates by both the University of Liverpool and Liverpool Hope University, and an Honorary Fellowship of Liverpool John Moores University, awards that recognise the immense impact he has had on the Royal Liverpool Philharmonic Orchestra and the city’s cultural scene.

Sergej Krylov violin

© Mary Slepkova

Krylov is clearly one of the most distinguished violinists playing today. His tone is so diverse, as are his glissandi and pizzicato.

He negotiates multi-stopping with absolute assurance and integrity ... I can’t imagine Menuhin or any other violinist dead or alive surpassing Krylov.

Geoff Diggines, Seen and Heard International, 8 October 2016 (Panufnik’s Violin Concerto with the LPO)

Effervescent musicianship, intense lyricism and beguiling tonal beauty are among the qualities that have secured Sergej Krylov’s place among today’s most renowned performers. The Russian-born violinist directs breathtaking virtuosity to reveal profound expressive insights into the works in his strikingly broad repertoire.

In recent seasons Sergej Krylov has become a regular guest with several major institutions and leading orchestras including the Dresden Staatskapelle; the London Philharmonic, Royal Philharmonic and St Petersburg Philharmonic orchestras; the Russian National Orchestra; the Mariinsky Orchestra; the Filarmonica della Scala and Accademia di Santa Cecilia; the Orchestre Philharmonique de Radio France; the DSO Berlin, the Konzerthaus Orchester Berlin; the Budapest Festival Orchestra; the NHK Symphony Tokyo; and the Atlanta Symphony Orchestra.

Among the prominent personalities with whom he has worked, Sergej’s friendship with Mstislav Rostropovich stands among the most important influences on his artistic life. Over the past decade he has collaborated with many leading conductors from Vladimir Jurowski, Dmitri Kitayenko, Mikhail Pletnev, Valery Gergiev, Andrey Boreyko and Vasily Petrenko to Fabio Luisi, Roberto Abbado, Yuri Temirkanov, Vladimir Ashkenazy, Dmitry Liss, Yuri Bashmet and Michał Nesterowicz.

Highlights of Sergej Krylov’s 2017/18 season include concerts with the Konzerthaus Orchester Berlin, Russian National Orchestra, Prague Radio Symphony, Copenhagen Philharmonic, Turin’s RAI Orchestra and the Orchestra of the Teatro San Carlo, Naples. As Music Director of the Lithuanian Chamber Orchestra since

2008, Sergej Krylov enjoys assuming the dual role of soloist and conductor in a wide repertoire ranging from Baroque to contemporary music. He also devotes time to chamber music projects, playing in partnership with pianists Denis Matsuev, Nikolai Lugansky, Itamar Golan, Michail Lifits, Bruno Canino and Boris Berezovsky, and in larger chamber groups with artists such as Elena Bashkirova, Yuri Bashmet, Maxim Rysanov and Alexander Kniazev.

Born into a family of musicians in Moscow in 1970, Sergej Krylov began studying the violin aged five and completed his training at the Moscow Central School of Music. His international breakthrough came with First Prizes at the Rodolfo Lipizer International Violin Competition, the Stradivarius International Violin Competition and the Fritz Kreisler Competition.

In addition to early recordings for Melodiya and EMI, Sergej’s discography includes two recent releases on Deutsche Grammophon: the first a recording of Vivaldi’s The Four Seasons in the role of soloist and conductor with the Lithuanian Chamber Orchestra; the second an album devoted to Paganini’s 24 Caprices.

Both albums attracted critical plaudits. Last season Sergej Krylov premiered Ezio Bosso’s Violin Concerto with the Orchestra Filarmonica della Fenice, recorded live under the composer’s direction and released

by Sony Classical. He recently recorded Krzysztof Penderecki’s Violin Concerto Metamorphosen under the Polish composer’s direction, as part of a landmark project to record Penderecki’s complete works.

London Philharmonic Orchestra | 9

Programme notes

Speedread Paris: 1912. After the violent shock of Stravinsky’s Firebird and Petrushka in the preceding years, Ravel’s first commission for Diaghilev’s Ballet Russes, Daphnis et Chloé, came as an unexpected – and not entirely welcome – surprise. With its sinuous, dream-like themes and ethereal textures, it made little impression on its Parisian audiences. Even Diaghilev barely knew what to make of it: ‘Ravel, it is a masterpiece, but it is not a ballet. It is a painting of a ballet.’ Undeterred, Ravel crafted the score into two orchestral suites which quickly became concerthall staples and, in time, his softer approach won out. Stravinsky returned to the Ballet Russes in 1920 with a gentler score of his own – a reimagining of an

Igor Stravinsky 1882–1971

The idea for Pulcinella was first sown by Serge Diaghilev – with whom Stravinsky had previously collaborated on his three ballets, The Firebird, Petrushka and The Rite of Spring – who suggested Stravinsky consider some manuscripts by Pergolesi as the basis of a new work.

