London Philharmonic Orchestra 11 February concert programme

I N S I D E O U T

lpo.org.uk/rachmaninoffConcert programme

Winner of the RPS Music Award for Ensemble Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI

supported by the Tsukanov Family FoundationLeader PIEtER SchOEMAn

supported by Neil WestreichComposer in Residence MAgnUS LInDbERgPatron hRh thE DUKE OF KEnt Kg

Chief Executive and Artistic Director tIMOthY WALKER AM

contents

2 Welcome LPO 2015/16 season launch3 On stage tonight 4 About the Orchestra5 Rachmaninoff: Inside Out 6 Vasily Petrenko7 Jorge Luis Prats | Anna Samuil8 Daniil Shtoda | Andrei Bondarenko9 London Philharmonic Choir10 Programme notes and text17 2015/16 season highlights18 Supporters19 Sound Futures donors20 LPO administration

The timings shown are not precise and are given only as a guide.

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Southbank centre’s Royal Festival hallWednesday 11 February 2015 | 7.30pm

Stravinsky Symphony in Three Movements (20’)

Rachmaninoff Piano Concerto No. 2 in C minor, Op. 18 (32’)

Interval

RachmaninoffThe Bells, Op. 35 (35’)

Vasily Petrenko conductor

Jorge Luis Prats pianoAnna Samuil sopranoDaniil Shtoda tenorAndrei bondarenko baritone

London Philharmonic choir

Free pre-concert event 6.00–6.45pm | Royal Festival hall

LPO musicians have been working with GCSE music students from south-east London to explore the music of Rachmaninoff. They will perform their own new works for ensemble.

In co-operation with the Serge Rachmaninoff Foundation

2 | London Philharmonic Orchestra

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, Feng Sushi and Topolski, 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 [email protected]

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.

London Philharmonic Orchestra2015/16 season launch

Booking is now open for our new season, with concerts selling fast. Browse the concerts at lpo.org.uk.

Highlights include:

Shakespeare400: 2016 marks the 400th anniversary of Shakespeare’s death, and in collaboration with other leading cultural organisations we present a series of concerts celebrating some of the wonderful music inspired by the great playwright, including works by Sibelius, Dvořák, Prokofiev, Strauss and Britten. The series culminates in a specially curated Anniversary Gala Concert directed by Simon Callow.

Vladimir Jurowski, Principal conductor and Artistic Advisor: We were pleased to announce recently that Jurowski’s celebrated partnership as Principal Conductor and Artistic Advisor with the LPO will carry on until at least 2018. He opens the season with the continuation of his Mahler symphony cycle with a performance of the Seventh Symphony, and resumes his recent exploration of Bruckner symphonies with a performance of the Third.

Principal guest conductor: Andrés Orozco-Estrada: This season we welcome our new Principal Guest Conductor Andrés Orozco-Estrada. Colombian-born and trained in Vienna, he has already shown us the reason for his meteoric rise through the ranks and why everyone is talking about him.

Brief Encounter: We present a screening of David Lean’s iconic film with live orchestra performing its famous soundtrack of Rachmaninoff’s Piano Concerto No. 2.

Premieres: New music plays an integral part in every LPO concert season, and in 2015/16 we give premieres of works by our Composer in Residence Magnus Lindberg, Krzysztof Penderecki, Alexander Raskatov and Marc-André Dalbavie.

Watch a video of Vladimir Jurowski, Principal Conductor and Artistic Advisor, discussing the LPO 2014/15 season: lpo.org.uk/whats-on/season14-15.html

mailto:[email protected]

London Philharmonic Orchestra | 3

On stage tonight

chair Supporters The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Neil Westreich; Sonja Drexler; David & Victoria Graham Fuller

First ViolinsVesselin Gellev* LeaderIlyoung Chae

Chair supported by an anonymous donor

Ji-Hyun Lee Chair supported by Eric Tomsett

Catherine CraigThomas EisnerMartin HöhmannGeoffrey Lynn

Chair supported by Caroline, Jamie & Zander Sharp

Robert PoolSarah StreatfeildYang ZhangAlina PetrenkoGalina TanneyHelena SmartIshani BhoolaNilufar AlimaksumovaCatherine van de Gees

