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MUSIC IS OUR WORLD. WE WANT TO SHARE ITS ASTONISHING POWER AND WONDER WITH YOU in eastbourne. Concert programme Eastbourne Congress Theatre & Devonshire Park Theatre lpo.org.uk

Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI supported by the Tsukanov Family Foundation Principal Guest Conductor ANDRÉS OROZCO-ESTRADA Leader pieter schoeman supported by Neil Westreich Composer in Residence magnus lindberg Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

Devonshire Park Theatre, Eastbourne Sunday 23 April 2017 | 3.00pm

Brahms Horn Trio in E flat major, Op. 40 (33’) Interval (20’) Schubert Piano Quintet in A major, D667 (‘Trout’) (40’)

Soloists of the London Philharmonic Orchestra

The Steinway concert piano chosen and hired by the London Philharmonic Orchestra for this performance is supplied and maintained by Steinway & Sons, London.

The timings shown are not precise and are given only as a guide. CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA IN ASSOCIATION WITH EASTBOURNE BOROUGH COUNCIL

Contents 2 Welcome Orchestra news LPO Eastbourne Appeal 3 LPO 2017/18 concerts 4 Today's musicians 6 About the Orchestra 7 Programme notes 9 New on the LPO Label: Beethoven 10 Supporters 12 LPO administration

Welcome

Welcome to the Devonshire Park Theatre, Eastbourne Artistic Director Chris Jordan General Manager Gavin Davis Welcome to this afternoon’s performance by the London Philharmonic Orchestra. Please sit back and enjoy the concert and your visit here. As a courtesy to others, please ensure mobile phones and watch alarms are switched off during the performance. Thank you. We are excited to be hosting half this season at our atmospheric Victorian playhouse, the Devonshire Park Theatre. It is a wonderful opportunity to introduce the London Philharmonic Orchestra to its delightful acoustics and we invite you to immerse yourself in its historic surroundings. We’ve worked closely with the Orchestra and its specialists to ensure the new venue enhances the orchestral sound and thank you, our audience, for continuing to support the concert series. We welcome comments from our customers. Should you wish to contribute, please speak to the House Manager on duty, email theatres@eastbourne.gov.uk or write to Gavin Davis, General Manager, Eastbourne Theatres, Compton Street, Eastbourne, East Sussex, BN21 4BP.

Orchestra news

hank you for joining us here at the Devonshire Park Theatre for the final concert in our 2016/17 Eastbourne season. Today six of the Orchestra's musicians will perform Brahms's haunting Horn Trio and, after the interval, Schubert's joyful, sparkling 'Trout' Quintet. We hope you enjoy the concert. We look forward to returning to the Devonshire Park Theatre next season for four more intimate chamber concerts showcasing players from within the Orchestra, and hope you will be able to join us: see right for details. Tickets for the new season are on sale from tomorrow, Monday 24 April. Pick up a season brochure in the foyer today or see all details online at lpo.org.uk 2017 London Marathon: Support Team LPO! As we relax and enjoy this afternoon's concert, today a team from the wider LPO community are running the Virgin Money London Marathon in aid of the Orchestra’s schools concerts, BrightSparks. All money raised will help over 12,000 young people to attend one of our live schools concerts, many for the very first time. £9 will enable one child to attend a concert and if you would like to make your contribution go even further, £27 will provide tickets for three children and £108 an entire row in the stalls. Meet our runners and donate here: uk.virginmoneygiving.com/fund/LPOLondonMarathon

London Philharmonic Orchestra 2016/17 Eastbourne Appeal The London Philharmonic Orchestra is extremely proud of its longstanding relationship with our audiences and we hope that you have enjoyed this season’s concerts so far. This year's Eastbourne Appeal aimed to secure support towards talent in the Orchestra, ensuring that we are able to continue presenting the very best players on the Eastbourne stage. About 55% of the LPO’s total outlay goes towards paying the musicians and artists with whom we work, and finding the funding for this poses a constant challenge. We invited you to help the Orchestra by donating, supporting us in our mission to continue showcasing players of the highest calibre. It is thanks to your support, both as audience members and through your generous donations, that we are able to continue presenting the very best talents on the Eastbourne stage. We wish to say a huge thank you to all of you who gave so generously this year, helping us to raise over £4,000 to date. To donate, or if you have any questions, please contact Ellie Franklin on 020 7840 4225 or ellie.franklin@lpo.org.uk

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BE M OV E D IN EASTBOURNE

2017/18 Concert Season at Devonshire Park Theatre

Inspiration and joy 5 November 2017 3.00pm

Popular chamber classics 21 January 2018 3.00pm

Borodin and Schubert 4 March 2018 3.00pm

From Venice to America 8 April 2018 3.00pm

Hear Dvořák’s sunny, songful String Sextet alongside Schubert’s exuberant Octet.

