London Philharmonic Orchestra concert programme 27 Nov 2013 by London Philharmonic Orchestra

Concert programme 2013/14 season Part of Southbank Centreâ€™s

London cover 13-14 v3.indd 1

9/6/2013 12:14:31 PM

Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI* Principal Guest Conductor YANNICK NÉZET-SÉGUIN Leader pieter schoeman Composer in Residence JULIAN ANDERSON Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

Southbank Centre’s Royal Festival Hall Wednesday 27 November 2013 | 7.30pm

Krzysztof Penderecki Violin Concerto No. 1 (38’) Interval Henryk Górecki Symphony No. 3 (Symphony of Sorrowful Songs) (54’)

Michał Dworzynski conductor Barnabás Kelemen violin Allison Bell soprano Free pre-concert event 6.15–6.45pm | Royal Festival Hall Conductor Michał Dworzynski discusses the evening’s programme.

Concert generously supported by the Adam Mickiewicz Institute as part of the Polska Music programme.

* supported by the Tsukanov Family Foundation and one anonymous donor CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Programme £3 Contents 2 Welcome 3 Tonight’s works in context 4 About the Orchestra 5 Leader 6 On stage tonight 7 Michał Dworzynski 8 Barnabás Kelemen 9 Allison Bell 10 Programme notes 13 Text: Górecki Symphony No. 3 15 Next concerts 16 2013/14 Annual Appeal 17 Orchestra news 18 Catalyst: Double Your Donation 19 Supporters 20 LPO administration The timings shown are not precise and are given only as a guide.

Welcome

Welcome to Southbank Centre We hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries please ask any member of staff for assistance. Eating, drinking and shopping? Southbank Centre shops and restaurants include Foyles, EAT, Giraffe, Strada, YO! Sushi, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffè Vergnano 1882, Skylon, Concrete and Feng Sushi, as well as cafes, restaurants and shops inside Royal Festival Hall, Queen Elizabeth Hall and Hayward Gallery. If you wish to get in touch with us following your visit please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone 020 7960 4250, or email customer@southbankcentre.co.uk We look forward to seeing you again soon. A few points to note for your comfort and enjoyment: PHOTOGRAPHY is not allowed in the auditorium. LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance. RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre. Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended. MOBILES, PAGERS AND WATCHES should be switched off before the performance begins.

Southbank Centre’s The Rest Is Noise, inspired by Alex Ross’s book The Rest Is Noise Presented by Southbank Centre in partnership with the London Philharmonic Orchestra. southbankcentre.co.uk/therestisnoise The Rest Is Noise is a year-long festival that digs deep into 20th-century history to reveal the influences on art in general and classical music in particular. Inspired by Alex Ross’s book The Rest Is Noise, we use film, debate, talks and a vast range of concerts to reveal the fascinating stories behind the century’s wonderful and often controversial music. We have brought together the world’s finest orchestras and soloists to perform many of the most significant works of the 20th century. We reveal why these pieces were written and how they transformed the musical language of the modern world. Over the year, The Rest Is Noise focuses on 12 different parts. The music is set in context with talks from a fascinating team of historians, scientists, philosophers, political theorists and musical experts as well as films, online content and other special programmes. If you’re new to 20th-century music, then this is your time to start exploring with us as your tour guide. There has never been a festival like this. Jude Kelly Artistic Director, Southbank Centre

2 | London Philharmonic Orchestra

Tonight’s works in context

1930

1932 London Philharmonic Orchestra founded by Sir Thomas Beecham 1933 Krzysztof Penderecki born in Dębica, Poland; Henryk Górecki born in Czernica, Poland 1936 Abdication of King Edward VIII

1940

1939 Outbreak of World War II

1945 End of World War II

1950

1949 Orwell’s Nineteen Eighty-Four published 1953 Coronation of Queen Elizabeth II 1956 Suez Crisis

1960

1960 Alfred Hitchcock’s film Psycho released 1963 John F. Kennedy assassinated in Dallas, Texas 1967 Homosexuality decriminalised in the UK

1970 1980

1969 Neil Armstrong became the first man on the Moon. Stonewall riots in New York 1971 First email sent 1977 Premieres of Penderecki’s Violin Concerto No. 1 in Basel, Switzerland, and Górecki’s Symphony No. 3 (Symphony of Sorrowful Songs) in Royan, France 1982 Michael Jackson’s album Thriller became the bestselling album of all time 1984 First Apple Macintosh personal computer on sale in the USA

1990

1989 Fall of the Berlin Wall 1991 Collapse of the Soviet Union 1992 A recording of Górecki’s Third Symphony by the London Sinfonietta and Dawn Upshaw became a worldwide commercial success, reaching No. 6 in the UK pop charts 1997 Hong Kong returned to China

2000

1999 Euro adopted as a single currency by participating countries in Europe 2001 September 11 attacks in the USA 2004 Facebook founded

2010

2008 Barack Obama elected President of the United States 2010 Death of Henryk Górecki in Katowice, Poland 2012 London Philharmonic Orchestra records the world’s national anthems for the London 2012 Olympics, and performs as part of the Thames Diamond Jubilee Pageant London Philharmonic Orchestra | 3

London Philharmonic Orchestra

After playing so perfectly prepared and beautifully detailed as this, the rest is noise indeed. The Guardian 2 October 2013, Royal Festival Hall: Vladimir Jurowski conducts Britten

The London Philharmonic Orchestra is one of the world’s finest orchestras, balancing a long and distinguished history with its present-day position as one of the most dynamic and forward-looking orchestras in the UK. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, has its own successful CD label, and enhances the lives of thousands of people every year through activities for schools and local communities. The Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the greatest names in the conducting world, including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is currently the Orchestra’s Principal Conductor and Artistic Advisor, appointed in 2007, and Yannick Nézet-Séguin is Principal Guest Conductor. Julian Anderson is the Orchestra’s current Composer in Residence. The Orchestra is based at Southbank Centre’s Royal Festival Hall in London, where it has performed since 1951 and been Resident Orchestra since 1992. It gives around 40 concerts there each season with many of the world’s top conductors and soloists. 2013/14 highlights

