WEDNESDAY, NOVEMBER 14, 2012, 8PM Segerstrom Center for the Arts Renée and Henry Segerstrom Concert Hall Pre-concert lecture by Dean Corey, 7pm
Donna L. Kendall Classical Series
PHILHARMONIA ORcHestRA esA-PekkA sALONeN, cONductOR Symphony No. 7 in A major, Op. 92
Poco sostenuto – Vivace Allegretto Presto – Assai meno presto (trio) Allegro con brio
- INTERMISSION Symphonie Fantastique
Rêveries – Passions (Daydreams – Passions) Un bal (A ball) Scène aux champs (Scene in the Country) Marche au supplice (March to the Scaffold) Songe d'une nuit de sabbat (Dream of a Witches' Sabbath) The Philharmonic Society gratefully acknowledges Donna L. Kendall Foundation for the generous sponsorship of tonight’s performance. We would also like to thank Phyllis Jacobs for her additional sponsorship support. Philharmonia Orchestra would like to thank its Principal Supporter The Meyer Foundation and Proud Supporter British Airways. U.S. Tour Management: Opus 3 Artists 470 Park Avenue South, 9th Floor North, New York, NY 10016 www.opus3artists.com Exclusive Print Sponsor Programs, artists and dates subject to change. Photographing or recording this performance without permission is prohibited. Kindly disable pagers, cellular phones and other audible devices.
BEETHOVEN: SYMPHONY NO. 7 IN A MAJOR, OP. 92 The great German opera composer Richard Wagner once famously referred to Beethoven’s Seventh Symphony as the “apotheosis of the dance.” He didn’t literally mean that it was music to dance to (although the entire work has been choreographed) but that, like dance music, rhythm is the work’s prime motivating force—and he was right! Just as surely as much contemporary pop music is propelled forward by its rhythmic drive, so time and time again Beethoven takes a small rhythmic idea and runs with it over and over, as if mesmerised by the intoxicating power of its repetition. In this important respect the Seventh was a creative one-off for Beethoven—yet for many it is the finest of his nine symphonies. Ludwig van Beethoven was arguably the defining figure in musical history. Virtually all romanticized notions as to what a classical artist is—or at least should be— were derived from the Beethoven role model. He was the first composer to successfully go it alone, despite enormous public resistance at times. He single-handedly broke the mold of the “composer as public servant” expectation, and his extraordinary powers of selfbelief sustained him through periods—especially towards the end of his life—when no one really understood what he was up to. “This is art because I say it is so,” he seemed to be saying to his awe-struck contemporaries. Remarkably, and despite many dissenting voices along the way, the great majority appeared to have believed him. At a single stroke, music had become something willed into being by a supreme creator. All this was achieved against seemingly insurmountable odds. Beethoven’s musical instincts somehow survived
By the turn of the nineteenth century, Beethoven was leaving even his most devoted supporters quavering in his wake, as a report in the influential Allgemeine Zeitung on his barnstorming 1803 masterpiece, the Eroica Symphony, bears witness: “The reviewer belongs to Herr van Beethoven’s sincerest admirers, but in this composition he must confess that he finds too much that is glaring and bizarre, which hinders greatly one’s grasp of the whole, and a sense of unity is almost completely lost.” To compound his problems, Beethoven had recently come to terms with the appalling realization that he was becoming increasingly deaf. His desperate state of mind can be gathered from the unbearably poignant Heiligenstadt Testament of the previous year: “O ye men who accuse me of being malevolent, stubborn and misanthropic, how ye wrong me! Ye know not the secret cause. Ever since my childhood, my heart and mind were disposed towards feelings of gentleness and good will, and I was eager to accomplish great deeds; but consider this: for six years I have been hopelessly ill, aggravated and cheated by quacks in the hope of improvement but finally compelled to face a lasting malady. I was misunderstood and rudely repulsed because I was as yet unable to say to people ‘Speak louder, shout, for I am deaf.’” In 1812, the year Beethoven completed his Seventh Symphony, he met the poet Goethe for the first time. Writing to Karl Zelter—who was shortly to become Mendelssohn’s teacher—Goethe commented: “I made Beethoven’s acquaintance at Teplitz. His talent amazed me; unfortunately he is an utterly untamed personality, who is not altogether in the wrong in holding the world to be detestable, but surely does not make it any the more enjoyable for himself or for others by his attitude. He is easily excused, on the other hand, and much to be pitied, as his hearing is leaving him, which, perhaps, mars the musical part of his nature less than the social. He is of a laconic nature and will become doubly so because of this lack.” By now Beethoven’s unruliness was proverbial, even when conducting. Louis Spohr was present at an his-
