LPO online concert programme: 16 December 2020 - All the World's a Stage (Jurowski)

AUTUMN CONCERT SEASON 2020

IN

THE STREAM OF LIFE PROGRAMME NOTES WEDNESDAY 16 DECEMBER 2020 • 8PM

2019: ALL THE WORLD’S A STAGE J S Bach Brandenburg Concerto No. 5 Brett Dean The Players UK PREMIERE Stravinsky Pulcinella (Ballet in one act) Vladimir Jurowski conductor Pieter Schoeman violin CHAIR SUPPORTED BY NEIL WESTREICH | Juliette Bausor flute Catherine Edwards harpsichord | Bartosz Glowacki accordion Angharad Lyddon mezzo-soprano | Sam Furness tenor | Matthew Rose bass Generously supported by Cockayne – Grants for the Arts and The London Community Foundation.

LONDON PHILHARMONIC ORCHESTRA • 16 DECEMBER 2020

CONTENTS CLICK ON THE HEADINGS TO JUMP TO A SECTION

3 HOW TO WATCH 3 2020 VISION 4 PROGRAMME NOTES: BACH – BRANDENBURG CONCERTO NO. 5 6 PROGRAMME NOTES: DEAN – THE PLAYERS 7 COMPOSER PROFILE: BRETT DEAN 8 PROGRAMME NOTES: STRAVINSKY - PULCINELLA 9–11 TEXT & TRANSLATION: PULCINELLA 12 LONDON PHILHARMONIC ORCHESTRA 13 ON STAGE TONIGHT 14 VLADIMIR JUROWSKI 15–18 TONIGHT’S SOLOISTS 19 NEXT CONCERTS 20 PLAY ON APPEAL 21 SOUND FUTURES DONORS 22 THANK YOU 25 MEMBERSHIPS & DONATIONS 26 CORPORATE PARTNERSHIPS 27 LPO ADMINISTRATION Concert recorded at the Southbank Centre’s Royal Festival Hall on 5 December 2020.

This performance has been made possible through a grant from the Cultural Recovery Fund from the Department of Digital, Culture, Media and Sport. #HereForCulture

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LONDON PHILHARMONIC ORCHESTRA • 16 DECEMBER 2020

HOW TO WATCH TONIGHT’S CONCERT Go to marquee.tv Each concert will be available for 7 days for free, no registration required. To access the full season please subscribe to MarqueeTV and enjoy the LPO collection together with the world’s best opera, dance, theatre and ideas.

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February–December 2020 Tonight’s concert is part of our year-long 2020 Vision series, exploring the journey of music with pioneering works that have defined the sound of the 21st century, alongside music written exactly 100 and 200 years before.

lpo.org.uk/2020vision –3–

LONDON PHILHARMONIC ORCHESTRA • 16 DECEMBER 2020

PROGRAMME NOTES JOHANN SEBASTIAN BACH 1685–1750

BRANDENBURG CONCERTO NO. 5, BWV1050.2 C.1720 – APPROX 26 MINS –

PIETER SCHOEMAN VIOLIN CHAIR SUPPORTED BY NEIL WESTREICH

JULIETTE BAUSOR FLUTE CATHERINE EDWARDS HARPSICHORD 1 ALLEGRO 2 AFFETTUOSO 3 ALLEGRO While we know that Bach finished a sumptuous manuscript of six concertos (for ‘plusieurs instruments’, as he titled it) in March 1721 for presentation to the Margrave of Brandenburg, it is not certain when Bach actually composed these works. The survival of early versions of some pieces suggests that Bach adapted these from a pool of existing works, but others might have been freshly written. His aims in revision and compilation seem to have been to present six entirely disparate examples of the instrumental concerto, a genre which was by no means fixed and which could imply many instrumental combinations. Bach’s tendency to produce encyclopaedic surveys of multiple musical genres was becoming a major compositional habit and his ‘Brandenburg’ collection was closely followed by the first volume of The Well-Tempered Clavier.

The term ‘concerto’ was rather widely used in Bach’s day; he employed it most frequently on the title pages to most of the works we now call ‘cantatas’, as a way of denoting those sacred works in which instruments

and voices participated (‘concerted’) together.

Early definitions of the concerto genre alternatively (and ambiguously) translated the term as ‘agreement’ and ‘disputation’. Nevertheless, this contradiction does give a useful sense of the dynamics of concerto writing: the very differentiation of forces into ‘tutti’ and ‘solo’ groups generates an immediate sense of opposition, but the composer’s task is to render this opposition productive and ‘agreeable’. Thus, although some concertos veer towards the ‘agreement’ model (e.g. Nos. 3 and 6) and others towards the ‘disputation’ model (Nos. 4 and, especially 5), it is perhaps most useful to see both concepts working simultaneously. What gives these concertos their particular fascination is the sense that they are highly structured but, paradoxically, also among the most carefree, joyous and spontaneous works that Bach ever produced. Somehow he manages to evoke a ‘norm’ for each movement – as if the modern Italian concerto genre were more standardised than it actually was – and immediately subverts any expectations that the norm was meant

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LONDON PHILHARMONIC ORCHESTRA • 16 DECEMBER 2020

PROGRAMME NOTES to bring. In all, the genres of Bach’s oeuvre show a fluidity and subtlety that we are still only just appreciating as we come to realise that the textbook is not necessarily the best route to musical appreciation.

fact that, by the early 18th century, the keyboard had been established as the instrument of the composer, the one through which one would normally learn the principles of harmony, and the only one capable of comfortably presenting the entire musical texture.

This fifth concerto presents a more complex hierarchy of players than most – the three soloists must establish their own mutual relationships in addition to their relation to the ensemble as a whole.

These three are a somewhat unlikely group: while the violin is usual enough, the transverse flute was a very new instrument in German orchestras in 1721, an import from the trendsetting court of France.

Most peculiar of all, though, is the appearance of the harpsichord in the solo group: the keyboard was perfectly familiar as a solo instrument, or as a continuo ‘chordfiller’ within an orchestral texture, but was quite new as a concerto soloist. The comparatively thin tone of the instrument doubtlessly rendered it unsuitable to carry a solo line, but the construction of larger instruments, and, particularly the court’s well-documented acquisition of a large harpsichord from Michael Mietke of Berlin in 1719, might well have accounted for Bach’s groundbreaking experiment.

The second movement is a trio for the three solo instruments alone – the point at which the concerto genre comes closest to the sonata. This scoring does not seem so unusual when it is considered that the majority of Bach’s concertos were almost certainly originally performed with only a single instrument on each line: in other words, every instrument is, in a sense, a soloist. The final movement is an exceedingly vivacious gigue, which presents both a ritornello form and a large-scale da capo of the opening section. The keyboard is considerably better-behaved than in the first movement, sharing out the solo sections with the other instruments.

Nevertheless, it still has the fastest note-values.