At first, Stravinsky thought Diaghilev must be ‘deranged’, but once he began leafing through the scores, his interest was piqued: ‘I began by composing on the Pergolesi manuscripts themselves, as though I were correcting an old work of my own. I knew that I could not produce a “forgery” of Pergolesi because my motor habits are so different; at best, I could repeat him in my own accent.’ The ballet follows a young heartthrob, Pulcinella, and his legion of female fans, who are enraged to discover he has been unfaithful and begin plotting their revenge.

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18th-century ballet by Pergolesi, Pulcinella. But much to Stravinsky’s surprise, the same critics who seven years earlier had been shocked by the violence of the music in The Rite of Spring rose up to denounce him for ‘deserting modernism’ and reinventing himself as a ‘pasticheur’.

Sometimes the critics are impossible to please and time itself is the real test of a work’s greatness. When Tchaikovsky’s Violin Concerto received its premiere in 1878 it was dismissed as ‘long and pretentious’.

Nearly 150 years on, it has sealed its place as one of the most popular – and virtuosic – pieces in the repertoire.

Pulcinella (Suite) (1949 version) 1 Sinfonia 2 Serenata 3 Scherzino – Allegretto – Andantino 4 Tarantella

5 Toccata 6 Gavotta (con due variazioni) 7 Vivo 8 Minuetto – Finale

Stravinsky’s contemporary ‘translation’ borrows themes and ideas from Pergolesi’s original score (much of which, it has since been shown, was probably not composed by Pergolesi at all), before passing them through a distinctly 20th-century lens, their dissonances and hard edges clearly alien to the music’s 18th-century roots. At times, the resulting score seems to verge on the cusp of satire, but always with a sense of deeply held affection. It would prove integral to Stravinsky’s subsequent musical development.

‘Pulcinella was my discovery of the past, the epiphany through which the whole of my late work became possible. It was a backward look, of course – the first of many love affairs in that direction – but it was a look in the mirror, too.’

But to Stravinsky’s surprise, the same critics who seven years earlier had been shocked by the violence of the music in The Rite of Spring rose up to complain about this new, altogether milder direction: ‘I was … attacked for being a pasticheur, chided for composing “simple” music, blamed for deserting “modernism”, accused of renouncing my “true Russian heritage”. People who had never heard of, or cared about, the originals cried “sacrilege”: “The classics are ours. Leave the classics alone.” To them all my answer was and is the same: You “respect”, but I love.’ Over time, Stravinsky silenced

his detractors and the slew of neoclassical works that emerged over the next decade became some of the most enduring works in his large and exceptionally varied output (although he continued to abhor the term ‘neoclassicism’, calling it ‘a much-abused expression meaning absolutely nothing’). Pulcinella was eventually so successful that Stravinsky later adapted it as a solo concert suite, featuring eight of the 18 movements that make up the ballet – and it is this arrangement that we hear tonight.

Pyotr Ilyich Tchaikovsky

Violin Concerto in D major, Op. 35

1840–93

In June 1877, Tchaikovsky made one of the rashest decisions of his life: he proposed to Antonia Miliukova, a woman with whom he admitted he was ‘not the least in love’. Their marriage was unsurprisingly short-lived and, just a few weeks later, Tchaikovsky left. Keen to make a clean break with his disastrous attempt at traditional domesticity, he set off for Europe, where he spent most of the next year travelling and composing, all the while receiving the support of his patron and confidante, Nadezhda von Meck. ‘My heart is full’, he wrote to her, ‘it thirsts to pour itself out in music.’ Tchaikovsky was true to his word: his Fourth Symphony was completed in January, his opera Eugene Onegin a month later. By March he had settled in Clarens, on the banks of Lake Geneva, where he was visited by one of his former pupils, the violinist Joseph Kotek. AlthoughTchaikovsky was at pains to hide his homosexuality from the public – one of the reasons, it seems, behind his abrupt decision to marry – his letters do little to hide the extent of his feelings towards Kotek. ‘I love him very, very much’, he wrote to his brother, Anatoly. ‘He has the kindest and most tender of hearts.’ So it was, with the dark cloud of his marriage beginning to lift, that Tchaikovsky – in a rush of creativity lasting little more than a fortnight – composed his Violin Concerto.

