LPO Tune In newsletter – Autumn/Winter 2018

– AUTUMN / WINTER 2018 –

The tragedy of millions of young men who gave their lives in that useless slaughter ... Every syllable of this poem cries out to be set to music. composer magnus lindberg on triumph to exist

player picks

triumph to exist

backstage

– 04 –

– 10 –

– 16 –

Which concerts are the LPO musicians most looking forward to this autumn?

Marking the centenary of Armistice with a world premiere by Magnus Lindberg

We get to know LPO double bassist Hugh Kluger

New on the LPO Label r strauss

Eine Alpensinfonie Die Frau ohne Schatten

Principal Partner

major Partner

orchestral excerpts

Dance of the Seven Veils

STRAUSS EINE ALPENSINFONIE DIE FRAU OHNE SCHATTEN

Vladimir Jurowski conductor £10.99 (2 CDs) LPO-0106 | Released June 2018

ORCHESTRAL EXCERPTS

DANCE OF THE SEVEN VEILS VLADIMIR JUROWSKI conductor LONDON PHILHARMONIC ORCHESTRA

Principal Supporters

prokofiev

Violin Concerto No. 1 Symphony No. 3 | Chout | Rêves Alexander Lazarev conductor Vadim Repin violin | Simon Callow narrator £10.99 (2 CDs) LPO-0107 | Released August 2018

poulenc

Piano Concerto | Organ Concerto Stabat Mater Yannick Nézet-Séguin conductor Alexandre Tharaud piano | James O’Donnell organ Kate Royal soprano | London Philharmonic Choir

POULENC

PIANO CONCERTO ORGAN CONCERTO STABAT MATER YANNICK NÉZET-SÉGUIN conductor ALEXANDRE THARAUD piano JAMES O’DONNELL organ KATE ROYAL soprano LONDON PHILHARMONIC ORCHESTRA and CHOIR

£9.99 LPO-0108 | Released September 2018

tchaikovsky Symphonies Nos. 2 & 3 Vladimir Jurowski conductor £9.99 (1 CD) LPO-0109 | Release date October 2018 Coming soon

Commissioning Partner the genius of film music 1980s–2000s Dirk Brossé conductor £10.99 (2 CDs) LPO-0110 | Release date October 2018

Coming soon

Browse the catalogue and sign up for updates at lpo.org.uk/recordings CDs available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242), all good CD outlets and the Royal Festival Hall shop.

Download or stream online via Spotify, Apple Music and others.

Corporate Members

Preferred Partners

freuds Sunshine

Fever-Tree Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic Sipsmith Steinway

After Digital Berenberg Carter-Ruck French Chamber of Commerce Ageas BTO Management Consulting AG Lazard Russo-British Chamber of Commerce Walpole Willis Towers Watson

In-kind Sponsor Google Inc

Tune in – AUTUMN / WINTER 2018 –

WELCOME

W

elcome to the Autumn 2018 edition of the London Philharmonic Orchestra’s newsletter, Tune In. As I write, we’re enjoying the final few performances of what’s been a wonderful summer at Glyndebourne (not just thanks to the glorious weather!), and looking forward to returning to our Royal Festival Hall home for our 2018/19 season.

This autumn we resume the year-long series Changing Faces: Stravinsky’s Journey, delving into the composer’s pioneering and provocative works from the 1940s onwards.

Works by Stravinsky feature highly in our ‘Player Picks’ overleaf, proving that our musicians’ enthusiasm for the composer’s vastly varied output shows no signs of waning! I hope you, too, will be keen to join us this autumn as we join Stravinsky in a new era, focussing on the latter stages of his life in Hollywood.

In the New Year – continuing our annual themed series – we will celebrate the music of Britain in our new festival Isle of Noises. Not only will we explore a range of British music from Purcell to the present day, but we’ll also highlight key works by composers with interesting British connections – more on this in the next issue.

We are proud of our reputation for commissioning and sharing new music, and this season is no different. As the centenary of Armistice approaches this November, Magnus Lindberg – a former LPO Composer in Residence – has composed a new commemorative work, and we will give the world premiere at Royal Festival Hall on 10 November. Entitled Triumph To Exist, the piece is based on a poem by Lindberg’s fellow Finn Edith Södergran. Although written in Editor Rachel Williams Publisher London Philharmonic Orchestra Printer Romax

Timothy Walker © Chris Blott

Cover photograph Lloyd Horgan/iStock

– Timothy walker – Chief Executive and Artistic Director

1916, during the tumult of the First World War, the poem is a vital exultation on the wonders of life – as Lindberg puts it, the words of someone who ‘refuses to submit to the hopelessness all around her’. Lindberg’s Triumph To Exist was commissioned by the LPO with assistance from 14–18 NOW, a programme of extraordinary arts experiences connecting people with the First World War. On page 10 Jenny Waldman, Director of 14–18 NOW, explains how the collaboration with the LPO came about, and what we can expect from the new work.

In previous issues of Tune In we introduced our trailblazing LPO Junior Artists scheme, which we launched in 2016 to address the lack of diversity in professional UK orchestras.

On page 11 Meera Patel, a violinist on the 2017/18 scheme, shares a personal insight into how she’s found her year with the Orchestra. We also get to know LPO double bassist Hugh Kluger in our regular ‘Backstage’ interview feature on page 16.

I hope you will be able to join us this season, and thank you for your support of the London Philharmonic Orchestra.

Keep up to date

LPO 2018/19 season brochure: available now

Join us on Facebook

lpo.org.uk/1819season

facebook.com/londonphilharmonicorchestra

Follow us on Twitter twitter.com/LPOrchestra

Listen to our podcasts lpo.org.uk/explore

Watch us on youtube youtube.com/londonphilharmonicorchestra

Follow us on instagram instagram.com/londonphilharmonicorchestra

Contents player picks 04–05 summer 2018 roundup 06–07 New & noteworthy 08 News: lpo people 09 triumph to exist 10 meera patel, lpo junior artist 11 bringing music to life 12 Concert listings 13–15 Backstage: hugh kluger 16

While every effort has been made to ensure the accuracy of this publication, we cannot accept liability for any statement or error contained herein. © 2018 London Philharmonic Orchestra.

The paper used for printing this magazine has been sourced from responsibly managed forests, certified in accordance with the FSC (Forest Stewardship Council). It is manufactured to the ISO 14001 international standard, minimising negative impacts on the environment and is manufactured from pulp that has been bleached without the use of chlorine compounds using oxygen (elemental chlorine free), which are considered harmful to the environment.

Concert listings and booking information on pages 13–15 – 03 –

Tune in – AUTUMN / WINTER 2018 –

lpo 2018/19 season

player picks: autumn 2018

sue thomas flute

paul richards principal bass clarinet

helena smart second violin

One of my highlights this autumn will be Vladimir Jurowski conducting Das Lied von der Erde, a work that was composed after ‘the most painful period’ in Mahler’s life (this appeals to my melancholic Welsh soul!).

The last movement, ‘Der Abschied’ (Farewell), has one of the most glorious moments in the orchestral flute repertoire, with two solo duos between the first flute and the mezzosoprano, who in this instance will be the wonderful Sarah Connolly.

Looking through the season, there are many interesting concerts, not least the season opener on 26 September with Thomas Adès as both conductor and composer. Enrique Mazzola conducting Gershwin’s An American In Paris on 24 October should also be an audience winner. But one concert I’m especially looking forward to is Janáček’s Sinfonietta on 7 November. I’m a big fan of Janáček – he has such a unique and identifiable voice, whose music frequently has the hairs on the back of my neck standing on end.

