Concert programme 2013/14 season Part of Southbank Centreâ€™s
London cover 13-14 v3.indd 1
9/6/2013 12:14:31 PM
Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI* Principal Guest Conductor YANNICK NÉZET-SÉGUIN Leader pieter schoeman Composer in Residence JULIAN ANDERSON Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM
Southbank Centre’s Royal Festival Hall Wednesday 6 November 2013 | 7.30pm
Sofia Gubaidulina Offertorium (40’) Interval Arvo Pärt Magnificat (7’) Arvo Pärt Cantus in memoriam Benjamin Britten (7’) Arvo Pärt Berlin Mass (25’)
Tõnu Kaljuste conductor Sergej Krylov violin London Philharmonic Choir
Concert supported by:
Estonian Embassy in London
The Ambache Charitable Trust is active in raising the profile of women composers.
* supported by the Tsukanov Family Foundation and one anonymous donor CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA
Programme £3 Contents 2 Welcome 3 Tonight’s works in context 4 About the Orchestra 5 Leader 6 On stage tonight 7 Tõnu Kaljuste 8 Sergej Krylov 9 London Philharmonic Choir 10 Programme notes and texts 17 Next concert 18 Catalyst: Double Your Donation 19 Supporters 20 LPO administration The timings shown are not precise and are given only as a guide.
Free pre-concert performance 6.00–6.45pm | Royal Festival Hall LPO Foyle Future Firsts, conducted by Ben Gernon, present a programme including Galina Ustvolskaya’s final work – Symphony No. 5 (Amen), a haunting setting of The Lord’s Prayer.
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, YO! Sushi, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffè Vergnano 1882, Skylon, Concrete and Feng Sushi, as well as cafes, restaurants and shops inside Royal Festival Hall, Queen Elizabeth Hall and Hayward Gallery. 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 7960 4250, or email email@example.com 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.
Southbank Centre’s The Rest Is Noise, inspired by Alex Ross’s book The Rest Is Noise Presented by Southbank Centre in partnership with the London Philharmonic Orchestra. southbankcentre.co.uk/therestisnoise The Rest Is Noise is a year-long festival that digs deep into 20th-century history to reveal the influences on art in general and classical music in particular. Inspired by Alex Ross’s book The Rest Is Noise, we use film, debate, talks and a vast range of concerts to reveal the fascinating stories behind the century’s wonderful and often controversial music. We have brought together the world’s finest orchestras and soloists to perform many of the most significant works of the 20th century. We reveal why these pieces were written and how they transformed the musical language of the modern world. Over the year, The Rest Is Noise focuses on 12 different parts. The music is set in context with talks from a fascinating team of historians, scientists, philosophers, political theorists and musical experts as well as films, online content and other special programmes. If you’re new to 20th-century music, then this is your time to start exploring with us as your tour guide. There has never been a festival like this. Jude Kelly Artistic Director, Southbank Centre
2 | London Philharmonic Orchestra
Tonight’s works in context
1931 Sofia Gubaidulina born in Chistopol, in the Tartar Republic of the USSR 1932 London Philharmonic Orchestra founded by Sir Thomas Beecham 1935 Arvo Pärt born in Paide, Estonia
1939 Outbreak of World War II
1945 End of World War II
1949 Orwell’s Nineteen Eighty-Four published 1953 Coronation of Queen Elizabeth II 1954 Sofia Gubaidulina graduated from the Kazan Conservatory and moved to Moscow 1956 Suez Crisis
1960 Alfred Hitchcock’s film Psycho released 1963 John F. Kennedy assassinated in Dallas, Texas 1967 Homosexuality decriminalised in the UK
1969 Neil Armstrong became the first man on the Moon. Stonewall riots in New York 1971 First email sent 1976 Pärt introduces his ‘tintinnabuli’ technique in Für Alina 1977 Premiere of Pärt’s Cantus in memoriam Benjamin Britten in Tallinn, Estonia
1980 Pärt emigrates first to Vienna, then to Berlin 1981 Premiere of Gubaidulina’s Offertorium in Vienna with soloist Gidon Kremer 1984 First Apple Macintosh personal computer on sale in the USA
1989 Fall of the Berlin Wall 1990 Premieres of Pärt’s Magnificat in Stuttgart and Berlin Mass in Berlin 1992 Sofia Gubaidulina moved from Moscow to Germany 1994 Nelson Mandela elected President of South Africa 1997 Hong Kong returned to China
1999 Euro adopted as a single currency by participating countries in Europe 2001 September 11 attacks in the USA 2004 Facebook founded
2008 Barack Obama elected President of the United States 2010 Beginning of the ‘Arab Spring’ uprising 2012 London Philharmonic Orchestra records the world’s national anthems for the London 2012 Olympics, and performs as part of the Thames Diamond Jubilee Pageant London Philharmonic Orchestra | 3
London Philharmonic Orchestra
After playing so perfectly prepared and beautifully detailed as this, the rest is noise indeed. The Guardian 2 October 2013, Royal Festival Hall: Vladimir Jurowski conducts Britten
The London Philharmonic Orchestra is one of the world’s finest orchestras, balancing a long and distinguished history with its present-day position as one of the most dynamic and forward-looking orchestras in the UK. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, has its own successful CD label, and enhances the lives of thousands of people every year through activities for schools and local communities. The Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the greatest names in the conducting world, including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is currently the Orchestra’s Principal Conductor and Artistic Advisor, appointed in 2007, and Yannick Nézet-Séguin is Principal Guest Conductor. Julian Anderson is the Orchestra’s current Composer in Residence. The Orchestra is based at Southbank Centre’s Royal Festival Hall in London, where it has performed since 1951 and been Resident Orchestra since 1992. It gives around 40 concerts there each season with many of the
4 | London Philharmonic Orchestra
world’s top conductors and soloists. 2013/14 highlights include a Britten centenary celebration with Vladimir Jurowski; world premieres of James MacMillan’s Viola Concerto and Górecki’s Fourth Symphony; French repertoire with Yannick Nézet-Séguin including Poulenc, Dutilleux, Berlioz, and Saint-Saëns’s ‘Organ’ Symphony; and two concerts of epic film scores. We welcome soloists including Evelyn Glennie, Mitsuko Uchida, Leif Ove Andsnes, Miloš Karadaglić, Renaud Capuçon, Emanuel Ax, Leonidas Kavakos, Julia Fischer and Simon Trpčeski, and a distinguished line-up of conductors including Christoph Eschenbach, Osmo Vänskä, Vasily Petrenko, Jukka-Pekka Saraste and Stanisław Skrowaczewski. Throughout the second half of 2013 the Orchestra continues its year-long collaboration with Southbank Centre in The Rest Is Noise festival, exploring the influential works of the 20th century. 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 50 years.