toric concert in 1813 when the Seventh Symphony and Wellington’s Sieg (the so-called “Battle” Symphony) were performed under the composer’s direction: “Beethoven had accustomed himself to indicate expression to the orchestra by all manner of singular bodily movements. Often, as a sforzando occurred, he threw out his arms, which he had previously crossed upon his breast, with great vehemence asunder. When piano, he crouched down lower and lower as he desired the degree of softness. If a crescendo then appeared, he gradually rose again, and at the entrance of the forte jumped into the air. Sometimes, too, he unconsciously shouted to strengthen the forte.” We shall never know exactly what drove this most universally admired of all the great composers to such unprecedented heights of musical expression. Yet he did leave us one tantalizing clue in the form of a written conversation with Louis Schlosser, dating from around 1822: “You may ask me where I obtain my ideas. I cannot answer this with any certainty: they come unbidden, spontaneously or unspontaneously. I may grasp them with my hands in the open air, whilst walking in the woods, in the stillness of night, in the early morning. Stimulated by those moods which poets turn into words, I turn my ideas into tones which resound, roar and rage until at last they stand before me in the form of notes.”
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the bullyboy regime enforced by his alcoholic father, although they left him emotionally scarred for life. His irascible mood swings and lack of social etiquette often set him on a collision course with even his most devoted patrons and sponsors. This, coupled with his singularly unprepossessing physical appearance (and somewhat questionable levels of personal hygiene) did little to endear him to a whole string of society-women pupils with whom he was in the habit of falling hopelessly in love.
The fact that cyclic repetition and the use of rhythmic ostinatos are to play such a fundamental role in the Seventh Symphony is already made plain in the long introduction to the first movement, with a climbing scalic figure that crescendos up through the strings. Then, at the end of the introduction, a repeated E sets the Vivace in motion with a skipping dotted rhythm that comes to dominate the entire movement. In much the same way a long - short-short - long - long rhythm, announced at the opening of the Allegretto, persistently underpins all that follows. If the scherzo third movement boisterously makes much of unexpectedly sudden changes in dynamic, the finale hurtles the listener along on a wave of unstoppable forward momentum that climaxes in a final coda of breathtaking exhilaration.
BERLIOZ: SYMPHONIE FANTASTIQUE That Hector Berlioz was a genius there can be no doubt, but genius does not always ensure a calm passage through life. Berlioz’s biography makes extraordinary reading, especially when liberally peppered with accounts lifted from his beautifully written and often hilarious Mémoires. His father was a physician in a town not far from Grenoble, within view of the Alps, and since the father assumed to a certainty that his son 5
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Beethoven’s Pastoral is a famous example—but in the Symphonie Fantastique the images are depicted with such vibrant specificity as to become downright cinematic. Furthermore, Berlioz’ sense of the programmatic goes well beyond the merely descriptive to enter the realm of the psychological: the image of a state of mind, one that is far from stable and that spills into hallucinations. (It is doubtless no coincidence that the modern Berlioz revival, which shows no sign of abating, began in the acid-tripping 1960s.) The Symphonie Fantastique is an extraordinary example of self-exploration and self-expression, a work of autobiography underscored by the subtitle Episode de la vie d’un artiste (Episode in the Life of an Artist).