The keyboard is hardly coy in its first appearance within a concerted context; it is accorded the most virtuosic writing, quite often dominating the texture of the other two instruments. Nevertheless, it does not, initially, have significantly more thematic material, so its exuberance barely affects the fairly standard course of the piece. However, in the closing minutes of the first movement, the harpsichord takes over entirely, presenting a frenzied cadenza that all but forsakes the principal motives and melodies. Only at the last minute does the opening ritornello return to restore order. Several interpretations of this state of affairs are possible: one theory (from Susan McClary) suggests that the keyboard, as normally the ‘servant’ of the other, solo instruments, overthrows the existing hierarchy. Michael Marissen suggests that this might rather reflect Bach’s belief that all humans are created equal under God and that even established earthly orders are only temporary. In terms of the experience of this movement, it might stir up a fevered desire for closure, something which has been continually frustrated throughout the course of the movement. There is also the obvious historical

Programme note © John Butt

J S Bach

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LONDON PHILHARMONIC ORCHESTRA • 16 DECEMBER 2020

PROGRAMME NOTES BRETT DEAN BORN 1961

THE PLAYERS FOR ACCORDION AND ORCHESTRA (2018/19) – UK PREMIERE APPROX 20 MINS

BARTOSZ GLOWACKI ACCORDION I PRELUDE II LOOK, LOOK! LOOK WHERE MY ABRIDGEMENT COMES! III FANFARE. THE PLAYERS ARRIVE. IV PANTOMIME V POSTLUDE Among the first sketches for the opera Hamlet that I wrote together with librettist Matthew Jocelyn between 2013 and 2016 were various ideas for solo accordion. We had agreed that this instrument would be the perfect musical on-stage accompaniment for the scenes featuring a group of travelling theatrical players. Their performance of a specially modified text before the assembled court in the middle of Shakespeare’s play convinces Hamlet of the guilt of his uncle, Claudius, of his father’s murder. It thereby serves as a significant catalyst for the work’s tragic denouement.

It was always my intention to create some form of solo work for James from this material, and what emerged is The Players, a 20-minute concerto with mid-sized orchestra that revisits the players’ scenes from the first act of our Hamlet opera in a suite of five connected movements. Alongside a reworking of the music for the players’ largely mimed performance of The Murder of Gonzago, this concerto features newly-composed opening and closing sections that further explore the material.

I discussed these sketches at length with Scottishborn accordion virtuoso James Crabb, who was eventually to join the cast for the opera’s first season and who brought this travelling minstrel vividly to life at the premiere at Glyndebourne in 2017, which Vladimir Jurowski conducted with the London Philharmonic Orchestra and which later won both the 2018 South Bank Sky Arts Award and International Opera Award for Best New Opera.

James and I premiered the work together with the Swedish Chamber Orchestra in February 2019 and it will feature on a forthcoming CD with them. Due to the current COVID-19 restrictions on international travel to and from Australia where James lives, he is unfortunately unable to join Vladimir Jurowski and the LPO for this UK premiere of the work; however we are indebted to Bartosz Glowacki for his appearance as the ‘theatrical one-man-band’.

Brett Dean, December 2020

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LONDON PHILHARMONIC ORCHESTRA • 16 DECEMBER 2020

COMPOSER PROFILE BRETT DEAN LPO COMPOSER-IN-RESIDENCE

© Bettina Stoess

won the Grawemeyer Award for his violin concerto The Lost Art of Letter Writing, and in 2016 he was awarded the Don Banks Music Award by Australia Council, acknowledging his sustained and significant contribution to Australia’s musical scene.

Australian composer Brett Dean became the LPO’s Composer-in-Residence for three years from September 2020. The Orchestra worked closely with Dean on his opera Hamlet, which was premiered in June 2017 at Glyndebourne Festival Opera to great acclaim, winning both the 2018 South Bank Sky Arts Award and International Opera Award for Best New Opera. During his LPO residency he also takes on the role of Composer Mentor to the LPO Young Composers Programme, providing guidance and expertise to the five rising stars, and will conduct their annual Debut Sounds showcase.

Brett Dean studied in his hometown, Brisbane, before moving to Germany in 1984, where he was a member of the Berlin Philharmonic’s viola section for 14 years. He began composing in 1988, initially concentrating on experimental film and radio projects and as an improvising performer. His reputation as a composer continued to develop, and it was through works such as his clarinet concerto Ariel’s Music (1995), which won an award from the UNESCO International Rostrum of Composers, and Carlo (1997) for strings, sampler and tape, inspired by the music of Carlo Gesualdo, that he gained international recognition. In 2009 Dean

Dean enjoys a busy performing career as a violist and conductor. His imaginative conducting programmes usually centre around his own works combined with other composers: highlights include his appointment as Creative Chair at the Tonhalle-Orchester Zürich in 2017/18, and projects with the BBC Symphony, BBC Philharmonic, Los Angeles Philharmonic, Toronto Symphony, Melbourne Symphony, Sydney Symphony, Gothenburg Symphony, Concertgebouw, Tonkünstler and Stuttgart orchestras, and as Artistin-Residence with the Swedish Chamber Orchestra.

Recent highlights include the world premiere of Dean’s Piano Concerto Gneixendorfer Musik – eine Winterreise for Jonathan Biss, premiered by the Swedish Radio Symphony Orchestra in February 2020; Dean conducted the French premiere with the Orchestre National de Lyon in October 2020.

In November 2019 the opera Hamlet received its German premiere at Cologne Opera, and the US premiere is planned at the Metropolitan Opera in 2022.

Brett Dean’s music has been recorded for BIS, Chandos, Warner Classics, ECM Records and ABC Classics. Highlights include a BIS release in 2016 of works including Shadow Music, Testament, Short Stories and Etudenfest performed by the Swedish Chamber Orchestra conducted by Dean; his Viola Concerto has also been released on BIS with the Sydney Symphony Orchestra. The DVD of Hamlet was released by Glyndebourne in June 2018 and won a Gramophone Award in 2019.

Profile © Boosey & Hawkes/Intermusica.

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LONDON PHILHARMONIC ORCHESTRA • 16 DECEMBER 2020

PROGRAMME NOTES IGOR STRAVINSKY 1882–1971

PULCINELLA BALLET IN ONE ACT AFTER PERGOLESI (1919/20) – APPROX 37 MINS –

ANGHARAD LYDDON MEZZO-SOPRANO SAM FURNESS TENOR MATTHEW ROSE BASS 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.

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 movements that make up the ballet.

Programme note © Jo Kirkbride

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LONDON PHILHARMONIC ORCHESTRA • 16 DECEMBER 2020

TEXT & TRANSLATION PULCINELLA 1 Ouverture: Allegro moderato (Gallo: Trio Sonata I, 1st movement) 2

Serenata: Larghetto (Pergolesi: ll Flaminio. Act I. Polidoro – Tenor) Mentre l'erbetta pasce l'agnella, sola soletta la pastorella tra fresche frasche per la foresta cantando va.

While on the grass the lamb grazes alone, alone the shepherdess amid the green leaves through the forest goes singing.

3 Scherzino (Gallo: Trio Sonata II, 1st movement) 4

Allegro (Gallo: Trio Sonata II, 3rd movement)

5

Andantino (Gallo: Trio Sonata VIII, 1st movement)

6

Allegro (Pergolesi: Lo frate ‘nnammorato. Act I. Vanella)

7

Ancora poco meno (Pergolesi: Cantata: Luce degli occhi miei – Soprano) Contento forse vivere nel mio martir potrei, se mai potessi credere che ancor lontan, tu sei fedele all’amor mio, fedele a questo cor.