Sergej Krylov violin 1 Allegro moderato 2 Canzonetta: Andante 3 Finale: Allegro vivacissimo

While Kotek was integral to the Concerto’s composition (‘It goes without saying that I would have been able to do nothing without him’, he confided to Anatoly), he was not the work’s dedicatee. That honour went to Leopold Auer, who – in a move that scarred Tchaikovsky for many years – refused to give the Concerto its premiere, claiming that it was ‘unplayable’. It would be another three years before, in 1878, the work was finally premiered in Vienna with Adolph Brodsky as the soloist.

The reviews were less than favourable: Eduard Hanslick called it ‘long and pretentious’, adding that ‘the violin is no longer played, but rent asunder, beaten black and blue’.

The features that Hanslick found so distasteful – its longwinded lyricism and fiery virtuosity – are precisely what has made the Concerto so popular with audiences and cemented its place in the repertoire over the past 150 years. Most of the acrobatics are packed into the dazzling first movement, its form cleaved in two by an expansive cadenza that leads to even more challenging, stratospheric writing in the second half – passages that can easily be overplayed if not treated with caution.

Continued overleaf London Philharmonic Orchestra | 11

Programme notes continued

The Canzonetta was Tchaikovsky’s second attempt at a slow movement (his first was published separately as the Souvenir d’un lieu cher), its wistful and melancholic melodic writing so clearly heartfelt that it almost won Hanslick over. But his objections were reaffirmed by the wild drama of the finale, an adrenaline-fuelled Allegro packed with Russian folk themes that culminates in a thrilling double-stopped exchange between soloist and orchestra. Auer, for his part, later conceded that the Concerto was not ‘unplayable’, just ‘difficult’, adding ‘it is impossible to please everybody.’

Tchaikovsky’s Violin Concerto on the LPO Label Tchaikovsky Violin Concerto Lalo Symphonie espagnole Augustin Hadelich violin Vasily Petrenko conductor (Tchaikovsky) Omer Meir Wellber conductor (Lalo) London Philharmonic Orchestra LPO-0094 | £9.99

Available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets

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

Maurice Ravel 1875–1937

In 1909, Serge Diaghilev – then in his first season with what would become the legendary Ballet Russes – commissioned Ravel to compose a new ballet score.

It was to be based on the ancient Greek tale of Daphnis and Chloé, two orphaned children who are raised by shepherds, grow up together, are abducted and eventually fall in love. While Ravel was delighted to accept the commission, it would be three years before the music was finally complete. By the time the score eventually came to light in 1912, audiences had already borne the shock of Stravinsky’s The Firebird (1910) and Petrushka (1911), while Nijinsky’s performance of Debussy’s mysterious Prélude à l’après-midi d’un faune only days before had caused an uproar. Ravel’s ethereal, dream-like score made little impression.

While Stravinsky’s ballet scores of the same era are marked by their hard edges, rhythmic dynamism and brutal pagan themes, Ravel favoured a softer approach.

Describing Daphnis et Chloé not as a ballet but

12 | London Philharmonic Orchestra

Daphnis et Chloé (Suites Nos. 1 & 2) Suite No. 1 1 Nocturne 2 Interlude 3 Danse guerrière

Suite No. 2 1 Lever du jour 2 Pantomime 3 Danse générale

‘a choreographic symphony in three parts’, Ravel outlined his intention ‘to compose a vast musical fresco, less scrupulous as to archaism than faithful to the Greece of my dreams, which inclined readily enough to what French artists of the late 18th century have imagined and depicted.’ But Michel Fokine, the ballet’s esteemed choreographer, had rather different views and imagined the ‘ancient dancing depicted in red and black on Attic vases’. The fact that neither spoke the same language only compounded the issue: ‘Fokine doesn’t know a word of French’, Ravel complained, ‘and I know only how to swear in Russian.’

Ravel became so exasperated by the delays that before the ballet had even received its premiere he had gathered a series of excerpts from Parts I and II into an orchestral suite (Suite No. 1), which was performed in April 1911, more than a year before the ballet itself.