would follow in the same profession, the son’s musical inclinations were largely ignored. As a result, Berlioz never learned to play more than a few chords on the piano, and his practical abilities as a performer were limited to lessons on flute and guitar; his unorthodox musical background surely contributed to his nonconformist musical language. He was sent to Paris to attend medical school, hated the experience, and enrolled himself instead in private musical studies and, beginning in 1826, the composition curriculum at the Paris Conservatoire. The seal of approval for all Conservatoire composition students was the Prix de Rome, and in 1830 (in his fourth consecutive attempt) he was finally honored with that prize. The work that won him this distinction, the cantata La mort de Sardanapale, is long forgotten; in fact, only a fragment of it survives. Ironically, Berlioz had already composed earlier in the same year the work that would forge his place in posterity, the Symphonie Fantastique. It would be the first of four Berlioz symphonies, all of which leave the abstract realm of Beethoven’s symphonic ideal for the programmatic terrain that would find fruition later in the 19th century in the new genre of the symphonic poem. The originality of Berlioz’s achievement in the Symphonie Fantastique is simply astonishing; it has been truly observed that this must be the most remarkable “First Symphony” ever written. Even those few listeners familiar with the excellent but neglected symphonies of his predecessors in Paris, including EtienneNicolas Méhul and Luigi Cherubini, are compelled to acknowledge that those works do little to prepare the ear for Berlioz’s accomplishment. Certainly programmatic symphonies had been written before—
The episode in question was carefully described in a program note that Berlioz prepared: “A young musician of morbidly sensitive temperament and fiery imagination poisons himself with a dose of opium in a fit of lovesick despair,” he begins, not explicitly mentioning his own current romantic infatuation. “The dose of the narcotic, too weak to kill him, plunges him into a deep slumber accompanied by the strangest visions…The loved one herself has become a melody to him, an idée fixe as it were, that he encounters and hears everywhere.” That he does: the motif is first played by flute and violins at the beginning of the opening movement’s “Passions” section (following the “Rêveries” introduction), and absolutely pervades the ensuing material. In succeeding movements the artist’s dreams lead him to a ballroom, where he waltzes with his beloved; to the Alpine countryside, where memories of his beloved disturb his peace; to the scaffold, where he dies as a result of murdering his beloved; and finally to a Witches’ Sabbath convened in honor of his death, at which the idée fixe now appears as a grotesque dance heard along with a parody of the funeral chant, “Dies irae.”
ESA-PEKKA SALONEN, CONDUCTOR In 2012-13, composer/conductor Esa-Pekka Salonen commences his fifth season as Principal Conductor and Artistic Advisor of the Philharmonia Orchestra London. After seventeen years at its helm as Music Director of the Los Angeles Philharmonic, he also holds the title of Conductor Laureate (since 2009). Esa-Pekka Salonen’s artistic collaboration with the Philharmonia Orchestra has been dominated by landmark multi-disciplinary festivals, exploring the music of key 20th-century composers and musical movements in their widest possible cultural, social and historical context. In 2013 the Philharmonia Orchestra will mark the centenary of the birth of Witold
Salonen holds the position of Artistic Director and cofounder of the Baltic Sea Festival, an event that annually invites celebrated orchestras, conductors and soloists to promote unity and ecological awareness among the countries around the Baltic Sea. In summer 2012, he will take his unique and widely acclaimed production of Wagner’s Tristan und Isolde to the festival, performing it with the Finnish Radio Symphony Orchestra. The production, first performed in Los Angeles in 2004, was created in close collaboration with director Peter Sellars and video artist Bill Viola, and will also travel to the Helsinki Festival in August 2012.
Salonen’s appointment with the Philharmonia cements a relationship that dates back more than 25 years. He made his London conducting debut at the age of 25 with the Philharmonia Orchestra in September 1983, stepping in at the last minute to lead a now-legendary performance of Mahler’s Symphony No. 3. He accepted the position of Principal Guest Conductor, which he held from 1985-1994, and has returned to conduct the orchestra on a regular basis ever since. Some of the Philharmonia’s most ambitious and important projects during this time, from Clocks and Clouds (Ligeti, 1996) to Related Rocks (Magnus Lindberg, 2001-2), took place under his artistic leadership.