Content perhaps to live In my torment I might be If I ever could believe That, still far away, you were Faithful to my love, Faithful to this heart.

8

Allegro assai (Gallo: Trio Sonata III, 3rd movement)

9

Allegro (Pergolesi: II Flaminio. Act I. Bastiano – Bass) Con queste paroline così saporitine il cor voi mi scippate dalla profondità.

Bella, restate quà, che se più dite appresso io cesso morirò.

Cosi saporitine con queste paroline il cor voi mi scippate, morirò, morirò.

With these little words So sweet You rend my heart To the depths.

Fair one, stay here, Since if you say more I must die.

With such sweet Little words You rend my heart I shall die, I shall die.

Continued overleaf –9–

LONDON PHILHARMONIC ORCHESTRA • 16 DECEMBER 2020

TEXT & TRANSLATION PULCINELLA CONTINUED 10 Largo (Pergolesi: Lo frate ‘nnamorato. Act III. Nina, Ascanio, Vanella – Soprano, tenor, bass) Soprano, tenor, bass: Sento dire no’ncè pace.

Sento dire no’ncè cor, ma’ cchiù pe’ tte, no, no, no’ncè carma cchiù pe’ tte.

I hear say there is no peace I hear say there is no heart, For you, ah, no, never, There is no peace for you.

Tenor Chi disse ca la femmena se cchiù de farfariello disse la verità, disse la verità.

Whoever says that a woman Is more cunning than the Devil Tells the truth.

11 Allegro (Pergolesi: Lo frate ‘nnamorato. Act II. Soprano, tenor) Soprano: Ncè sta quaccuna po’ che a nullo vuole bene e a cciento ‘nfrisco tene schitto pe’ scorcoglia’, e ha tant’antre malizie chi mai le ppò conta’.

There are some women Who care for none And keep a hundred on a leash, A shabby trick, And have so many wiles That none can count them.

Tenor: Una te fa la zemprece ed è malezeosa, ‘n’antra fa la schefosa e bo’ lo maretiello, Chi a chillo tene ‘ncore e ha tant’antre malizie chi mai le ppò conta’. e lo sta a rrepassa’.

One pretends to be innocent And is, and is cunning Another seems all modesty Yet seeks a husband, One clings to a man And has so many wiles That none can count them, None can number them.

12 Presto (Pergolesi: Lo frate ‘nnamorato. Act II. Tenor) Una te fa la zemprece ed è malezeosa, ‘n’antra fa la schefosa e bo’ lo maretiello.

Ncè stà quaccuno po’ chi a nullo udetene chia chillo tene’ncore, e a chisto fegne amore e a cciento ‘nfrisco tene schitto pe’ scorcoglia’, e a tant’antre malizie chi maie le opò conta’.

One pretends to be innocent And is, and is cunning Another seems all modesty Yet seeks a husband, There are some Who care, listen, for none.

Who cling to a man And who flirt with another And have a hundred on a leash A shabby trick, And have so many wiles That none can count them.

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LONDON PHILHARMONIC ORCHESTRA • 16 DECEMBER 2020

TEXT & TRANSLATION PULCINELLA CONTINUED 13 Largo (Pergolesi: Lo frate ‘nnamorato. Act II) 14 Allegro alla breve (Gallo: Trio Sonata VII, 3rd movement) 15 Tarantella: Allegro moderato (Wassenaer: Concerto II/Chelleri: Concertino VI) 16 Andantino (Parisotti: Canzona – Soprano) Se tu m’ami, se tu sospiri sol per me, gentil pastor, ho dolor de’ tuoi martiri ho diletto del tuo amor, ma se pensi che soletto io ti debba riamar, Pastorello, sei soggetto facilmente a t’ingannar.

Bella rosa porponna oggi Silvia sceglierà con la scusa della spina doman poi la sprezzerà.

Ma degli uomini il consiglio io per me non seguirò.

Non perchè mi piace il giglio gli altri fiori sprezzerò.

If you love me, if you sigh For me alone, gentle shepherd, I have pain in your suffering, I have pleasure in your love, But if you think that you alone I should love in return, Shepherd, you are easily To be deceived.

A fair red rose Today Silvia picks, But pleading its thorn Tomorrow she spurns it.

But the plans of men I will not follow.

Because the lily pleases me, I will not spurn other flowers.

17 Allegro (Monza: Harpsichord Suite No. 1) 18 Gavotta: Allegro moderato (Monza: Harpsichord Suite No. 3)

Variazione Ia: Allegretto Variazione IIa: Allegro piri tosto moderato

19 Vivo (Pergolesi: Sinfonia for cello and basso) 20 Tempo di minué (Pergolesi: Lo frate ‘nnamorato. Act I. Don Pietro – Soprano, tenor, bass) Pupillette, fiammette d’amore, per voi il core struggendo si va.

Sweet eyes, bright with love, For you my heart languishes.

21 Allegro assai (Gallo: Trio Sonata XII, 3rd movement)

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LONDON PHILHARMONIC ORCHESTRA • 16 DECEMBER 2020

LONDON PHILHARMONIC ORCHESTRA

© Benjamin Ealovega

PRINCIPAL CONDUCTOR AND ARTISTIC ADVISOR VLADIMIR JUROWSKI PRINCIPAL CONDUCTOR DESIGNATE EDWARD GARDNER SUPPORTED BY MRS CHRISTINA LANG ASSAEL PRINCIPAL GUEST CONDUCTOR KARINA CANELLAKIS • LEADER PIETER SCHOEMAN SUPPORTED BY NEIL WESTREICH ARTISTIC DIRECTOR CRISTINA ROCCA • CHIEF EXECUTIVE DAVID BURKE • PATRON HRH THE DUKE OF KENT KG

One of the finest orchestras on the international stage, the London Philharmonic Orchestra was founded in 1932 by Sir Thomas Beecham. Since then, its Principal Conductors have included Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. In 2007 Vladimir Jurowski became the Orchestra’s current Principal Conductor. Edward Gardner is Principal Conductor Designate, and will take up the position from 2021.

The London Philharmonic Orchestra has performed at Southbank Centre’s Royal Festival Hall since it opened in 1951, becoming Resident Orchestra in 1992. It also has residencies at Glyndebourne and in Brighton, Eastbourne and Saffron Walden, and performs regularly around the UK. The Orchestra also tours internationally, performing to audiences worldwide.

The Orchestra broadcasts regularly on television and radio, and has recorded soundtracks for numerous films including The Lord of the Rings. In 2005 it began releasing live, studio and archive recordings on its own CD label, which now numbers over 100 releases.