Join us for a programme of popular classics including Elgar and Tchaikovsky’s Serenades for Strings.

Take a journey into the romantic heart of Russia with Borodin’s luscious Second String Quartet.

Come with us on a journey from the Baroque splendour of Vivaldi’s Venice to Samuel Barber’s hot American summer .

Book now at eastbournetheatres.co.uk or call 01323 412000 Season discounts of up to 15% available

London Philharmonic Orchestra | 3

Today's musicians

Pieter Schoeman (violin) was appointed Leader of the London Philharmonic Orchestra in 2008, having previously been Co-Leader since 2002. Born in South Africa, Pieter made his solo debut aged 10 with the Cape Town Symphony Orchestra. In 1991 his talent was spotted by Pinchas Zukerman who, after several consultations, recommended that he move to New York to study with Sylvia Rosenberg. Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Hollywood Bowl in Los Angeles and Southbank Centre’s Queen Elizabeth Hall. As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. At the invitation of Yannick Nézet-Séguin he has been part of the ‘Yannick and Friends’ chamber group, performing at festivals in Dortmund and Rheingau. Pieter has performed several times as a soloist with the LPO, and his live recording of Britten’s Double Concerto with Alexander Zemtsov was released on the Orchestra’s own label to great critical acclaim. He has also recorded numerous violin solos for film and television, and led the LPO in its soundtrack recordings for The Lord of the Rings trilogy. In 1995 Pieter became Co-Leader of the Orchestre Philharmonique de Nice. Since then he has appeared frequently as Guest Leader with the Barcelona, Bordeaux, Lyon, Baltimore and BBC symphony orchestras, and the Rotterdam and BBC Philharmonic orchestras. In April 2016 he was Guest Leader with the Leipzig Gewandhaus Orchestra for Kurt Masur’s memorial concert. He is a Professor of Violin at Trinity Laban Conservatoire of Music and Dance in London. Chair supported by Neil Westreich

John Ryan (horn) graduated from London’s Guildhall School of Music & Drama in 2001, where he studied with Jeff Bryant and Richard Bissill. He was appointed Co-Principal Horn with the London Symphony Orchestra in the same year. John has played as Guest Principal with the Philharmonia Orchestra, Royal Philharmonic Orchestra, City of Birmingham Symphony Orchestra and BBC National Orchestra of Wales, and was appointed Principal Horn of the London Philharmonic Orchestra in 2009. As a soloist John has performed both of Strauss’s horn concertos, the Mozart concertos, and Britten’s Serenade for tenor, horn and strings. He has recorded Mozart’s Second Horn Concerto on the Lyric label with the RTÉ Concert Orchestra. Chair supported by Laurence Watt

Katya Apekisheva (piano) performs regularly with the English Chamber, Royal Philharmonic, Wiesbaden and OFUNAM (Mexico City) orchestras, among others. She is also a keen chamber musician and appears frequently with artists including Janine Jansen, Maxim Rysanov, Jack Liebeck, Natalie Clein and Charles Owen, and the Heath, Navarra, Brodsky and Belcea string quartets. Recent highlights include solo recitals in London, Glasgow and Tokyo, and performances at the Ryedale, Leicester, Westport, North York Moors and Music in Country Churches festivals. Katya's 2008 CD of solo works by Grieg was a Gramophone Editor's Choice and Classic FM CD of the Week. Her recent duo release of Stravinsky piano ballets with Charles Owen also received high critical acclaim. Katya is a Professor of Piano at the Guildhall School of Music & Drama.

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Cyrille Mercier (viola) was born in France and studied with Françoise Gnéri, Pierre-Henri Xuereb and Jean-Philippe Vasseur. In 1998 he received First Prize from the Conservatoire National Supérieur de Musique et de Danse de Paris. Passionate about chamber music, Cyrille has taken masterclasses with the Amadeus, Alban Berg, Bartók and Artis string quartets and has given many performances as soloist and with string quartets, string trios and sonata ensembles. He has been Principal Viola of the Monte-Carlo Philharmonic Orchestra since 2000 and joined the London Philharmonic Orchestra as Co-Principal Viola at the start of the 2013/14 season.