My personal highlights this season are works that hold special memories and symphonies that I’ll play for the first time. First of all is Lutosławski’s Symphony No. 3 in our opening concert on 26 September. This is a fantastically exciting work and I can’t wait to play it under the fully charged baton of Thomas Adès, whose In Seven Days we’ll also be tackling in the same concert. I’m always blown away by Tom’s varied style, as well as his sense of fun. If his concert with the LPO last April (when we played his Powder Her Face Suite) is anything to go by, we’re in for a thrilling season opener!

In November Vladimir conducts Stravinsky’s masterpiece The Rake’s Progress. Stravinsky is one of my favourite composers and this will be a special evening for me, as I was introduced to this opera at Glyndebourne in 2010 after returning from maternity leave.

The Rake’s Progress is an incredible opera, despite its unusual lack of trombones!

It includes a sublime aria for two flutes and soprano: on 3 November this aria will be sung

by Sophia Burgos, and the fabulous Matthew Rose will revisit his role as Nick Shadow.

A musical feast for everyone awaits!

Sue’s chair in the LPO is supported by victoria robey obe.

In the 1970s there was a drama series on Granada TV called Crown Court, and the opening theme featured part of the fourth movement of the Sinfonietta. I remember that those staccato quavers in the trumpets made a real impression on me and, curious to hear more, I later went to hear the Hallé performing it at the Free Trade Hall in Manchester. I sometimes wish I played the trumpet instead of the clarinet, so I could take part in the opening fanfare; however, it’ll still be great to be able to hear our magnificent brass section perform it. I hope you enjoy it as much as I do!

lpo.org.uk/players – 04 –

On 5 December we’ll take on Bruckner’s Second Symphony with Vladimir Jurowski.

I’m a huge fan of Bruckner but I haven’t yet had the chance to get to know this particular work. Playing a piece for the first time is always a memorable occasion, and under the stimulating stewardship of Vladimir this is sure to be a highlight. In the same concert we’ll hear the wonderful Violin Concerto by Tchaikovsky. Although this work is performed so often, it still sounds fresh and vibrant when played by a young and exciting soloist like Alena Baeva.

Sue Thomas, Paul Richards & Simon Carrington © Benjamin Ealovega

As we prepare to open our 2018/19 season, some of the Orchestra’s musicians tell us which of the autumn’s concerts they’re looking forward to most ...

tune in – AUTUMN / WINTER 2018 –

rachel masters principal harp Sometimes playing the harp can feel very singular within an orchestra, such as coming in with the fugal solo entry in the last movement of Stravinsky’s Symphony in Three Movements (26 September). This work has a challenging harp part which I always enjoy performing, because Stravinsky’s soundworld and unusual orchestration is so interesting. Then, later in the season, it’s party time with massed harps for Berlioz and Wagner: composers who enjoyed using multiple forces. Berlioz is still a formidable challenge for us harpists, and although the harps are only used in the second movement of his Symphonie fantastique (14 November), it’s quite impressive to hear all four of us going for it. During the performance we are blessed(?) with being ‘tacet’ (silent) during the first movement, giving us no chance to warm up for a rather scary entry in the second, going crazy for five minutes, then three more tacet movements to reflect on how it all went!

Then there is the timing of the repertoire during a season, when you can find yourself with a very clean house after several quiet weeks, followed by very intense periods when you rather wish you’d used your free time to prepare ready meals for the freezer ... However, whatever your schedule, it’s essential to keep your fingers in top condition so that when you return after a quiet patch, you are still ‘match fit’. Fortunately I have tolerant neighbours (and husband) who happily put up with my technical regime which keeps the old digits working properly.

simon carrington principal timpani

sue böhling principal cor anglais

Orff’s Carmina Burana (13 October) has been a favourite of mine since I first heard it performed at the Southampton Guildhall when I was nine or ten years old. I was learning the violin at the time, but still remember that as well as being awestruck by the drama of the opening movement, I was dazzled by the splendid array of timpani and percussion instruments on stage – it was definitely a Damascene moment for me!

Following a rare, long summer holiday this year, I’ll be looking forward to my first concert back at Royal Festival Hall on 29 September, with Vladimir Jurowski and pianist Mitsuko Uchida. We’re so lucky to have Mitsuko playing Mozart’s K595 Piano Concerto with us, and as I’m not playing in this piece I’ll have the luxury of sitting back and listening to the poetry. There’s a good link that runs through this concert’s programme, as legend has it that Mahler’s last word was ‘Mozart’. The second half is Mahler’s Das Lied von der Erde, six passionate and beautifully evocative songs. Mahler’s writing for the winds is so poignant and well-written that it’s always a pleasure to play – but at the same time, it can be heart-wrenching.

I’ve always associated Bartók’s Concerto for Orchestra (10 October) with the LPO, ever since I watched a film of a studio recording in the early 1980s conducted by that most idiosyncratic of Bartókians, Sir Georg Solti.

Bartók often maximises the modern pedal timpani’s capability of changing the pitch of the drum quickly. There is a most unusual section in the Intermezzo where a beautiful viola tune is accompanied only by lush harp chords and timpani playing the chromatic bass line, hopefully somewhere near in tune!

I’m also looking forward to playing Berio’s Sinfonia for the first time on 8 December; this is a rare opportunity to hear a fascinating piece that takes us on a journey through much familiar music, most notably referencing Mahler’s ‘Resurrection’ Symphony.

With the amazing Swingle Singers and Vladimir steering us through, this promises to be a real highlight of the season.

Another concert that I’m particularly looking forward to is Stravinsky’s The Rake’s Progress on 3 November. We performed a run of this opera with David Hockney’s unmistakable set and costume designs at Glyndebourne in 2010. It was a vivid and memorable run for us, and I look forward to seeing how we’ll stage this one-off performance at Royal Festival Hall. Stravinsky’s complex writing will push us as usual, but it’s fun to perform.

Sue’s chair in the LPO is supported by Dr Barry Grimaldi.

To find out more about supporting a player’s chair in the Orchestra, please contact Rosie Morden on 020 7840 4212 or rosie.morden@lpo.org.uk

lpo.org.uk/players – 05 –

Tune in – AUTUMN / WINTER 2018 –

Lpo news

summer 2018 roundup all-star lineup at the o2

‘the London Phil harmonic Orches tra under conductor Robin Ticciati superbly brings out the glorious score.’ cl are colvin, sun day

onic Orchestra ‘a London Philharm g elegant erin on top form, deliv kable for remar is at th g pl ayin l’ its wealth of detai s richard fairman, finan

cial time

express

‘On evenings like this, the London Philharmonic reasserts its credentials as one of the world’s great opera orchestras.’ george hall , the stage

‘Neither [R fabulous obin Ticciati] nor t L h Orchestra ondon Philharmoni e c p ut a f oo opera's h ours sped t wrong, and the by in aura Mark val encia, wh l luxury' atsonsta ge

In January 2018 the LPO was invited to perform the British National Anthem at the National Basketball Association (NBA) London Game 2018 at The O2, which saw the Boston Celtics face the Philadelphia 76ers. The Orchestra is no stranger to sporting events, having recorded all the national anthems for the London 2012 Olympic and Paralympic games; however this marked the first time the Orchestra has performed at a basketball game, and the first time playing at The O2.

happy not perfect

We opened our 55th consecutive season as Glyndebourne Festival Opera’s resident symphony orchestra on 19 May with Puccini’s glorious Madama Butterfly conducted by Omer Meir Wellber. Over the summer we also performed Strauss’s Der Rosenkavalier and Debussy’s Pelléas et Mélisande under Glyndebourne Music Director Robin Ticciati, and Barber’s rarely performed, Pulitzer Prize-winning Vanessa under Jakub Hrůša. All four productions won praise from press and audiences, with Der Rosenkavalier proving a particular hit and several 5* reviews singling out the LPO’s playing (see above). The 14 June performance of Vanessa and the 21 June Madama Butterfly performance were both broadcast live in cinemas UK-wide and streamed live free of charge on the Glyndebourne and Telegraph websites.

lpo international board launchED The London Philharmonic Orchestra launched its International Board of Governors on 20 March 2018 at a special evening at Windsor Castle hosted by its Royal Patron, HRH The Duke of Kent. The 200 guests present were treated to performances by mezzo-soprano Aigul Akhmetshina, tenor Toby Spence and baritone Benjamin Appl.