4 | London Philharmonic Orchestra

include a Britten centenary celebration with Vladimir Jurowski; world premieres of James MacMillan’s Viola Concerto and Górecki’s Fourth Symphony; French repertoire with Yannick Nézet-Séguin including Poulenc, Dutilleux, Berlioz, and Saint-Saëns’s ‘Organ’ Symphony; and two concerts of epic film scores. We welcome soloists including Evelyn Glennie, Mitsuko Uchida, Leif Ove Andsnes, Miloš Karadaglić, Renaud Capuçon, Emanuel Ax, Leonidas Kavakos, Julia Fischer and Simon Trpčeski, and a distinguished line-up of conductors including Christoph Eschenbach, Osmo Vänskä, Vasily Petrenko, Jukka-Pekka Saraste and Stanisław Skrowaczewski. Throughout the second half of 2013 the Orchestra continues its year-long collaboration with Southbank Centre in The Rest Is Noise festival, exploring the influential works of the 20th century. Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Each summer the Orchestra takes up its annual residency at Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra for 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the

Vesselin Gellev leader

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from Lawrence of Arabia, The Mission and East is East to Hugo, The Lord of the Rings trilogy and The Hobbit: An Unexpected Journey. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 70 releases available on CD and to download. Recent additions include Mahler’s Symphony No. 1 with Vladimir Jurowski; Mahler’s Das Lied von der Erde with Yannick Nézet-Séguin, Sarah Connolly and Toby Spence; and a disc of new works by the Orchestra’s Composer in Residence, Julian Anderson. In summer 2012 the Orchestra was invited to take part in The Queen’s Diamond Jubilee Pageant on the River Thames, as well as being chosen to record all the world’s national anthems for the London 2012 Olympics. The London Philharmonic Orchestra is committed to inspiring the next generation of musicians and audiences through an energetic programme of activities for young people. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; fusion ensemble The Band; the Leverhulme Young Composers project; and the Foyle Future Firsts orchestral training programme for outstanding young players. Over recent years, digital advances and social media have enabled the Orchestra to reach even more people across the globe: all its recordings are available to download from iTunes and, as well as a YouTube channel, iPhone app and regular podcast series, the Orchestra has a lively presence on Facebook and Twitter. Find out more and get involved! lpo.org.uk facebook.com/londonphilharmonicorchestra

first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra. Touring remains a large and vital part of the Orchestra’s life: highlights of the 2013/14 season include visits to the USA, Romania, Austria, Germany, Slovenia, Belgium, France and Spain.

Vesselin Gellev was born in Bulgaria and has been a featured soloist with the Spoleto Festival Orchestra, New Haven Symphony Orchestra, Juilliard Orchestra and London Philharmonic Orchestra, among others. As violinist of the Antares Quartet, he won First Prize at the 2002 Concert Artists Guild competition in New York. As Concertmaster of Kristjan Järvi’s Absolute Ensemble, a Grammy-nominated, genre-blending ‘classical band’, he has recorded several CDs; appeared in venues such as the Sydney Opera House, the Amsterdam Concertgebouw and the Vienna Konzerthaus; and collaborated with many world-renowned artists as diverse as Paquito D’Rivera, Goran Bregovic, L. Subramaniam and the late Joe Zawinul. He has also performed as Guest Leader with orchestras including the BBC National Orchestra of Wales, Royal Philharmonic Orchestra, Royal Scottish National Orchestra, Mahler Chamber Orchestra, and Orchestra of the Accademia Nazionale di Santa Cecilia in Rome. In 2012 he was invited to join the World Orchestra for Peace, founded by Sir Georg Solti. Vesselin received his Bachelor’s and Master’s degrees from The Juilliard School in New York and, prior to joining the LPO as Sub-Leader in 2007, held the position of Concertmaster with the New Haven Symphony Orchestra and the Spoleto Festival Orchestra in Italy. He has led the LPO in numerous concerts and several recordings for the Orchestra’s own record label, most recently on the Official Thames Diamond Jubilee Pageant CD in 2012. An avid chamber musician, Vesselin also performs regularly in the LPO’s Chamber Contrasts series at Wigmore Hall. Vesselin’s chair in the London Philharmonic Orchestra is supported by John and Angela Kessler.

twitter.com/LPOrchestra

London Philharmonic Orchestra | 5

On stage tonight

First Violins Vesselin Gellev Leader Chair supported by John & Angela Kessler

Ilyoung Chae Ji-Hyun Lee Chair supported by Eric Tomsett

Katalin Varnagy Chair supported by Sonja Drexler

Yang Zhang Sarah Streatfeild Catherine Craig Robert Pool Thomas Eisner Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp

Martin Höhmann Grace Lee Alina Petrenko Ishani Bhoola Galina Tanney Caroline Frenkel Second Violins Winona Fifield Guest Principal Jeongmin Kim Joseph Maher Fiona Higham Marie-Anne Mairesse Emma Wragg Caroline Simon Sioni Williams Alison Strange Stephen Stewart Sheila Law Elizabeth Baldey Kate Birchall Chair supported by David & Victoria Graham Fuller

Ashley Stevens Mila Mustakova John Dickinson

Violas Cyrille Mercier Principal Robert Duncan Gregory Aronovich Benedetto Pollani Susanne Martens Emmanuella Reiter Laura Vallejo Daniel Cornford Isabel Pereira Pamela Ferriman Helen Bevin Martin Fenn

Piccolos Stewart McIlwham* Principal Joanna Marsh

Trumpets Nicholas Betts Principal Anne McAneney*

Oboes Ian Hardwick Principal Holly Randall

Colin Clague

Cellos Kristina Blaumane Principal Francis Bucknall Laura Donoghue Santiago Carvalho† Gregory Walmsley Elisabeth Wiklander Sue Sutherley Susanna Riddell David Bucknall Sibylle Hentschel Jonathan Kitchen William Routledge

Clarinets Robert Hill* Principal Douglas Mitchell

Double Basses Kevin Rundell* Principal Tim Gibbs Co-Principal Laurence Lovelle George Peniston Richard Lewis Helen Rowlands Tom Walley Laura Murphy Flutes Michael Cox Guest Principal Sue Thomas

6 | London Philharmonic Orchestra

Chair supported by the Sharp Family

Cor Anglais Sue Böhling Principal Chair supported by Julian & Gill Simmonds

E-flat Clarinet Thomas Watmough

Chair supported by Geoff & Meg Mann

Trombones Lindsay Shilling Guest Principal David Whitehouse Andrew Connington Bass Trombone Lyndon Meredith Principal Tuba Lee Tsarmaklis* Principal

Bass Clarinet Paul Richards Principal

Timpani Simon Carrington* Principal James Bower

Contrabass Clarinet Steve Morris

Percussion Andrew Barclay* Principal

Bassoons Ben Hudson Guest Principal Gareth Newman* Contrabassoons Simon Estell Principal Catherine Duckett Horns John Ryan* Principal David Pyatt* Principal Chair supported by Simon Robey