Kristina Blaumane (cello) was born in Riga and graduated from the Latvian Academy of Music and the Guildhall School of Music & Drama. She has performed as soloist with the London Philharmonic Orchestra (of which she is Principal Cello), Amsterdam Sinfonietta, Kremerata Baltica, Britten Sinfonia and Lithuanian Chamber Orchestra, as well as all the main orchestras in Latvia. As a chamber musician Kristina has worked with such renowned artists as Isaac Stern, Gidon Kremer, Yo-Yo Ma, Yuri Bashmet, Leif Ove Andsnes and Janine Jansen, and has performed at festivals such as Lockenhaus, Gstaad, Salzburg, Verbier, Basel, Jerusalem, Utrecht, Spitalfields, Cheltenham and Aldeburgh. Kristina is a keen promoter of new music. She has given a number of world premieres and several works are dedicated to her.

Kevin Rundell (double bass) began his studies with his grandfather, Jack Silvester, and continued with Adrian Beers at the Royal College of Music. After a year touring with the Scottish Baroque Ensemble he joined the Orchestra of the Royal Opera House at the age of 19 and studied with the famous virtuoso Thomas Martin. Kevin was appointed Professor at the Guildhall School in 1975 at the age of 22, a position he still holds. Between 1975 and 1990 he was also a Professor of Double Bass at Trinity College of Music, London. Kevin's first Principal position was with the Bournemouth Symphony Orchestra under Paavo Berglund in 1976. In 1980 he joined English National Opera as Principal, where he remained for ten years. He was also a leading performer of contemporary music, playing with the chamber group Lontano. Kevin joined the London Symphony Orchestra as Principal Double Bass in 1990 and subsequently the London Philharmonic Orchestra in 1991.

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Molly & David Borthwick David & Yi Buckley The Candide Trust Andrew Davenport William & Alex de Winton Sonja Drexler Drs Oliver & Asha Foster Friends of the Orchestra Dr Barry Grimaldi Geoff & Meg Mann Sir Simon Robey Victoria Robey OBE Caroline, Jamie & Zander Sharp Eric Tomsett

Chair supported by Stuart and Bianca Roden

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London Philharmonic Orchestra

Everything about this performance ... was perfect ... one of the best pieces of orchestral playing I have heard in quite a long time. Seen and Heard International, February 2015

Recognised today as one of the finest orchestras on the international stage, the London Philharmonic Orchestra was founded in 1932 by Sir Thomas Beecham. Since then, its Principal Conductors have included Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. In 2007 Vladimir Jurowski became the Orchestra’s Principal Conductor. The London Philharmonic Orchestra has been performing at Southbank Centre’s Royal Festival Hall since it opened in 1951, becoming Resident Orchestra in 1992. It also has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Each summer it plays for Glyndebourne Festival Opera, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also regularly tours abroad: highlights of the 2016/17 season include visits to New York, Germany, Hungary, Spain, France, Belgium, The Netherlands and Switzerland. In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics.

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The Orchestra broadcasts regularly on television and radio, and has recorded soundtracks for numerous blockbuster films including The Lord of the Rings trilogy. It has made many distinguished recordings over the last eight decades and in 2005 began releasing live, studio and archive recordings on its own CD label. The London Philharmonic Orchestra maintains an energetic programme of activities for young people including the BrightSparks schools’ concerts and FUNharmonics family concerts. Its work at the forefront of digital engagement and social media has enabled the Orchestra to reach even more people worldwide: all its recordings are available to download from iTunes and, as well as a YouTube channel and regular podcasts, the Orchestra has a lively presence on social media. lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra youtube.com/c/londonphilharmonicorchestra instagram.com/londonphilharmonicorchestra

Programme notes

Speedread ‘I put store in the little things of life, in neckties, cane handles, discreet remarks, pearls that roll under the table and no-one ever finds!’ wrote the Viennese wit Peter Altenberg. ‘One should be able to compose a symphony of existence out of little things.’ Any 19th-century resident of Vienna – like Franz Schubert, who measured out his short life in coffee houses, or the city’s adopted son Johannes Brahms, who made the Red Hedgehog café his base – would have understood exactly what he was talking about.