The new International Board includes members drawn from Europe, North America, Asia and Australia. It will help increase the Orchestra’s reach and connections in key territories, securing engagements and acting as an important channel for generating private support for the Orchestra in challenging times. It will also help the Orchestra to connect with, and fundraise from, new communities within London and the UK. find out more nick.jackman@lpo.org.uk

On 16 May 2018 the Orchestra encountered one of its most laidback audiences ever, when we were invited to perform at the launch of Happy Not Perfect: a new app, brand and community dedicated to helping people stress less, sleep better and stay balanced. The launch event at Cecil Sharp House, which took place during Mental Health Awareness Week, saw the Orchestra give a relaxing ‘soundbath’ performance of the Adagietto from Mahler’s Symphony No. 5. happynotperfect.com

lpo.org.uk – 06 –

Glyndebourne © Robert Workman – The O2 and Happy Not Perfect launch © LPO

glyndebourne 2018

tune in – AUTUMN / WINTER 2018 –

BBC proms 2018 This summer we gave two BBC Proms concerts: on 17 July we brought a taste of Glyndebourne to the Royal Albert Hall with a semi-staged production of Debussy’s Pelléas et Mélisande, fresh from this summer’s Festival. Glyndebourne Music Director Robin Ticciati conducted, and the cast included Christopher Purves as Golaud and Christina Gansch as Mélisande. We returned to the Proms on 30 August to perform Verdi’s Requiem with the London Philharmonic Choir under Andrés OrozcoEstrada.

Gala © Lia Vittone – LPO Junior Artists: Overture © Belinda Lawley – Canary Wharf © Twitter/Beverley Vong – British 10k © LPO

summer gala 2018

On Monday 11 June we were thrilled to ‘Share the Wonder’ of music at our Summer Gala, as we celebrated 30 inspiring years of our Education & Community Programme at the City’s illustrious Guildhall. The musical programme, curated by Principal Conductor and Artistic Advisor, Vladimir Jurowski, highlighted the crucial side-by-side work that the Orchestra undertakes with young people and community participants, and featured members of Foyle Future Firsts, LPO Junior Artists and LPO Young Composers. We were also delighted to welcome soloists Kristóf Baráti, Kate Royal and Angharad Lyddon, as well as London Music Masters alumna Betania Johnny.

Thanks to the generosity of our 300 guests, over £210,000 was raised. These much-needed funds will directly support the work of the London Philharmonic Orchestra, particularly the key projects of the Education & Community Programme that will enable us to continue to invest in the creation of future experiences for all. lpo.org.uk/support-us/gala-2018

LPO junior artists: overture

A participant on the January 2018 Overture Day at London’s Royal Academy of Music

Now in its third season, LPO Junior Artists is our groundbreaking programme for talented musicians aged 15–19 from backgrounds under-represented in orchestral music.

This year we’ve launched LPO Junior Artists: Overture – a new strand for younger players, offering opportunities to develop key musical skills and gain an insight into the world of a professional orchestra. In July, 25 musicians aged 11–14 from across London and beyond took part in a two-day Overture course, exploring repertoire by Stravinsky and Shostakovich. The young participants picked up valuable tips on their playing through sectional rehearsals with LPO musicians, Foyle Future Firsts and current LPO Junior Artists, created their own music inspired by Stravinsky, and found out how to take their next steps as a musician. lpo.org.uk/overture

Turn to page 11 to read more about one participant’s experience on the the main lpo Junior Artists programme this year.

summer at canary wharf

On 8 August the Orchestra gave a free public outdoor performance at Canada Square Gardens as part of the Canary Wharf Summer Gala concert series – the third year running we’ve been invited to perform. We’ll return to Canary Wharf in December 2018 for three performances of The Snowman with live film (indoors!) – see page 15. lpo.org.uk – 07 –

fit as a fiddle

LPO runners (L–R): Greg Felton, Stewart McIlwham, Sebastian Pennar and Andrew Barclay

On 15 July a team from the LPO ran the annual Virgin Sport British 10K through central London, in aid of the Orchestra’s Annual Appeal, ‘Sharing the Wonder’.

The team comprised LPO musicians Stewart McIlwham, Sebastian Pennar and Andrew Barclay; admin staff Greg Felton and Nick Jackman; Foyle Future First Katherine Bryer; LPO Benefactor Per Jonsson; and LPO Advisory Council member Bernard Rix and his wife Karen. Together, the team raised over £9000 to support the inspiring work of our Education & Community programme as it enters its fourth decade.

on location with Belmond Continuing our ongoing partnership with luxury travel collection Belmond, LPO musicians have been invited to perform at some of Belmond’s most iconic destinations during 2018/19. The series begins in Sicily on 3 & 4 September, when an LPO brass ensemble will give two intimate recitals bringing together the best of British and Italian music. Later in September, an LPO sextet will travel to Belmond Hotel das Cataratas beside the Iguaçu Falls in Brazil, where they will perform music by the country’s most celebrated composer, Heitor Villa-Lobos.

The next instalment of the series will be in April 2019, under the starry skies of the Okavango Delta in Botswana, where unspoilt wilderness and game surrounds Belmond Eagle Island Lodge. LPO musicians will celebrate the breathtaking surroundings with a wind quintet arrangement of Saint-Saëns’s much-loved Carnival of the Animals. belmond.com/lpo

Tune in – AUTUMN / WINTER 2018 –

Lpo news

New & noteworthy The Orchestra has long been renowned for its prowess in the opera pit at Glyndebourne, but this Christmas we’ll be branching out into ballet. The Orchestra has been invited to accompany Tchaikovsky’s festive favourite The Nutcracker with Birmingham Royal Ballet at the Royal Albert Hall from 28–31 December.

For more information and booking details see page 15. royalalberthall.com

Conductor Vladimir Jurowski; Victoria Robey OBE receives her honour from Prince Charles

funharmonics: the highway rat

rewarding excellence 2018 has seen a flurry of awards and honours for the LPO, its artistic team and management.

Back in April we were delighted when Principal Conductor and Artistic Advisor Vladimir Jurowski won the Conductor category at the 2018 International Opera Awards. Brett Dean’s new opera Hamlet, which Vladimir conducted with the LPO at Glyndebourne in 2017, also triumphed in the World Premiere category. The following month Vladimir was also announced winner of the Conductor category at the 2018 Royal Philharmonic Society Music Awards.

In March LPO Board Chairman Victoria Robey OBE was honoured by Prince Charles, President of the Royal College of Music in London, for her work as Founder Director of London Music Masters, a charity that provides access and pathways to excellence in instrumental music education to those who may not otherwise have had the opportunity. In recognition of her work with LMM and the LPO, Victoria was also named one of the Evening Standard’s 23 Leading Women In the Arts 2018. Other women recognised from the orchestral sector included former Southbank Centre Artistic Director Jude Kelly, conductor Marin Alsop, and double bassist and Chineke! Orchestra founder Chi-chi Nwanoku.