As a composer, Salonen’s works are regularly performed and broadcast around the world; Floof and LA Variations have become established as modern classics. His Violin Concerto is the winner of the 2012 University of Louisville Grawemeyer Award for Music Composition and was premiered with the Los Angeles Philharmonic in 2009 by Leila Josefowicz. It has since been played widely in Europe and the U.S. Three major retrospectives of his work (most recently at Festival Présences Paris in February 2011, at the Stockholm International Composer Festival in October 2004, and at Musica Nova, Helsinki, in March 2003) were presented to capacity audiences and were critically acclaimed. He has completed several works for symphony orchestra: Foreign Bodies (2001), commissioned by the Finnish Radio Symphony Orchestra; Insomnia (2002), co-commissioned by Suntory Hall, Tokyo, and Norddeutscher Rundfunk, Hamburg; and Wing on Wing (2004), which received its world premiere at Walt Disney Concert Hall in June 2004 and was a gift from the composer to the Los Angeles Philharmonic in honor of its new home. In February 2007, Salonen conducted the New York Philharmonic in the first performance of his piano concerto, dedicated to Yefim Bronfman, who also premiered it. This concerto was co-commissioned by the New York Philharmonic, the BBC, Radio France, and NDR Hamburg. The music of Esa-Pekka Salonen is published exclusively by Chester Music.
Esa-Pekka Salonen’s operatic work extends well beyond the boundaries of conventional repertoire, stretching from Wagner to Saariaho. In 2013, he will lead an anticipated new production of Strauss’ Elektra directed by Patrice Chéreau at Aix-en-Provence Festival. A previous Chéreau / Salonen collaboration led to performances of the production of Janáček’s From the House of the Dead described after it opened at the Metropolitan
New recordings involving Salonen’s compositions in 2012 include a Deutsche Grammophon release of his Violin Concerto with Leila Josefowicz and his 2011 orchestral work Nyx with the Finnish Radio Symphony Orchestra. A CD of five of his orchestral works is available on Sony. Deutsche Grammophon released a portrait CD of his orchestral works performed by the Finnish Radio Symphony Orchestra and conducted by
Lutosławski with Woven Words: “Music begins where words end,” a pan-European portrait of Salonen’s teacher and mentor, Witold Lutosławski. 2013 also marks another important centenary, that of the first performance of Stravinsky’s iconic ballet The Rite of Spring. Esa-Pekka Salonen will be celebrating the work, leading the Philharmonia in performances at the Théâtre des Champs-Élysées in Paris (where it was premiered in 1913) as well as at the Royal Festival Hall in London almost one hundred years to the day it was first performed. Autumn 2012 will also see Salonen embark on an expansive tour with the Philharmonia through the United States, including a residency at University of California, Berkeley.
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Opera in New York in 2009 as “the operatic event of the year,” Elektra in 2013 is a co-production with La Scala, Milan, and the Metropolitan Opera in New York, where it will appear in forthcoming seasons under his baton.