Pieter Schoeman leader
The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from Lawrence of Arabia, The Mission and East is East to Hugo, The Lord of the Rings trilogy and The Hobbit: An Unexpected Journey. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 70 releases available on CD and to download. Recent additions include Mahler’s Symphony No. 1 with Vladimir Jurowski; Vaughan Williams’s Symphonies Nos. 5 & 7 with Bernard Haitink; and Mahler’s Das Lied von der Erde with Yannick NézetSéguin, Sarah Connolly and Toby Spence. In summer 2012 the Orchestra was invited to take part in The Queen’s Diamond Jubilee Pageant on the River Thames, as well as being chosen to record all the world’s national anthems for the London 2012 Olympics. The London Philharmonic Orchestra is committed to inspiring the next generation of musicians and audiences through an energetic programme of activities for young people. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; fusion ensemble The Band; the Leverhulme Young Composers project; and the Foyle Future Firsts orchestral training programme for outstanding young players. Over recent years, digital advances and social media have enabled the Orchestra to reach even more people across the globe: all its recordings are available to download from iTunes and, as well as a YouTube channel, iPhone app and regular podcast series, the Orchestra has a lively presence on Facebook and Twitter. Find out more and get involved! lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra
Pieter Schoeman was appointed Leader of the LPO in 2008, having previously been Co-Leader since 2002.
© Patrick Harrison
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 and vital part of the Orchestra’s life: highlights of the 2013/14 season include visits to the USA, Romania, Austria, Germany, Slovenia, Belgium, France and Spain.
Born in South Africa, he made his solo debut aged 10 with the Cape Town Symphony Orchestra. He studied with Jack de Wet in South Africa, winning numerous competitions including the 1984 World Youth Concerto Competition in the US. In 1987 he was offered the Heifetz Chair of Music scholarship to study with Eduard Schmieder in Los Angeles and in 1991 his talent was spotted by Pinchas Zukerman, who recommended that he move to New York to study with Sylvia Rosenberg. In 1994 he became her teaching assistant at Indiana University, Bloomington. 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 performs at London’s prestigious Wigmore Hall. As a soloist with the London Philharmonic Orchestra, Pieter has performed Arvo Pärt’s Double Concerto with Boris Garlitsky, Brahms’s Double Concerto with Kristina Blaumane, and Britten’s Double Concerto with Alexander Zemtsov, which was recorded and released on the Orchestra’s own record label to great critical acclaim. He has recorded numerous violin solos with the London Philharmonic Orchestra for Chandos, Opera Rara, Naxos, X5, the BBC and for American film and television, and led the Orchestra 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. Pieter is a Professor of Violin at Trinity Laban Conservatoire of Music and Dance. London Philharmonic Orchestra | 5
On stage tonight
First Violins Pieter Schoeman* Leader Ji-Hyun Lee Chair supported by Eric Tomsett
Katalin Varnagy Chair supported by Sonja Drexler
Catherine Craig Tom Eisner Martin Höhmann Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp
Robert Pool Sarah Streatfeild Grace Lee Rebecca Shorrock Alina Petrenko Galina Tanney Peter Nall Caroline Frenkel Caroline Sharp Second Violins Winona Fifield Guest Principal Joseph Maher Kate Birchall Chair supported by David & Victoria Graham Fuller
Fiona Higham Ashley Stevens Marie-Anne Mairesse Nancy Elan Harry Kerr Dean Williamson Sioni Williams Alison Strange Stephen Stewart Elizabeth Baldey Jamie Hutchinson
Violas Cyrille Mercier Principal Robert Duncan Katherine Leek Benedetto Pollani Laura Vallejo Susanne Martens Emmanuella Reiter Michelle Bruil Daniel Cornford Isabel Pereira Alistair Scahill Sarah Malcolm Cellos Alexander Somov Guest Principal Francis Bucknall Laura Donoghue Santiago Carvalho† David Lale Elisabeth Wiklander Gregory Walmsley Sue Sutherley Susanna Riddell Tom Roff Double Basses Tim Gibbs Principal George Peniston Richard Lewis Kenneth Knussen Helen Rowlands Tom Walley Jeremy Watts Catherine Ricketts
Flutes Frederic Sánchez Guest Principal Sue Thomas Chair supported by the Sharp Family
Piccolo Stewart McIlwham* Principal
Trombones Mark Templeton* Principal David Whitehouse Bass Trombone Lyndon Meredith Principal Tuba Lee Tsarmaklis* Principal
Oboes Ian Hardwick Principal Holly Randall
Timpani Simon Carrington* Principal
Clarinets Robert Hill* Principal Paul Richards
Percussion Andrew Barclay* Principal
E-flat Clarinet Douglas Mitchell
Tom Edwards Keith Millar Sarah Mason James Bower
Bassoons Gareth Newman* Principal Simon Estell Horns John Ryan* Principal Martin Hobbs Gareth Mollison Trumpets Paul Beniston* Principal Anne McAneney* Chair supported by Geoff & Meg Mann
Nicholas Betts Co-Principal
Chair supported by Andrew Davenport
Harps Rachel Masters* Principal Chair supported by Friends of the Orchestra
Lucy Haslar Piano & Celeste Catherine Edwards
* Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco
The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: John & Angela Kessler Simon Robey Julian & Gill Simmonds
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© Martin Lazarev
Estonian conductor Tõnu Kaljuste has established himself as a leading interpreter of music by György Kurtág, Krzysztof Penderecki, Giya Kancheli and Alfred Schnittke, and in particular that of Estonian composers such as Arvo Pärt, Erkki-Sven Tüür, Veljo Tormis, Heino Eller and Tõnu Kõrvits. He founded the Estonian Philharmonic Chamber Choir in 1981 and the Tallinn Chamber Orchestra in 1993, and previously held the positions of Principal Conductor of both the Swedish Radio Choir and the Netherlands Chamber Choir. He has collaborated with numerous choirs including the BBC Symphony Chorus and the Berlin Radio, Latvian Radio and RIAS Chamber choirs. Orchestras with which he has worked include the BBC Symphony, Swedish Radio Symphony, Danish Radio Symphony, Berlin Radio Symphony, Japan Century Symphony, Oslo Philharmonic, Bremen Philharmonic, German Radio Philharmonic, Mahler Chamber, Lausanne Chamber, Norwegian Chamber, Irish Chamber, Budapest Festival and Tonkünstler orchestras, and the NDR Radiophilharmonie Hannover, the BBC National Orchestra of Wales, Camerata Salzburg, the Akademie für Alte Musik Berlin and the Orchestra dell‘Accademia Nazionale di Santa Cecilia. Tonight’s concert is his debut with the London Philharmonic Orchestra.