Martin Hobbs Mark Vines Co-Principal Gareth Mollison

Chair supported by Andrew Davenport

Sacha Johnson Keith Millar Harp Rachel Masters* Principal Chair supported by Friends of the Orchestra

Piano & Celeste Catherine Edwards * Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco

Michał Dworzynski

conductor

Michał Dworzynski is Principal Conductor and Artistic Director of the Kraków Philharmonic Orchestra, where from September 2013 he will conduct ten weeks each season. Guest highlights this season include his debut with the NHK Symphony Orchestra at Orchard Hall, Tokyo, and tonight’s return to the London Philharmonic Orchestra at Royal Festival Hall. Michał has received numerous awards for his committed advocacy of composers from his native Poland, bringing them to an international audience at major events worldwide. He gave the UK premiere of Roman Maciejewski’s extraordinary Requiem Mass in Westminster Cathedral with the massed forces of the BBC Symphony Orchestra, BBC Symphony Chorus and BBC Singers, and a starry Polish cast. He has brought the music of Lutosławski to major UK festivals such as Cheltenham (BBC Philharmonic), Belfast (Ulster Orchestra) and St Magnus (BBC Scottish Symphony), and made his debuts with both the Israel Philharmonic and Netherlands Radio Philharmonic orchestras in the major closing events of their seasons with Górecki’s Symphony No. 3. The Amsterdam concert, which also included Szymanowski’s Stabat mater, was broadcast on Dutch television. Michał maintains a regular presence in Warsaw with the Philharmonic Orchestra (with whom he toured Japan and Italy in 2012), and has guest-conducted all the major Polish orchestras and the Warsaw National Opera.

He is a popular guest in Japan, having appeared with the Tokyo Symphony and Tokyo Philharmonic orchestras and at Suntory Hall, and toured to Tokyo Opera City with the Warsaw Philharmonic Orchestra. He made his first visits to Australia and New Zealand in June 2011, and returned in 2013 to conduct the West Australian and Adelaide symphony orchestras. He has made several CD recordings for Polish television and radio, and has an ongoing relationship with Hyperion Records and the BBC Scottish Symphony Orchestra. Michał studied in Warsaw with Antoni Wit and in Berlin with Christian Ehwald, and was appointed Assistant Conductor of the National Polish Radio Symphony Orchestra in Katowice at the age of 21. From 2008–10 he was Principal Conductor of the Beethoven Academy in Kraków, conducting at the Warsaw Easter Festival and in the Warsaw Philharmonic series, and programming Beethoven and Brahms cycles.

Since winning the Donatella Flick Conducting Competition in 2006, Michał Dworzynski has appeared regularly with the London Philharmonic Orchestra as well as with the BBC, BBC Scottish, London and Bournemouth symphony orchestras. European engagements have included the Berlin Radio Symphony Orchestra; the Frankfurter Museumsgesellschaft; the Orchestre National de Lille; and the Vienna Chamber, Netherlands Radio Philharmonic, Swedish Radio Symphony, Madrid RTVE, Royal Flemish Philharmonic and Belgian National orchestras. London Philharmonic Orchestra | 7

Barnabás Kelemen

violin

An artist of ‘innate musicality’ with a technical execution that belongs ‘only to the greatest’ (The Guardian), Hungarian violinist Barnabás Kelemen has captured the attention of the musical world. With a repertoire that ranges from classical to contemporary works, he gave the Hungarian premieres of the Ligeti and Schnittke violin concertos, as well as the Hungarian and world premieres of violin works by Sofia Gubaidulina and György Kurtág. Barnabás has appeared with the BBC Symphony, Bournemouth Symphony, Irish Chamber, Budapest Festival, NDR Philharmonic, German Radio Philharmonic, Helsinki Philharmonic, Lahti Symphony, Trondheim Symphony, Netherlands Radio, Auckland Philharmonia, Hong Kong Philharmonic, Malaysian Philharmonic and Yomiuri Nippon Symphony orchestras, the Kioi Sinfonietta (Tokyo), the Tapiola Sinfonietta and the Orchestra della Toscana. He works with renowned conductors such as Vladimir Jurowski, Sir Neville Marriner, Peter Eötvös, Iván Fischer, Lionel Bringuier, Olari Elts, Sascha Goetzel, Pietari Inkinen, Tõnu Kaljuste, Zoltán Kocsis, Hannu Lintu, Michael Sanderling, Leif Segerstam, Dmitri Slobodeniouk, Masaaki Suzuki, Gábor Takács-Nagy and Krzysztof Urbánski. During the 2010/11 season he was Artist in Residence at Musis Sacrum in Arnhem. As soloist and conductor he has appeared with the Budapest Festival Chamber Orchestra, Indianapolis Symphony Orchestra, Norwegian Chamber Orchestra, Royal Concertgebouw Chamber Orchestra and Het Kamerorkest Brugge. In recital, Barnabás has performed with Zoltán Kocsis and Shai Wosner at the Royal Concertgebouw in Amsterdam, Bozar in Brussels and Carnegie Hall in New York. In 2010 he founded the Kelemen Quartet, which received a silver medal, the audience prize and the Musica Viva Grand Prize at the Melbourne International Chamber Music Competition in 2011.

8 | London Philharmonic Orchestra

Highlights this season include appearances as soloist with the Hallé Orchestra and Ryan Wigglesworth; Pannon Philharmonic (Hungary) and Tibor Bogányi; Bach Collegium München and Florian Sonnleitner; Sinfonieorchester Innsbruck; Franz Liszt Chamber Orchestra; Budapest Philharmonic Orchestra; Hungarian State Opera; and Hungarian National Philharmonic Orchestra with Zóltan Kocsis. He will also appear in chamber music performances with Alexander Lonquich, Nicolas Altstaedt and Katalin Kokas in Salzburg, Utrecht and Vienna. Barnabás Kelemen’s varied discography has received critical acclaim: his recording of Brahms’s violin sonatas with Tamás Vásáry won a Diapason d’Or, and his recording with Gergely Bogányi of Liszt’s complete works for violin and piano was awarded the Grand Prix du Disque 2001 by the International Liszt Society. His recording of Bartók’s Violin Concerto No. 2 and Rhapsodies with the Hungarian National Philharmonic Orchestra and Zoltán Kocsis, released on the Hungaroton label, won a 2011 German Record Critics’ Award. Among his more recent recordings are a live DVD of the complete Mozart violin concertos and a disc featuring Bartók’s Violin Concerto No. 1 with the Hungarian National Philharmonic Orchestra under Kocsis. A recital CD released on Hungaroton of Bartók’s Solo Sonata and both Bartók Violin Sonatas, again with Kocsis, received a 2013 Gramophone Award in the Chamber Music category. Born in Budapest in 1978, Barnabás Kelemen entered the Franz Liszt Music Academy at the age of 11 and later went on to win Third Prize at the 2001 Queen Elisabeth Competition in Brussels, followed by First Prize at the International Violin Competition in Indianapolis in 2002. In recognition of his achievements, the Hungarian government awarded him the Sándor Végh Prize in 2001, the Franz Liszt Prize in 2003, the Rózsavölgyi Prize in 2003 and, most recently, the Kossuth Prize in 2012. Since 2005 Barnabás has been a Professor at the Franz Liszt Music Academy in Budapest and a Guest Professor at Indiana University Bloomington. Barnabás Kelemen performs on a 1742 Guarneri del Gesú violin (ex-Dénes Kovács), generously loaned by the State of Hungary.