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the composer, as well as a CD with Salonen’s Piano Concerto and his works Helix and Dichotomie. The second disc, with the Los Angeles Philharmonic and Yefim Bronfman, was nominated for a Grammy in November 2009. In addition to the recordings of his own compositions, Esa-Pekka Salonen has a considerable discography. During 2012, new releases on Deutsche Grammophon will include the first-ever recording of Shostakovich’s previously undiscovered opera prologue Orango with the Los Angeles Philharmonic, as well as a release of some of Henri Dutilleux’s most important works recorded with the Orchestre Philharmonique de Radio France in the presence of the composer. In September 2009, a new collaboration with the Philharmonia Orchestra’s partner label Signum was launched with the release of a live recording of Schoenberg’s Gurrelieder; other recent and forthcoming recordings with the Philharmonia on Signum include Berlioz’ Symphonie Fantastique and Mahler’s 6th and 9th symphonies. On Deutsche Grammophon, Salonen’s recordings include a DVD of Kaija Saariaho’s opera, L’Amour de loin (with the Finnish National Opera) as well as two CDs with Hélène Grimaud featuring works by Pärt and Schumann. His first recording with the Los Angeles Philharmonic for Deutsche Grammophon (Stravinsky’s Rite of Spring—the first CD recording ever at Walt Disney Concert Hall) was released in October 2006 and nominated for a Grammy in December 2007. Sony Classical has recorded a wide repertoire, ranging from Mahler and Revueltas to Magnus Lindberg and his own works. At the beginning of the 2010-11 season, Esa-Pekka Salonen began a residency at the Konzerthaus Dortmund. The project “Expedition Salonen” has woven his life as conductor, composer and creator into the fabric of the Konzerthaus Dortmund’s artistic life over three consecutive seasons. He has appeared in Dortmund with the Philharmonia Orchestra, Mahler Chamber Orchestra, Symphonieorchester des Bayerischen Rundfunks and as part of the hugely successful interactive Digital Installation with the Philharmonia, Re-Rite (taken to Dortmund in autumn 2011). Salonen’s dedication to technology, digital platforms and outreach has been realised through his work with the Philharmonia Orchestra on a number of innovative projects. Together in 2012, Esa-Pekka Salonen and the Philharmonia Digital Department have created Universe of Sound, an interactive high-definition major installation at the Science Museum in London. In recent seasons, the award-winning Re-Rite, first exhibited in London in 2009, has gone on to appear in
Portugal, China and Turkey as well as Germany, returning to London as part of the Rite of Spring Centenary in spring 2013. During Salonen’s tenure with the Los Angeles Philharmonic, where he was music director from 1992 until 2009, his contributions extended far beyond subscription concerts and international tours. The genesis of many unique festivals and collaborations under his leadership included a production of Saint François d'Assise at the Salzburg Festival (1992), and a Stravinsky Festival together with Pierre Boulez at the Théâtre du Châtelet in Paris (1996). Salonen’s orchestral guest appearances are also diverse and include regular appearances with the Vienna Philharmonic, the Bavarian Radio Symphony (BRSO) and North German Radio Symphony (NDR), as well as the Chicago Symphony and New York Philharmonic. Salonen is the recipient of many major awards, including the 2012 University of Louisville Grawemeyer Award for Music Composition, UNESCO Rostrum Prize for his composition Floof in 1992 and the Siena Prize, given by the Accademia Chigiana in 1993; he is the first conductor ever to receive the prize. In 1995 he was awarded the Royal Philharmonic Society’s Opera Award, and he received the Society’s Conductor Award in 1997. In 1998, the French government awarded him the rank of Officier de l’ordre des Arts et des Lettres. In May 2003, he was given an honorary doctorate from the Sibelius Academy in Finland. He won the Helsinki Medal in 2005. Musical America named Salonen as its Musician of the Year in 2006. In June 2009, Salonen received an honorary doctorate from the Hong Kong Academy of Performing Arts. He was elected as an honorary member of the American Academy of Arts and Sciences in April 2010, and granted further honorary doctorates by the University of Southern California in May 2010 and the Royal College of Music London in May 2011. For more information, visit esapekkasalonen.com.