A prolific recording artist, Tõnu Kaljuste has an extensive discography on the ECM, Virgin Classics and Caprice labels. His recording of Arvo Pärt’s Orient & Occident won a Classic BRIT Award in 2003, and Pärt’s In principio was nominated for a Grammy Award in 2010. Other recordings have won prizes including the Diapason d’Or, Cannes Classical Award and Edison Prize. Forthcoming highlights include engagements with Camerata Salzburg and the Latvian Radio Choir at the Mozartwoche Salzburg; with the RIAS Chamber Choir and Ensemble Resonanz in Berlin and Amsterdam; at the Wratislavia Cantans festival in Poland with the Estonian Philharmonic Chamber Choir; and with the Scottish Chamber Orchestra, Malmö Opera Orchestra, Spanish National Orchestra and São Paulo State Symphony Orchestra. Tõnu Kaljuste is a member of the Royal Swedish Academy of Music, and recipient of the Japanese ABC Music Award and the Robert Edler Prize. Since 2004 he has been Artistic Director of the Nargen Opera Festival, an annual three-month event comprising music and opera performances on the Estonian coast.
Tõnu Kaljuste made his debut at the Hamburg Opera in 2007 with Lera Auerbach’s ballet The Little Mermaid. The same year he conducted Beethoven’s Fidelio with the Tallinn Chamber Orchestra and the Estonian Philharmonic Chamber Choir, followed by Haydn’s Il mondo della luna in 2008. From 1978–85 he was conductor of the Estonian National Opera, leading Britten’s Let’s Make an Opera! – The Little Sweep, Mozart’s Bastian und Bastienne and Der Schauspieldirektor, Weber’s Der Freischütz and Veljo Tormis’s ballet Estonian Ballads.
London Philharmonic Orchestra | 7
Sergej Krylov violin
Sergej Krylov has established himself as one of the most talented violinists of his generation. He is regularly invited to perform at prestigious concert halls worldwide and has appeared with orchestras including the Staatskapelle Dresden, the Deutsches SymphonieOrchester Berlin, the Filarmonica della Scala, the Accademia di Santa Cecilia, the Hessischer Rundfunk Frankfurt, and the St Petersburg Philharmonic, Royal Philharmonic, Copenhagen Philharmonic, Russian National Symphony, NHK Symphony (Tokyo), Atlanta Symphony, English Chamber and Budapest Festival orchestras. Among the prominent personalities with whom he has worked, his friendship with Mstislav Rostropovich has been one of the most significant influences in Sergej’s artistic life. He has appeared with many conductors including Vladimir Jurowski, Valery Gergiev, Mikhail Pletnev, Andrey Boreyko, Dmitri Kitajenko, Omer Meir Wellber, Yuri Temirkanov, Vladimir Ashkenazy, Nicola Luisotti, Julian Kovatchev, Rafael Frühbeck de Burgos, Saulius Sondeckis, Zoltán Kocsis and Yuri Bashmet. Tonight is Sergej’s debut with the London Philharmonic Orchestra. Other engagements this season include concerts with Dmitri Kitajenko in Budapest, Cologne and Bonn; with Andrey Boreyko in Moscow; with Mikhail Pletnev in Bregenz; with Vasily Petrenko in Paris; with Marc Minkowski in Turin; and a South American tour with the English Chamber Orchestra in the double role of soloist and conductor. Among his recent highlights were his debut at the Berlin Philharmonie with the Deutsches Symphonie-Orchester Berlin conducted by Omer Meir Wellber, and a return to the Teatro alla Scala in Milan with James Conlon. Sergej devotes a great deal of time to chamber music projects, playing alongside Denis Matsuev, Yuri Bashmet, Itamar Golan, Lilya Zilberstein, Aleksandar Madžar, Bruno Canino, Stefania Mormone, Maxim Rysanov, 8 | London Philharmonic Orchestra
Nobuko Imai, the Belcea Quartet and Elīna Garanča. Since 2009 he has been Music Director of the Lithuanian Chamber Orchestra, regularly taking the double role of soloist and conductor in a wide repertoire ranging from Baroque music to contemporary works. His discography, in addition to the release of the Paganini 24 Caprices, includes recordings for EMI and Melodya. Born in Moscow into a family of musicians, Sergej Krylov began studying the violin at the age of five and completed his studies at the Moscow Central Music School. While still very young he won the International Lipizer Violin Competition, the Stradivarius International Violin Competition and the Fritz Kreisler Competition. Since 2012 he has been Professor of Violin at the Lugano Conservatoire in Switzerland. Sergej Krylov plays the ‘Scotland University’ Stradivarius (1734) from the Sau-Wing Lam Collection, courtesy of the Fondazione A. Stradivari in Cremona.