In July the annual South Bank Sky Arts Awards saw Glyndebourne’s 2017 production of Brett Dean’s Hamlet with the LPO and Vladimir Jurowski awarded Best Opera. The LPO’s performance of Enescu’s Oedipe under Jurowski in September 2017 was also shortlisted in the Classical category.

Following last year’s screening of The Gruffalo’s Child with live orchestral soundtrack, on Sunday 14 October we present The Highway Rat, based on the picture book by Julia Donaldson. With the animated film projected on big screen and live music performed by the LPO, this will be a wonderful first concert experience for all the family, with free preconcert foyer activities from 10am–12 noon. more details on page 13, or book online: lpo.org.uk/funharmonics

pianist emanuel ax honoured by lpo american friends

Emanuel Ax (centre) with Antony Phillipson (left) and Simon Freakley, Chairman, American Friends of the LPO

On 27 March 2018 pianist Emanuel Ax was awarded the American Friends of the London Philharmonic Orchestra Lifetime Award for Musical Achievement in New York. Ax becomes the second recipient of the award following its inception last year, when baritone Thomas Hampson was the inaugural recipient. The award recognises the achievements of musicians who have won acclaim and affection on both sides of the Atlantic.

Ax was presented with his award at the American Friends of the London Philharmonic Orchestra (AFLPO) 50th Anniversary Gala Dinner in Manhattan’s famous Morgan Library by Antony Phillipson, Her Majesty’s Consul General in New York. The dinner was attended by 150 people from the worlds of business, philanthropy and the arts, and raised funds in support of the Orchestra’s activities in the United States.

Emanuel Ax was honoured on the evening with performances by tenor soloist Kang Wang, two of the Orchestra’s American musicians – Co-Leader Kevin Lin and Principal Viola David Quiggle – and crossover artist Mario Frangoulis. lpo.org.uk/aflpo

lpo.org.uk – 08 –

Vladimir Jurowski © Simon Pauly – Victoria Robey © Chris Christodoulou – The Highway Rat © 2017 Orange Eyes Ltd. The Highway Rat word mark and logo are trade marks of Julia Donaldson and Axel Scheffler and used under licence.

the NUtcracker at the royal albert hall

Tune in – AUTUMN / WINTER 2018 –

Lpo news

lpo people win wine with Villa Maria

We are delighted to announce that wine company Villa Maria has renewed its longstanding partnership with the London Philharmonic Orchestra, taking our 11-yearstrong relationship forward to 2020. To celebrate, Villa Maria is thrilled to offer five lucky Tune In readers the chance to win a pair of its delicious Cellar Selection wines, as served to guests at the LPO Summer Gala in June 2018.

musical chairs

In the office

This September we welcome Tom Walley as a member of the Double Bass section – Tom is already a familiar face, having played with the Orchestra as an extra over many years.

We recently said farewell to First Violin Ilyoung Chae, who has accepted a position in the Monte-Carlo Philharmonic Orchestra, and Second Violin Jeongmin Kim, who has moved into a new role in arts management with artist agency Harrison Parrott. We wish them both well.

At the end of June Laura Willis (Corporate Relations Manager) moved on from the LPO, and our Development team welcomed her successor Christina McNeill. Georgie Gulliver also joined the team as Development Assistant, after Athene Broad left in May. Our Education & Community team recently recruited Hannah Tripp to the newly created role of Education & Community Project Co-ordinator.

In April we were delighted to welcome Concerts Director Roanna Gibson back from maternity leave, and are very grateful to Liz Forbes for covering Roanna’s role while she was away. The Concerts team also welcomed Hannah Verkerk as Orchestra Co-ordinator and Auditions Administrator, succeeding Maddie Ridout who left in June. The department recently said goodbye to Assistant Stage & Transport Manager Andy Pitt.

In May Rachel Smith joined our Marketing department as interim Website Manager, covering for Harriet Dalton who is on maternity leave. We are delighted that Megan Macarte, who has covered the role of Box Office Manager during Samantha Cleverley’s maternity leave, will be staying on with us permanently. We wish Sam all the best for this next exciting stage, after 12 loyal years with the LPO.

david James 1930–2018

The prize will contain: • Villa Maria Cellar Selection Sauvignon Blanc 2017 An award-winning wine blended from selected superior parcels of fruit, which offer tropical notes of gooseberry, lime and passionfruit.

LPO Gala – Lia Vittone –David James © Colin Busby

• Villa Maria Cellar Selection Pinot Noir 2016 A barrel-aged wine with silky complexity.

This wine is concentrated with juicy red berry fruit flavours, integrated acidity and fine grainy tannins.

All of Villa Maria’s Cellar Selection wines are released when they are drinking well and provide the perfect complement to all styles of cuisine.

For the fourth year in a row, Villa Maria has been named the no. 1 wine brand in New Zealand and is the highest ranking New Zealand winery in this year’s ‘World’s Most Admired Wine Brands’ list.

To enter the competition please email your name, address and telephone number to competitions@lpo.org.uk by 31 December 2018.

Terms and conditions: Five prizes to be won. The prize comprises one bottle of each of the wines listed above. Entrants must be aged 18 years or over. A full UK mainland address and telephone number must be provided for delivery purposes. Competition closes on 31 December 2018. Entries must be received by the closing date and no liability is accepted for lost, illegible or incomplete entries.

villamaria.co.nz

David James at Glyndebourne

We were saddened to hear of the death of former LPO double bassist David James on 14 March 2018, aged 87.

David joined the Orchestra in 1963 and was a member for 33 years until his retirement in 1996. His daughter, Liz, remembers: ‘Dad enjoyed the wide variety of repertoire the LPO played, alongside so many talented musicians and soloists – he particularly enjoyed the summer seasons at Glyndebourne. Travel was a major part of being in the LPO and my father would come home and open his suitcase bringing souvenirs and gifts from far-flung places and endless stories about the places they had visited and the concerts they had played.

When the LPO returned from their tour to China in the 1970s, the first Western orchestra to visit since the Iron Curtain, our family bought a colour TV especially to watch the documentary about the trip – we were so proud.’

David leaves his wife of 60 years Anne, daughter Liz and son Robert, along with six grandchildren, all of whom he loved dearly, as well as a treasured sister and brother. lpo.org.uk – 09 –

Find a staff member lpo.org.uk/about/staff

CONGRATULATIONS Congratulations to LPO cellist Elisabeth Wiklander and Transport Manager Damian Davis, who were married on 26 May 2018 in Ljungskile on the west coast of Sweden.

new arrivals Congratulations to Box Office Manager Samantha Cleverley and her husband Adrian on the birth of their son Austin Peter Cleverley on 27 December 2017. On 25 March 2018 LPO Sub-Leader Vesselin Gellev and his wife Cristina welcomed to the world their son Gabriel Gellev-Inclan. Congratulations too to Website Manager Harriet Dalton and her husband Pete on the birth of their son Grayson Marnie Dalton, who arrived on 24 May 2018.

Tune in – AUTUMN / WINTER 2018 –

LPO 2018/19 season

triumph to exist On the eve of the centenary of Armistice this November, the London Philharmonic Orchestra will give the world premiere of a new piece by Magnus Lindberg. Jenny Waldman, Director of 14–18 NOW – who jointly commissioned the work with the LPO – tells us more.

Requiem Canticles, Stravinsky’s adaptation of the Catholic requiem mass; and The Eternal Gospel, Janáček’s ecstatic 1914 oratorio.