PHILHARMONIA ORCHESTRA The Philharmonia Orchestra is one of the world’s great orchestras. Acknowledged as the UK’s foremost musical pioneer, with an extraordinary recording legacy, the Philharmonia leads the field for its quality of playing, and for its innovative approach to audience development, residencies, music education and the use of new technologies in reaching a global audience. Together with its relationships with the world’s most sought-after artists, most importantly Principal Conductor and Artistic Advisor Esa-Pekka Salonen, the Philharmonia Orchestra is at the heart of British musical life. Today, the Philharmonia has the greatest claim of any orchestra to be the UK’s National Orchestra. It is com-
During its first six decades, the Philharmonia Orchestra has collaborated with most of the great classical artists of the 20th century. Conductors associated with the orchestra include Furtwängler, Richard Strauss, Toscanini, Cantelli, Karajan and Giulini. Otto Klemperer was the first of many outstanding Principal Conductors, and other great names have included Lorin Maazel (Associate Principal Conductor), Riccardo Muti (Principal Conductor and Music Director), Giuseppe Sinopoli (Music Director) and Sir Charles Mackerras (Principal Guest Conductor). As well as Esa-Pekka Salonen, current titled conductors are Christoph von Dohnányi (Honorary Conductor for Life), Kurt Sanderling (Conductor Emeritus) and Vladimir Ashkenazy (Conductor Laureate). The Philharmonia Orchestra continues to pride itself on its long-term collaborations with the finest musicians of our day, supporting new as well as established artists. This policy extends into the orchestra itself, where many of the players have solo or chamber music careers alongside their work with the orchestra. The Philharmonia’s Martin Musical Scholarship Fund has
for many years supported talented musicians at the start of their careers, including an Orchestral Award, which allows two young players every year to gain performing experience within the orchestra. The orchestra is also recognised for its innovative programming policy, at the heart of which is a commitment to performing and commissioning new works by leading composers, among them the Artistic Director of its Music of Today series, Unsuk Chin. Since 1945 the Philharmonia Orchestra has commissioned more than 100 new works from composers including Sir Harrison Birtwistle, Sir Peter Maxwell Davies, Mark-Anthony Turnage and James MacMillan. Throughout its history, the Philharmonia Orchestra has been committed to finding new ways to bring its top quality live performance to audiences worldwide, and to using new technologies to achieve this. Many millions of people since 1945 have enjoyed their first experience of classical music through a Philharmonia recording, and audiences can engage with the orchestra through webcasts, podcasts, downloads, computer games and film scores as well as through its unique interactive music education website, The Sound Exchange (www.philharmonia.co.uk/thesoundexchange). More than 3,500 people a month download free monthly Philharmonia video podcasts, which include artist interviews and features on repertoire and projects; these films are also watched by more than one million people on YouTube. In May 2010 the orchestra’s digital “virtual Philharmonia Orchestra” project Re-Rite won both the RPS Audience Development and Creative Communication Awards, and after appearances in London, Leicester and Lisbon, toured to Dortmund in November 2011. Re-Rite, devised with Esa-Pekka Salonen, secured the Philharmonia’s position as a digital innovator and earlier this year the orchestra announced the launch of a new digital production company, Rite Digital. The Philharmonia and Rite Digital are currently working on a follow-up audiovisual installation, Universe of Sound: The Planets. This installation, based on Holst’s The Planets, will premiere at the Science Museum in summer 2012 and allow audiences closer than ever to the heart of the orchestra.
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mitted to presenting the same quality, live music-making in venues throughout the country as it brings to London and the great concert halls of the world. In 2011-12 the Orchestra performed more than 160 concerts, as well as presenting chamber performances by the Soloists of the Philharmonia Orchestra, and recorded scores for films, CDs and computer games. Under Esa-Pekka Salonen, a series of flagship, visionary projects—City of Dreams: Vienna 1900 -1935 (2009) and Bill Viola’s Tristan und Isolde (2010)— have been critically acclaimed, and, during 2011, Salonen presented Infernal Dance: Inside the World of Béla Bartók, a pan-European exploration of the life, influences and music of the composer. For 16 years now, the Orchestra’s work has been underpinned by its much admired UK and International Residency Programme, which began in 1995 with the launch of its residencies at the Bedford Corn Exchange and London’s Southbank Centre. During 2011-12 the Orchestra not only performed more than 35 concerts at Southbank Centre’s Royal Festival Hall, but also celebrated its 15th year as Resident Orchestra of De Montfort Hall in Leicester and its 11th year as Orchestra in Partnership at The Anvil in Basingstoke; and launched a new residency at the new Marlowe Theatre in Canterbury. The Orchestra’s extensive touring schedule last season also included performances in more than 30 of the finest international concert halls in Europe, China and the United Arab Emirates, with conductors including Esa-Pekka Salonen, Lorin Maazel and Kurt Masur.
