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CONCERt programme

Changing Faces:

Stravinskyâ€™s journey

february â€“ december 2018 royal festival hall

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 Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

Southbank Centre’s Royal Festival Hall Wednesday 7 February 2018 | 7.30pm

Stravinsky Scherzo fantastique, Op. 3 (11’) Stravinsky Funeral Song, Op. 5 (12’) Rimsky-Korsakov Piano Concerto in C sharp minor, Op. 30 (14’)

Contents 2 Welcome 2018/19 season: on sale now 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Changing Faces: Stravinsky’s Journey 8 Vladimir Jurowski 9 Alexander Ghindin 10 Programme notes 13 Recommended recordings New on the LPO Label 15 Next concerts 16 LPO 2017/18 Annual Appeal 17 Sound Futures donors 18 Supporters 20 LPO administration

Interval (20’) Stravinsky The Firebird (original version) (44’)

Vladimir Jurowski conductor Alexander Ghindin piano

The timings shown are not precise and are given only as a guide. CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

This performance is being broadcast live by BBC Radio 3 in Concert, and available for 30 days after broadcast via the Radio 3 website and the BBC iPlayer Radio app.

Welcome

LPO 2018/19 season

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, wagamama, YO! Sushi, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Honest Burger, Côte Brasserie, Skylon and Topolski, as well as cafes, restaurants and shops inside Royal Festival Hall. 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 3879 9555, 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.

Out now The Spring/Summer 2018 edition of Tune In, our free twice-yearly magazine. Copies are available at the Welcome Desk in the Royal Festival Hall foyer, or phone the LPO office on 020 7840 4200 to receive one in the post. Also available digitally: issuu.com/londonphilharmonic

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The 2018/19 LPO season is now announced! Browse online at lpo.org.uk or call us on 020 7840 4200 to request a season brochure by post. Booking opens on Tuesday 6 February online and via the LPO Box Office. To take advantage of priority booking (open now), become a Friend of the London Philharmonic Orchestra for as little as £60 a year. Call Ellie Franklin on 020 7840 4225 or visit lpo.org.uk/support/memberships Highlights of the new season include: Changing Faces: Stravinsky’s Journey We continue our year-long series, delving into some of the composer’s pioneering and provocative works from the 1940s onwards. We pay tribute to his extraordinary legacy, focusing particularly on the latter stages of his life in exile in Hollywood. Isle of Noises During 2019 we celebrate the music of Britain in this year-long festival. Not only will we explore a range of British music from Purcell, through Elgar, Bax and Walton to the present day, but we’ll also highlight key works by composers with interesting British connections, including music by Handel and Haydn. Opera in concert We are delighted to bring a variety of opera to the Royal Festival Hall concert platform next season: Vladimir Jurowski conducts Stravinsky’s The Rake’s Progress and brings us the second instalment of our Ring Cycle – Die Walküre. We also welcome acclaimed tenor Juan Diego Flórez for an evening of popular operatic arias, and are pleased to welcome back Opera Rara to jointly present Puccini’s first opera, Le Villi. New music Premieres of works by some of today’s most exciting living composers including Magnus Lindberg, Pascal Dusapin, Arne Gieshoff, Erkki-Sven Tüür, Helen Grime and Anders Hillborg. Complete Beethoven Piano Concertos The flamboyant young Spanish pianist Javier Perianes joins us for two evenings in February 2019 to perform Beethoven’s complete Piano Concertos. Browse the full season at lpo.org.uk/newseason

On stage tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

Kevin Lin Co-Leader Vesselin Gellev Sub-Leader JiJi Lee Katalin Varnagy Chair supported by Sonja Drexler

Catherine Craig Thomas Eisner Martin Hรถhmann Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp

Robert Pool Sarah Streatfeild Yang Zhang Tina Gruenberg Rebecca Shorrock Morane Cohen-Lamberger Jeff Moore Second Violins Joanna Wronko Guest Principal Tania Mazzetti Co-Principal Helena Smart Kate Birchall Nancy Elan Fiona Higham Chair supported by David & Yi Buckley

Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Ashley Stevens Robin Wilson Helena Nicholls Sioni Williams Harry Kerr Violas David Quiggle Principal Robert Duncan Katharine Leek Susanne Martens Benedetto Pollani Laura Vallejo Naomi Holt

Stanislav Popov Isabel Pereira Daniel Cornford Richard Cookson Martin Wray Cellos Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden

Pei-Jee Ng Co-Principal Francis Bucknall David Lale Gregory Walmsley Elisabeth Wiklander Sue Sutherley Helen Rathbone George Hoult Philip Taylor Double Basses Kevin Rundell* Principal Sebastian Pennar Co-Principal Hugh Kluger George Peniston Laurence Lovelle Damiรกn Rubido Gonzรกlez Lowri Morgan Jakub Cywinski Flutes Juliette Bausor Principal Sue Thomas* Chair supported by Victoria Robey OBE

Stewart McIlwham* Lindsey Ellis Piccolos Stewart McIlwham* Principal Lindsey Ellis Alto Flute Sue Thomas* Oboes Ian Hardwick* Principal Alice Munday Jennifer Brittlebank

Cor Anglais Sue Bรถhling* Principal Chair supported by Dr Barry Grimaldi

Offstage Trumpets Paul Beniston* Robin Totterdell Catherine Knight

Clarinets Sang Yoon Kim Guest Principal Thomas Watmough James Maltby

Trombones Mark Templeton* Principal

Bass Clarinet Paul Richards Principal

Bass Trombone Lyndon Meredith Principal

E flat Clarinet Thomas Watmough Principal

Tuba Lee Tsarmaklis* Principal

Bassoons Jonathan Davies Principal Gareth Newman Laura Vincent Simon Estell* Contrabassoons Simon Estell* Principal Laura Vincent Horns David Pyatt* Principal Chair supported by Sir Simon Robey

John Ryan* Principal Chair supported by Laurence Watt

Martin Hobbs Duncan Fuller Gareth Mollison Offstage Wagner Tubas Mark Vines Alex Wide Elise Campbell Jason Koczur Trumpets Paul Beniston* Principal Philip Cobb Guest Principal Anne McAneney* Chair supported by Geoff & Meg Mann