Johannes Brahms 1833–97

It’s the same principle with chamber music. The size of these small groups of players isn’t important. Both Brahms and Schubert understood that the most profound experiences in life can come from ‘little things’: a song shared with friends, say, or a moment of solitude in which suppressed emotion suddenly wells up and spills over. Brahms’s Horn Trio and Schubert’s 'Trout' Quintet each express exactly that understanding. If music is life, chamber music is life distilled to its most concentrated essence.

Horn Trio in E flat major, Op. 40 (1865) 1 Andante 2 Scherzo: Allegro 3 Adagio mesto 4 Allegro con brio

Pieter Schoeman violin John Ryan horn Katya Apekisheva piano

Most major chamber works for wind instruments were inspired by a specific player. Mozart wrote his Horn Quintet for Ignaz Leutgeb and his Clarinet Quintet for Anton Stadler, and Beethoven composed his Horn Sonata for Giovanni Punto. No single horn player, however, inspired Brahms’s Horn Trio. Brahms later showed his friend Albert Dietrich the exact place that did inspire it: a clearing in the pine forests above the small town of Lichtental near Baden-Baden, where in May 1865 the composer had rented a blue-walled room with a view of the Black Forest. ‘I was walking along one morning’, he told Dietrich, ‘and as I came to this spot the sun shone out and the subject immediately suggested itself.’

So the Horn Trio was born in the pine forests; and it’s significant that whoever performed it (and it was first heard in Zurich on 28 November that year, with Brahms on piano, the Swiss violinist Friedrich Hegar, and a horn player recorded only as ‘Gläss’), Brahms insisted that they play the Waldhorn – the traditional valveless horn whose German name translates literally as ‘forest horn’. (Brahms dismissed the modern valve horn as a 'Blechbratsche': a ‘brass viola’). The forest, however, provided only that opening theme. Brahms had sought solitude for a reason. On 2 February 1865 his beloved mother Christiane had died at the age of 76. The three instruments of the Trio, it’s been pointed out, are all instruments that Brahms played in London Philharmonic Orchestra | 7

Programme notes continued

his childhood in Hamburg: indeed, Brahms’s father had for 30 years played the horn in the Hamburg Bürgerwehr (civic guard). And for the rest of that summer, Brahms worked solely on his German Requiem. We don’t have to go as far as one writer, who’s seen the Horn Trio as a musical description of the stages of mourning, to feel the sense of nostalgia, love and loss that permeates this poetic and profoundly beautiful work. That sighing first theme begins the only first movement in all of Brahms’s chamber music that isn’t in a dynamic sonata form. It’s a sort of rondo, a form in which the same material is reflected upon and repeatedly returned to, and naturally enough, it proceeds at a pensive Andante – walking pace. The Scherzo is our first experience of the headlong, hunting-horn energy that had been the default style for horn writing since the Baroque era and before. And now, Brahms starts to develop his material; making the stillness of the central Trio section – marked ‘Much slower’ and set in the remote, twilit key of A flat minor – all the more poignant. The Adagio retreats still further, into E flat minor, but what matters is what we hear: the piano’s steady, sinking lament; the horn and violin answering each

other in broken phrases, the quiet, fugal unfolding of their dialogue almost Baroque in its measured gravity (Brahms’s friend Josef Gänsbacher found him at home, shortly after his mother’s funeral, playing Bach’s Goldberg Variations with tears streaming down his face); and the sound – as if echoing from a great distance – of a little melody that sounds very like the old Rhenish folksong ‘Dort in den Weiden steht ein Haus’, which Brahms had learned as a child. And almost nowhere else in his music does he head a movement with an instruction as emotionally explicit as mesto: ‘sadly’. Allegro con brio, though, is explicit enough: the finale feels like a release as the violin leads off – and the horn exuberantly follows – on the kind of exuberant, unbuttoned hunting-horn gallop with which Mozart ended each of his horn concertos, and for which it feels like we’ve been waiting ever since the frustrated release of the Scherzo. Light out of darkness? Not quite. The Adagio still casts some shadows; there’s darkness as well as sunlight in this forest. Classical convention dictated a cheerful finish to a melancholy work, but no-one understood classical convention better than Brahms – or knew how to find in it so deep a well of strength.