Recording and broadcasting both continue to play a significant part in the orchestra’s activities, notably through its partnership with Signum Records, releasing new live recordings of Philharmonia performances with its key conductors. Since 2003 the Philharmonia has enjoyed a major partnership with Classic FM, as The Classic FM Orchestra on Tour, as well as continuing to broadcast on BBC Radio 3. 9
pHILHaRMONIa ORCHESTRa Patron: HRH The Prince of Wales, KG, KT, GCB, OM President: Vincent Meyer Principal Conductor and Artistic Advisor: Esa-Pekka Salonen Honorary Conductor for Life: Christoph von Dohnányi Conductor Laureate: Vladimir Ashkenazy Artistic Director, Music of Today: Unsuk Chin Concert Master: Zsolt-Tihamér Visontay
VIOLIN 1 Zsolt-Tihamér Visontay Sarah Oates Nathaniel Anderson-Frank Imogen East Eleanor Wilkinson Soong Choo Lulu Fuller Karin Tilch Adrián Varela Stuart James Benjamin Roskams Laura Dixon Grace Lee Susie Watson Caroline Frenkel Alan Brind 2ND VIOLIN Emily Davis Fiona Cornall Susan Hedger Gideon Robinson Jan Regulski Julian Milone Helena Roques Timothy Colman Teresa Pople Helen Cochrane Franziska Mattishent Sali-Wyn Ryan Nicola Gleed Charlotte Reid VIOLA Ida Bryhn Nicholas Bootiman Michael Turner Cheremie Hamilton-Miller Gwendolyn Fisher Samuel Burstin Julia O'Riordan Ellen Blythe Carol Hultmark Fiona Opie Linda Kidwell Rebecca Wade
CELLO Timothy Walden Karen Stephenson Eric Villeminey Richard Birchall Anne Baker Victoria Simonsen Maria Zachariadou Morwenna Del Mar Judith Fleet Hetty Snell BASS Neil Tarlton Christian Geldsetzer Simon Oliver Michael Fuller Adam Wynter Brendan Kane William Cole Jeremy Watt FLUTE Samuel Coles June Scott PICCOLO Keith Bragg OBOE Gordon Hunt Timothy Rundle Eugene Feild COR ANGLAIS Jill Crowther CLARINET Mark van de Wiel Laurent Ben Slimane
HORN Katy Woolley Nick Hougham Antonio-Geremia Iezzi Carsten Williams James Handy
MANAGING DIRECTOR David Whelton
TRUMPET Alistair Mackie Robert Farley Mark Calder Paul Sharp
TOURS MANAGER Frankie Hutchinson CONCERTS & TOURS ASSISTANT Sarah Bennett
CORNET Alistair Mackie Mark Calder
PERSONNEL MANAGER Per Hedberg
TROMBONE Byron Fulcher Philip White
ASSISTANT PERSONNEL MANAGER David Thomas
BASS TROMBONE Daniel West
LIBRARIAN Tim Cotter
TUBA Peter Smith Sasha Koushk-Jalali
STAGE & TRANSPORT MANAGER Roy Davies
TIMPANI Paul Philbert Tim Gunnell
ASSISTANT STAGE & TRANSPORT MANAGER Steven Brown
PERCUSSION Henry Baldwin Peter Fry David Corkhill Christopher Terian HARP Bryn Lewis Ruth Holden
E-FLAT CLARINET Jennifer McLaren BASSOON Amy Harman Michael Cole Tammy Thorn Luke Whitehead
DEPUTY MANAGING DIRECTOR Fiona Martin
PHILHARMONIA ORCHESTRA ADMINISRATION CHAIRMAN Simon Oliver
FOR OPUS 3 ARTISTS David V. Foster, President & CEO Leonard Stein, Senior Vice President, Director, Touring Division William Bowler, Manager, Artists & Attractions John C. Gilliland III, Associate, Touring Division Kay McCavic, Tour Manager Joseph Castellano, Assistant Tour Manager