London Philharmonic Choir Patron HRH Princess Alexandra | President Sir Roger Norrington | Artistic Director Neville Creed Accompanist Jonathan Beatty | Chairman Andrew Mackie | Choir Manager Tessa Bartley
Founded in 1947, the London Philharmonic Choir is widely regarded as one of Britain’s finest choirs, consistently meeting with great critical acclaim. It has performed under leading international conductors for over 65 years and made numerous recordings for CD, radio and television. Enjoying a close relationship with the London Philharmonic Orchestra, the Choir frequently joins it for concerts in the UK and abroad. In 2012/13, concerts with the LPO included Rachmaninoff’s The Bells, Haydn’s Nelson Mass, Schoenberg’s A Survivor from Warsaw, Brahms’s Ein deutsches Requiem and Elgar’s The Dream of Gerontius. As part of the Southbank Centre’s The Rest Is Noise festival, which includes tonight’s performance of Arvo Pärt’s Magnificat and Berlin Mass, the Choir has performed Shostakovich’s Symphony No. 13 (Babi Yar), Poulenc’s Stabat mater, Britten’s War Requiem, Stravinsky’s Symphony of Psalms, Orff’s Carmina Burana and Tippett’s A Child of Our Time. Forthcoming engagements include John Adams’s El Niño. Recently released CDs with the London Philharmonic Orchestra include Brahms’s Ein deutsches Requiem with Yannick Nézet-Séguin, Holst’s The Planets and Mahler’s Symphony No. 2 with Vladimir Jurowski, Beethoven’s Missa Solemnis with Christoph Eschenbach, and Dvořák’s Requiem and Stabat mater with Neeme Järvi. Sopranos Annette Argent, Lisa Bartley, Laura Beeley, Sarah Bindon, Laura Buntine, Millie Carden, Olivia Carter, Gemma Chance, Alana Clark, Emily Clarke, Sally Cottam, Sheila Cox, Sarah Deane-Cutler, Victoria Denard, Lucy Doig, Philippa Drinkwater, Rosha Fitzhowle, Rachel Gibbon, Emily Gray, Emma Hancox, Jane Hanson, Sally Jennifer Harrison, Carolyn Hayman, Laura Hunt, Ruth Ingleson, Georgina Kaim, Mai Kikkawa, Jenni Kilvert, Judith Kistner, Olivia Knibbs, Junelle Kwon, Fran Levin, Suzannah Lipmann, Natasha Maslova, Victoria Mattinson, Janey Maxwell, Meg McClure Tynan, Katie Milton, Eileen Morgan, Karina Oganjan, Megan Oldmeadow, Carmel Oliver, Angelina Panozzo, Linda Park, Lydia Pearson, Kathryn Quinton, Nicola Race, Rebecca Schendel, Tania Stanier, Tracey Szwagrzak, Susan Thomas, Isobel Timms, Jenny Torniainen, Susan Watts, Charlotte Wielgut Altos Marina Abel Smith, Deirdre Ashton, Phye Bell, Susannah Bellingham, Andrei Caracoti, Lara Carim, Isabelle Cheetham, Noel Chow, Yvonne Cohen, Liz Cole, Janik Dale, Margaret de Valois Rowney, Elisa Dunbar, Andrea Easey, Lynn Eaton, Carmel Edmonds, Regina Frank, Henrietta Hammonds, Sophy Holland, Elizabeth Iles,
The Choir appears regularly at the BBC Proms at the Royal Albert Hall, and performances have included the UK premieres of Mark-Anthony Turnage’s A Relic of Memory and Goldie’s Sine Tempore in the Evolution! Prom. The Choir performed at the Doctor Who Proms in 2008, 2010 and 2013, and in 2011 appeared in Verdi’s Requiem, Liszt’s A Faust Symphony and Beethoven’s Missa Solemnis. Last year, it performed Elgar’s The Apostles with Sir Mark Elder and Howells’s Hymnus Paradisi under Martyn Brabbins. A well-travelled choir, it has visited numerous European countries and performed in Kuala Lumpur, Hong Kong and Perth, Australia. Most recently, members of the choir performed Weill’s The Threepenny Opera in Paris, with a repeat performance in London. The Choir also works with other leading orchestras, and last June joined forces with the London Symphony Orchestra and Chorus to perform Berlioz’s Grande Messe des Morts with Sir Colin Davis at St Paul’s Cathedral, recently released on CD by the LSO. The Choir also sings in Raymond Gubbay’s Classical Spectacular and Christmas concerts, and has appeared in gala concerts with Russell Watson and Katherine Jenkins. The London Philharmonic Choir prides itself on achieving first-class performances from its members, who are volunteers from all walks of life. For more information, including how to join, visit www.lpc.org.uk Marjana Jovanovic Morrison, Charlotte Kingston, Andrea Lane, Lisa MacDonald, Michelle Marple, Mary Moore, Sophie Morrison, Rachel Murray, John Nolan, Angela Pascoe, Jenny Ryall, Carolyn Saunders, Katie Saunders, Muriel Swijghuisen Reigersberg, Mayuko Tanno, Rachel Anne Taylor, Curzon Tussaud, Susi Underwood, Jenny Watson, Suzanne Weaver Tenors Scott Addison, Geir Andreassen, Chris Beynon, Tom Cameron, Kevin Darnell, Michael Delany, John Farrington, Aloysius Fekete, Fred Fisher, Robert Geary, Stephen Hodges, Rob Home, Hyun Jin Jeong, Andrew Mackie, Philip Padfield, Rhydian Peters, Luke Phillips, Owen Toller, Paul Williams-Burton, Travis Winstanley, Tony Wren Basses Peter Blamire, Damion Box, Gordon Buky-Webster, Geoff Clare, Bill Cumber, Phillip Dangerfield, Marcus Daniels, Paul Fincham, Benjamin Fingerhut, Ian Frost, Paul Gittens, Nigel Grieve, Christopher Harvey, Peter Haselden, Mark Hillier, Stephen Hines, David Hodgson, Martin Hudson, Aidan Jones, John Luff, Anthony McDonald, John D Morris, Ashley Morrison, Will Parsons, Johan Pieters, Fraser Riddell, John Salmon, Ed Smith, Daniel Snowman, Peter Sollich, Alex Thomas, James Torniainen, James Wilson, Hin-Yan Wong, John Wood
London Philharmonic Orchestra | 9
Offertorium for violin and orchestra Sergej Krylov violin
Coming from the predominantly Islamic region of Tatarstan, Sofia Gubaidulina gained a dual heritage from her parents: Russian and Tatar, Orthodox and Muslim (though her father was not religious), central and peripheral, Western and Eastern. Perhaps it was a lot to absorb, for she was slow to get going as a composer. She was 30 by the time she produced her first notable piece, her now much-performed Chaconne for piano, and nearly 60 before her name was known at all outside Russia. Since then, she has more than made up, producing, in startlingly rapid succession, scores that confront the conventional with the exotic, even bizarre, and that dare unhesitatingly to take on weighty matters of life and belief. Offertorium, dating from the first years of her international breakthrough, may be her greatest achievement. She composed it for Gidon Kremer, who gave the first performance, Leif Segerstam conducting, in Vienna on 30 May 1981; the final version, adding revisions of 1982 and 1986 to the original 1980 score, followed in London in November 1986, again with Kremer as soloist, now with Gennady Rozhdestvensky on the podium. A recording, made by Kremer in Boston in April 1988, took the piece around the globe. It was a good place for the world to start discovering the composer. As the title, ‘Offering’, might indicate, this is a violin concerto that embodies a sacred drama to do with sacrifice and regeneration. Moreover, what is offered up comes from Gubaidulina’s revered Bach – from his own Musical Offering (BWV 1079), said to have been based on a knotty melody given him by Frederick the Great when, in 1747, the composer visited the King’s court. This Bach theme is heard first in Gubaidulina’s score in the orchestration made by Anton Webern in 1934–5, so that the piece focusses on its distant origins by means of the nearer past.