The Orchestra’s work at the forefront of digital technology has enabled it to reach millions of people worldwide: all its recordings are available to download and stream and, as well as a YouTube channel and podcast series, the Orchestra has a lively presence on social media. Over the pandemic period the LPO has sustained its relationship with UK and international audiences through ‘LPOnline’, reaching many thousands of people. From initial individual player performances recorded at home, to online engagement intitiatives such as its wellbeing strand Lean In and Listen, the Orchestra progressed over time to larger-scale split-screen performances, before finally being able to play together in small chamber groups for the free LPO Summer Sessions from Henry Wood Hall, as well as small-scale outdoor performances at Glyndebourne. This autumn the Orchestra returns at last to its Royal Festival Hall home to perform 13 fulllength concerts filmed live and streamed for audiences to enjoy at home via Marquee TV. lpo.org.uk

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LONDON PHILHARMONIC ORCHESTRA • 16 DECEMBER 2020

ON STAGE TONIGHT FIRST VIOLINS Pieter Schoeman* LEADER Chair supported by Neil Westreich

Vesselin Gellev SUB-LEADER Kate Oswin Lasma Taimina

Chair supported by Irina Gofman & Mr Rodrik V. G. Cave

Minn Majoe Katalin Varnagy

Chair supported by Sonja Drexler

Yang Zhang

Chair supported by Eric Tomsett

Martin Höhmann Thomas Eisner

DOUBLE BASSES Kevin Rundell* PRINCIPAL Sebastian Pennar CO-PRINCIPAL Hugh Kluger George Peniston FLUTES Juliette Bausor PRINCIPAL Katie Bedford GUEST PRINCIPAL Stewart McIlwham* PICCOLO Stewart McIlwham* PRINCIPAL

SECOND VIOLINS Tania Mazzetti PRINCIPAL

OBOES Ian Hardwick* PRINCIPAL Alice Munday

Helena Smart Nancy Elan Kate Birchall Fiona Higham

CLARINETS Benjamin Mellefont PRINCIPAL Thomas Watmough

Chair supported by Countess Dominique Loredan

Chair supported by David & Yi Buckley

Ashley Stevens Marie-Anne Mairesse

VIOLAS David Quiggle PRINCIPAL Richard Waters CO-PRINCIPAL Ting-Ru Lai Benedetto Pollani Katharine Leek Laura Vallejo CELLOS Kristina Blaumane PRINCIPAL

Chair supported by Bianca & Stuart Roden

Pei-Jee Ng CO-PRINCIPAL Francis Bucknall David Lale Laura Donoghue

Chair supported by Roger Greenwood

Paul Richards*

BASS CLARINET Paul Richards* PRINCIPAL BASSOONS Jonathan Davies PRINCIPAL Chair supported by Sir Simon Robey

Gareth Newman Simon Estell*

CONTRABASSOON Simon Estell* PRINCIPAL HORNS John Ryan* PRINCIPAL Mark Vines PRINCIPAL Martin Hobbs

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TRUMPETS Paul Beniston* PRINCIPAL James Fountain* PRINCIPAL Anne McAneney* TROMBONE Mark Templeton* PRINCIPAL

Chair supported by William & Alex de Winton

TIMPANI Simon Carrington* PRINCIPAL Chair supported by Victoria Robey OBE

PERCUSSION Andrew Barclay* PRINCIPAL Chair supported by Andrew Davenport

Keith Millar

PIANO/HARPSICHORD Catherine Edwards * Holds a professorial appointment in London The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Friends of the Orchestra Dr Barry Grimaldi Caroline, Jamie & Zander Sharp

LONDON PHILHARMONIC ORCHESTRA • 16 DECEMBER 2020

TONIGHT'S ARTISTS VLADIMIR JUROWSKI PRINCIPAL CONDUCTOR & ARTISTIC ADVISOR

(2005–09), and Music Director of Glyndebourne Festival Opera (2001–13).

© Chris Christodoulou

Vladimir enjoys close relationships with the world’s most distinguished artistic institutions, collaborating with many of the world’s leading orchestras including the Chamber Orchestra of Europe, the Royal Concertgebouw Orchestra, the Staatskapelle Dresden, the Gewandhausorchester Leipzig, the Cleveland and Philadelphia orchestras, the New York Philharmonic and the Chicago and Boston symphony orchestras, and has also conducted the Berlin and Vienna Philharmonic orchestras.

A committed operatic conductor, Vladimir’s recent highlights include Strauss’s Die Frau ohne Schatten at the Metropolitan Opera, New York; Wozzeck at the Salzburg Festival; Moses und Aron at the Komische Oper Berlin; his acclaimed debut at the Bayerische Staatsoper with Prokofiev’s The Fiery Angel; and his first return to Glyndebourne as a guest conductor, in the world premiere production of Brett Dean’s Hamlet with the London Philharmonic Orchestra.

One of today’s most sought-after conductors, acclaimed worldwide for his incisive musicianship and adventurous artistic commitment, Vladimir Jurowski was appointed Principal Conductor of the London Philharmonic Orchestra in 2007, following four seasons as Principal Guest Conductor. In September 2021, when his tenure concludes, he will become the Orchestra’s Conductor Emeritus in recognition of his transformative time with the LPO – over the last 13 years his creative energy and artistic rigour have been central to the Orchestra’s success.

Vladimir Jurowski will take up the position of General Music Director of the Bayerische Staatsoper, Munich from the 2021/22 season. He is currently Chief Conductor and Artistic Director of the Berlin Radio Symphony Orchestra. In addition, he holds the titles of Principal Artist of the Orchestra of the Age of Enlightenment, Artistic Director of the Russian State Academic Symphony Orchestra, and Artistic Director of the George Enescu International Festival, Bucharest. He has previously held the positions of First Kapellmeister of the Komische Oper Berlin (1997–2001), Principal Guest Conductor of the Teatro Comunale di Bologna (2000–03), Principal Guest Conductor of the Russian National Orchestra

The London Philharmonic Orchestra has released a wide selection of Vladimir Jurowski’s live recordings with the Orchestra on its own label, including the complete symphonies of Brahms and Tchaikovsky; Mahler’s Symphonies Nos. 1, 2 & 4; and works by Shostakovich, Stravinsky, Beethoven, Rachmaninoff, Strauss, Mozart, Vaughan Williams, Julian Anderson and, most recently, Vladimir Martynov’s Utopia.

In 2017 the Orchestra released a 7-CD box set of Jurowski’s LPO recordings in celebration of his 10th anniversary as Principal Conductor: see full details at lpo.org.uk/recordings Vladimir Jurowski returns to the LPO for a third streamed concert on Wednesday 30 December: see page 19 for details.

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LONDON PHILHARMONIC ORCHESTRA • 16 DECEMBER 2020

TONIGHT'S ARTISTS PIETER SCHOEMAN

JULIETTE BAUSOR

VIOLIN • LEADER

FLUTE

© Benjamin Ealovega

© Benjamin Ealovega

CHAIR SUPPORTED BY NEIL WESTREICH

Pieter Schoeman was appointed Leader of the London Philharmonic Orchestra in 2008, having previously been Co-Leader since 2002. He is also a Professor of Violin at Trinity Laban Conservatoire of Music & Dance.

Juliette Bausor joined the London Philharmonic Orchestra in July 2016 as Principal Flute, having previously held the same position with both Royal Northern Sinfonia and London Mozart Players.

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 London’s Royal Festival Hall.

As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. His chamber music partners have included Anne-Sophie Mutter, Veronika Eberle, Patricia Kopatchinskaja, Boris Garlitsky, Jean-Guihen Queyras, Yannick Nézet-Séguin and Martin Helmchen.