David Hilton

Chair supported by William & Alex de Winton

David Whitehouse

Timpani Simon Carrington* Principal Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Henry Baldwin Co-Principal Chair supported by Friends of the Orchestra

Keith Millar Jeremy Cornes Karen Hutt James Bower Feargus Brennan Harps Rachel Masters Principal Lucy Haslar Emma Ramsdale Piano Catherine Edwards Celeste John Alley Assistant Conductor Ben Glassberg * Holds a professorial appointment in London Meet our members: lpo.org.uk/players

The London Philharmonic Orchestra also acknowledges the following chair supporter whose player is not present at this concert: The Candide Trust

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London Philharmonic Orchestra

The LPO musicians really surpassed themselves in playing of élan, subtlety and virtuosity. Matthew Rye, Bachtrack, 24 September 2017 (Enescu’s Oedipe at Royal Festival Hall) Recognised today as one of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with a reputation as one of the UK’s most forwardlooking ensembles. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, releases CDs on its own record label, and reaches thousands of people every year through activities for families, schools and local communities. Celebrating its 85th anniversary this season, the Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the world’s greatest conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is the Orchestra’s current Principal Conductor and Artistic Advisor, and this season we celebrate the tenth anniversary of this extraordinary partnership. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in September 2015. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Our year-long Belief and Beyond Belief festival in partnership with Southbank Centre ran

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throughout 2017, exploring what it means to be human in the 21st century. In 2018, we explore the life and music of Stravinsky in our new series Changing Faces: Stravinsky’s Journey, charting the life and music of one of the 20th century’s most influential composers. 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 over 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the 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 part of the Orchestra’s life: the 2016/17 season included visits to New York, Germany, Hungary, Spain, France, Belgium, The Netherlands and Switzerland, and tours in 2017/18 include Romania, Japan, China, the Czech Republic, Germany, Belgium, Austria, Spain, Italy and France.

Pieter Schoeman leader

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. In 2013 it was the winner of the RPS Music Award for Ensemble. The London Philharmonic Orchestra is committed to inspiring the next generation of musicians through an energetic programme of activities for young people. In 2017/18 we celebrate the 30th anniversary of our Education and Community department, whose work over three decades has introduced so many people of all ages to orchestral music and created opportunities for people of all backgrounds to fulfil their creative potential. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the Young Composers Programme; and the Foyle Future Firsts orchestral training programme for outstanding young players. 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 regular concert streamings and a popular podcast series, the Orchestra has a lively presence on social media. lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra youtube.com/londonphilharmonicorchestra instagram.com/londonphilharmonicorchestra

Pieter Schoeman was appointed Leader of the London Philharmonic Orchestra in 2008, having previously been Co-Leader since 2002. © Benjamin Ealovega

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 100 releases available on CD and to download. Recent additions include Dvořák’s Symphonies 6 & 7 conducted by Yannick Nézet-Séguin; Beethoven’s Symphony No. 3 and Fidelio Overture conducted by Vladimir Jurowski; and Mozart and Rachmaninoff piano concertos performed by Aldo Ciccolini, again under Nézet-Séguin.

Born in South Africa, Pieter made his solo debut aged 10 with the Cape Town Symphony Orchestra. Five years later he won the World Youth Concerto Competition in Michigan. Aged 17, he moved to the US to further his studies in Los Angeles and Dallas. 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, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and Southbank Centre’s Queen Elizabeth Hall in London. 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. Pieter’s chair in the London Philharmonic Orchestra is supported by Neil Westreich.

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Changing Faces: Stravinsky’s journey

Richard Bratby introduces our new festival, which runs throughout 2018 On 24 November 1944, a new musical called Seven Lively Arts opened at the Forrest Theatre, Philadelphia. The composer was Cole Porter, the producer was Billy Rose, and their aim was to make entertainment out of the greatest talents in contemporary art. Benny Goodman and Dolores Gray starred; Salvador Dali created artwork for the foyer. And right in the middle – setting the stamp of greatness on the show’s highbrow aspirations – was a new ballet by Igor Stravinsky. Rose had offered Stravinsky $5000 (the equivalent of over half a million today) for 15 minutes of music. But even so, he felt something wasn’t quite right. Luckily he had the top Broadway arranger Robert Russell Bennett on call. After the first night, he telegraphed Stravinsky: YOUR MUSIC GREAT SUCCESS. COULD BE SENSATIONAL SUCCESS IF YOU WOULD AUTHORISE ROBERT RUSSELL BENNETT RETOUCH ORCHESTRATION. Without missing a beat, Stravinsky telegraphed straight back: SATISFIED WITH GREAT SUCCESS. It’s a great story: and like the best Stravinsky stories, it’s also true. This is where Stravinsky was in the middle of the 20th century – a celebrity, a wit; a man who moved with total assurance between the biggest names in contemporary culture. You didn’t have to know anything about classical music to know that Stravinsky was the world’s greatest living composer: that his Russian name and long, angular face stood for the most modern kind of genius. ‘I’ve interviewed the great Stravinsky’, sang the heroine of Rodgers and Hart’s Pal Joey in 1940, and the orchestra responded with a dissonant shriek. A month earlier, Walt Disney had released Fantasia, in which cartoon dinosaurs cavorted to Stravinsky’s most notorious hit, The Rite of Spring. It played to millions. Why wouldn’t an ambitious Broadway producer want to get Stravinsky on board? And why wouldn’t a major orchestra want to celebrate his music? On one level, the question is redundant. Stravinsky’s great scores for the Ballets Russes – The Firebird (1910), Petrushka (1911) and The Rite of Spring (1913) – are as central to modern concert life as Beethoven or Mahler. But as contemporaries sensed, there was more to Stravinsky than an explosion of innovation and colour just before the Great War. How did 6 | London Philharmonic Orchestra