Triumph to Exist is part of the concluding season of 14–18 NOW, which continues until the end of the year. You can find full details of all the remaining events at 1418NOW.org.uk.

I hope you can join us on 10 November for what should be a very special evening.

Jenny Waldman Director, 14–18 NOW Triumph to Exist is co-commissioned by the London Philharmonic Orchestra and 14-18 NOW: WW1 Centenary Art Commissions (with support from the National Lottery through Arts Council England and the Heritage Lottery Fund, and from the Department for Digital, Culture, Media and Sport), the Gulbenkian Orchestra and the Orchestra National de Lille.

Saturday 10 November 2018 | 7.30pm Royal Festival Hall The Eternal Flame Debussy Berceuse héroïque Magnus Lindberg Triumph to Exist (world premiere) Stravinsky Requiem Canticles Janáček The Eternal Gospel Vladimir Jurowski conductor Andrea Dankova soprano Angharad Lyddon mezzo-soprano Vsevolod Grivnov tenor Maxim Mikhailov bass London Philharmonic Orchestra & Choir For ticket information see page 13.

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Magnus Lindberg introduces Triumph to Exist I am particularly drawn to the work of Edith Södergran. She was the first Finnish modernist poet, and like me, she was part of the Swedish-speaking community of Finland. Triumf att finnas till …

(Triumph to Exist …) was written by her in 1916, in the middle of the catastrophe and despair of World War 1.

Despite the world events of the time, which are surely the unspoken background to this poem, its meditation on the transience of life is a defiantly positive affirmation of the joy of existence, the outpouring of one who refuses to submit to the hopelessness all around her. For me, it says something deeply essential about the tragedy of millions of young men who gave their lives in that useless slaughter. They were deprived of the simple human triumph to merely exist. Every syllable cries out to be set to music.

Magnus Lindberg, August 2018

Magnus Lindberg © Saara Vuorjoki / Fimic

O

ne of the guiding principles behind 14–18 NOW, the UK’s national arts programme for the First World War centenary, is the transformative power of the arts to bring the stories of the past to life.

The artworks created by those who lived through the war or died while fighting – the writings of Robert Graves, the paintings of Paul Nash and the music of Ralph Vaughan Williams, for example – have had a profound impact on our perception of the Great War and the horrors of the conflict. Now, 100 years later, 14–18 NOW is commissioning contemporary artists, writers and composers to create new works for a new generation, each one inspired by the events of a century ago and their lasting impact.

We are delighted that Magnus Lindberg, the LPO’s former Composer in Residence, accepted a 14–18 NOW commission.

Triumph to Exist, his new work, receives its world premiere as the centrepiece to the LPO’s concert at Royal Festival Hall on 10 November.

His initial inspiration for the work is a poem written in 1916, the heart of the war, by a fellow Finn.

Edith Södergran’s poem Triumph to Exist is perhaps not what we might expect of wartime poetry. Despite the date of its composition, the poem is positive, even inspirational: ‘I walk on sunshine/I stand on sunshine/I know of nothing but sunshine’, runs one passage. Lindberg’s setting of these century-old words captures their passion.

The work’s timely world premiere takes place on the night before the 100th anniversary of Armistice, the ceasefire that signalled the end of the war. It is joined on the programme by three other works, each with their own wartime resonance: Debussy’s Berceuse héroïque, written in 1914 as his fellow Frenchmen went to war;

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LPO education & community

my experience: LPO junior artists Now in its third season, the LPO Junior Artists programme offers experience and insight to exceptional musicians from backgrounds under-represented in professional UK orchestras. Violinist Meera Patel reflects on her experiences as one of our 2017/18 participants.

Photographs © Benjamin Ealovega

I

t was my school music teacher who originally suggested I apply for the LPO Junior Artists programme. Music has been my passion for a long time, but I was unsure whether a future in it might be possible – partly because I was the first in my family to even consider the prospect, and I was also conscious that I had very little knowledge about what music as a profession would really be like.

When I first read about what the LPO Junior Artists programme entailed, I was immediately excited, as the opportunities mentioned sounded like nothing I’d ever done before. I was also excited by the concept behind the scheme – I’d never heard of a programme like this, where people from under-represented backgrounds in classical music were actively being sought to gain an insight into the industry. It felt like the most perfect and incredible opportunity and so I applied without a doubt, and now, looking back, have found throughout the year that it has been exactly that!

I’ve met such inspiring people through the scheme. It’s been great fun getting to know the seven other LPO Junior Artists and sharing the experience. Although some elements of the scheme were on an individual basis, many activities were as a group and encouraged us to work as a team – for example the skillsbuilding workshops, which will all be useful in the future regardless of what careers we decide to pursue. We also had great fun playing chamber music together, and having a go at conducting the others – something that I’d never tried before but now would definitely like to do more of!

Getting to know our LPO player mentors throughout the year has been another highlight. Our individual sessions with them have been so helpful – from working on orchestral excerpts and solo pieces, to just chatting about their experiences and our aspirations. I was lucky to be mentored on the violin (but really in all sorts of aspects) by Kevin Lin (LPO Co-Leader), with support from First Violin Tina Gruenberg, and am so grateful to them both for such interesting sessions.

I also thoroughly enjoyed playing alongside LPO musicians including Kevin and Tina several times, including on stage at a Royal Festival Hall FUNharmonics concert [below] – another really exciting opportunity!

The scheme offered such a wide range of experiences that I felt I gained a comprehensive insight into the world of professional music. Aside from the playing opportunities, what I also found really eye-opening were the ‘behind-the-scenes’ activities, including spending two days in the LPO offices. This gave me a new appreciation of the complexity of running a large arts organisation – something that I definitely took for granted before. It made me realise how many different ways there are to engage with music professionally, and in such rewarding ways!

What’s also fantastic is that we were able to explore other musical interests alongside the main focus of orchestral playing.

Personally, I love composing, and wondered if I’d be able to do anything related to this passion while on the programme. On hearing this, the LPO Education team arranged for me to sit in a rehearsal during which participants on the LPO Young Composers scheme had their newly completed pieces rehearsed by the Orchestra, conducted by Sir James MacMillan.

I found it so exciting and intriguing to watch the process of the composers’ pieces being physically transformed from paper into live sounds, and how the composers worked with the Orchestra to achieve the sounds and feelings they had in mind.

Having now completed my year as an LPO Junior Artist, I appreciate just what an exciting opportunity it was. It has provided me with a confidence and reassurance that music is definitely what I want to do in the future.

I plan to study music at university, although it was interesting to see the various pathways emerging between the eight of us. While some also aspire to university, others are set on applying to a conservatoire, while others may study something completely different!

Nevertheless, I’m sure the experiences and skills we’ve gained through the year will be invaluable. It’s been amazing meeting and getting to know the other LPO Junior Artists and the whole LPO team, and I am very grateful to everyone who made it possible. lpo.org.uk/juniorartists

Meera playing alongside LPO Co-Leader Kevin Lin during a FUNharmonics concert at Royal Festival Hall in June

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The 2017/18 LPO Junior Artists Programme was generously funded by the Andrew Lloyd Webber Foundation with additional support from The London Stock Exchange Group Foundation, The Austin and Hope Pilkington Trust, Virginia Gabbertas, Kirby Laing Foundation, the UK Friends of the Felix Mendelssohn Bartholdy Foundation and donors to the Chairman’s Appeal at the LPO’s 2017 Gala Dinner.

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LPO behind the scenes

bringing music to life Last summer Greg Felton joined the LPO in the newly created role of Digital Creative. He fills us in on how he’s helping the Orchestra share its music with audiences worldwide.