Second ViolinsPhilippe Honore

Guest PrincipalNancy ElanFiona HighamNynke HijlkemaJoseph MaherAshley StevensDean WilliamsonHelena NichollsSioni WilliamsMila MustakovaStephen StewartKate ColeJohn DickinsonGavin Davies

ViolasCyrille Mercier PrincipalRobert DuncanKatharine LeekSusanne MartensBenedetto PollaniEmmanuella Reiter*

Naomi HoltIsabel PereiraDaniel CornfordMartin FennMichelle BruilRichard Cookson

cellosKristaps Bergs Guest

PrincipalFrancis BucknallLaura DonoghueSantiago Carvalho†David LaleGregory WalmsleyElisabeth WiklanderSue Sutherley Susanna RiddellHelen Rathbone

Double bassesKevin Rundell* PrincipalLaurence LovelleGeorge PenistonThomas WalleyLowri MorganKenneth KnussenHelen RowlandsCharlotte Kerbegian

FlutesAlja Velkaverh

Guest PrincipalSue Thomas*

Chair supported by Victoria Robey OBE

Hannah Grayson

PiccoloStewart McIlwham*

Principal

OboesIan Hardwick* PrincipalAlice Munday

cor AnglaisSue Böhling* Principal

clarinetsRobert Hill* PrincipalThomas WatmoughEmily MeredithPaul Richards

bass clarinetPaul Richards Principal

bassoonsJohn McDougall

Guest PrincipalGareth Newman Stuart Russell

contra bassoonSimon Estell Principal

hornsDavid Pyatt* Principal

Chair supported by Simon Robey

John Ryan* PrincipalMartin HobbsMark Vines Co-PrincipalGareth MollisonDuncan FullerTimothy Ball

trumpetsPaul Beniston* PrincipalAnne McAneney*

Chair supported by Geoff & Meg Mann

Nicholas Betts Co-Principal Daniel Newell

trombonesMark Templeton* Principal

Chair supported by William & Alex de Winton

David Whitehouse

bass tromboneLyndon Meredith Principal

tubaLee Tsarmaklis* Principal

Chair supported by Friends of the Orchestra

timpaniSimon Carrington*

Principal

PercussionAndrew Barclay* Principal

Chair supported by Andrew Davenport

Keith Millar Jeremy CornesSarah MasonRichard Horne

harpRachel Masters* Principal

PianoCatherine Edwards

celesteJohn Alley

OrganClíodna Shanahan

* Holds a professorial appointment in London

† Chevalier of the Brazilian Order of Rio Branco

Meet our members: lpo.org.uk/players


London Philharmonic Orchestra

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 ensembles in the UK. 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 community groups.

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 currently the Orchestra’s Principal Conductor and Artistic Advisor, appointed in 2007. From September 2015 Andrés Orozco-Estrada will take up the position of Principal Guest Conductor. Magnus Lindberg 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 the Hall’s opening in 1951 and been Resident Orchestra since 1992. It gives around 30 concerts there each season with many of the world’s top conductors and

soloists. Throughout 2013 the Orchestra collaborated with Southbank Centre on the year-long The Rest Is Noise festival, charting the influential works of the 20th century. 2014/15 highlights include a season-long festival, Rachmaninoff: Inside Out, exploring the composer’s major orchestral masterpieces; premieres of works by Harrison Birtwistle, Julian Anderson, Colin Matthews, James Horner and the Orchestra’s new Composer in Residence, Magnus Lindberg; and appearances by many of today’s most sought-after artists including Maria João Pires, Christoph Eschenbach, Yannick Nézet-Séguin, Osmo Vänskä, Lars Vogt, Barbara Hannigan, Vasily Petrenko, Marin Alsop, Katia and Marielle Labèque and Robin Ticciati.

Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Each summer it 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.

Full marks to the London Philharmonic for continuing to offer the most adventurous concerts in London.The Financial Times, 14 April 2014


Touring remains a large part of the Orchestra’s life: highlights of the 2014/15 season include appearances across Europe (including Iceland) and tours to the USA (West and East Coasts), Canada and China.