Igor Stravinsky’s star on the Hollywood Walk of Fame. He was inducted in 1960 for his work in radio. a singer’s son from the Russia of Tsar Alexander III end up as the toast of jazz-age Paris? How did a highbrow European modernist find himself courted by Hollywood’s top studio bosses? And how did the most famous classical composer on earth suddenly – in the last two decades of his career – become more controversial than he’d ever been? From his birth into a Russia that had been unchanged for millennia, to his funeral in Venice in 1971, watched by the world’s TV cameras, Stravinsky’s changing faces reflected more than just music. Stravinsky’s journey is the story of Western culture in the 20th century. So if it sounds like the LPO has been here before – well, in a sense it has. ‘For me, this Stravinsky journey is the second edition of The Rest Is Noise’, says Vladimir Jurowski, referring to the year-long exploration of 20th-century music and art through which he led the Orchestra in 2013. Changing Faces: Stravinsky’s Journey revisits that story and refines the focus. ‘In The Rest Is Noise we couldn’t concentrate upon any one composer’, Jurowski explains. ‘But here we’ve chosen to go through the years with one particular composer who reflected an entire century. Sometimes it’s chronological; sometimes it’s stylistic. His works are accompanied by the works of the people who he knew personally, who surrounded him, who preceded or succeeded him.’ That’s a vital point. Stravinsky had a gift for putting himself wherever the cultural action was: whether in

music, visual art, literature, cinema, politics or even fashion. In the first years of the century, there was no artistic force more thrilling than Serge Diaghilev’s Ballets Russes. But Stravinsky went on to party with Cole Porter in Venice, to sleep with Coco Chanel in Paris, and on one famous occasion in May 1922, to have dinner with James Joyce, Marcel Proust and Pablo Picasso. (It didn’t go well: Joyce fell asleep on the table and Proust got on Stravinsky’s nerves). Mussolini courted him – happily with little success. After he moved to the USA in 1939 he socialised with Fred Astaire, Alfred Hitchcock, Greta Garbo and Man Ray, while fellow exiles ranging from Rachmaninoff to Gone With the Wind composer Max Steiner ate pirozhki and drank champagne at Stravinsky’s Hollywood home. His creative partnerships embraced Benny Goodman, George Balanchine, Jean Cocteau, WH Auden, TS Eliot and Modoc – a dancing elephant in Barnum & Bailey’s circus. So Changing Faces: Stravinsky’s Journey places his music in context alongside music that Stravinsky influenced and (perhaps less obviously) that influenced him. ‘We’re trying to follow Stravinsky’s life, and with him, to follow the development of music in the 20th century – because effectively he went through almost every style change’, says Jurowski. So the journey begins not with the three great Diaghilev ballets (though they certainly feature) but in the sumptuous world of Imperial Russia’s so-called ‘Silver Age’, placing Stravinsky’s youthful music next to that of his teacher Rimsky-Korsakov and the fairytale music of Anatoly Liadov who, by fumbling his commission for The Firebird, accidentally gave Stravinsky the biggest break of his career. There’s also a chance to hear the music of Alexander Glazunov – who Stravinsky later derided, but whose influence can be heard in every note of the 24-year-old Igor’s delightful Symphony in E flat. And the journey continues, through revolutions both artistic and political. In the wake of the First World War, Stravinsky led the way in creating something bold, new, and yet strangely familiar from the wreckage of a civilisation. ‘His style kept evolving and changing’, says Jurowski. ‘At first it was Italian baroque music that interested him, but later Bach – and again, later there were all sorts of other things.’ ‘Neo-classicism’, it’s been called, but no label can fully cover the wit of Stravinsky’s reinvention of Pergolesi in Pulcinella, his playful not-quite-mockery of German romantics like Weber and Schubert, and the timeless clarity of the classical

language he created on his own terms in works like Apollon musagète and the Symphony in C. ‘He used to call himself an inventor of music rather than a composer, and I don’t think he was deluding himself’, says Jurowski. ‘What I find fascinating is that whatever style he explores, he always makes it sound as if he alone, Igor Stravinsky, has invented this style. He has this chameleon-like ability – and at the same time this incredibly strong individual voice.’ That ability to make the musical world turn around him would stand Stravinsky in good stead in the later years of his career, and as well as his 1951 opera The Rake’s Progress, later LPO concerts in 2018 will examine his decision (as seismic in its time as Bob Dylan going electric) to embrace the 12-tone system. It’s one reason why contemporary composers find him so compelling: the series features Stravinsky-influenced premieres by Gerald Barry and Anders Hillborg, while Thomas Adès conducts Perséphone. But there are also glimpses of the sometimes unpredictable man behind the mask of genius. His love for Tchaikovsky and the lost Russia he embodied; his fondness for poker (translated into the brilliantly deadpan ballet Jeu de cartes), and his profound religious faith, expressed in the Symphony of Psalms – ‘composed for the glory of God’. His biographer Robert Craft – a prim progressive – was ‘astonished’ by the respect that Stravinsky showed to exiled Russian royalty. But Stravinsky never followed the modernist script. He wrote it. And that force of personality – that electrifying creativity – overflowed into everything he touched. Vladimir Jurowski remembers handling the manuscript of The Rite of Spring in the Paul Sacher Archive in Basel. ‘What struck me was the incredible artistic quality of the score, as draughtsmanship. If you look at it not as a musician but simply the way you would look at a piece of art, it looks like an incredible cubist or Futurist design.’ Genius will out, and Stravinsky himself gives the best rationale for following his journey from beginning to end, in a world whose face is changing faster than ever. ‘I live neither in the past nor the future. I am in the present. I can know only what the truth is for me today. That is what I am called upon to serve, and I serve it in all lucidity.’ Richard Bratby writes about music for The Spectator, Gramophone and the Birmingham Post. lpo.org.uk/stravinsky

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Vladimir Jurowski conductor

As Jurowski prepares to mark 10 years with the LPO, the understanding between them seems in great shape.