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Before, however, this nearer past can end – before, that is, the theme reaches its last note, D – it is taken over by the solo violin, which repeats the immediately preceding notes, F–E. They thus become the subject of a fantasy on the minor second, mostly for the soloist with strings and percussion. When the piano steps in, with harps in tow, it is to widen the omnipresent interval by one, two or three octaves. The soloist follows suit, whereupon the Bach theme returns, its Webernized form now also Gubaidulinized. Not only is the instrumentation subtly altered, but the line has this time lost a note at the beginning as well as a further one at the end, so that it now concludes G–F. That gives the soloist a further interval with which to play, the major second, and the violin duly adds this to its store for a further sequence, now first with twinkling tuned percussion (celeste, vibraphone, marimba) and harps, then briefly with strings, before a trumpet leads the wind department into prominence. The third appearance of the Bach theme, which follows, is radically different. Played by the strings in diverse octaves, with brass and (on one occasion) woodwind support, it sounds more like Messiaen than either Bach or Webern. Moreover, it has lost another note at the start and another at the end – though one might well sense that more is gone, since the rhythm, too, is transformed, and the last few notes go at a rush in the bass. Nominally, though, the final notes are D–G, so that the ensuing development can feature fourths and fifths as well as seconds. This passage is started by the soloist alone, in the bottom register. By now the theme has yielded all it can, for its second half contains nothing other than seconds and fourths, such as have already been brought out. Perhaps for that reason, it does not come again in any recognisable form. The offering has been made. What proceeds around
it – the sacrificial fire, perhaps, in the form of music for violin with changing orchestral groups – continues unabated, referring to scraps of the Bach theme, burning them up, until, after a huge climax triggered by yelps from horns and trombones, the soloist has a long unaccompanied cadenza. This takes us up to the halfway mark in the work’s 40-minute extent. When the orchestra returns, it is to join the violin in a slow movement that blends into a scherzo, the former with solos from woodwinds, viola and cello, the latter tending to set the soloist in opposition to large orchestral masses. There is another, shorter, cadenza for the soloist here, followed by a sweeping descent into the orchestral depths.
At this point, having been silent a while, the violin begins a hymn, in which it is supported by the strings, with punctuation from piano, harps and percussion, joined later by woodwind soloists. The hymn rises and rises, up to the moment where a figure – a rising minor second – brings back memories of the Bach theme. The soloist muses on these alone, and the orchestra comes back for one last sweeping gesture. Despair, however, is out of place. The solo violin has arrived, finally, at the long awaited D, in a super-high register. Programme note © Paul Griffiths
Interval – 20 minutes An announcement will be made five minutes before the end of the interval.
Magnificat for unaccompanied choir London Philharmonic Choir
The text is overleaf. One of the most distinctive voices in contemporary music, and also among the most performed and recorded, the Estonian-born composer Arvo Pärt studied composition at the Tallinn Conservatoire. During the 1960s he was something of an enfant terrible in Soviet musical circles, experimenting with avantgarde techniques such as serialism and collage. But following a chance encounter with plainchant, Pärt was creatively and spiritually reborn. Using chant and other early music as his source, he underwent a radical change of style. In 1976, his new ‘tintinnabuli’ style (tintinnabulum means ‘small bell’) was announced by the crystalline beauty of the piano miniature Für Alina.
An outpouring of works followed, including Cantus in memoriam Benjamin Britten, Tabula rasa and Fratres, three of the most enduring works of the new style – all dating from 1977 – and the transcendent St John Passion (1982). Further new traits have been introduced in subsequent sacred works such as Miserere (1989) and the imposing Kanon Pokajanen (1997). More recent pieces such as The Deer’s Cry (2007) and Adam’s Lament (2009) serve to illustrate the extreme flexibility of the tintinnabuli style and its capacity to absorb new textural and harmonic approaches. Continued overleaf London Philharmonic Orchestra | 11
Programme notes continued
Pärt’s setting of the Magnificat – also known as the Song of Mary or the Canticle of Mary – is one of enormous delicacy and intimacy, and has become one of the composer’s most beloved works. Taken from St Luke’s Gospel, the text begins ‘Magnificat anima mea Dominum, et exsultavit spiritus meus in Deo’ (‘My soul doth magnify the Lord, and my spirit hath rejoiced in God my Saviour’). According to the gospel, the Virgin Mary, while pregnant with Jesus, visited her cousin Elizabeth, who was at the same time pregnant with John the Baptist. In response to Elizabeth’s salutation, Mary spoke (or chanted) the words of the Magnificat, giving praise for the inestimable favour bestowed on her by God.
Scored for unaccompanied mixed choir, Pärt’s setting of this great hymn alternates between a two-part ‘verse’ texture (a solo soprano singing the text on a pedal C coupled with other single vocal lines) and a three-part ‘choral’ texture with occasional doubling at the octave to create six parts. While many Magnificat settings append the ‘Gloria Patri’ (‘Glory be to the Father’), the trinitarian doxology customarily suffixed to psalms and canticles, Pärt concludes his setting with a magical return to the very opening line: ‘Magnificat anima mea Dominum.’ Sung in a hushed pianissimo, and with the doubling of note values creating a feeling of celestial atemporality, the work concludes not – as one might expect – in the ‘home’ tonality of F minor, but on an unresolved D flat major seventh chord in second inversion, an exquisite effect.
Magnificat Magnificat anima mea Dominum. Et exsultavit spiritus meus in Deo salutari meo. Quia respexit humilitatem ancillae suae: ecce enim ex hoc beatam me dicent omnes generationes. Quia fecit mihi magna, qui potens est, et sanctum nomen eius. Et misericordia eius a progenie in progenies timentibus Fecit potentiam in brachio suo: dispersit superbos mente cordis sui. Deposuit potentes de sede, et exaltavit humiles; Esurientes implevit bonis et divites dimisit inanes. Suscepit Israel puerum suum, recordatus misericordiae suae: Sicut locutus est ad patres nostros, Abraham, et semini eius in saecula. Magnificat anima mea Dominum. Luke 1: 46–55
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My soul doth magnify the Lord. And my spirit hath rejoiced in God my Saviour. For he hath regarded the lowliness of his handmaiden: for behold, from henceforth: all generations shall call me blessed. For he that is mighty hath magnified me: and holy is his name. And his mercy is on them that fear him: throughout all generations. He hath shewed strength with his arm: he hath scattered the proud in the imagination of their hearts. He hath put down the mighty from their seat: and hath exalted the humble and meek. He hath filled the hungry with good things: and the rich he hath sent empty away. He remembering his mercy hath holpen his servant Israel: as he promised to our forefathers, Abraham and his seed for ever. My soul doth magnify the Lord.