Allison Bell

soprano

Tasmanian-born soprano Allison Bell studied Music and History at the University of Sydney, and acting at the Australian Theatre for Young People. Continuing her studies in Europe, she received numerous awards including the La Scala Prize and scholarship to study with Virginia Zeani at the Viñas Competition in Barcelona. She has participated in masterclasses with Joan Sutherland, Magda Olivero, Ghena Dimitrova, Ileana Cotrubaș, Gundula Janowitz, Dalton Baldwin, Paul Hamburger and Dietrich Fischer-Dieskau. Her opera roles include La Folie in Rameau’s Platée, Morgana in Handel’s Alcina, Aspasia in Mozart’s Mitridate, Mademoiselle Silberklang and Madame Herz in Mozart’s Der Schauspieldirektor, Blondchen in Mozart’s Die Entführung aus dem Serail, Queen of the Night in Mozart’s The Magic Flute, Glauce in Cherubini’s Médée, Adele in Strauss’s Die Fledermaus, Oscar in Verdi’s Un ballo in maschera, Ophelie in Thomas’s Hamlet, Olympia in Offenbach’s The Tales of Hoffmann, Juliette in Gounod’s Roméo et Juliette, the title role in Delibes’s Lakmé, Zerbinetta in Strauss’s Ariadne auf Naxos, Waldvogel in Wagner’s Siegfried, Bubikopf in Ullmann’s Der Kaiser von Atlantis, Nachtigall in Braunfels’s Die Vögel, Cunegonde in Bernstein’s Candide, Pretty Polly in Birtwistle’s Punch and Judy, and Vole/Sun in Richard Ayres’s The Cricket Recovers. Allison was universally praised for her performance creating the role of Sierva Maria in the world premiere of Peter Eötvös’s Love and Other Demons at Glyndebourne Festival Opera under Vladimir Jurowski, a role she repeated at the National Opera of Lithuania in Vilnius and, most recently, at the Opéra National du Rhin under Eötvös in Strasbourg and Mulhouse. She was chosen by the composer as the vocal soloist for Eötvös retrospectives in Caen, Strasbourg, Budapest and Madrid and for the 2011 CD ‘Ensemble Linea plays Eötvös’, which won a Hungarian FONOGRAM award and the Orphée d’Or from the Académie Internationale du Disque Lyrique in Paris. With the London Philharmonic

Orchestra and Vladimir Jurowski she was also soloist for the UK premieres of Schnittke’s Three Scenes, Three Madrigals and Der gelbe Klang in 2009, as well as an acclaimed debut performance of Schoenberg’s Pierrot Lunaire at Wigmore Hall. Last season she appeared with the London Philharmonic Orchestra and Jurowski in Grisey’s Quatre chants pour franchir le seuil and as Polly Peachum in Weill’s The Threepenny Opera at Royal Festival Hall and in Paris. Other recent performances include Le Feu, La Princesse and Le Rossignol in Ravel’s L’enfant et les sortilèges with the Bolshoi Opera in Moscow; Berio’s chamber music with the London Sinfonietta and Thomas Adès at Southbank Centre’s Queen Elizabeth Hall; Mahler’s Das klagende Lied in Berlin and Munich; concerts with Britten Sinfonia at the Museo Reina Sofía in Madrid; and Pierrot Lunaire with Northern Sinfonia, the BBC Concert Orchestra and Scottish Ballet at the Edinburgh Festival, with choreography by Glen Tetley. Further highlights have included Lutosławski’s Chantefleurs et Chantefables and the Australian premiere of Ligeti’s Mysteries of the Macabre with the Tasmanian Symphony Orchestra; the UK premieres of John Zorn’s La Machine de l’être with the BBC Scottish Symphony Orchestra under Ilan Volkov; Romitelli’s Lost at the Musica Festival in Strasbourg; Panisello’s Libro del frio at the Warsaw Autumn Festival; Messiaen’s Poèmes pour Mi with the CBSO Youth Orchestra under Volkov; and the world premiere staging of Gerald Barry’s opera La Plus Forte at the inaugural London Contemporary Music Festival. Future performances include Ravel’s Shéhérazade with the Icelandic Symphony Orchestra and Ilan Volkov, and the world premiere of a new work by Brett Dean on tour with Britten Sinfonia in spring 2014. Allison will also join Vladimir Jurowski once again for Grisey’s Quatre chants pour franchir le seuil, this time with Ensemble United in Berlin. Allison acknowledges the generous support of The Richard Carne Trust and Lansons Communications.

London Philharmonic Orchestra | 9

Programme notes

Speedread Two Polish composers, both born in 1933, are represented here by works they wrote in 1976. For Krzysztof Penderecki and Henryk Górecki, the 1970s signified a new beginning. Without reference to each other, the two figures, at the forefront of the musical avant garde in Poland after World War II, turned away from atonal, highly expressionistic music towards neo-Romanticism and a renewed spiritualism. Górecki’s Third Symphony proved particularly

Krzysztof Penderecki

powerful in addressing the 20th century’s darkest hour, answering a collective need for reconciliation, not least in 1992 when the fourth commercial recording of the work became one of the most enduring products of the CD era. Although critics carped at its success and misread the work’s plain but radiant simplicity, it endorsed Poland as one of the musical epicentres of our time.