Martin Kettle, The Guardian, 29 January 2017

Vladimir Jurowski was appointed Principal Guest Conductor of the London Philharmonic Orchestra in 2003, becoming Principal Conductor in 2007: this season we celebrate the tenth anniversary of this extraordinary partnership. One of today’s most sought-after conductors, acclaimed worldwide for his incisive musicianship and adventurous artistic commitment, Vladimir Jurowski was born in Moscow and studied at the Music Academies of Dresden and Berlin. In 1995 he made his international debut at the Wexford Festival conducting Rimsky-Korsakov’s May Night, and the same year saw his debut at the Royal Opera House, Covent Garden, with Nabucco. In 2017 Vladimir took up the position of Chief Conductor and Artistic Director of the Berlin Radio Symphony Orchestra. In addition he holds the titles of Principal Artist of the Orchestra of the Age of Enlightenment, Artistic Director of the Russian State Academic Symphony Orchestra and Artistic Director of the George Enescu International Festival, Bucharest. He has previously held the positions of First Kapellmeister of the Komische Oper Berlin (1997–2001), Principal Guest Conductor of the Teatro Comunale di Bologna (2000–03), Principal Guest Conductor of the Russian National Orchestra (2005–09), and Music Director of Glyndebourne Festival Opera (2001–13). Vladimir is a regular guest with many leading orchestras in both Europe and North America, including the Royal Concertgebouw Orchestra; the Accademia Nazionale di Santa Cecilia, Rome; the New York Philharmonic; The Philadelphia Orchestra; The Cleveland Orchestra; the Boston, San Francisco

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and Chicago symphony orchestras; and the TonhalleOrchester Zürich, Leipzig Gewandhausorchester, Mahler Chamber Orchestra, Staatskapelle Dresden and Chamber Orchestra of Europe. His opera engagements have included Rigoletto, Jenůfa, The Queen of Spades, Hansel and Gretel and Die Frau ohne Schatten at the Metropolitan Opera, New York; Parsifal and Wozzeck at Welsh National Opera; War and Peace at the Opéra National de Paris; Eugene Onegin at the Teatro alla Scala, Milan; Ruslan and Ludmila at the Bolshoi Theatre; Salome with the State Academic Symphony of Russia; Moses und Aron at the Komische Oper Berlin; Iolanta and Die Teufel von Loudun at Semperoper Dresden, and numerous operas at Glyndebourne including Otello, Macbeth, Falstaff, Tristan und Isolde, Don Giovanni, The Cunning Little Vixen, Peter Eötvös’s Love and Other Demons, and Ariadne auf Naxos. In 2017 he made an acclaimed Salzburg Festival debut with Wozzeck and his first return to Glyndebourne as a guest conductor, in the world premiere production of Brett Dean’s Hamlet with the LPO. The London Philharmonic Orchestra has released a wide selection of Vladimir Jurowski’s live recordings with the Orchestra on its own label, including Brahms’s complete symphonies; Mahler’s Symphonies Nos. 1 and 2; and Rachmaninoff’s Symphony No. 3 and Symphonic Dances. Autumn 2017 saw the release of a sevendisc set of Tchaikovsky’s complete symphonies under Jurowski (LPO-0101), and a special anniversary sevendisc set of his previously unreleased recordings with the LPO spanning the symphonic, choral and contemporary genres (LPO-1010). Visit lpo.org.uk/recordings to find out more.

Alexander Ghindin piano

Ghindin is a dynamic artist who wraps his heart around lyrical phrases. He has the power and speed of a virtuoso, plus the perception and poise needed to explore the inner workings of a score.

The Plain Dealer (Cleveland, USA)

Alexander Ghindin has been unanimously acclaimed by critics and music lovers as one of the most talented and original pianists of the present day. Aged 17 he became the youngest-ever laureate of the International Tchaikovsky Competition in Moscow, and is quickly establishing himself as one of the most sought-after pianists of his generation. In 1999 he won Second Prize at the International Queen Elisabeth Piano Competition in Brussels, and in 2007 First Prize at the International Piano Competition in Cleveland (USA). In 2006 he was named ‘Honoured Artist of Russia’. In 2001 Ondine Records released the world premiere recording of the original versions of Rachmaninoff’s Piano Concertos Nos. 1 and 4, performed by Alexander Ghindin with the Helsinki Philharmonic Orchestra under Vladimir Ashkenazy. Alexander Ghindin regularly tours throughout Russia and abroad. He has performed with such major orchestras as the Grand Tchaikovsky Symphony Orchestra, Russian National Orchestra, Svetlanov State Academic Symphony Orchestra of Russia, Orchestre de Paris, Orchestre National de Belgique, Deutsches Symphonie-Orchester Berlin, Rotterdam Symphony Orchestra, Japan’s Tokyo Symphony Orchestra and New Japanese Philharmonic, and the Philharmonic orchestras of London, Helsinki, Luxembourg, Liège, Monte Carlo and Munich. Conductors with whom Alexander has worked include Vladimir Ashkenazy, Vladimir Fedoseyev, Vladimir Spivakov, Arnold Katz, Yurij Simonov, Dmitry Kitayenko, Vasily Sinaisky, Alexander Lazarev, Alan Gilbert, Krzysztof Penderecki, Paavo Järvi, James DePreist,

Leonard Slatkin, Louis Langrée, Eliahu Inbal, Arthur Fagen and others. Alexander Ghindin is a regular participant at international music festivals. He has appeared at the Russian festivals Russian Winter, The New Century of Russian Piano Music, ‘Vladimir Spivakov Invites’ and the International Sakharov Arts Festival, as well as the Swedish Royal Festival in Stockholm, Lille Pianos Festival, Colmar International Festival, Radio France Festival, La Folle Journée (France), Bad Kissingen Sommer, Rising Stars (Poland), Klavier Festival Ruhr, and festivals in Echternach, La Roque d’Anthéron, Brussels, Krakow, Rome, Sintra and Sicily. Alexander Ghindin is a frequent jury member at competitions including the Nutcracker Young Performers’ International TV, the First Russian Music Competition and the International Piano Competition in Cleveland. Since 2006 he has been Artistic Director of his own concert series at one of Russia’s most distinguished concert venues: the Svetlanov Hall of the Moscow International Performing Arts. He is also International Artistic Co-Director of the Swedish Royal Festival, and Artistic Director and conductor of the Hermitage Ensemble of Soloists and the Kaluga Youth Symphony Orchestra. Alexander Ghindin has released 28 CDs on leading record labels in the UK, Russia, France, Germany, Finland and Japan including Decca, Capriccio, Ondine, Tri-M Classics, Russian Season (Russian partner of Le Chant du monde), DML, CD Accord and Naxos, among others. alexanderghindin.com

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Programme notes

Speedread Fathers and Sons is the title of a great Russian novel: it could also be the subtitle for this all-Russian concert. Nikolai Rimsky-Korsakov, one of the great masters of the art of orchestration, wrote his Piano Concerto as a tribute to the towering father-figure of Russian musical nationalism, Mily Balakirev. The Concerto is full of warm-hearted lyricism, but perhaps we can also sense stirrings of rebellion: Rimsky was already breaking free from Balakirev’s inspiring but also overpowering influence. Rimsky later became a great teacher, and amongst his pupils was the 20th-century giant Igor Stravinsky. Stravinsky revered Rimsky-Korsakov, but it wasn’t until his teacher died that the young composer truly found

Igor Stravinsky

his feet. We can hear him beginning to emerge from Rimsky’s shadow in the early Scherzo fantastique, standing on more solid ground in the Funeral Song he wrote for Rimsky’s memorial concert in 1908, then emerging in full mastery in the ballet The Firebird, begun the following year after his ‘discovery’ by the legendary ballet impresario Serge Diaghilev – another crucial father-figure for Stravinsky. So we not only get to hear one of the great ballet scores in its glitteringly colourful original version, we can also hear how Stravinsky came to that mastery: what he owed to his musical fathers, and to his musical forefathers. It is an epic story, and musically a deeply rewarding one.