D

uring our 2017/18 season, over 135,000 people came to hear the LPO live at Royal Festival Hall, and on tour we played to audiences in 28 cities across 11 other countries.

But that’s just the tip of the iceberg: last year our recordings received more than 50 million listens on Spotify, over 4.5 million people watched our videos on Facebook, and our website receives thousands of visitors daily. We’re constantly innovating to find ways to share the wonder of orchestral music with people worldwide and build ever-wider audiences for our performances and recordings. But just how easy is it to shed new light on well-known repertoire?

In summer 2017 Greg Felton joined the LPO Marketing team in the newly created role of Digital Creative. His brief is to produce engaging digital content that helps draw in new audiences by showcasing the Orchestra’s activities on the concert stage and on tour, as well as its many Education and Community projects and fundraising campaigns. Over to Greg ...

However, of course it’s the musicians who are the real stars of the Orchestra, so our next step was to create some player-led content.

I asked our Principal Trombonist, Mark Templeton, if he would be interested, and he suggested the trombone section make a video about the orchestration in Bruckner 8 (below).

Before a rehearsal in October 2017, we filmed some glorious performance material, along with an interview. The scrolling-score animation gave the performance an innovative edge, and the video was loved by trombone fans all around the world, receiving an incredible 400K views and 5.9K reactions.

With this success, we had a foundation for our future video content. Principal Bassoon Jonathan Davies made an excellent video about his opening solo toThe Rite of Spring, Principal Trumpet Paul Beniston performed the opening of Mahler’s Symphony No. 5, and we were able to illustrate our interviews with

Starting at the LPO last year, one of my first priorities was to learn what kind of content our existing online and social media audiences wanted to see. One of my first projects was an interactive comparison video on our Facebook page, where viewers could listen to excerpts from our recordings of Night on the Bare Mountain

by Mussorgsky and the Rimsky-Korsakov arrangement alongside scrolling-score animations. We asked: ‘Which version do you prefer?’. Over 319,000 viewers watched the post and over 4700 commented and shared it: the success of this video proved that our audience was eager for more engaging content and enjoyed interactive animations.

Paul Beniston introduces his solo from Mahler 5

violinist Patricia Kopatchinskaja with satisfying scrolling-score animations to promote her Stravinsky Violin Concerto performance.

One of the biggest hits this season has been our animated interactive series, ‘Tap-along Timpani Moments’, which made use of various clips from our own record label and created plenty of lively discussion and debate on our Facebook page. However, it was our ‘game-ified’ Rite of Spring clap-along video that was the first to ‘go viral’ and reach the golden 2-million-views mark. More importantly, 75,000 people actively watched the entire way video, shared or commented on it. This level of engagement is incredible compared with other arts organisations. By the end of the season our levels of engagement had caught the attention of Classic FM, who are now regularly sharing our video content on their Facebook page and website. Our engagement and online presence is growing rapidly, and we’re aiming for even greater heights for the next year. what kind of online and social media content would you like to see? drop greg a line at greg.felton@lpo.org.uk lpo.org.uk/explore/tap-along-timpani.html lpo.org.uk/explore/behind-the-scenes.html facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra youtube.com/londonphilharmonicorchestra instagram.com/londonphilharmonicorchestra

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Lpo autumn 2018

Concert listings Southbank centre Unless otherwise stated, standard prices £10–£46 Premium seats £65 London Philharmonic Orchestra Ticket Office 020 7840 4242 Mon–Fri 10am–5pm lpo.org.uk Transaction fees: £1.75 online, £2.75 telephone Royal Festival Hall Ticket Office 020 3879 9555 Daily 9am–8pm southbankcentre.co.uk Transaction fees: £3 online, £3.50 telephone No transaction fee for bookings made in person

Concerts marked with this symbol are part of Changing Faces: Stravinsky’s Journey.

Wednesday 26 September 2018 | 7.30pm Stravinsky Symphony in Three Movements Thomas Adès In Seven Days* Lutosławski Symphony No. 3** Thomas Adès conductor Kirill Gerstein piano London Philharmonic Orchestra * Supported by Resonate. Resonate is a PRS Foundation initiative in partnership with the Association of British Orchestras, BBC Radio 3 and Boltini Trust. ** Financed by the Ministry of Culture and National Heritage of the Republic of Poland as part of the multiannual programme NIEPODLEGŁA 2017–2021.

Saturday 29 September 2018 | 7.30pm Mozart Piano Concerto No. 27, K595 Mahler Das Lied von der Erde Vladimir Jurowski conductor Mitsuko Uchida piano Sarah Connolly mezzo-soprano Stuart Skelton tenor London Philharmonic Orchestra Concert generously supported by Victoria Robey OBE and Dior.

Saturday 6 October 2018 | 7.30pm Beethoven The Creatures of Prometheus Stravinsky Orpheus Vladimir Jurowski conductor London Philharmonic Orchestra

Free pre-concert event 6.15–6.45pm | Royal Festival Hall Beethoven and Stravinsky were both musical pioneers during their lifetimes. Music writer Philip Clark and composer Christopher Fox compare and contrast these two hugely influential personalities.

Wednesday 10 October 2018 | 7.30pm Sibelius Pohjola’s Daughter Dvořák Piano Concerto Bartók Concerto for Orchestra Karina Canellakis conductor Pierre-Laurent Aimard piano London Philharmonic Orchestra

Free pre-concert event: Behind the Baton 6.15–6.45pm | Royal Festival Hall Join Alondra de la Parra as she discusses her career to date and her approach to the music of these three Russian composers.

Wednesday 24 October 2018 | 7.30pm Berlioz Roman Carnival Overture Canteloube Selections from Songs of the Auvergne Bizet Symphony in C Gershwin An American in Paris Enrique Mazzola conductor Anna Caterina Antonacci soprano London Philharmonic Orchestra Concert generously supported by Dior

Concert generously supported by Dior

Saturday 13 October 2018 | 7.30pm Poulenc Stabat Mater Orff Carmina Burana Jérémie Rhorer conductor Louise Alder soprano Toby Spence tenor Simon Keenlyside baritone London Philharmonic Choir Tiffin Boys’ Choir London Philharmonic Orchestra Sunday 14 October 2018 | 12.00 noon FUNharmonics Family Concert: The Highway Rat Following last year’s screening of The Gruffalo’s Child with live orchestral soundtrack, we present The Highway Rat – a new animated special from Magic Light Pictures, based on the wonderful picture book written by Julia Donaldson and illustrated by Axel Scheffler. With the animated film projected on big screen, and live music performed by the LPO, this will be a wonderful first concert experience for all the family.

Join in the free pre-concert foyer activities from 10.00am–12.00 noon (FUNharmonics concert ticket-holders only).

FUNharmonics foyer activities are generously supported by Stentor Music Co. Ltd.

Adults £12–20, children £6–10 Friday 19 October 2018 | 7.30pm Glinka Overture, Ruslan and Ludmilla Rachmaninoff Piano Concerto No. 2 Tchaikovsky Symphony No. 5 Alondra de la Parra conductor Benjamin Grosvenor piano London Philharmonic Orchestra Concert generously supported by Dior

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Saturday 27 October 2018 | 7.30pm Rossini Petite messe solennelle Gustavo Gimeno conductor Elizabeth Watts soprano Sara Mingardo contralto Kenneth Tarver tenor Luca Pisaroni bass-baritone London Philharmonic Orchestra & Choir Saturday 3 November 2018 | 7.00pm (Please note start time) Stravinsky The Rake’s Progress Vladimir Jurowski conductor Allan Clayton Tom Rakewell Sophia Burgos Anne Trulove* Matthew Rose Nick Shadow Patricia Bardon Baba the Turk Clive Bayley Father Trulove Kim Begley Sellem Marie McLaughlin Mother Goose London Voices London Philharmonic Orchestra Sung in English * Please note a change of artist from previously advertised.