Violin Concerto No. 1 Barnabás Kelemen violin Andante – Tempo I – Lento – Tempo di marcia – Più mosso

born 1933

Towards the end of the 1950s, Poland became the fertile breeding ground for a new generation of composers; Krzysztof Penderecki was at the forefront of the group. Commanding the attention of his compatriots and interested outsiders alike, he began to forge an exciting career at home and abroad, garnering many prestigious awards as well as taking on a sequence of leading pedagogical posts. Audiences were captivated by his dramatic and highly expressive idiom, which featured extreme instrumental techniques and radical notational experiments. These elements are particularly evident in his 1960 work for 52 string players, known as Tren (Threnody), but which was later dedicated ‘To the Victims of Hiroshima’. As that appended subtitle indicated, there was more to Penderecki’s music than mere sonic experiments, as he further demonstrated with his St Luke Passion. The work, premiered in 1966, presaged the polystylism and eclecticism with which he was later to be associated. The Passion reflected his and his nation’s deep Catholic faith, which often sat at odds with the governing Soviet authorities, while its successor, entitled Dies Irae (1967),

10 | London Philharmonic Orchestra

confronted Poland’s past, particularly the atrocities at Auschwitz. Following these searing choral-orchestral works, Penderecki’s music became more lyrical during the 1970s, paralleling the change of direction evident in his compatriot Górecki’s scores (as well as that of Arvo Pärt in Estonia). The First Violin Concerto, begun in 1976 and premiered by Isaac Stern and the Basel Symphony Orchestra under Moshe Atzmon the following year, opens this new chapter in Penderecki’s output, though it is no less rooted in the past. Its neo-Romantic gestures have been variously attributed to Penderecki’s fascinations with Bruckner and his 19th-century compatriot Mieczysław Karłowicz, as well as Shostakovich, while almost everyone confronted by its gravely solemn mood has drawn links between the work and the dark decades through which Penderecki had lived. The Concerto begins with an ominous rumble of intent, humanised by the presence of the cellos, followed by the horns, upper strings and woodwind. The initial boom returns with martial-like tread, before the solo violin

sounds, elegiac in its midst. Weeping Bachian semitones dominate, before the soloist’s music becomes angrier. The whole Concerto is characterised by these mood swings, with virtuoso violence coming quick on the heels of intense lyricism. Often their juxtaposition provokes moments of extreme crisis, with rhythmic discrepancies and stacked brass semitones, accompanied by the ironic glitter of the tambourine, before disappearing, gossamer-like, into the silence. There is a moment of stasis, like the tolling of bells, from which the violin appears again, lamenting in tandem with the cor anglais. Such heartfelt moments are only brief, before music of great ferocity is unleashed, with thudding chords interrupting a fleet cadenza, full of

double stops and flashes of optimistic lyricism. Then a march tries to break through, with caustic piccolo fifing, clarinet flourishes and the aggressive tap of a snare drum. At first this provokes another wail from the soloist, complemented by shivering strings, before instigating a change in the violin’s character. There is another cadenza, this time of great fury, which a march interrupts, sparking a wild danse macabre, with yet more dazzle, now from the celeste. But rather than kinesis, a solemn stasis eventually holds sway, as grieving low brass, verging on the diatonic, returns us to the dark murmur from which the Concerto arose.

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

Henryk Górecki 1933–2010

Symphony No. 3 for soprano solo and orchestra, Op. 36 (Symphony of Sorrowful Songs) Allison Bell soprano 1 2 3

Lento sostenuto, tranquillo ma cantabile Lento e largo, tranquillissimo, cantabillissimo, dolcissimo, legatissimo Lento, cantabile, semplice

The text is overleaf. Like his compatriot Penderecki, Henryk Górecki cut his teeth in the cultural arena of the post-Stalinist People’s Republic of Poland. The Warsaw Autumn festivals at the beginning of the 1960s and performances abroad confirmed that, in his embrace of radical modernism, Górecki was at the vanguard of the New Polish School. While commissions and awards materialised from the West with great alacrity, Górecki took up a teaching post at the Music Academy in Katowice, where he had studied and where he was to remain on the staff, eventually becoming provost, until difficulties with the authorities forced him to resign in 1979.

By that time Górecki’s musical character had changed markedly. At first, during his studies and particularly his early years as a professional composer, he had been a convinced serialist, guiding his use of pitch, dynamics and note durations. His music was often brutal, expressionistic, full of violent clusters and contrasts. During the late 1960s, however, he began to focus on smaller motivic kernels, which he put to maximum possible use, as well as a slow move towards a more consonant harmonic language. Górecki’s first three symphonies eloquently chart those changes.

London Philharmonic Orchestra | 11

Programme notes continued

After the tense, discursive First Symphony, written in 1959, came the Second, of 1972, celebrating the 500th anniversary of the birth of the Polish astronomer Copernicus. It begins, like its predecessor, with a vicious and dissonant movement, before offering a more placatory finale, employing vocal forces. The Third Symphony builds on the Second’s aim for consolation, addressing the worst horrors of the 20th century by setting a prayer inscribed on the walls of a cell in the Gestapo headquarters at Zakopane in southern Poland. Either side of this striking text are promises of the intercession of Mary, the Mother of God, through lamentations and songs sung by the same protective soprano who intones the prisoner’s hopeful appeal. The musical language of the Third Symphony is notably simpler than Górecki’s earlier orchestral works. The first movement, one of three slow incantations, opens with a grand canon, building from a low hum of double basses to high violins, playing in texture-dominating octaves. The modal material and initial four-bar phrases emulate folksong, yet those rhythmic distinctions soon break down, consequently eroding our cognisance of what is evolving. This music fades away, gathering on an E, before the piano and harp introduce the second section, setting a 15th-century lamentation from the Łysa Góra Songs of the Holy Cross Monastery in the Świętokrzyskie mountains. The Virgin’s appeal triggers another statement of the canon, now fortissimo, as if Christ were indeed sharing his wounds, as he is commanded in the text.