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

Franz Schubert

Piano Quintet in A major, D667 (‘Trout’) (1819) 1 Allegro vivace 2 Andante 3 Scherzo: Presto 4 Tema con variazioni: Andantino 5 Allegro giusto

1797–1828

Pieter Schoeman violin Cyrille Mercier viola Kristina Blaumane cello Kevin Rundell double bass Katya Apekisheva piano

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Friendship inspired Schubert’s ‘Trout’ Quintet. It was written at the request of Sylvester Paumgartner, the assistant manager of an iron mine in Steyr, Upper Austria and a keen amateur cellist. Schubert and his friends stayed with Paumgartner during their summer rambles through Austria in 1819, 1823 and 1825,

Schubert writing that ‘the countryside round Steyr is unimaginably lovely.’ They participated in musical evenings on each occasion, and on one of these visits – most likely in 1819 – Paumgartner requested a piano quintet from Schubert with the same instrumentation as Hummel’s recently published Quintet, Op. 87. He also requested that one of the movements use Schubert’s song Die Forelle (The Trout), D550, of 1817 – being ‘quite taken with the delicate little song’. But that’s all we know of the Quintet until it appears for sale, a year after Schubert’s death, in a catalogue issued by the Viennese publisher Joseph Czerny. ‘Since this Quintet has already been performed in several circles at the publisher’s instigation, and declared by those musical connoisseurs present to be a masterpiece’, he announces, ‘we deem it our duty to draw the musical public’s attention to this latest work by the beloved composer.’ But even Schubert’s closest circle can surely never have imagined that it would become the best loved piece in all chamber music – the work that starts playing, unbidden, in the mind’s ear, whenever chamber music is described as ‘the music of friends’. Part of the secret lies in its scoring. The double bass doesn’t just free up the cello to sing; it liberates the piano from the need to supply the ensemble’s bass. Thus, not only does the delicious Forelle theme shape the fourth movement, but the glittering piano writing of the original song can spill out into the surrounding movements, giving them an irresistible lightness and sparkle.

semiquavers and triplets. It’s in sonata form – but in the company of friends, Schubert sees no need for the formality or ostentation of a coda, and he ends the movement, without further ado, on the last note of the recapitulation. The sweet, songful Andante opens in F major – the key of Beethoven’s ‘Pastoral’ Symphony – and simply presents three themes (not without overcast moments), and then plays them once again. Beethoven would have approved of the Scherzo’s energy, too – even if he could never quite have mustered quite such gleeful humour. And then we’re into the famous Forelle variations. ‘In a bright stream’, goes the song, ‘the capricious trout darted along like an arrow in joyous haste. I stood on the bank and, in sweet rest, watched the lively little fish bathing in the clear water…’ Decide for yourself what’s what in this delightfully entertaining movement, during which the theme is shared, naturally, between piano (Variation 1), viola (Variation 2), bass (Variation 3), cello (Variation 5), and violin and viola, as the piano finally plays the song’s original accompaniment. It’s so infectious that the finale (after beginning as the least martial Marche Militaire ever penned) can’t help but find room for the Forelle theme as a second subject. This is the kind of detail that, in any other work, musicologists could hail as evidence of a formal breakthrough. If they haven’t, maybe it’s because it’s so indisputably clear that Schubert’s only serious purpose, as he brings his Quintet to a close, is to give pleasure. Programme notes © Richard Bratby

Of course, the bass is an outsider in chamber music – its proper place is supporting outdoor wind serenades. So its presence in this indoor quintet immediately gave Schubert’s inspiration an open-air buoyancy and freshness. And it’s welcomed into the party. The bass gets to sing with everyone else, most notably in the development of the first movement. Musicologists have grumbled that this sounds awkward. But anyone who’s ever played this Quintet with friends knows that there’s no moment in the whole repertoire that engenders so warm a glow of musical camaraderie. So no analysis, then – just a few details worth remarking, on this happiest of summer journeys. The exuberant opening flourish and its lyrical answer set the tone for the whole of the Allegro vivace, which bubbles along on a crystal-clear stream of piano

New on the LPO Label: Beethoven’s ‘Eroica’ Just released on the LPO Label is Beethoven’s Symphony No. 3 (Eroica), paired with the Fidelio Overture (LPO-0096). Conducted by Vladimir Jurowski and recorded live in concert, the CD is priced at £9.99. Available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Download or stream online via iTunes, Spotify, Amazon and others.