Cantus in memoriam Benjamin Britten for string orchestra and bell
Arvo Pärt’s Cantus of 1977 represented an intensely personal homage to a fellow artist whom he admired but had never met. In the sleeve note to the ECM recording, Pärt revealed that it was the ‘unusual purity’ of Benjamin Britten’s music that especially attracted him to it. Scored for string orchestra and bell, Cantus possesses a depth of expression and an elegance of construction that encapsulate the purity he had responded to in the music of Britten. The brief, seven-minute piece is constructed in the form of a mensuration, or proportional, canon. The first violins state the basic ‘long-short’ rhythmic unit of three beats (minim plus crotchet). As each of the remaining string sections enter in turn – second violins, violas, cellos and basses – the basic rhythmic unit is doubled and presented an octave lower, such that the deeper the line, the slower it moves. This canonic technique was used by Renaissance composers such as Ockeghem in his Missa prolationum and Josquin in his L’homme armé mass settings, both of whom Pärt had studied during his extensive research into early music.
The other element in Cantus is the bell. Its repeating, eight-bar pattern consists of three strokes followed by a bar of silence. During the course of the work, this pattern rings out for 12 cycles. After the 11th cycle, which coincides with the conclusion of the sequential melodic descent in the violas, the bell drops out of the texture until the solitary stroke of the 12th cycle at the very end of the piece. As this final bell stroke is marked pianissimo, its initial attack is masked by the full weight of the strings (playing triple fortissimo at this point), such that its return is heard as a slow, unearthly decay.
The ‘melodic’ material of Cantus is quite extraordinary in its simplicity, in that its entire substance is derived from a descending modal A minor scale. Starting on the tonal centre of A, each new phrase simply accumulates the next note in the descending scale. This seemingly endless unfolding of a melodic sequence creates the impression of moving in concentric circles, as the sequence turns back on itself and begins each phrase anew from the initial starting pitch. Rather like Satie’s Trois Gymnopédies (1888), which express a single idea from three different angles, the musical surface of Cantus seems to change perspective around a central core that remains essentially motionless.
New for 2013/14 – LPO mini film guides This season we’ve produced a series of short films introducing the pieces we’re performing, picking one work from each concert and creating a bitesized introduction to the music and its historical background. Watch our Education & Community Director Patrick Bailey introduce Pärt’s Cantus in memoriam Benjamin Britten: lpo.org.uk/explore/videos.html
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Programme notes continued
Berlin Mass for chorus and string orchestra London Philharmonic Choir
1 Kyrie 2 Gloria 3 First Alleluia 4 Second Alleluia 5 Veni Sancte Spiritus 6 Credo 7 Sanctus 8 Agnus Dei The text begins on the opposite page. Commissioned for the 90th Catholic Day in Germany, which took place on 24 May 1990, the Berlin Mass was originally scored for four solo voices and organ, but was later revised for chorus and string orchestra. In addition to the customary texts that make up the Ordinary of the Mass – the Kyrie, Gloria, Credo, Sanctus and Agnus Dei – Pärt includes two Alleluia verses and the sequence Veni Sancte Spiritus (‘Come, Holy Spirit’, a sequence specific to the three-day feast of Pentecost) in between the Gloria and Credo. As the conductor, singer and academic Paul Hillier noted in his book on Pärt, a falling four-note motif (G–F–E–D) – heard at the very opening of the Kyrie – plays an important unifying role throughout. The harmonic centre of the work describes a gradual descent by a minor third, from the opening G minor (Kyrie and Gloria) and G major (first Alleluia, with a brief shift to B minor), to E minor (second Alleluia and Veni Sancte Spiritus) and E major (Credo), followed by C sharp minor (Sanctus and Agnus Dei).
gentle lilt of which contains strong echoes of an earlier setting in German by Pärt, Es sang vor langen Jahren (1984), and of even earlier works such as Cantus in memoriam Benjamin Britten. Pärt’s setting of the Credo exudes sublime joy, in marked contrast to his earlier setting of the text in Summa, although the melodic treatment and canonic interchanges between voices are broadly similar. The supremely slow motion of the Sanctus prepares us for the profound textural clearing of the Agnus Dei. Eschewing any attempt at word-painting, the sudden shift to E major for the last line of the Agnus Dei acts like a final benediction. The Berlin Mass was premiered in 1990 by Theatre of Voices at St Hedwig’s Cathedral, Berlin, conducted by Paul Hillier. Arvo Pärt programme notes © Peter Quinn
After the benignly contemplative Kyrie and the more propulsive forward movement of the Gloria, the first appearance of the major mode in the opening Alleluia verse casts a warm glow before the more extended Pentecost sequence, Veni Sancte Spiritus. With the exception of the final ‘Amen. Alleluia’, the sequence is set throughout in the trochaic (long–short) mode, the
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Berlin Mass text
1 Kyrie Kyrie eleison. Christe eleison. Kyrie eleison.
Lord, have mercy. Christ, have mercy. Lord, have mercy.
2 Gloria Gloria in excelsis Deo Et in terra pax hominibus bonae voluntatis. Laudamus te. Benedicimus te. Adoramus te. Glorificamus te. Gratias agimus tibi propter magnam gloriam tuam. Domine Deus, Rex caelestis, Deus Pater omnipotens, Domine Fili unigenite, Jesu Christe, Domine Deus, Agnus Dei, Filius Patris, Qui tollis peccata mundi, Miserere nobis; Qui tollis peccata mundi, Suscipe deprecationem nostram; Qui sedes ad dexteram Patris, Miserere nobis. Quoniam tu solus sanctus. Tu solus Dominus. Tu solus altissimus, Jesu Christe. Cum Sancto Spiritu, in gloria Dei Patris. Amen.
Glory be to God on high and on earth peace towards men of good will. We praise Thee. We bless Thee. We worship Thee. We glorify Thee. We give thanks to Thee for Thy great glory. O Lord God, heavenly King, God the Father almighty. O Lord, the only-begotten Son, Jesus Christ. O Lord God, Lamb of God, Son of the Father. Thou that takest away the sins of the world, have mercy upon us. Thou that takest away the sins of the world, receive our prayer. Thou that sittest at the right hand of the Father, have mercy upon us. For Thou only art holy. Thou only art the Lord. Thou only art most high, Jesus Christ. With the Holy Ghost in the glory of God the Father. Amen.
3 First Alleluia Alleluia. Alleluia. Emitte Spiritum tuum et creabuntur: Et renovabis faciem terrae. Alleluia.
Alleluia. Alleluia. Send out your Spirit and they shall be created and you shall renew the face of the earth. Alleluia.
4 Second Alleluia Alleluia. Alleluia. Veni Sancte Spiritus, reple tuorum corda fidelium: et tui amoris in eis ignem accende. Alleluia.