The second movement is dominated by a magical motif in which Górecki combines a bare fifth, a bright major seventh and a major third, shimmering hopefully in the performing space. It is followed by much darker music, introducing the words ‘No, Mother, do not weep’ and a rising and falling melody for the soprano, accompanied by the strings. The opening, seraphic gesture recurs, now also sung by the soloist, demonstrating outright what Górecki described as the ‘highland character’ of this movement, ‘not in the sense of pure folklore, but the climate of Podhale’, the mountainous region around Zakopane where the text was written. The lullaby-like harmonic gesture at the beginning of the third movement is even more modest, rocking gently on its own before the first violins, harp and piano sound a tenderly dissonant E (the note on which the Symphony started). The soprano’s folk song, from the Opole region, closer to Górecki’s birthplace, emerges rather hypnotically, its balanced phrases contrasting with the accompaniment’s alternating bars of two and three beats. This swaying music quietly builds, recalling the rising canon of the first movement, before modulating to a magical A major, with three crotchets in each equal bar. There is a pause and a return to the previous music, before the orchestra alone ends on a glowing A major chord. It brings to a close an hour-long musical form, built out of the simplest of musical means, but with which Górecki dares to offer reconciliation, for the individual and for us all. Programme notes by Gavin Plumley © 2013

New for 2013/14 – LPO mini film guides This season we’ve produced a series of short films introducing the pieces we’re performing. We’ve picked one work from each concert, creating a bite-sized introduction to the music and its historical background. Watch our Education & Community Director Patrick Bailey introduce Górecki’s Symphony No. 3 (Symphony of Sorrowful Songs): lpo.org.uk/explore/videos.html

12 | London Philharmonic Orchestra

Text: Górecki Symphony No. 3

1 Lamentation of the Holy Cross Monastery from the Łysa Góra Songs collection (second half of the 15th century) Synku miły i wybrany,  Rozdziel z matką swoją rany; A wszakom cię, Synku miły, w swem sercu nosiła,  A takież tobie wiernie służyła.  Przemów k matce, bych się ucieszyła,  Bo już jidziesz ode mnie, moja nadzieja miła.

My son, my chosen and beloved,  Share your wounds with your mother; And because, dear son, I have always carried you in my heart And always served you faithfully,  Speak to your mother, to make her happy,  Although you are already leaving me, my cherished hope.

2 Prayer inscribed on wall 3 of cell No. 3 in the basement of ‘Palace’ , the Gestapo’s headquarters in Zakopane; beneath is the signature of Helena Wanda Blażusiakówna, and the words ‘18 years old, imprisoned since 25 September 1944’. Mamo, nie płacz, nie, Niebios Przeczysta Królowo,  Ty zawsze wspieraj mnie. Zdrowaś Mario.

No, Mother, do not weep. Most chaste Queen of Heaven Support me always. ‘Zdrowaś Mario’.* *‘Zdrowaś Mario’ (Ave Maria) – the opening of the Polish prayer to the Holy Mother.

3 Folk Song in the dialect of the Opole region Kajze mi sie podzioł  mój synocek miły?  Pewnie go w powstaniu  złe wrogi zabiły.  Wy niedobrzy ludzie,  dlo Boga świętego cemuście zabili  synocka mojego?

Where has he gone  My dearest son?  Perhaps during the uprising  The cruel enemy killed him.  Ah, you bad people  In the name of God, the most Holy,  Tell me, why did you kill My son?

Zodnej jo podpory juz nie byda miała, choć bych moje stare ocy wypłakała. Choćby z mych łez gorzkich drugo Odra była, jesce by synocka mi nie ozywiła.

Never again   Will I have his support Even if I cry  My old eyes out.   Were my bitter tears   To create another River Oder   They would not restore to life  My son.

Lezy on tam w grobie, a jo nie wiem kandy, choc sie opytuja między ludzmi wsandy. Moze nieborocek

He lies in his grave And I know not where   Though I keep asking people   Everywhere. Perhaps the poor child Please turn the page quietly London Philharmonic Orchestra | 13

Text: Górecki Symphony No. 3 continued

lezy kaj w dołecku, a mógłby se Iygać na swoim przypiecku.

Lies in a rough ditch  And instead he could have been Lying in his warm bed.

Ej, ćwierkejcie mu tam, wy ptosecki boze, kiedy mamulicka znaleźć go nie moze. A ty, boze kwiecie, kwitnijze w około, niech sie synockowi choć lezy wesoło.

Oh, sing for him   God’s little song-birds  Since his mother   Cannot find him.   And you, God’s little flowers,   May you blossom all around   So that my son   May sleep happily.

Symphony No. 3, Op. 36. Music by Henryk Mikolaj Górecki, setting anonymous Polish text and text by Helena Wanda Blazusiakowna. © Copyright 1977 by Polskie Wydawnictwo Muzyczne SA, Kraków, Poland. Transferred to Chester Music Ltd. © Copyright by Chester Music Ltd for the World except Albania, Bosnia and Herzegovina, Bulgaria, China, Croatia, Cuba, Czech Republic, Estonia, Hungary, Latvia, Lithuania, Macedonia, North Korea, Poland, Romania, Russian Federation, Serbia and Montenegro, Slovakia, Slovenia, Ukraine, Vietnam and the Commonwealth of Independent States (CIS). All Rights Reserved. International Copyright Secured. Used by permission.

World premiere: Górecki – Symphony No. 4 (Tansman Episodes) and Tansman Stèle in memoriam Igor Stravinsky Stravinsky Violin Concerto

Saturday 12 April 2014 | 7.30pm | Royal Festival Hall Andrey Boreyko conductor London Philharmonic Orchestra Tickets £9–£39 (premium seats £65) See opposite page for booking details.

lpo.org.uk Górecki’s Symphony No. 4 is commissioned by the London Philharmonic Orchestra and Southbank Centre London, with generous support from the Adam Mickiewicz Institute and the Polish Cultural Institute in London; The Los Angeles Philharmonic Association: Gustavo Dudamel, Music Director; and the ZaterdagMatinee, Dutch radio’s classical music concert series in the Amsterdam Concertgebouw.

14 | London Philharmonic Orchestra

Next LPO concerts at Royal Festival Hall

Friday 29 November 2013 | 7.30pm

Saturday 14 December 2013 | 7.30pm

JTI Friday Series

John Adams El Niño (Nativity Oratorio)

The Genius of Film Music 1980–2000

Vladimir Jurowski conductor Susan Gritton soprano Kelley O’Connor mezzo-soprano Matthew Rose bass Daniel Bubeck countertenor Brian Cummings countertenor Steven Rickards countertenor London Philharmonic Choir The Coloma St Cecilia Singers Trinity Boys Choir Mark Grey sound designer

Excerpts from: John Williams Star Wars Vangelis Chariots of Fire Hamlisch Sophie’s Choice Ennio Morricone The Mission Luis Enríquez Bacalov Il Postino Angelo Badalamenti Twin Peaks E Bernstein The Age of Innocence Danny Elfman The Nightmare Before Christmas John Powell/Harry Gregson-Williams Chicken Run Nicola Piovani La Vita è bella Goldsmith Mulan Don Davis The Matrix Hans Zimmer Gladiator Dirk Brossé conductor

Saturday 7 December 2013 | 7.30pm Julian Anderson The Stations of the Sun James MacMillan Veni, Veni, Emmanuel Mark-Anthony Turnage Evening Songs Thomas Adès Asyla Vladimir Jurowski conductor Evelyn Glennie percussion Free pre-concert performance 6.00–6.45pm | Royal Festival Hall The LPO Foyle Future Firsts, under conductor Paul Hoskins, perform British music from the 1990s including Martin Butler’s Jazz Machines, described as ‘jazz that machines might play, on the sly, when we’re not listening’.