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Thank you

We are extremely grateful to all donors who have given generously to the LPO over the past year. Your generosity helps maintain the breadth and depth of the LPO’s activities, as well as supporting the Orchestra both on and off the concert platform.

Artistic Director’s Circle An anonymous donor Victoria Robey OBE

Eric Tomsett Laurence Watt Michael & Ruth West

Orchestra Circle Natalia Semenova & Dimitri Gourji The Tsukanov Family

Silver Patrons Mrs Molly Borthwick Peter & Fiona Espenhahn Mrs Irina Gofman David Goldstone CBE LLB FRICS Rehmet Kassim-Lakha de Morixe John & Angela Kessler Vadim & Natalia Levin Mrs Elena Lileeva & Dr Adrian Pabst The Metherell Family Mr Brian Smith The Viney Family Guy & Utti Whittaker

Principal Associates An anonymous donor Mr Peter Cullum CBE Alexander & Elena Djaparidze Dr Catherine Høgel & Ben Mardle Mr & Mrs Philip Kan Sergey Sarkisov & Rusiko Makhashvili Neil Westreich Associates Oleg & Natalya Pukhov Sir Simon Robey Stuart & Bianca Roden Barry Grimaldi William & Alex de Winton Gold Patrons An anonymous donor Mrs Evzen Balko David & Yi Buckley Garf & Gill Collins Andrew Davenport Georgy Djaparidze Sonja Drexler Mrs Gillian Fane Hamish & Sophie Forsyth Drs Oliver & Asha Foster Simon & Meg Freakley David & Victoria Graham Fuller Wim & Jackie Hautekiet-Clare The Jeniffer & Jonathan Harris Charitable Trust Alexandra Jupin & John Bean James R D Korner Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Julian & Gill Simmonds Virginia Slaymaker

Bronze Patrons An anonymous donor Valentina & Dmitry Aksenov Dr Christopher Aldren Michael Allen Mr Jeremy Bull Richard Buxton Desmond & Ruth Cecil Mr John H Cook Bruno De Kegel David Ellen Mrs Marie-Laure Favre-Gilly de Varennes de Bueil Igor & Lyuba Galkin Mr Daniel Goldstein Mr Gavin Graham Mrs Dorothy Hambleton Mr Martin Hattrell Mr Colm Kelleher Rose & Dudley Leigh Drs Frank & Gek Lim Mrs Angela Lynch Peter MacDonald Eggers William & Catherine MacDougall Mr & Mrs David Malpas Mr Adrian Mee Mrs Elizabeth Meshkvicheva Mr & Mrs Andrew Neill Noel Otley JP and Mrs Rachel Davies Mrs Rosemarie Pardington

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Ms Olga Pavlova Mr Michael Posen Mrs Karmen Pretel-Martines Dr Eva Lotta & Mr Thierry Sciard Tom & Phillis Sharpe Mr & Mrs G Stein Sergei & Elena Sudakova Captain Mark Edward Tennant Ms Sharon Thomas Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Grenville & Krysia Williams Christopher Williams Mr Anthony Yolland Principal Supporters Ralph & Elizabeth Aldwinckle Roger & Clare Barron Mr Geoffrey Bateman Mrs A Beare Mr Charles Bott Mr Graham Brady Mr Gary Brass Mr Richard Brass Mr Frederick Brittenden David & Patricia Buck Dr Anthony Buckland Sir Terry Burns GCB Mr Alan C Butler Mr Pascal Cagni Mrs Alan Carrington Dr Archibald E Carter The Countess June Chichester Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr Alfons Cortés Mr David Edwards Ulrike & Benno Engelmann Mr Timothy Fancourt QC Mr Richard Fernyhough Mr Derek B Gray Mr Roger Greenwood Mr Chris Grigg Malcolm Herring Amanda Hill & Daniel Heaf J Douglas Home Ivan Hurry Mr Glenn Hurstfield Mr Peter Jenkins