Alleluia. Alleluia. Come, Holy Spirit, fill the hearts of your faithful: and ignite the fire of your love within them. Alleluia.
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Berlin Mass text continued
5 Veni Sancte Spiritus Veni Sancte Spiritus, et emitte Coelitus lucis tuae radium; Veni pater pauperum, veni dator munerum, Veni lumen cordium; Consolator optime, dulcis hospes animae, Dulce refrigerium; In labore requies in aestu temperies, In fletu solatium. O lux beatissima, reple cordis intima Tuorum fidelium. Sine tuo numine nihil est in homine, Nihil est innoxium. Lava quod est sordidum, riga quod est aridum, Sana quod est saucium. Flecte quod est rigidum, fove quod est frigidum, Rege quod est devium. Da tuis fidelibus, in te confidentibus, Sacrum septenarium. Da virtutis meritum, da salutis exitum, Da perenne gaudium. Amen. Alleluia.
Come, Holy Spirit, and give out the heavenly radiance of your light; come, father of the poor, come, giver of gifts, come, light of all hearts; best of comforters, sweet guest of the soul, refreshingly sweet; rest in labour, calm in the storm, solace in weeping. O most blessed light, fill the inmost heart of thy faithful. Without your power there is nothing in a man, nothing is wholesome. Wash what is soiled, water what is parched, heal what is wounded. Bend what is set firm, warm what is cold, rule over what has gone astray. Give to your faithful, who trust in you, your sevenfold gifts. Reward the virtuous, release the rescued, give joy for ever. Amen. Alleluia.
6 Credo Credo in unum Deum, Patrem omnipotentem, Factorem coeli et terrae, Visibilium omnium, et invisibilium. Et in unum Dominum Jesum Christum, Filium Dei unigenitum, Et ex Patre natum ante omnia saecula, Deum de Deo, lumen de lumine, Deum verum de Deo vero, Genitum, non factum, Consubstantialem Patri, Per quem omnia facta sunt. Qui propter nos homines, Et propter nostram salutem, Descendit de caelis, Et incarnatus est de Spiritu Sancto ex Maria Virgine, Et homo factus est. Crucifixus etiam pro nobis. Sub Pontio Pilato Passus, et sepultus est. Et resurrexit tertia die, secundum scripturas. Et ascendit in coelum: Sedet ad dexteram Patris.
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I believe in one God, the Father almighty, maker of heaven and earth, and of all things visible and invisible. And in one Lord Jesus Christ, the only-begotten Son of God. Begotten of his Father before all worlds. God of God, light of light, very God of very God. Begotten, not made, being of one substance with the Father: by whom all things were made. Who for us men, and for our salvation, came down from heaven. And was incarnate by the Holy Ghost of the Virgin Mary; and was made man. And was crucified also for us; under Pontius Pilate, he suffered and was buried. And the third day he rose again, according to the Scriptures. And ascended into heaven: and sitteth on the right hand of the Father.
Et iterum venturus est cum gloria Judicare vivos et mortuos: Cujus regni non erit finis. Et in Spiritum Sanctum, Dominum et vivificantem: Qui ex Patre Filioque procedit. Qui cum Patre, et Filio simul adoratur, Et conglorificatur: Qui locutus est per prophetas; Et unam, sanctam catholicam Et apostolicam ecclesiam. Confiteor unum baptisma in remissionem peccatorum. Et exspecto resurrectionem mortuorum. Et vitam venturi saeculi. Amen.
And he shall come again with glory to judge both the quick and the dead: whose kingdom shall have no end. And I believe in the Holy Ghost, the Lord and giver of life: who proceedeth from the Father and the Son. Who with the Father and the Son together is worshipped and glorified: who spake by the prophets. And I believe in one holy, catholic and apostolic Church. I acknowledge one baptism for the remission of sins. And I look for the resurrection of the dead. And the life of the world to come. Amen.
7 Sanctus Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni sunt caeli et terra gloria tua. Hosanna in excelsis. Benedictus qui venit in nomine Domini. Hosanna in excelsis.
Holy, holy, holy, Lord God of hosts. Heaven and earth are full of Thy glory. Hosanna in the highest. Blessed is he that cometh in the name of the Lord. Hosanna in the highest.
8 Agnus Dei Agnus Dei, qui tollis peccata mundi, Miserere nobis. Agnus Dei, qui tollis peccata mundi, Dona nobis pacem.
Lamb of God, who takest away the sins of the world, have mercy on us. Lamb of God, who takest away the sins of the world, grant us peace.
Next LPO concert at Royal Festival Hall Friday 8 November 2013 | 7.30pm JTI Friday Series The Genius of Film Music 1960–1980 North Cleopatra Symphony Rota The Godfather – A symphonic portrait Waxman The Ride of the Cossacks Herrmann Psycho – A narrative for string orchestra Kaper Mutiny on the Bounty Goldsmith Star Trek – The New Enterprise John Mauceri conductor
Tickets £9–£39 (premium seats £65) London Philharmonic Orchestra Ticket Office 020 7840 4242 Monday–Friday 10.00am–5.00pm lpo.org.uk Transaction fees: £1.75 online, £2.75 telephone
Southbank Centre Ticket Office 0844 847 9920 Daily 9.00am–8.00pm southbankcentre.co.uk Transaction fees: £1.75 online, £2.75 telephone No transaction fee for bookings made in person
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Catalyst: Double Your Donation
The London Philharmonic Orchestra is building its first ever endowment fund, which will support the most exciting artistic collaborations with its partner venues here in London and around the country. Thanks to a generous grant pledge from Arts Council England’s Catalyst programme, the Orchestra is able to double the value of all gifts from new donors up to a maximum value of £1 million. Any additional gifts from existing generous donors will also be matched. By the end of the campaign we aim to have created an endowment with a value of £2 million which will help us work with partners to provide a funding injection for activities across the many areas of the Orchestra’s work, including: • More visionary artistic projects like The Rest Is Noise at Southbank Centre • Educational and outreach activities for young Londoners like this year’s Noye’s Fludde performance project • Increased touring to venues around the UK that might not otherwise have access to great orchestral music To give, call Development Director Nick Jackman on 020 7840 4211, email firstname.lastname@example.org or visit www.lpo.org.uk/support/double-your-donation.html