Free pre-concert performance 5.00–5.45pm | The Clore Ballroom at Royal Festival Hall The London Philharmonic Orchestra’s creative ensemble for 15–19 year-olds, The Band, performs its latest set – new music inspired by John Adams’s El Niño and its source texts.

Wednesday 15 January 2014 | 7.30pm James MacMillan Viola Concerto (world premiere) Mahler Symphony No. 6 Vladimir Jurowski conductor Lawrence Power viola Free pre-concert discussion 6.15–6.45pm | Royal Festival Hall James MacMillan discusses his new Viola Concerto.

Tickets £9–£39 (premium seats £65) unless stated London Philharmonic Orchestra Ticket Office 020 7840 4242 Monday–Friday 10.00am–5.00pm lpo.org.uk

Southbank Centre Ticket Office 0844 847 9920 Daily 9.00am–8.00pm southbankcentre.co.uk

Transaction fees: £1.75 online, £2.75 telephone

Transaction fees: £1.75 online, £2.75 telephone No transaction fee for bookings made in person

London Philharmonic Orchestra | 15

London Philharmonic Orchestra Annual Appeal 2013/14

Tickets Please! Do you remember the first time you saw a symphony orchestra live on stage? Every year the London Philharmonic Orchestra’s schools’ concerts allow over 16,000 young people to see the Orchestra live. The LPO is the only orchestra in the UK to offer specific and tailored orchestral concerts for all ages – from primary school children aged five, through to 18-year-old A-level students. Six out of ten children attending the concerts will be experiencing an orchestra for the very first time.

Tickets for the concerts cost £9. We want to offer free tickets to 2,500 children from the most disadvantaged schools and we need your help to make this happen.

For a donation of just £9 you could buy a ticket for a child to attend one of our schools’ concerts. If you would like to donate more, you could buy tickets for three children (£27), a row of seats in the stalls (£108), or a whole class to attend (£270). Every donation of any size from our supportive audience will help us to fill our concert hall with new young audience members.

Please visit lpo.org.uk/ticketsplease, where you can select the seats you wish to buy, or call Katherine Hattersley on 020 7840 4212 to donate over the phone. Thank you for supporting Tickets Please!

16 | London Philharmonic Orchestra

Orchestra news

Christmas gifts from the LPO

Win a signed copy of The Rest Is Noise

What to buy the person who has everything? How about a Christmas gift from the London Philharmonic Orchestra?

We’re offering you the chance to win a signed copy of Alex Ross’s The Rest Is Noise, the book that inspired 2013’s year-long festival of 20th-century music. Just send us a short (20–40 word) review of an autumn 2013 LPO concert and we will select a winner at random to receive a copy of this seminal book, signed by the author himself.

Treat someone to a subscription to the LPO’s CD releases and they will receive every new CD on the LPO Label (one CD each month), mailed before they’re available in the shops. Or how about one of our charity Virtual Gifts? Whether you’re helping us to stage world-class concerts or providing a London child with their first experience of live music, your gift will have an impact long after the celebration itself. Concert gift vouchers, and memberships of the London Philharmonic Orchestra Friends or Contemporaries are also available.

To enter, simply email admin@lpo.org.uk with The Rest Is Noise audience review in the subject line and include your full name, date of the concert attended and a short review of your concert experience. We look forward to hearing from you! Why not share your mini-review on Twitter too? Find us at @LPOrchestra

lpo.org.uk/gifts

New CD: Orchestral works by Julian Anderson This month’s release on the LPO Label is a disc of orchestral works by the Orchestra’s Composer in Residence, Julian Anderson (LPO-0074): Fantasias and The Crazed Moon conducted by Vladimir Jurowski, and the Sky Arts Award-winning premiere performance of The Discovery of Heaven conducted by Ryan Wigglesworth. Julian Anderson has been described by The Times as ‘a composer to cherish’ and by the Evening Standard as ‘one of the finest composers of his generation’. This is the first album of his works performed by the Orchestra. Priced £9.99, it is also available from lpo.org.uk/shop, the LPO Ticket Office (020 7840 4242) and all good CD retailers. Alternatively you can download it from iTunes, Amazon and others, or stream via Spotify.

NOISE and Student Pulse Are you a full-time student? If so, you’re eligible for £4 best available seats to selected LPO concerts, plus occasional free post-concert drinks. Our next NOISE Bar at Royal Festival Hall is on Saturday 7 December, when the London Philharmonic Orchestra and Choir perform John Adams’s ‘Nativity Oratorio’ El Niño conducted by Vladimir Jurowski. Student tickets (with valid ID) are just £4, and you can come along after the concert for a free beer courtesy of the Orchestra’s Principal Beer Sponsor, Heineken. The LPO is also a part of Student Pulse, a London-wide scheme bringing together all the top London orchestras and letting students know when student tickets are available for their concerts. Visit lpo.org.uk/noise to find out more.

London Philharmonic Orchestra | 17

Catalyst: Double Your Donation

The London Philharmonic Orchestra is building its first ever endowment fund, which will support the most exciting artistic collaborations with its partner venues here in London and around the country. Thanks to a generous grant pledge from Arts Council England’s Catalyst programme, the Orchestra is able to double the value of all gifts from new donors up to a maximum value of £1 million. Any additional gifts from existing generous donors will also be matched. By the end of the campaign we aim to have created an endowment with a value of £2 million which will help us work with partners to provide a funding injection for activities across the many areas of the Orchestra’s work, including: • More visionary artistic projects like The Rest Is Noise at Southbank Centre • Educational and outreach activities for young Londoners like this year’s Noye’s Fludde performance project • Increased touring to venues around the UK that might not otherwise have access to great orchestral music To give, call Development Director Nick Jackman on 020 7840 4211, email support@lpo.org.uk or visit www.lpo.org.uk/support/double-your-donation.html

Catalyst Endowment Donors Masur Circle Arts Council England Emmanuel & Barrie Roman The Sharp Family The Underwood Trust Welser-Möst Circle John Ireland Charitable Trust Tennstedt Circle Simon Robey The late Mr K Twyman Solti Patrons Anonymous Suzanne Goodman The Rothschild Foundation Manon Williams & John Antoniazzi Haitink Patrons Lady Jane Berrill Moya Greene Tony and Susie Hayes Lady Roslyn Marion Lyons Diana and Allan Morgenthau Charitable Trust Sir Bernard Rix TFS Loans Limited The Tsukanov Family Foundation Guy & Utti Whittaker