Scherzo fantastique, Op. 3

1882–1971

Stravinsky’s big break came in 1909. The formidable Russian ballet impresario Serge Diaghilev – increasingly desperate to find a composer for his planned ballet The Firebird – acted on an inspired hunch and commissioned the virtually unknown 27-year-old to write the score. It was the making of Stravinsky as a composer, and perhaps also as a man. The Firebird may be Stravinsky’s first masterpiece, but the two works he finished the year earlier, Fireworks and Scherzo fantastique, are more than interesting juvenilia. The Scherzo fantastique contains several strong foretastes of the glittering, sensuous orchestral colours of Kashchei’s enchanted garden in The Firebird. (In their original versions both scores make imaginative use of three harps.) Listening to this score it is easy to understand why the ‘fantastic’ fairytale imagery of Firebird should have brought out the best in the young composer.

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In later years Stravinsky liked to claim that such things were of no interest to him at the time; but the older Stravinsky was always keen to distance himself from his earlier late-romantic self. In any case, when he steeled himself to look over the score of Scherzo fantastique again in the 1960s, even the exacting Stravinsky was pleased by what he found. ‘The orchestra “sounds”, the music is light’, he commented approvingly. True genius, we may sense, is only one more step around the corner.

Igor Stravinsky

Funeral Song, Op. 5

In 1908, Stravinsky’s revered teacher and father-figure Nikolai Rimsky-Korsakov died. In the summer of that year Stravinsky composed a musical tribute, Funeral Song, for performance at a memorial concert for Rimsky that autumn. Unfortunately, the score went missing during the Russian Revolution of 1917. Stravinsky left an evocative reminiscence of it in his autobiography, Chronicle of My Life: ‘I can no longer remember the music, but I can remember the roots of its conception, which was that all the instruments of the orchestra filed past the tomb of the master in succession, each laying down its own melody as its wreath against a deep background of tremolo murmurings simulating the vibrations of bass voices singing in chorus.’ ‘I remember the piece as the best of my works before The Firebird’, he added later, ‘and the most advanced in chromatic harmony.’

Stravinsky’s memory didn’t lie, as became clear when the missing orchestral parts were rediscovered in a back room of the St Petersburg Conservatoire library in 2015. The musicologist Natalia Bragynskaya was able to reconstruct a score, which fully justified both Stravinsky’s description and assessment of the music. Despite its relatively short length (about 12 minutes), Funeral Song is a powerful, darkly atmospheric piece, anticipating not only the sombre, shadowy mood of the opening of Firebird, but also Stravinsky’s fascination with ‘austere ritual’ in such later masterpieces as the Symphonies of Wind Instruments (1920), the Symphony of Psalms (1930) and the Mass for chorus and winds (1948). At the same time Funeral Song looks back: to Wagner (whom Stravinsky was soon to reject) and to Rimsky himself, whose masterly use of the orchestra we can hear the young Stravinsky making his own. In that respect above all, it is a wonderfully apt tribute from pupil to teacher.

Nikolai Rimsky-Korsakov

Piano Concerto in C sharp minor, Op. 30

1844–1908

When Rimsky-Korsakov’s only Piano Concerto appeared in 1883 it carried a dedication to the hugely influential piano virtuoso and composer Franz Liszt. In many ways it’s a fitting tribute, not just in the imaginative beauty of its piano writing, but also in its ingenious structure, which – like Liszt’s Second Concerto – is laid out in one

Alexander Ghindin piano Moderato: Allegretto quasi polacca – Andante mosso – Allegro

continuous movement. As in the Liszt, there are strongly contrasted sections, here rather like the traditional three separate movements of a classical concerto (fast-slowfast, with a slow introduction), but which nevertheless flow into one another seamlessly. Continued overleaf London Philharmonic Orchestra | 11

Programme notes continued

But Rimsky-Korsakov goes one step further than Liszt, in that his Concerto is based on just one theme. And that theme reveals another, more heartfelt (but also possibly more complicated) acknowledgement. It’s a folksong, taken from the seminal collection by Russian music’s nationalist father-figure Mily Balakirev. Balakirev was an inspiring, but also a somewhat overpowering character, as Rimsky’s contemporary Tchaikovsky also found. To those he favoured he would send detailed instructions about works he felt they should write, even spelling out key-structures (he was particularly fond of B minor and D flat major). We can

certainly find evidence of love in Rimsky’s tribute to him, as it seems did Balakirev himself who, Rimsky tells us, was delighted and ‘greatly astonished’ by the Concerto. But it was the last work of Rimsky’s that met with Balakirev’s approval. Balakirev had already been alarmed by what he saw as an increasing ‘academicism’ and – worse still – dependence on German models in Rimsky’s compositions. Rimsky too had sensed that a parting of the ways was imminent, and perhaps his tribute to Balakirev in this Concerto is also something of a farewell. If so it is, however, a very warm-hearted one.