Also a member of the celebrated chamber group Ensemble 360, Juliette is regularly invited to perform at major venues and festivals, including frequent Wigmore Hall and Southbank appearances and performances at the Edinburgh, Cheltenham and Aldeburgh International Festivals and the BBC Proms.

Pieter has performed numerous times as a soloist with the London Philharmonic Orchestra. Highlights have included an appearance as both conductor and soloist in Vivaldi’s Four Seasons at the Royal Festival Hall, the Brahms Double Concerto with Kristina Blaumane, and the Britten Double Concerto with Alexander Zemtsov, which was recorded and released on the LPO Label to great critical acclaim.

Pieter has appeared as Guest Leader with the BBC, Barcelona, Bordeaux, Lyon and Baltimore symphony orchestras, and the Rotterdam and BBC Philharmonic orchestras.

Following early recognition in competitions – including reaching the Final of the BBC Young Musician of the Year and winning the Gold Medal in both the Shell LSO Competition and the Royal Over-Seas League Competition – Juliette has performed as a concerto soloist with the London Symphony Orchestra, Ulster Orchestra, Academy of St Martin in the Fields, European Union Chamber Orchestra, Royal Northern Sinfonia and London Mozart Players. In 2014 she was selected by the European Concert Hall Organisation as one of its Rising Stars, which led to solo engagements in some of Europe’s most prestigious concert venues.

Juliette features as the soloist on the 2019 LPO Label recording of Mozart’s Flute Concerto No. 2, alongside other Mozart wind concertos performed by LPO Principals under Vladimir Jurowski (LPO-0114).

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LONDON PHILHARMONIC ORCHESTRA • 16 DECEMBER 2020

TONIGHT'S ARTISTS BARTOSZ GLOWACKI

HARPSICHORD

ACCORDION

Catherine Edwards pursues a varied career as pianist, organist and harpsichordist, performing, broadcasting and recording as a chamber pianist, accompanist, orchestral musician and soloist. She is the principal keyboard player with the London Philharmonic Orchestra and the City of London Sinfonia, and plays regularly with the London Symphony Orchestra, with whom she has appeared as soloist on several occasions.

Bartosz Glowacki is one of the leading lights of a new generation of accordionists. His artistic goal is to continue to improve awareness of the accordion in classical music, as well as to develop a new repertoire for his instrument. In 2016 he graduated from London’s Royal Academy of Music with honours and received the Regency Award. Winner of numerous competitions, he was awarded the Polish Young Musician of the Year in 2009 and represented Poland at the Eurovision Young Musicians Competition in Vienna.

© Michele Frank

CATHERINE EDWARDS

Catherine’s chamber music experience with groups such as Capricorn, the Nash Ensemble, Endymion and Composers’ Ensembles includes standard and contemporary repertoire and she has worked closely with composers such as Boulez, Berio, Steve Reich and John Adams.

Solo performances include recordings and appearances in London’s concert halls, as well as at the BBC Proms and in international festivals.

Bartosz has performed as a soloist in prestigious venues including Wigmore Hall, the Royal Festival Hall, the Royal Albert Hall and the Barbican. Founder of the Deco Ensemble, he has worked with renowned artists from various musical worlds such as Nigel Kennedy, Trevor Pinnock, the Atom String Quartet, Tanita Tikaram, the Manchester Collective, Lizzie Ball and Gabriella Swallow. He also works regularly with musical institutions including the London Symphony Orchestra, Royal Philharmonic Orchestra, London Sinfonietta, Chroma Ensemble, the National Theatre and the Royal Opera House. He was selected to be part of the ‘Open Space’ residency at Snape Maltings in 2016.

Bartosz plays an accordion by Pigini (Sirius Millennium model), and he would like to thank the City Music Foundation and and the Zygmunt Zaleski Stichting for their financial and artistic support.

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LONDON PHILHARMONIC ORCHESTRA • 16 DECEMBER 2020

TONIGHT'S ARTISTS SAM FURNESS

MEZZO-SOPRANO

TENOR

© A P Wilding

© Maximilian van London

ANGHARAD LYDDON

Welsh mezzo-soprano Angharad Lyddon studied at the Royal Academy of Music. She made her professional debut for English National Opera in 2015 as Kate in The Pirates of Penzance, and performed the role again in their 2017 revival. She sang Daughter of Akhnaten in Philip Glass’s Akhnaten for the company in 2019.

Other roles include Flosshilde in Das Rheingold for Grimeborn Festival, Olga in Eugene Onegin for Buxton Festival Opera, Hansel in Iford Arts’ Gingerbread, Julia Bertram in Mansfield Park for The Grange Festival, and Dritte Dame in Die Zauberflöte at the Åbo Svenska Theater in Finland.

Previous engagements with the London Philharmonic Orchestra include Stravinsky’s The Faun and the Shepherdess (February 2018) and Requiem Canticles (November 2018), both at the Royal Festival Hall under Vladimir Jurowski. Other recent concert highlights are ‘Beethoven: The 1808 Concert’ with the BBC National Orchestra of Wales and Welsh National Opera Orchestra; a St David’s Day concert with BBC NOW; a three-concert tour of Mendelssohn’s Elijah in Cardiff, St. Davids and Berlin; Mozart’s Requiem at Windsor Castle; Bach Cantatas with Sir John Eliot Gardiner; and Handel’s Messiah at the Royal Albert Hall.

Angharad was a Finalist in the 2019 BBC Cardiff Singer of the World Competition Song Prize, where she represented Wales.

Described as having ‘all the makings of a star’ by The Guardian and ‘a lyric tenor clearly going places’ by Opera magazine, Sam Furness has sung major roles for companies across the UK and further afield, earning praise for his compelling acting and innate musicality.

In the 2020/21 season he makes his house debut at the Grand Théâtre de Genève (Vitek in The Makropoulos Case) and returns to Garsington Opera (Lensky in Eugene Onegin). He also sings Ferdinand in Thomas Adès’s The Tempest with Britten Sinfonia at the Barbican.

Recent highlights include his house and role debut at the Opernhaus Zürich (Albert Gregor in The Makropoulos Case); his house debut at the Royal Opera House, Covent Garden (Novice in Billy Budd, with subsequent engagements as White King/Mad Hatter in Gerald Barry’s Alice’s Adventures Under Ground, Glass Maker in Death in Venice and Simpleton in Boris Godunov); his house debut at the Theater an der Wien (Rodolphe in Guillaume Tell); Narraboth in Salome for the Turku Music Festival; Der Kavalier in Hindemith’s Cardillac for Vlaanderen Opera; and Flamand in Capriccio and Gaspar in the world premiere of David Sawer’s The Skating Rink for Garsington Opera.

Sam made his London Philharmonic Orchestra debut in December 2018, when he stepped in at short notice as a soloist in Stravinsky’s Threni at the Royal Festival Hall under Vladimir Jurowski.

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LONDON PHILHARMONIC ORCHESTRA • 16 DECEMBER 2020

TONIGHT'S ARTISTS MATTHEW ROSE

© Lena Kern

BASS

Matthew Rose studied at the Curtis Institute of Music before becoming a member of the Young Artist Programme at the Royal Opera House, Covent Garden.

In 2006 he made an acclaimed debut at Glyndebourne Festival Opera as Bottom in Britten’s A Midsummer Night’s Dream, for which he received the John Christie Award, and he has since performed at opera houses throughout the world.