Concert generously supported by Victoria Robey OBE.

Free pre-concert event 5.45–6.15pm | Royal Festival Hall As part of Changing Faces: Stravinsky’s Journey, we showcase one of the masterpieces of 20thcentury operatic repertoire. Our artistic team share their thoughts on The Rake’s Progress.

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Lpo autumn 2018

Concert listings continued Wednesday 7 November 2018 | 7.30pm Klein Partita for Strings Schulhoff Concerto for String Quartet and Wind Orchestra* Martinů Concerto for String Quartet and Orchestra* Janáček Sinfonietta Vladimir Jurowski conductor *Borodin Quartet London Philharmonic Orchestra Free pre-concert performance 6.00–6.45pm | Royal Festival Hall In their first performance of the year, our new cohort of Foyle Future Firsts present a chamber programme inspired by the themes of the LPO’s season.

Saturday 10 November 2018 | 7.30pm Debussy Berceuse héroïque Magnus Lindberg Triumph to Exist (world premiere)* Stravinsky Requiem Canticles Janáček The Eternal Gospel Vladimir Jurowski conductor Andrea Dankova soprano Angharad Lyddon mezzo-soprano Vsevolod Grivnov tenor Maxim Mikhailov bass London Philharmonic Orchestra & Choir * Triumph to Exist is co-commissioned by the London Philharmonic Orchestra and 14-18 NOW: WW1 Centenary Art Commissions (with support from the National Lottery through Arts Council England and the Heritage Lottery Fund, and from the Department for Digital, Culture, Media and Sport), the Gulbenkian Orchestra and the Orchestra National de Lille.

Free pre-concert event: Behind the Baton 6.15–6.45pm | Royal Festival Hall Join Magnus Lindberg as he discusses his new work for the 100th anniversary of the end of World War I, continuing the musical tradition of reflection and remembrance.

Wednesday 21 November 2018 | 7.30pm Bizet L’Arlésienne Suite No. 1 Verdi Ballet music from Macbeth Puccini Le Villi Mark Elder conductor Ermonela Jaho soprano Brian Mulligan baritone* Arsen Soghomonyan tenor* Opera Rara Chorus London Philharmonic Orchestra * Please note a change of artist from previously advertised.

In association with Opera Rara.

Wednesday 28 November 2018 | 7.30pm Enescu Romanian Rhapsody No. 1* Pascal Dusapin At Swim-Two-Birds (UK premiere)† Martinů Symphony No. 4 Ravel La valse Andrés Orozco-Estrada conductor Viktoria Mullova violin Matthew Barley cello London Philharmonic Orchestra * Generously supported by the Romanian Cultural Institute. † Commissioned by BBC Radio 4’s zaterdagmatinee series in The Concertgebouw Amsterdam, London Philharmonic Orchestra (with generous support from Diaphonique, a Franco-British contemporary music fund supported by the Institut Français, the Bureau export de la musique, the British Council and Ministère de la Culture et de la communication), Gewandhausorchester and Seattle Symphony Orchestra.

Friday 30 November 2018 | 7.30pm Blacher Orchestral Variations on a Theme by Paganini Bruch Violin Concerto No. 1 Liadov The Enchanted Lake Liadov Baba Yaga Liadov Kikimora Mussorgsky (arr. Ravel) Pictures at an Exhibition Andrés Orozco-Estrada conductor Ray Chen violin London Philharmonic Orchestra

Wednesday 14 November 2018 | 7.30pm Messiaen Hymne Gounod Concerto for Pedal Piano* Berlioz Symphonie fantastique

Wednesday 5 December 2018 | 7.30pm Weber Overture, Der Freischütz Tchaikovsky Violin Concerto Bruckner Symphony No. 2 (1877 revised version)

Oleg Caetani conductor Roberto Prosseda pedal piano London Philharmonic Orchestra

Vladimir Jurowski conductor Alena Baeva violin London Philharmonic Orchestra

* Supported by Palazetto Bru Zane – Centre de musique romantique française.

Saturday 8 December 2018 | 7.30pm Stravinsky Variations (Aldous Huxley in Memoriam) Stravinsky Threni Stravinsky Tango Berio Sinfonia Vladimir Jurowski conductor Elizabeth Atherton soprano Maria Ostroukhova mezzo-soprano Thomas Walker tenor Joel Williams tenor Theodore Platt baritone Clive Bayley bass The Swingles London Philharmonic Orchestra & Choir

Around the UK Sunday 23 September 2018 | 3.00pm Devonshire Park Theatre, Eastbourne Box Office: 01323 412000 eastbournetheatres.co.uk Rachmaninoff Trio élegiaque No. 1 in G minor Brahms Piano Trio No. 3 in C minor, Op. 101 Schubert Piano Trio No. 2 in E flat major Pieter Schoeman violin* Kristina Blaumane cello† Katya Apekisheva piano * Pieter Schoeman’s chair in the Orchestra is generously supported by Neil Westreich. † Kristina Blaumane’s chair in the Orchestra is generously supported by Bianca & Stuart Roden.

Tuesday 16 October 2018 | 7.30pm St David’s Hall, Cardiff Box Office: 029 2087 8444 stdavidshallcardiff.co.uk Glinka Overture, Ruslan and Ludmilla Chopin Piano Concerto No. 2 Tchaikovsky Symphony No. 5 Alondra de la Parra conductor Benjamin Grosvenor piano London Philharmonic Orchestra Wednesday 17 October 2018 | 7.45pm The Anvil, Basingstoke Box Office: 01256 844244 anvilarts.org.uk Glinka Overture, Ruslan and Ludmilla Rachmaninoff Piano Concerto No. 2 Dvořák Symphony No. 8 Alondra de la Parra conductor Benjamin Grosvenor piano London Philharmonic Orchestra

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Saturday 20 October 2018 | 7.30pm Brighton Dome Concert Hall Box Office: 01273 709709 brightondome.org Glinka Overture, Ruslan and Ludmilla Rachmaninoff Piano Concerto No. 2 Tchaikovsky Symphony No. 5 Alondra de la Parra conductor Benjamin Grosvenor piano London Philharmonic Orchestra Sunday 11 November 2018 | 3.00pm Devonshire Park Theatre, Eastbourne Box Office: 01323 412000 eastbournetheatres.co.uk Dvořák Serenade in D minor, Op. 44 Mozart Wind Serenade No. 10 (Gran Partita) Soloists of the London Philharmonic Orchestra Sunday 11 November 2018 | 6.00pm Cadogan Hall, London Box Office: 020 7730 4500 cadoganhall.com Elgar The Spirit of the Lord Ireland Greater Love Hath No Man Elgar Enigma Variations Vaughan Williams Dona Nobis Pacem Richard Cooke conductor Kate Royal soprano Dominic Sedgwick baritone Royal Choral Society London Philharmonic Orchestra Saturday 24 November 2018 | 7.30pm Brighton Dome Concert Hall Box Office: 01273 709709 brightondome.org Vaughan Williams Fantasia on a Theme by Thomas Tallis Mendelssohn Violin Concerto in E minor Vaughan Williams The Lark Ascending Beethoven Symphony No. 4 Graham Ross conductor Carolin Widmann violin London Philharmonic Orchestra Sunday 2 December 2018 | 12.30pm, 2.30pm & 4.30pm Canary Wharf East Wintergarden, London canarywharf.com Tickets will be available from November 2018 The Snowman Film with live orchestra