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

Igor Stravinsky

Amongst other things, the great ballet impresario Serge Diaghilev was a talent-spotter of genius – not just when it came to dancers, but also to choreographers, set designers and composers. When Diaghilev first floated the idea of adapting the Russian folk legend of the Firebird for performance by his Paris-based Ballets Russes in 1909, the composer he first had in mind was his old teacher Anatoly Lyadov. But when it became clear that Lyadov wasn’t up to the job (he’d consistently failed to finish large-scale projects), Diaghilev remembered the young composer he’d recently worked with on an adaptation of the ballet Les Sylphides, Igor Stravinsky. Stravinsky had no reputation to speak of in 1909, and no solid masterworks under his belt, but Diaghilev seems to have sensed a potential major talent. Surprised and flattered, Stravinsky dropped work on his opera The Nightingale and began work in November. Despite the complexity and scale of the project (far more ambitious than anything Stravinsky had completed before), he finished the full orchestral score in five months. 12 | London Philharmonic Orchestra

The Firebird (original version)

Diaghilev later recalled hearing Stravinsky play the Firebird score to him for the first time, in a tiny groundfloor room in St Petersburg. It’s possible he exaggerated the effect a little, yet even so the excitement is surely authentic at core. ‘The composer, young, slim, and uncommunicative, with vague meditative eyes, and lips set firm in an energetic-looking face, was at the piano. But the moment he began to play, the modest and dimly lit dwelling glowed with a dazzling radiance. By the end of the first scene, I was conquered: by the last I was lost in admiration. The manuscript on the music-rest, scored over with fine pencillings, revealed a masterpiece.’ Stravinsky then attended every rehearsal, playing for the dancers and paying close attention to their needs and how they responded to what he wrote. No wonder he was able to write so magnificently for dancers in the sequence of great ballet scores that followed over the next five decades.

The premiere of The Firebird in 1910 was a sensation. As Stravinsky noted, ‘The stage and the whole theatre glittered’. He could have added that his music glittered too. For all his later expressions of distaste for all forms of ‘illustrative’ music, Stravinsky’s Firebird score is a triumph of musical storytelling and scene-painting. We can sense the magic and nocturnal menace in the ogre Kashchei’s enchanted garden as the young Prince Ivan strays into it in pursuit of the Firebird, and hear the Firebird’s heart-rending plea for release when he catches her – the request is granted when she offers Ivan one of her magical feathers. A gentle round-dance portrays the 13 captive princesses, with one of whom Ivan falls in love. The music darkens as Ivan is himself captured, and Kaschei performs a terrifying dance of triumph. But Ivan remembers the feather, at which the Firebird reappears, to reveal the secret of Kashchei’s immortality – his soul is contained in a concealed egg. The egg is destroyed and Kashchei’s power ebbs away (eerie tremolo strings). Finally there is a magnificent long crescendo on a nobly beautiful Russian folk theme (first heard on horn) as Ivan and his Princess are betrothed in full splendour. Programme notes © Stephen Johnson

Recommended recordings of tonight’s works Many of our recommended recordings, where available, are on sale this evening at the Foyles stand in the Royal Festival Hall foyer. Stravinsky: Scherzo fantastique St Petersburg Philharmonic Orchestra | Vladimir Ashkenazy (Decca) Stravinsky: Funeral Song Chicago Symphony Orchestra | Fritz Reiner (RCA Victor) or Lucerne Festival Orchestra | Riccardo Chailly (Decca) Rimsky-Korsakov: Piano Concerto Malcolm Binns | English Northern Philharmonia | David Lloyd-Jones (Hyperion) Stravinsky: The Firebird London Philharmonic Orchestra | Franz Welser-Möst (Warner) or London Symphony Orchestra | Antal Doráti (Mercury Living Presence)

New CD release on the LPO Label Aldo Ciccolini plays Mozart and Rachmaninoff Mozart Piano Concerto No. 20 in D minor, K466 Rachmaninoff Piano Concerto No. 2 in C minor, Op. 18 Aldo Ciccolini piano Yannick Nézet-Séguin conductor London Philharmonic Orchestra LPO-0102 | £9.99 Recorded live at Southbank Centre’s Royal Festival Hall, London, on 12 October 2011 (Mozart) and 27 May 2009 (Rachmaninoff).

Available now 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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14 | London Philharmonic Orchestra

be m ov e d Next concerts at Southbank Centreâ€™s Royal Festival Hall

saturday 10 february 2018 7.30pm

wednesday 21 february 2018 friday 23 february 2018 7.30pm 7.30pm

Liadov Baba Yaga Liadov The Enchanted Lake Liadov Kikimora Prokofiev Violin Concerto No. 2* Stravinsky Petrushka (original version)

Debussy Printemps Stravinsky The Song of the Ravel Piano Concerto for the Left Hand Nightingale Delius Idylle de Printemps Elgar Cello Concerto Stravinsky The Rite of Spring Rimsky-Korsakov Scheherazade

Vladimir Jurowski conductor Ray Chen violin

Juanjo Mena conductor Benedetto Lupo piano

Vasily Petrenko conductor Andreas Brantelid cello

* Please note a change to the advertised concerto.

Book now at lpo.org.uk or call 020 7840 4242 Season discounts of up to 30% available

15 | London Philharmonic Orchestra

2017/18 annual appeal

Sharing the Wonder 30 years of music for all

For 30 years we have taken ourselves off the concert platform and out into the world around us, driven by the desire to share the power and wonder of orchestral music with everyone. We strive to create stories and experiences that others will call their own. From planting the seed in those who have never heard orchestral music to reawakening others to joys they may have forgotten. We work to awaken passions, develop talent and nurture ability. Help us celebrate this 30th year of the London Philharmonic Orchestra’s Education and Community Programme by giving to our Appeal. Your gift will support us as we invest in the creation of future experiences. Together we can unlock discoveries not only in musical abilities, but also in confidence, creativity and self-belief; helping create stories of change and journeys of progression.