He has sung under the batons of Colin Davis, Gustavo Dudamel, Andrew Davis, Vladimir Jurowski, Charles Mackerras, Yannick Nézet-Seguin and Antonio Pappano and is a critically acclaimed recording artist, winning a Grammy Award for Ratcliffe in Britten’s Billy Budd. Other recordings include Schubert’s Winterreise with pianist Gary Matthewman and Schwanengesang with Malcolm Martineau (Stone Records).

Previous engagements with the LPO include Mahler’s Symphony No. 8 (April 2017), Fasolt in Wagner’s Das Rheingold (January 2018), and Nick Shadow in Stravinsky’s The Rake’s Progress (November 2018), all under Vladimir Jurowski at the Royal Festival Hall Highlights of the 2020/21 season include Beethoven’s Symphony No. 9 with the Orchestre Philharmonique de Radio France and Vasily Petrenko, and Jesus in Bach’s St Matthew Passion in Helsinki with Topi Lehtipuu. On the operatic stage Matthew sings Gremin (Eugene Onegin) for Garsington Opera.

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LONDON PHILHARMONIC ORCHESTRA • 16 DECEMBER 2020

NEXT ONLINE CONCERTS WATCH ONLINE VIA

To watch, just head to marquee.tv Each concert will be available for 7 days for free, no registration required. To access the full season please subscribe to MarqueeTV and enjoy the LPO collection together with the world’s best opera, dance, theatre and ideas.

Details of how to subscribe and start your free trial at marquee.tv/freetrial

SATURDAY 19 DECEMBER 8PM MARQUEE TV February–December 2020

CHRISTMAS at CLARIDGE’S

lpo.org.uk/2020vision WEDNESDAY 30 DECEMBER 2020 8PM | MARQUEE TV 2020: INTERRUPTED STORIES Vivaldi Overture, La verità in cimento Spohr Symphony No. 2 Honegger Pastorale d’été Bliss Rout James MacMillan Sinfonietta

MEMBERS OF THE

LONDON PHILHARMONIC ORCHESTRA & CHOIR NEVILLE CREED

CONDUCTOR

Vladimir Jurowski conductor Mary Bevan soprano

MEMBERS OF THE LPO BRASS SECTION AND THE LONDON PHILHARMONIC CHOIR PERFORM A SELECTION OF CHRISTMAS CAROLS AND SEASONAL CLASSICS. THIS CONCERT WAS SPECIALLY FILMED AT CLARIDGE’S HOTEL IN THE HEART OF LONDON’S MAYFAIR, AGAINST THE BACKDROP OF THEIR WORLD-RENOWNED MAGNIFICENT CHRISTMAS TREE.

Mary Bevan © Victoria Cadisch

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PLAY ON APPEAL HELP US CONTINUE TO SHARE THE WONDER OF MUSIC WITH EVERYONE Whether you are a seasoned concert-goer or new to orchestral music, we are delighted to present our autumn season of concerts, on Marquee TV, free of charge for everyone for the first seven days of broadcast.

As you enjoy this performance please consider, if you are able, making a donation to support the Orchestra.

The LPO has always been an orchestra of the people, for the people, and is driven by an inclusive spirit. Despite facing an uncertain future because of the ongoing devastating impact of the COVID-19 pandemic, we are committed to sharing as much music as possible: to delivering world-class performances to global audiences; to inspiring school students of all ages at our BrightSparks concerts and recordings; to nurturing a fully-inclusive next generation of talented instrumentalists and composers; and to enriching the lives of disadvantaged people and people with disabilities of all ages through the power of music.

We may be back on stage, but with the doors to our concerts sadly closed and with no box office income, it is only with your help that we can continue to provide these concerts and our vital Education and Community Programme. With the help of our generous supporters we have made great progress back to the concert platform and are another step closer to returning as the Orchestra you know and love. With your help we will still be here when the time comes to throw our open our doors and welcome you back into the hall to be inspired, moved, challenged and uplifted by the music of the London Philharmonic Orchestra.

Thank you to everyone who has supported our Play On Appeal so far. It is with your kind support that we have been able to build back the Orchestra to return to the concert platform for our autumn season.

HELP US PLAY ON To make a donation visit lpo.org.uk/donate or call Rosie Morden, Individual Giving Manager, on 020 7840 4212

LONDON PHILHARMONIC ORCHESTRA • 16 DECEMBER 2020

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 Welser-Möst Circle William & Alex de Winton John Ireland Charitable Trust The Tsukanov Family Foundation Neil Westreich Tennstedt Circle Valentina & Dmitry Aksenov Richard Buxton The Candide Trust Michael & Elena Kroupeev Kirby Laing Foundation Mr & Mrs Makharinsky Alexey & Anastasia Reznikovich Sir Simon Robey Bianca & Stuart Roden Simon & Vero Turner The late Mr K Twyman Solti Patrons Ageas John & Manon Antoniazzi Gabor Beyer, through BTO Management Consulting AG Jon Claydon Mrs Mina Goodman & Miss Suzanne Goodman Roddy & April Gow The Jeniffer & Jonathan Harris Charitable Trust Mr James R.D. Korner Christoph Ladanyi & Dr Sophia LadanyiCzernin Robert Markwick & Kasia Robinski The Maurice Marks Charitable Trust Mr Paris Natar The Rothschild Foundation Tom & Phillis Sharpe The Viney Family

Haitink Patrons Mark & Elizabeth Adams Dr Christopher Aldren Mrs Pauline Baumgartner Lady Jane Berrill Mr Frederick Brittenden David & Yi Yao Buckley Mr Clive Butler Gill & Garf Collins Mr John H Cook Mr Alistair Corbett Bruno De Kegel Georgy Djaparidze David Ellen Christopher Fraser OBE David & Victoria Graham Fuller Goldman Sachs International Mr Gavin Graham Moya Greene Mrs Dorothy Hambleton Tony & Susie Hayes Malcolm Herring Catherine Høgel & Ben Mardle Mrs Philip Kan Rehmet Kassim-Lakha de Morixe Rose & Dudley Leigh Lady Roslyn Marion Lyons Miss Jeanette Martin Duncan Matthews QC Diana & Allan Morgenthau Charitable Trust Dr Karen Morton Mr Roger Phillimore Ruth Rattenbury The Reed Foundation The Rind Foundation Sir Bernard Rix David Ross & Line Forestier (Canada) 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

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

LONDON PHILHARMONIC ORCHESTRA • 16 DECEMBER 2020

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 Anonymous donors Mrs Aline Foriel-Destezet Mrs Christina Lang Assael Sir Simon & Lady Robey OBE Orchestra Circle The Candide Trust William & Alex de Winton Mr & Mrs Philip Kan Neil Westreich Principal Associates Richard Buxton In memory of Brenda Lyndoe Casbon In memory of Ann Marguerite Collins Hamish & Sophie Forsyth The Tsukanov Family Associates An anonymous donor Steven M. Berzin Irina Gofman & Mr Rodrik V. G. Cave Gill & Garf Collins Countess Dominique Loredan Mr & Mrs Makharinsky George Ramishvili Stuart & Bianca Roden Julian & Gill Simmonds In memory of Hazel Amy Smith Deanie & Jay Stein Gold Patrons An anonymous donor David & Yi Buckley In memory of Allner Mavis Channing Andrew Davenport Sonja Drexler Peter & Fiona Espenhahn Marie-Laure Favre-Gilly de Varennes de Beuill Virginia Gabbertas MBE Mr Roger Greenwood Robert Markwick & Kasia Robinski Francis & Marie-France Minkoff Dame Theresa Sackler Eric Tomsett Andrew & Rosemary Tusa The Viney Family Jenny Watson CBE