Sunday 2 December 2018 | 3.00pm Devonshire Park Theatre, Eastbourne Box Office: 01323 412000 eastbournetheatres.co.uk A Celebration of Christmas Gabrieli O Magnum Mysterium Byrd O Magnum Mysterium Praetorius In dulci jubilo Cornelius The Three Kings Scheidt Battle Suite Schütz Also hatt Gott die Welt geliebt Schütz Hodie Christus Natus Est Mathias Sir Christemas Trad arr. Wood Ding Dong! Merrily on High Niles arr. Harvey I Wonder as I Wander Trad arr. Carter Lord of the Dance Iveson A selection from Christmas Crackers Trad. arr Rutter Shepherd’s Pipe Carol Lauridsen O Magnum Mysterium Trad arr. Rutter The Twelve Days of Christmas Neville Creed conductor Soloists of the London Philharmonic Orchestra London Philharmonic Choir Friday 28 December 2018 | 7.00pm Saturday 29 December 2018 | 2.00pm & 7.00pm Sunday 30 December 2018 | 1.00pm & 5.30pm Monday 31 December 2018 | 12.00 noon & 4.00pm Royal Albert Hall, London Box Office: 020 7589 8212 royalalberthall.com Tchaikovsky The Nutcracker Birmingham Royal Ballet Koen Kessels conductor London Philharmonic Orchestra

Friday 14 September 2018 | 7.30pm KKL Concert Hall, Lucerne, Switzerland kkl-luzern.ch Elgar The Wand of Youth (excerpts) Elgar Cello Concerto Mahler Symphony No. 1 Marin Alsop conductor Sol Gabetta cello London Philharmonic Orchestra Thursday 20 September 2018 | 5.00pm Belmond Hotel das Cataratas, Foz do Iguaçu, Brazil belmond.com/lpo A programme of chamber music performed by soloists from the LPO Monday 10 December 2018 | 8.00pm Gasteig, Munich, Germany gasteig.de Brahms Violin Concerto Beethoven Symphony No. 5 Roger Norrington conductor Arabella Steinbacher violin London Philharmonic Orchestra Tuesday 11 December 2018 | 8.00pm Philharmonie, Essen, Germany theater-essen.de Beethoven Leonore Overture No. 2 Saint-Saëns Piano Concerto No. 2 in G minor Beethoven Symphony No. 5 Roger Norrington conductor Fazıl Say piano London Philharmonic Orchestra

INTERNATIONAL CONCERTS Monday 3 September 2018 | 6.00pm Belmond Villa Sant’ Andrea, Taormina Mare, Sicily belmond.com/lpo A programme of chamber music performed by soloists from the LPO Tuesday 4 September 2018 | 6.00pm Belmond Grand Timeo, Taormina, Sicily belmond.com/lpo A programme of chamber music performed by soloists from the LPO

Tim Murray conductor Soloists from Trinity Boys Choir London Philharmonic Orchestra © Snowman Enterprises Limited ‘The Snowman’ by Raymond Briggs is published by Puffin.

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Wednesday 12 December 2018 | 8.00pm Philharmonie, Cologne, Germany koelner-philharmonie.de Programme as 11 December, Essen Thursday 13 December 2018 | 8.30pm Megaron Concert Hall, Athens, Greece megaron.gr Programme as 11 December, Essen

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LPO people

backstage

Why did you decide to relocate from Australia to London?

To join one of the best orchestras in the world! I started playing with the Sydney Symphony Orchestra when I was 19, and over the next few years played everywhere I could in Australia and New Zealand. I loved going to different cities, meeting new people, and trying new bars and restaurants. Eventually I started working my way from the north of the UK down to London, and found the speed with which the LPO worked thrilling. London is so international, busy, and constantly changing. I went to plays, gigs, galleries, bars, parties ... I knew that I could never be bored in such an exciting city.

What were your expectations of the LPO before you joined?

I thought the intense schedule might create tired and jaded musicians. On the contrary, I found a group who thrive on the challenge of creating an exciting, nuanced performance. There are so many colleagues who inspire me; who are so energetic and care so much about giving the audience a great experience. I always know that

a perfectly blended orchestral sound. As a bassist, it’s a real joy to be able to hear yourself properly!

As a relative newcomer to London, what have been your favourite discoveries in the city so far?

I live in Peckham, and love the colour and life of all the shops stocking things from Nigeria to Poland. The Peckham Levels is an old car park that has been transformed into seven storeys of art installations and a rooftop bar with amazing views. It’s a great place to go on a sunny day. I’ve also discovered bar billiards – dangerously addictive and chaotic!

A few of my South East London colleagues and I have developed an addiction to it ...

– hugh kluger – A native of Sydney, Australia, Hugh joined the LPO in March 2018 as Sub-Principal Double Bass.

We talked to him about his first impressions of the LPO, and life in London both on- and off-stage. when the LPO plays, it is going to be worldclass. There aren’t many orchestras in the world that can do three programmes in one week, and keep creating such incredible performances.

What have been the highlights of your first few months with the Orchestra?

I’ve always loved Germanic orchestral and operatic music, so it was no surprise that performing Das Rheingold with Vladimir Jurowski in January was an incredible experience. I’ve been lucky enough to play eight Ring cycles already, but to finally experience one out of the opera pit, on stage with a symphony orchestra, brought out colours and sounds I’d never heard in it before.

Another highlight was playing Tchaikovsky’s Sixth Symphony in the amazing acoustic of Tokyo’s Suntory Hall. You could hear every individual player, as well as

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What’s the best thing about life as an orchestral musician?

It sounds obvious, but playing some of the greatest pieces of art ever created. I also love getting on a plane on day 3 of a tour, and not even knowing which country I’ll be going to that day, but knowing the food will definitely be interesting and the beer will probably be cold.

Which LPO concerts in the 2018/19 season are you most looking forward to?

I can’t wait to play Die Walküre on 27 January: Wagner wrote so well for the basses that the whole opera is full of really juicy bits that keep us challenged and excited. I’m also looking forward to playing Brahms’s Symphony No. 2 on 27 February. I feel Brahms was an early contributor to heavy metal, with lots of great head-banging bits where the timpani and strings build up grooves which are released into amazing brass chorales.

How do you relax when you’re not working?

When I’m not at work I love going to rock and metal gigs around the city, searching for that special moment that you walk into a bar and find your next favourite band. I’ve always played guitar in rock bands, and if I get a free moment I’ll definitely see if I can get one going in London. I also love having a BBQ in my backyard with my friends when the weather holds out (fingers crossed!) meet our members lpo.org.uk/players

Hugh Kluger © J. Davies

How did your career as a double bassist begin, and what have been the defining moments so far?

When I was four, I went to the Sydney Symphony’s Baby Proms and sat on stage at the feet of the principal double bassist.

After that I apparently wanted to play double bass, probably because it was big and loud!

My parents eventually bought a half-sized bass, and my dad and I were playing jazz very soon after. Growing up, I mostly played jazz and rock and roll with my school mates.

I found the energy created while improvising or playing a composition for the first time infectious; an excitement only eclipsed by a full symphony orchestra playing in a great hall with great musicians. I remember playing Pictures at an Exhibition at my first music camp, and thinking it was incredible to be part of making such a big sound. I also remember one of my first professional concerts, playing Beethoven’s Seventh, and thinking that the amazing build-up of the slow movement was a good reason to be playing in symphony orchestras.