18 | London Philharmonic Orchestra

Pritchard Donors Anonymous Linda Blackstone Michael Blackstone Jan Bonduelle Richard Brass Britten-Pears Foundation Lady June Chichester Lindka Cierach Mr Alistair Corbett Mark Damazer David Dennis Bill & Lisa Dodd Mr David Edgecombe David Ellen Mr Daniel Goldstein Ffion Hague Rebecca Halford Harrison Michael & Christine Henry Honeymead Arts Trust John Hunter Ivan Hurry Tanya Kornilova Howard & Marilyn Levene Mr Gerald Levin Geoff & Meg Mann Ulrike Mansel Marsh Christian Trust

John Montgomery Rosemary Morgan John Owen Edmund Pirouet Mr Michael Posen John Priestland Ruth Rattenbury Tim Slorick Howard Snell Stanley Stecker Lady Marina Vaizey Helen Walker Laurence Watt Des & Maggie Whitelock Victoria Yanakova Mr Anthony Yolland

We would like to acknowledge the generous support of the following Thomas Beecham Group Patrons, Principal Benefactors and Benefactors: Thomas Beecham Group The Tsukanov Family Foundation Anonymous Simon Robey The Sharp Family Julian & Gill Simmonds Garf & Gill Collins Andrew Davenport Mrs Sonja Drexler David & Victoria Graham Fuller John & Angela Kessler Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Eric Tomsett Guy & Utti Whittaker Manon Williams & John Antoniazzi Principal Benefactors Mark & Elizabeth Adams Jane Attias Lady Jane Berrill Desmond & Ruth Cecil Mr John H Cook David Ellen

Commander Vincent Evans Mr Daniel Goldstein Don Kelly & Ann Wood Peter MacDonald Eggers Mr & Mrs David Malpas Mr Maxwell Morrison Mr Michael Posen Mr & Mrs Thierry Sciard Mr & Mrs G Stein Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Lady Marina Vaizey Howard & Sheelagh Watson Mr Anthony Yolland Benefactors Mrs A Beare Mrs Alan Carrington Mr & Mrs Stewart Cohen Mr Alistair Corbett William and Alex de Winton Mr David Edgecombe Mr Richard Fernyhough Ken Follett Michael & Christine Henry Malcolm Herring Ivan Hurry Mr Glenn Hurstfield Mr R K Jeha

Per Jonsson Mr Gerald Levin Sheila Ashley Lewis Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Mr Frank Lim Paul & Brigitta Lock Mr Brian Marsh Andrew T Mills John Montgomery Mr & Mrs Andrew Neill Edmund Pirouet Professor John Studd Mr Peter Tausig Mrs Kazue Turner Mr Laurie Watt Des & Maggie Whitelock Christopher Williams Bill Yoe Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Edmund Pirouet Mrs Jackie Rosenfeld OBE

The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged: Corporate Members

Trusts and Foundations

Silver: AREVA UK British American Business Carter Ruck Thomas Eggar LLP

Angus Allnatt Charitable Foundation Ambache Charitable Trust Ruth Berkowitz Charitable Trust The Boltini Trust Borletti-Buitoni Trust Britten-Pears Foundation The Candide Trust The Ernest Cook Trust The Coutts Charitable Trust The D’Oyly Carte Charitable Trust Dunard Fund Embassy of Spain, Office for Cultural and Scientific Affairs The Equitable Charitable Trust Fidelio Charitable Trust The Foyle Foundation J Paul Getty Junior Charitable Trust The Jeniffer and Jonathan Harris Charitable Trust The Hobson Charity The Idlewild Trust Kirby Laing Foundation The Leverhulme Trust Marsh Christian Trust

Bronze: Lisa Bolgar Smith and Felix Appelbe of Ambrose Appelbe Appleyard & Trew LLP Berkeley Law Charles Russell Leventis Overseas Preferred Partners Corinthia Hotel London Heineken Lindt & Sprüngli Ltd Sipsmith Steinway Villa Maria In-kind Sponsors Google Inc Sela / Tilley’s Sweets

The Mayor of London’s Fund for Young Musicians Adam Mickiewicz Institute The Peter Minet Trust Maxwell Morrison Charitable Trust Musicians Benevolent Fund The Ann and Frederick O’Brien Charitable Trust Palazzetto Bru Zane – Centre de musique romantique française PRS for Music Foundation The R K Charitable Trust Serge Rachmaninoff Foundation The Samuel Sebba Charitable Trust The David Solomons Charitable Trust The Bernard Sunley Charitable Foundation John Thaw Foundation The Tillett Trust Sir Siegmund Warburg’s Voluntary Settlement Garfield Weston Foundation The Barbara Whatmore Charitable Trust Youth Music and others who wish to remain anonymous London Philharmonic Orchestra | 19

Administration

Board of Directors Victoria Sharp Chairman Stewart McIlwham* President Gareth Newman* Vice-President Richard Brass Desmond Cecil CMG Vesselin Gellev* Jonathan Harris CBE FRICS Dr Catherine C. Høgel Martin Höhmann* George Peniston* Sir Bernard Rix Kevin Rundell* Julian Simmonds Mark Templeton* Natasha Tsukanova Timothy Walker AM Laurence Watt Dr Manon Williams * Player-Director Advisory Council Victoria Sharp Chairman Christopher Aldren Richard Brass Sir Alan Collins KCVO CMG Lord David Currie Andrew Davenport Jonathan Dawson Christopher Fraser OBE Lord Hall of Birkenhead CBE Clive Marks OBE FCA Stewart McIlwham Baroness Shackleton Lord Sharman of Redlynch OBE Martin Southgate Sir Philip Thomas Chris Viney Timothy Walker AM Elizabeth Winter American Friends of the London Philharmonic Orchestra, Inc. Jenny Ireland Co-Chairman William A. Kerr Co-Chairman Kyung-Wha Chung Peter M. Felix CBE Alexandra Jupin Dr. Felisa B. Kaplan Jill Fine Mainelli Kristina McPhee Dr. Joseph Mulvehill Harvey M. Spear, Esq. Danny Lopez Hon. Chairman Noel Kilkenny Hon. Director Victoria Sharp Hon. Director

Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP

Orchestra Personnel

Public Relations

Andrew Chenery Orchestra Personnel Manager

Albion Media (Tel: 020 3077 4930)

Chief Executive

Sarah Thomas Librarian (maternity leave)