Silver Patrons Dr Christopher Aldren David Burke & Valerie Graham The Rt Hon. The Lord Burns GCB Bruno De Kegel Ulrike & Benno Engelmann Simon & Meg Freakley Pehr G Gyllenhammar John & Angela Kessler The Metherell Family Andrew Neill Mikhail Noskov & Vasilina Bindley Laurence Watt Guy & Utti Whittaker Grenville & Krysia Williams Bronze Patrons Anonymous donors Michael Allen Mr Philip Bathard-Smith Sir Peter Bazalgette Sally Bridgeland In memory of Julie Bromley The Earl & Countess of Chichester Mr John H Cook Howard & Veronika Covington David Ellen David & Jane Gosman Mr Gavin Graham Mrs Dorothy Hambleton Malcolm Herring The Jackman Family Jan & Leni Du Plessis Jamie & Julia Korner Rose & Dudley Leigh Drs Frank & Gek Lim Geoff & Meg Mann Mrs Elizabeth Meshkvicheva Peter & Lucy Noble Mr Michael Parlof Marianne Parsons Dr Wiebke Pekrull Jacopo Pessina Mr Roger Phillimore Gillian Pole Mr Michael Posen Sir Bernard Rix Tom & Phillis Sharpe Matthew Stephenson & Roman Aristarkhov Charlotte Stevenson Mr Robert Swannell Tony & Hilary Vines Mr & Mrs John C Tucker

Mr & Mrs John & Susi Underwood Marina Vaizey Mr John Weekes Christopher Williams Principal Supporters Anonymous donors Dr Manon Antoniazzi Mr Mark Astaire Sir John Baker Mrs A Beare Mr Anthony Boswood Mr Bernard Bradbury Dr Carlos Carreno Desmond & Ruth Cecil Mr Julien Chilcott-Monk Mr & Mrs Stewart Cohen David & Liz Conway Mr Alistair Corbett Mrs Sam Dawson Mr Simon Douglas Mr Richard Fernyhough Mrs Janet Flynn Mrs Ash Frisby Mr Stephen Goldring Mr Milton Grundy Nerissa Guest & David Foreman The Jeniffer & Jonathan Harris Charitable Trust Michael & Christine Henry J Douglas Home Ivan Hurry Per Jonsson Alexandra Jupin & John Bean Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Paul & Brigitta Lock Mr Peter Mace Nicholas & Lindsay Merriman Andrew T Mills Simon & Fiona Mortimore Mr Gerald Pettit Mr James Pickford Michael & Carolyn Portillo Mr Christopher Querée Mr Robert Ross Mr David Russell Priscylla Shaw Nigel Silby Mr Brian Smith Martin & Cheryl Southgate Mr & Mrs G Stein Dr Peter Stephenson Mr Ian Tegner Howard & Sheelagh Watson Mr John Wright

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Supporters Anonymous donors Ralph & Elizabeth Aldwinckle Julian & Annette Armstrong Lindsay Badenoch Mr John Barnard Mr John D Barnard Damaris, Richard & Friends Mr David Barrett Diana Barrett Mr Andrew Botterill Julian & Margaret Bowden & Mr Paul Michel Mr Lawrence Alfred Bradley Richard & Jo Brass Mr Shaun Brown Mr Alan C Butler Lady Cecilia Cadbury Alison Clarke & Leo Pilkington J Clay Mr Joshua Coger Mr Martin Compton Miss Tessa Cowie Mr David Davies Mr Roderick Davies Mr David Devons Anthony & Jo Diamond Mr Kevin Fogarty Christopher Fraser OBE Mrs Adele Friedland & Friends Mr Daniel Goldstein Mr & Mrs Jeffrey Herrmann Dr Joan Hester Mr David Hodgson The Jackman Family Mr Justin Kitson Richard & Briony Linsell Mr David MacFarlane Dame Jane Newell DBE Mr Stephen Olton Mr David Peters Mr & Mrs Graham & Jean Pugh Mr Kenneth Shaw Ruth Silvestre Barry & Gillian Smith Ms Natalie Spraggon & David Thomson Ms Mary Stacey Ms Janette Storey Ms Caroline Tate Mr Peter Thierfeldt Dr Ann Turrall Michael & Katie Urmston Dr June Wakefield Mr Dominic Wallis Joanna Williams Mr C D Yates Mr Anthony Yolland

LONDON PHILHARMONIC ORCHESTRA • 16 DECEMBER 2020

THANK YOU – CONTINUED –

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) Veronika Borovik-Khilchevskaya (Cyprus) Marie-Laure Favre Gilly de Varennes de Bueil (France) Aline Foriel-Destezet (France) Irina Gofman (Russia) Countess Dominique Loredan (Italy) Olivia Ma (Greater China Area) Olga Makharinsky (Russia) George Ramishvili (Georgia) Victoria Robey OBE (USA) Jay Stein (USA) Thomas Beecham Group Members David & Yi Buckley The Candide Trust Gill & Garf Collins Andrew Davenport William & Alex de Winton Sonja Drexler The Friends of the LPO Irina Gofman Roger Greenwood Dr Barry Grimaldi Mr & Mrs Philip Kan John & Angela Kessler Countess Dominique Loredan Sir Simon Robey Victoria Robey OBE Bianca & Stuart Roden Caroline, Jamie & Zander Sharp Julian & Gill Simmonds Eric Tomsett Neil Westreich Guy & Utti Whittaker

We are grateful to the Board of the American Friends of the London Philharmonic Orchestra, who assist with fundraising for our activities in the United States of America: Simon Freakley Chairman Jill Dyal Jay Goffman Alexandra Jupin William A. Kerr Kristina McPhee Natalie Pray Damien Vanderwilt Antony Phillipson Hon. Chairman Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP

LPO Corporate Circle Leader freuds Sunshine Principal Berenberg Carter-Ruck French Chamber of Commerce Tutti Ageas Lazard Russo-British Chamber of Commerce Walpole Preferred Partners After Digital Lidl Lindt & Sprüngli Ltd London Orthopaedic Clinic Steinway

Connecticut Gala Committee Bea Crumbine & Jill Dyal Co-Chairmen Rodica Brune Mandy DeFilippo Rachel Franco Nick Gutfreund Mary Hull Steve Magnuson Natalie Pray Victoria Robey OBE Lisa & Scot Weicker Corporate Donors AT&T Barclays L Catterton CHANEL Fund for Women in the Arts and Culture Paul Hastings LLP Payne Hicks Beach Pictet Bank Velocity Black White & Case LLP

In-kind Sponsor Google Inc Trusts and Foundations The Bernarr Rainbow Trust The Boltini Trust Borletti-Buitoni Trust Boshier-Hinton Foundation The Candide Trust The Chalk Cliff Trust Cockayne – Grants for the Arts The London Community Foundation The David Solomons Charitable Trust The D’Oyly Carte Charitable Trust Dunard Fund Ernst von Siemens Music Foundation The Fidelio Charitable Trust Foyle Foundation Garrick Charitable Trust The Leche Trust Lucille Graham Trust John Horniman’s Children’s Trust John Thaw Foundation The Idlewild Trust Kirby Laing Foundation The Lawson Trust Andrew Lloyd Webber Foundation

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Lord & Lady Lurgan Trust Adam Mickiewicz Institute PRS Foundation The Radcliffe Trust Rivers Foundation The R K Charitable Trust Romanian Cultural Institute RVW Trust Schroder Charity Trust Serge Rachmaninoff Foundation The Steel Charitable Trust The Thomas Deane Trust The Thriplow Charitable Trust The Viney Family Garfield Weston Foundation The Barbara Whatmore Charitable Trust The William Alwyn Foundation and all others who wish to remain anonymous.