Catalyst Endowment Donors Masur Circle Arts Council England Emmanuel & Barrie Roman The Sharp Family The Underwood Trust Welser-Möst Circle John Ireland Charitable Trust Tennstedt Circle Simon Robey The late Mr K Twyman Solti Patrons Anonymous Suzanne Goodman The Rothschild Foundation Manon Williams & John Antoniazzi Haitink Patrons Moya Greene Tony and Susie Hayes Lady Roslyn Marion Lyons Diana and Allan Morgenthau Charitable Trust Sir Bernard Rix TFS Loans Limited The Tsukanov Family Foundation Guy & Utti Whittaker
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Pritchard Donors Anonymous Lady Jane Berrill Linda Blackstone Michael Blackstone Jan Bonduelle Richard Brass Britten-Pears Foundation Lady June Chichester Lindka Cierach Mr Alistair Corbett Mark Damazer David Dennis Bill & Lisa Dodd Mr David Edgecombe David Ellen Mr Daniel Goldstein Ffion Hague Rebecca Halford Harrison Michael & Christine Henry Honeymead Arts Trust John Hunter Ivan Hurry Tanya Kornilova Howard & Marilyn Levene Mr Gerald Levin Geoff & Meg Mann
Ulrike Mansel Marsh Christian Trust John Montgomery Rosemary Morgan John Owen Edmund Pirouet Mr Michael Posen John Priestland Ruth Rattenbury Tim Slorick Howard Snell Stanley Stecker Lady Marina Vaizey Helen Walker Laurence Watt Des & Maggie Whitelock Victoria Yanakova Mr Anthony Yolland
We would like to acknowledge the generous support of the following Thomas Beecham Group Patrons, Principal Benefactors and Benefactors: Thomas Beecham Group The Tsukanov Family Foundation Anonymous Simon Robey The Sharp Family Julian & Gill Simmonds Garf & Gill Collins Andrew Davenport Mrs Sonja Drexler David & Victoria Graham Fuller John & Angela Kessler Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Eric Tomsett Guy & Utti Whittaker Manon Williams & John Antoniazzi Principal Benefactors Mark & Elizabeth Adams Jane Attias Lady Jane Berrill Desmond & Ruth Cecil Mr John H Cook David Ellen
Commander Vincent Evans Mr Daniel Goldstein Don Kelly & Ann Wood Peter MacDonald Eggers Mr & Mrs David Malpas Mr Maxwell Morrison Mr Michael Posen Mr & Mrs Thierry Sciard Mr & Mrs G Stein Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Lady Marina Vaizey Howard & Sheelagh Watson Mr Anthony Yolland Benefactors Mrs A Beare Mrs Alan Carrington Mr & Mrs Stewart Cohen Mr Alistair Corbett William and Alex de Winton Mr David Edgecombe Mr Richard Fernyhough Ken Follett Michael & Christine Henry Malcolm Herring Ivan Hurry Mr Glenn Hurstfield
Mr R K Jeha Mr Gerald Levin Sheila Ashley Lewis Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Mr Frank Lim Paul & Brigitta Lock Mr Brian Marsh Andrew T Mills John Montgomery Mr & Mrs Andrew Neill Edmund Pirouet Professor John Studd Mr Peter Tausig Mrs Kazue Turner Mr Laurie Watt Des & Maggie Whitelock Christopher Williams Bill Yoe Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Edmund Pirouet Mrs Jackie Rosenfeld OBE
The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged: Corporate Members
Trusts and Foundations
Silver: AREVA UK British American Business Carter Ruck Thomas Eggar LLP
Angus Allnatt Charitable Foundation Ambache Charitable Trust Ruth Berkowitz Charitable Trust The Boltini Trust Borletti-Buitoni Trust Britten-Pears Foundation The Candide Trust The Ernest Cook Trust The Coutts Charitable Trust The D’Oyly Carte Charitable Trust Dunard Fund Embassy of Spain, Office for Cultural and Scientific Affairs The Equitable Charitable Trust Fidelio Charitable Trust The Foyle Foundation J Paul Getty Junior Charitable Trust The Jeniffer and Jonathan Harris Charitable Trust The Hobson Charity The Idlewild Trust Kirby Laing Foundation The Leverhulme Trust Marsh Christian Trust
Bronze: Lisa Bolgar Smith and Felix Appelbe of Ambrose Appelbe Appleyard & Trew LLP Berkeley Law Charles Russell Leventis Overseas Preferred Partners Corinthia Hotel London Heineken Lindt & Sprüngli Ltd Sipsmith Steinway Villa Maria In-kind Sponsors Google Inc Sela / Tilley’s Sweets
The Mayor of London’s Fund for Young Musicians Adam Mickiewicz Institute The Peter Minet Trust Maxwell Morrison Charitable Trust Musicians Benevolent Fund The Ann and Frederick O’Brien Charitable Trust PRS for Music Foundation The R K Charitable Trust Serge Rachmaninoff Foundation The Samuel Sebba Charitable Trust The David Solomons Charitable Trust The Bernard Sunley Charitable Foundation John Thaw Foundation The Tillett Trust Sir Siegmund Warburg’s Voluntary Settlement Garfield Weston Foundation The Barbara Whatmore Charitable Trust Youth Music and others who wish to remain anonymous
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Board of Directors Victoria Sharp Chairman Stewart McIlwham* President Gareth Newman* Vice-President Richard Brass Desmond Cecil CMG Vesselin Gellev* Jonathan Harris CBE FRICS Dr Catherine C. Høgel Martin Höhmann* George Peniston* Sir Bernard Rix Kevin Rundell* Julian Simmonds Mark Templeton* Natasha Tsukanova Timothy Walker AM Laurence Watt Dr Manon Williams * Player-Director Advisory Council Victoria Sharp Chairman Christopher Aldren Richard Brass Sir Alan Collins KCVO CMG Lord David Curry Andrew Davenport Jonathan Dawson Christopher Fraser OBE Lord Hall of Birkenhead CBE Clive Marks OBE FCA Stewart McIlwham Baroness Shackleton Lord Sharman of Redlynch OBE Martin Southgate Sir Philip Thomas Chris Viney Timothy Walker AM Elizabeth Winter American Friends of the London Philharmonic Orchestra, Inc. Jenny Ireland Co-Chairman William A. Kerr Co-Chairman Kyung-Wha Chung Peter M. Felix CBE Alexandra Jupin Dr. Felisa B. Kaplan Jill Fine Mainelli Kristina McPhee Dr. Joseph Mulvehill Harvey M. Spear, Esq. Danny Lopez Hon. Chairman Noel Kilkenny Hon. Director Victoria Sharp Hon. Director
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Katherine Hattersley Charitable Giving Manager Melissa Van Emden Events Manager Sarah Fletcher Development and Finance Officer Rebecca Fogg Development Assistant
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Photograph of Gubaidulina © ReMusik.com. Photograph of Pärt © Universal Edition AG/Eric Marinitsch.
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