Per Jonsson Mr Frank Krikhaar Mr Gerald Levin Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Paul & Brigitta Lock Mr John Long Mr Nicholas Lyons Mr Peter Mace Robert Markwick & Kasia Robinski Elena Mezentseva Andrew T Mills Randall & Maria Moore Dr Karen Morton Maestro Yannick Nézet-Séguin Pavel & Elena Novoselov Dr Wiebke Pekrull Mr Roger Phillimore Mr James Pickford Andrew & Sarah Poppleton Oleg Pukhov Miss Tatiana Pyatigorskaya Mr Robert Ross Martin & Cheryl Southgate Mr Christopher Stewart Peter Tausig Mr Jonathan Townley Andrew & Roanna Tusa Marina Vaizey Howard & Sheelagh Watson Des & Maggie Whitelock Bill Yoe Supporters Mr Clifford Brown Miss Siobhan Cervin Miss Lynn Chapman Mr Joshua Coger Mr Geoffrey A Collens Timothy Colyer Miss Tessa Cowie Lady Jane Cuckney OBE Ms Holly Dunlap Mr Nigel Dyer Ms Susanne Feldthusen Mrs Janet Flynn Mr Nick Garland Dr Geoffrey Guy The Jackman Family

Mrs Svetlana Kashinskaya Niels Kroninger Mr Christopher Langridge Alison Clarke & Leo Pilkington Miss S M Longson Mr David Macfarlane Mr John Meloy Miss Lucyna Mozyrko Mr Leonid Ogarev Mr Stephen Olton Mr David Peters Mr Ivan Powell Mr & Mrs Graham & Jean Pugh Mr Christopher Queree Mr James A Reece Mr Olivier Rosenfeld Mr David Russell Mr Kenneth Shaw Mr Kevin Shaw Mr Barry Smith Ms Natalie Spraggon James & Virginia Turnball Michael & Katie Urmston Timothy Walker AM Mr Berent Wallendahl Mr John Weekes Edward & Catherine Williams Mr C D Yates Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Mrs Jackie Rosenfeld OBE We are grateful to the Board of the American Friends of the London Philharmonic Orchestra, who assist with fundraising for our activities in the United States of America: Jenny Ireland Co-Chairman William A. Kerr Co-Chairman Xenia Hanusiak Alexandra Jupin

Kristina McPhee David Oxenstierna Natalie Pray Antonia Romeo Hon. Chairman Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Stephanie Yoshida Corporate Donors Fenchurch Advisory Partners LLP Goldman Sachs Linklaters London Stock Exchange Group Morgan Lewis Phillips Auction House Pictet Bank Corporate Members Gold Sunshine Silver Accenture After Digital Berenberg Carter-Ruck French Chamber of Commerce Bronze Ageas BTO Management Consulting AG Charles Russell Speechlys Lazard Russo-British Chamber of Commerce Willis Towers Watson Preferred Partners Corinthia Hotel London Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic Sipsmith Steinway Villa Maria In-kind Sponsor Google Inc

Trusts and Foundations Axis Foundation The Bernarr Rainbow Trust The Boltini Trust Borletti-Buitoni Trust Boshier-Hinton Foundation The Candide Trust Cockayne – Grants for the Arts The Ernest Cook Trust Diaphonique, Franco-British Fund for contemporary music The D’Oyly Carte Charitable Trust Dunard Fund The Equitable Charitable Trust The Foyle Foundation The Goldsmiths’ Company Lucille Graham Trust Help Musicians UK Derek Hill Foundation John Horniman’s Children’s Trust The Idlewild Trust Kirby Laing Foundation The Leverhulme Trust The London Community Foundation London Stock Exchange Group Foundation Lord and Lady Lurgan Trust Marsh Christian Trust The Mercers’ Company Adam Mickiewicz Institute The Stanley Picker Trust The Radcliffe Trust Rivers Foundation The R K Charitable Trust RVW Trust The Sampimon Trust Schroder Charity Trust Serge Rachmaninoff Foundation The David Solomons Charitable Trust Souter Charitable Trust Spears-Stutz Charitable Trust The John Thaw Foundation The Michael Tippett Musical Foundation UK Friends of the FelixMendelssohn-BartholdyFoundation

Garfield Weston Foundation The Barbara Whatmore Charitable Trust and all others who wish to remain anonymous.

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Administration

Board of Directors Victoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-President Roger Barron Richard Brass Desmond Cecil CMG Bruno de Kegel Dr Catherine C. Høgel Rachel Masters* Al MacCuish Julian Metherell George Peniston* Kevin Rundell* Natasha Tsukanova Mark Vines* Timothy Walker AM Neil Westreich David Whitehouse* * Player-Director

Chief Executive

Education and Community

Public Relations

Timothy Walker AM Chief Executive and Artistic Director

Isabella Kernot Education Director

Albion Media (Tel: 020 3077 4930)

Talia Lash Education and Community Project Manager