£30

will contribute to our work, wherever we need it most

£50

will hire a venue for a 30-minute mentor session for an LPO Junior Artist

£85

will hire a set of 30 chime bars for Creative Classrooms

£120

will pay for a class of 30 children to attend a subsidised BrightSparks concert

£300

will pay for 30 teacher resource packs, used prior to attending a BrightSparks concert

£500

will pay for 30 teachers to attend a musical INSET training day

Read some of the stories so far, find out more and donate to help share the wonder

lpo.org.uk/appeal

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Sound Futures donors

We are grateful to the following donors for their generous contributions to our Sound Futures campaign. Thanks to their support, we successfully raised £1 million by 30 April 2015 which has now been matched pound for pound by Arts Council England through a Catalyst Endowment grant. This has enabled us to create a £2 million endowment fund supporting special artistic projects, creative programming and education work with key venue partners including our Southbank Centre home. Supporters listed below donated £500 or over. For a full list of those who have given to this campaign please visit lpo.org.uk/soundfutures. Masur Circle Arts Council England Dunard Fund Victoria Robey OBE Emmanuel & Barrie Roman The Underwood Trust

The Rothschild Foundation Tom & Phillis Sharpe The Viney Family

Haitink Patrons Mark & Elizabeth Adams Dr Christopher Aldren Mrs Pauline Baumgartner Welser-Möst Circle Lady Jane Berrill William & Alex de Winton Mr Frederick Brittenden John Ireland Charitable Trust David & Yi Yao Buckley The Tsukanov Family Foundation Mr Clive Butler Neil Westreich Gill & Garf Collins Tennstedt Circle Mr John H Cook Valentina & Dmitry Aksenov Mr Alistair Corbett Richard Buxton Bruno De Kegel The Candide Trust Georgy Djaparidze Michael & Elena Kroupeev David Ellen Kirby Laing Foundation Christopher Fraser OBE & Lisa Fraser Mr & Mrs Makharinsky David & Victoria Graham Fuller Alexey & Anastasia Reznikovich Goldman Sachs International Sir Simon Robey Mr Gavin Graham Bianca & Stuart Roden Moya Greene Simon & Vero Turner Mrs Dorothy Hambleton The late Mr K Twyman Tony & Susie Hayes Malcolm Herring Solti Patrons Catherine Høgel & Ben Mardle Ageas Mrs Philip Kan John & Manon Antoniazzi Rehmet Kassim-Lakha de Morixe Gabor Beyer, through BTO Rose & Dudley Leigh Management Consulting AG Lady Roslyn Marion Lyons Jon Claydon Miss Jeanette Martin Mrs Mina Goodman & Miss Duncan Matthews QC Suzanne Goodman Diana & Allan Morgenthau Roddy & April Gow Charitable Trust The Jeniffer & Jonathan Harris Dr Karen Morton Charitable Trust Mr Roger Phillimore Mr James R.D. Korner Ruth Rattenbury Christoph Ladanyi & Dr Sophia The Reed Foundation Ladanyi-Czernin The Rind Foundation Robert Markwick & Kasia Robinski The Maurice Marks Charitable Trust Sir Bernard Rix David Ross & Line Forestier (Canada) Mr Paris Natar

Carolina & Martin Schwab Dr Brian Smith Lady Valerie Solti Mr & Mrs G Stein Dr Peter Stephenson Miss Anne Stoddart TFS Loans Limited Marina Vaizey Jenny Watson Guy & Utti Whittaker Pritchard Donors Ralph & Elizabeth Aldwinckle Mrs Arlene Beare Mr Patrick & Mrs Joan Benner Mr Conrad Blakey Dr Anthony Buckland Paul Collins Alastair Crawford Mr Derek B. Gray Mr Roger Greenwood The HA.SH Foundation Darren & Jennifer Holmes Honeymead Arts Trust Mr Geoffrey Kirkham Drs Frank & Gek Lim Peter Mace Mr & Mrs David Malpas Dr David McGibney Michael & Patricia McLaren-Turner Mr & Mrs Andrew Neill Mr Christopher Querée The Rosalyn & Nicholas Springer Charitable Trust Timothy Walker AM Christopher Williams Peter Wilson Smith Mr Anthony Yolland and all other donors who wish to remain anonymous

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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 Orchestra Circle The Tsukanov Family Principal Associates An anonymous donor The Candide Trust Alexander & Elena Djaparidze Mr & Mrs Philip Kan Mr & Mrs Makharinsky Sergey Sarkisov & Rusiko Makhashvili Julian & Gill Simmonds Neil Westreich Dr James Huang Zheng (of Kingdom Music Education Group) Associates Steven M. Berzin Gabor Beyer Kay Bryan William & Alex de Winton Virginia Gabbertas Oleg & Natalya Pukhov George Ramishvili Sir Simon Robey Stuart & Bianca Roden Gold Patrons Evzen & Lucia Balko David & Yi Buckley Garf & Gill Collins Andrew Davenport Sonja Drexler Mrs Gillian Fane Marie-Laure Favre Gilly de Varennes de Bueil Hamish & Sophie Forsyth Sally Groves & Dennis Marks The Jeniffer & Jonathan Harris Charitable Trust John & Angela Kessler Vadim & Natalia Levin Countess Dominique Loredan

Geoff & Meg Mann Tom & Phillis Sharpe The Viney Family Laurence Watt Guy & Utti Whittaker Silver Patrons Michael Allen Mrs Irina Gofman David Goldberg Mr Gavin Graham Mr Roger Greenwood Pehr G Gyllenhammar Catherine Høgel & Ben Mardle Matt Isaacs & Penny Jerram Rose & Dudley Leigh Mrs Elizabeth Meshkvicheva The Metherell Family Mikhail Noskov & Vasilina Bindley Jacopo Pessina Brian & Elizabeth Taylor Bronze Patrons Anonymous donors Dr Christopher Aldren Mrs Margot Astrachan Mrs A Beare Richard & Jo Brass Peter & Adrienne Breen Mr Jeremy Bull Mr Alan C Butler Richard Buxton John Childress & Christiane Wuillaimie Mr Geoffrey A Collens Mr John H Cook Bruno De Kegel Georgy Djaparidze David Ellen Ulrike & Benno Engelmann Ignor & Lyuba Galkin Mr Daniel Goldstein Mrs Dorothy Hambleton Martin & Katherine Hattrell Wim & Jackie Hautekiet-Clare Michael & Christine Henry J Douglas Home

18 | London Philharmonic Orchestra

Mr Glenn Hurstfield Elena Lileeva & Adrian Pabst Drs Frank & Gek Lim Peter MacDonald Eggers Isabelle & Adrian Mee Maxim & Natalia Moskalev Mr & Mrs Andrew Neill Peter & Lucy Noble Noel Otley JP & Mrs Rachel Davies Roderick & Maria Peacock Mr Roger Phillimore Mr Michael Posen Sir Bernard Rix Mr Robert Ross Dr Eva Lotta & Mr Thierry Sciard Barry & Gillian Smith Anna Smorodskaya Lady Valerie Solti Mr & Mrs G Stein Mrs Anne Storm Sergei & Elena Sudakov Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Marina Vaizey Grenville & Krysia Williams Mr Anthony Yolland Principal Supporters An anonymous donor Ralph & Elizabeth Aldwinckle Roger & Clare Barron Mr Geoffrey Bateman David & Patricia Buck Dr Anthony Buckland Desmond & Ruth Cecil Mr & Mrs Stewart Cohen David & Liz Conway Mr Alistair Corbett Mr Peter Cullum CBE Mr Timonthy Fancourt QC Mr Richard Fernyhough Mr Derek B. Gray Malcolm Herring Ivan Hurry Per Jonsson Mr Raphaël Kanzas