The LPO would also like to acknowledge all those who have made donations to the Play On Appeal and who have supported the Orchestra during the current pandemic.

WONDER AT THE WORLD OF THE LONDON PHILHARMONIC ORCHESTRA

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LONDON PHILHARMONIC ORCHESTRA • 16 DECEMBER 2020

MEMBERSHIPS AND DONATIONS There are many ways in which you can support the LPO at this time: by making a donation, joining as a member, or buying a gift membership for someone else.

With your help we can ensure that this Orchestra will not only survive, but thrive.

However you choose to give at this time, we remain committed to our supporters and will continue to deliver a range of benefits and exclusive opportunities.

Friends

Benefactors

Support the orchestra that you love. Get priority booking for our Southbank Centre concerts plus access to final rehearsals.

Join a circle of dedicated supporters and get access to the Beecham Bar, special events and Glyndebourne.

From £60

From £600

Gifts in wills

Thomas Beecham Group

Help others to experience the wonder of music by remembering the Orchestra in your will.

Give a major supporting gift and build significant relationships within the Orchestra.

Donors can choose to have their gift associated with a player’s chair.

From £5,000

lpo.org.uk/support/individuals 020 7840 4212 – 25 –

CORPORATE PARTNERSHIPS Partner with the London Philharmonic Orchestra and enjoy the opportunity to align your business with a world-class orchestra who are committed to delivering music throughout the pandemic.

Principal Partner

OrchLab Project Partner

Whether streaming from the concert stage to a global audience, or delivering as much Education and Community work as possible to children, talented young musicians and people with disabilities, the LPO’s activity is varied, engaging, and delivers meaningful benefits to its audiences, participants and partners.

A partnership with the LPO offers companies significant brand exposure and an opportunity to meet CSR needs at a time when charitable community work is facing severe disruption.

Principal Supporters

lpo.org.uk/corporate 020 7840 4210 Andrew Lloyd Webber Foundation

Andrew Lloyd Webber Foundation

Andrew Lloyd Webber Foundation Andrew Lloyd Webber Foundation

Andrew Lloyd Webber Foundation Andrew Lloyd Webber Foundation

LONDON PHILHARMONIC ORCHESTRA • 16 DECEMBER 2020

LPO ADMINISTRATION BOARD OF DIRECTORS Victoria Robey OBE Chairman Martin Höhmann* President Dr Catherine C. Høgel Vice-Chairman Henry Baldwin* Vice-President Roger Barron David Buckley Bruno De Kegel Tanya Joseph Al MacCuish Tania Mazzetti* Stewart McIlwham* Pei-Jee Ng* Andrew Tusa Mark Vines* David Whitehouse* * Player-Director ADVISORY COUNCIL Martin Höhmann Chairman Robert Adediran Christopher Aldren Dr Manon Antoniazzi Richard Brass Helen Brocklebank Simon Callow CBE Desmond Cecil CMG Sir Alan Collins KCVO CMG Andrew Davenport William de Winton Guillaume Descottes Cameron Doley Christopher Fraser OBE Lord Hall of Birkenhead CBE Jonathan Harris CBE FRICS Marianna Hay Amanda Hill Rehmet Kassim-Lakha Jamie Korner Geoff Mann Clive Marks OBE FCA Stewart McIlwham Andrew Neill Jamie Njoku-Goodwin Nadya Powell Sir Bernard Rix Victoria Robey OBE Baroness Shackleton Thomas Sharpe QC Julian Simmonds Barry Smith Martin Southgate Andrew Swarbrick Chris Viney Laurence Watt Elizabeth Winter

DEVELOPMENT Laura Willis Development Director

GENERAL ADMINISTRATION Cristina Rocca Artistic Director David Burke Chief Executive CONCERT MANAGEMENT Roanna Gibson Concerts Director

Grace Ko Tours Manager Alison Jones Concerts and Recordings Co-ordinator Christina Perrin Concerts and Tours Assistant Matthew Freeman Recordings Consultant Andrew Chenery Orchestra Personnel Manager

Damian Davis Transport Manager

ARCHIVES

Anna Quillin Trusts and Foundations Manager

Fabio Sarlo Glyndebourne and Projects Manager

Laura Kitson Stephen O’Flaherty Stage Managers

Christina McNeill Corporate Relations Manager Rosie Morden Individual Giving Manager

Graham Wood Concerts and Recordings Manager

Sarah Holmes Sarah Thomas Librarians

Vicky Moran Development Events Manager

PUBLIC RELATIONS Premier: classical@premiercomms.com Tel: 020 7292 7355/ 020 7292 7335

Philip Stuart Discographer Gillian Pole Recordings Archive

Izzy Keig Lewis Hammond Development Assistants

PROFESSIONAL SERVICES Charles Russell Speechlys Solicitors

~ Nick Jackman Campaigns and Projects Director

Crowe Clark Whitehill LLP Auditors Dr Barry Grimaldi Honorary Doctor

Kirstin Peltonen Development Associate

Mr Chris Aldren Honorary ENT Surgeon

FINANCE Frances Slack Finance Director

Mr Brian Cohen Mr Simon Owen-Johnstone Honorary Orthopaedic Surgeons

Dayse Guilherme Finance Manager Jean-Paul Ramotar Finance and IT Officer MARKETING Kath Trout Marketing Director Mairi Warren Marketing Manager

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

Alexandra Lloyd Projects and Residencies Marketing Manager

The London Philharmonic Orchestra Limited is a registered charity No. 238045.

EDUCATION AND COMMUNITY Isabella Kernot Education and Community Director (maternity leave) Lindsay Wilson Education and Community Director (maternity cover)

Megan Macarte Box Office Manager (maternity leave)

COVER ARTWORK Ross Shaw @ JMG Studio

Talia Lash Education and Community Manager

Rachel Smith Website Manager

Hannah Verkerk Orchestra and Auditions Manager

Emily Moss Education and Community Project Manager Hannah Tripp Education and Community Project Co-ordinator

Alice Harvey Box Office Manager (maternity cover) Rachel Williams Publications Manager

Greg Felton Digital Creative Sophie Harvey Marketing and Digital Officer

– 27 –