As the suite opens, we are cast into a shimmering, nocturnal world, where nymphs carved into the

rocks come alive and dance for Daphnis. After a brief interlude, we find ourselves transported to the camp of Chloé’s captors, an unforgiving band of pirates, who are eventually persuaded to release her by the god Pan. The music of the second suite, which was published a few months after the ballet’s rather lukewarm premiere, is taken from Part III of the original ballet, and sees the two lovers reunited at daybreak back in Pan’s sacred grove. As the sun rises hazily in the sky, so Ravel’s rendering of the dawn chorus in Lever du jour grows into one of the most evocative depictions of daybreak in all of western music. After finding one another, Daphnis and Chloé act out a scene in Pantomime as a token of gratitude to Pan, who saved Chloé from her abductors. Finally, they are married before the nymphs’ altar and a huge celebration unfolds in Danse générale – a movement that took Ravel a full year to complete. Here, tension is replaced by relief, ardour with joy, in a bustling dance that builds to a thrilling and explosive conclusion.

Recommended recordings of tonight’s works Many of our recommended recordings, where available, are on sale this evening at the Foyles stand in the Royal Festival Hall foyer.

Stravinsky: Pulcinella (Suite) Academy of St Martin in the Fields Sir Neville Marriner (Universal) Tchaikovsky: Violin Concerto Augustin Hadelich | London Philharmonic Orchestra Vasily Petrenko (LPO Label LPO-0094: see page 12) Ravel: Daphnis et Chloé Suites Nos. 1 & 2: Minnesota Orchestra Stanisław Skrowaczewski (Vox) Complete ballet: London Philharmonic Orchestra Vladimir Jurowski (LPO Label box set LPO-1010: see below)

Programme notes © Jo Kirkbride

Ravel’s complete Daphnis et Chloé on the LPO Label Bernard Haitink conductor London Philharmonic Orchestra John Alldis Choir

Vladimir Jurowski conductor London Philharmonic Orchestra & Choir

LPO-0059 | £9.99

Vladimir Jurowski: 10 Years 7CD box set | LPO-1010 £49.99

Recorded by BBC Radio 3 live at Southbank Centre’s Royal Festival Hall on 6 November 1979.

These and 100+ other LPO recordings are 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.

Recorded live at Southbank Centre’s Royal Festival Hall on 14 March 2015.

Released in October 2017 to celebrate Vladimir Jurowski’s first 10 years with the LPO. For full contents visit lpo.org.uk/recordings

London Philharmonic Orchestra | 13

be m ov e d Next concerts at Southbank Centre’s Royal Festival Hall

saturday 3 march 2018 7.30pm

saturday 17 march 2018 7.30pm

wednesday 21 march 2018 7.30pm

Elgar In the South R Strauss Four Last Songs Brahms Symphony No. 2

Tchaikovsky (arr. Stravinsky) Sleeping Beauty (excerpts) Tchaikovsky Piano Concerto No. 1 Stravinsky The Fairy’s Kiss

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

Sir Antonio Pappano conductor Diana Damrau soprano Concert generously supported by Sir Simon and Lady Robey

Vladimir Jurowski conductor Daniil Trifonov piano

Andrés Orozco-Estrada conductor Peter Donohoe piano

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

14 | London Philharmonic Orchestra

New CD release on the LPO Label Aldo Ciccolini plays Mozart and Rachmaninoff Mozart Piano Concerto No. 20 in D minor, K466 Rachmaninoff Piano Concerto No. 2 in C minor, Op. 18 Aldo Ciccolini piano Yannick Nézet-Séguin conductor London Philharmonic Orchestra LPO-0102 | £9.99 Recorded live at Southbank Centre’s Royal Festival Hall, London, on 12 October 2011 (Mozart) and 27 May 2009 (Rachmaninoff).

‘Ciccolini’s interpretations are illuminated from within, and fresh, spontaneous and heartfelt’ Classical Source, May 2009 Available now 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

LPO CD Subscription Packages Treat yourself or someone you know to a subscription to the London Philharmonic Orchestra's CD releases and receive all the new releases on the LPO label for a whole year, mailed before the CDs are available in the shops. The perfect gift for a music lover!

Available online at lpo.org.uk/recordings or from the LPO Ticket Office (020 7840 4242)

One-year CD subscription: £79.99 10 CDs (worth at least £100) Exclusive pre-release mailing Inclusive of P&P

Half-year CD subscription: £44.99 5 CDs (worth at least £50) Exclusive pre-release mailing Inclusive of P&P

London Philharmonic Orchestra | 15

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 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 Ignor & Lyuba Galkin Mr Daniel Goldstein Mrs Dorothy Hambleton

18 | London Philharmonic Orchestra

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 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 (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 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 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

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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