Rehmet Kassim-Lakha de Morixe Mr Colm Kelleher Peter Kerkar Mr Gerald Levin Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Paul & Brigitta Lock Mr John Long Mr Peter Mace Brendan & Karen McManus Kristina McPhee Andrew T Mills Randall & Maria Moore Dr Karen Morton Olga Pavlova Dr Wiebke Pekrull Mr James Pickford Andrew & Sarah Poppleton Tatiana Pyatigorskaya Mr Christopher Querée Martin & Cheryl Southgate Matthew Stephenson & Roman Aristarkhov Mr Christopher Stewart Andrew & Rosemary Tusa Anastasia Vvedenskaya Howard & Sheelagh Watson Des & Maggie Whitelock Holly Wilkes Christopher Williams Mr C D Yates Bill Yoe Supporters Anonymous donors Mr John D Barnard Mrs Alan Carrington Miss Siobhan Cervin Gus Christie Alison Clarke & Leo Pilkington Mr Joshua Coger Timothy Colyer Miss Tessa Cowie Lady Jane Cuckney DBE Mr David Devons Cameron & Kathryn Doley Stephen & Barbara Dorgan Mr Nigel Dyer

Sabina Fatkullina Mrs Janet Flynn Christopher Fraser OBE The Jackman Family Mrs Irina Tsarenkov Mr David MacFarlane Mr John Meloy Mr Stephen Olton Robin Partington Mr David Peters Mr Ivan Powell Mr & Mrs Graham & Jean Pugh Mr David Russell Mr Kenneth Shaw Ms Natalie Spraggon Michael & Katie Urmston Damien & Tina Vanderwilt Timothy Walker AM Mr John Weekes Hon. Benefactor Elliott Bernerd Hon. Life Members Alfonso Aijón Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Mrs Jackie Rosenfeld OBE Laurence Watt LPO International Board of Governors Natasha Tsukanova Chair Steven M. Berzin (USA) Gabor Beyer (Hungary) Kay Bryan (Australia) Marie-Laure Favre Gilly de Varennes de Bueil (France) Joyce Kan (Hong Kong) Olivia Ma (Greater China Area) Olga Makharinsky (Russia) George Ramishvili (Georgia) Victoria Robey OBE (USA) Dr James Huang Zheng (of Kingdom Music Education Group) (China)

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: William A. Kerr Chairman Xenia Hanusiak Alexandra Jupin Kristina McPhee David Oxenstierna Natalie Pray Stephanie Yoshida Anthony Phillipson Hon. Chairman Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Corporate Donors Arcadis Christian Dior Couture Faraday Fenchurch Advisory Partners Giberg Goldman Sachs Pictet Bank White & Case LLP Corporate Members Gold freuds Sunshine Silver After Digital Berenberg Carter-Ruck French Chamber of Commerce

Bronze Accenture Ageas Lazard Russo-British Chamber of Commerce Willis Towers Watson Preferred Partners Fever-Tree Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic Sipsmith Steinway Villa Maria In-kind Sponsor Google Inc Trusts and Foundations The Boltini Trust Borletti-Buitoni Trust Boshier-Hinton Foundation The Candide Trust The Ernest Cook Trust Diaphonique, Franco-British Fund for contemporary music The D’Oyly Carte Charitable Trust Dunard Fund The Foyle Foundation Lucille Graham Trust Help Musicians UK John Horniman’s Children’s Trust The Idlewild Trust Embassy of the State of Israel to the United Kingdom Kirby Laing Foundation The Leverhulme Trust Andrew Lloyd Webber Foundation London Stock Exchange Group Foundation Lord & Lady Lurgan Trust Marsh Christian Trust The Mercers’ Company

Adam Mickiewicz Institute Newcomen Collett Foundation The Stanley Picker Trust The Austin & Hope Pilkington Trust PRS For Music Foundation Rivers Foundation Romanian Cultural Institute The R K Charitable Trust The Sampimon Trust Schroder Charity Trust Serge Rachmaninoff Foundation Ernst von Siemens Music Foundation The David Solomons Charitable Trust Souter Charitable Trust The Steel Charitable Trust Spears-Stutz Charitable Trust The John Thaw Foundation The Thistle Trust UK Friends of the FelixMendelssohn-BartholdyFoundation Garfield Weston Foundation The Barbara Whatmore Charitable Trust The William Alwyn Foundation 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 Henry Baldwin* Roger Barron Richard Brass David Buckley Bruno De Kegel Al MacCuish Susanne Martens* George Peniston* Natasha Tsukanova Mark Vines* Timothy Walker AM Neil Westreich David Whitehouse* * Player-Director Advisory Council Martin Höhmann Chairman Rob Adediran Christopher Aldren Dr Manon Antoniazzi Richard Brass Desmond Cecil CMG Sir Alan Collins KCVO CMG Andrew Davenport William de Winton Cameron Doley Edward Dolman Christopher Fraser OBE Lord Hall of Birkenhead CBE Jonathan Harris CBE FRICS Amanda Hill Dr Catherine C. Høgel Rehmet Kassim-Lakha Jamie Korner Geoff Mann Clive Marks OBE FCA Stewart McIlwham Nadya Powell Sir Bernard Rix Victoria Robey OBE Baroness Shackleton Thomas Sharpe QC Julian Simmonds Barry Smith Martin Southgate Andrew Swarbrick Sir John Tooley Chris Viney Timothy Walker AM Laurence Watt Elizabeth Winter

General Administration Timothy Walker AM Chief Executive and Artistic Director

Education and Community Isabella Kernot Education and Community Director

Public Relations Albion Media (Tel: 020 3077 4930)

David Burke General Manager and Finance Director

Talia Lash Education and Community Project Manager