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 80 releases available on CD and to download. Recent additions include organ works by Poulenc and Saint-Saëns with Yannick Nézet-Séguin; Strauss’s Don Juan and Ein Heldenleben with Bernard Haitink; Shostakovich’s Symphonies Nos. 6 & 14 and Zemlinsky’s A Florentine Tragedy with Vladimir Jurowski; and Orff’s Carmina Burana with Hans Graf. 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. 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 a YouTube channel 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

twitter.com/LPOrchestra

youtube.com/londonphilharmonic7

Vesselin Gellevleader

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Bulgarian violinist Vesselin Gellev has been a featured soloist with the London Philharmonic Orchestra, Spoleto Festival Orchestra, New Haven Symphony Orchestra and Juilliard Orchestra, among others. He won First Prize at the Concert Artists Guild Competition in

New York as a member of the Antares Quartet, and has recorded several albums and toured worldwide as Concertmaster of Kristjan Järvi’s Grammy-nominated Absolute Ensemble. He has performed as Guest Leader with orchestras including the Royal Philharmonic Orchestra, Royal Scottish National Orchestra, BBC National Orchestra of Wales, Mahler Chamber Orchestra and the Accademia Nazionale di Santa Cecilia. Vesselin studied at The Juilliard School, and joined the London Philharmonic Orchestra as Sub-Leader in 2007.

Friday 13 February 2015 | 7.30pm JTI Friday SeriesRachmaninoff Piano Concerto No. 4 (original version) Shostakovich Symphony No. 4

Vasily Petrenko conductor Alexander ghindin piano

tickets: £9–£39 (Premium seats £65)

tel: 020 7840 4242 Monday–Friday 10.00am–5.00pm lpo.org.uk Transaction fees: £1.75 online, £2.75 telphone lpo.org.uk/rachmaninoff

Rachmaninoff: Inside Out is presented in co-operation with the Serge Rachmaninoff Foundation.

I N S I D E O U T

the next LPO concert at Royal Festival hall


Vasily Petrenkoconductor

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Vasily Petrenko studied at the St Petersburg Conservatoire and, following considerable success in a number of international conducting competitions including the Fourth Prokofiev Conducting Competition in St Petersburg (2003), he was appointed Chief Conductor of the St Petersburg State Academic Symphony Orchestra from 2004 to 2007. Last season marked his first as Chief Conductor of the Oslo Philharmonic Orchestra, alongside which he maintains his positions as Chief Conductor of the Royal Liverpool Philharmonic Orchestra (a position he adopted in 2009 as a continuation of his period as Principal Conductor which began in 2006), and Principal Guest Conductor of the Mikhailovsky Theatre (formerly the Mussorgsky Memorial Theatre of the St Petersburg State Opera and Ballet) where he began his career as Resident Conductor from 1994 to 1997. Vasily Petrenko has worked with many of the world’s most prestigious orchestras including the London Symphony Orchestra, Philharmonia, Russian National Orchestra, Czech Philharmonic, Vienna Symphony, and NHK Symphony Tokyo, as well as making frequent appearances at the BBC Proms. Recent years have seen a series of highly successful North American debuts, including the Philadelphia Orchestra, Los Angeles Philharmonic, and the San Francisco, Boston, Chicago and St Louis Symphony orchestras.

Highlights of the 2014/15 season and beyond include return visits to the Rundfunk Sinfonieorchester Berlin, Netherlands Radio Philharmonic, Chicago Symphony, and San Francisco Symphony, tour periods in Europe and Asia with the Royal Liverpool Philharmonic and Oslo

Philharmonic, and his debut performances with the Israel Philharmonic and Frankfurt Radio Symphony orchestras. Equally at home in the opera house, with over 30 operas in his repertoire, Petrenko made his debuts in 2010 at Glyndebourne Festival Opera (Macbeth) and the Opera de Paris (Eugene Onegin), and in recent seasons has also conducted Boris Godunov at the National Reisopera, and Eugene Onegin, La bohème and Carmen at the Mikhailovsky Theatre. Future plans include Lady Macbeth of Mtsensk for Zurich Opera and Boris Godunov for Bayerische Staatsoper Munich. Recordings with the Royal Liverpool Philharmonic Orchestra include a rare double bill of Fleishman’s Rothschild’s Violin and Shostakovich’s The Gamblers, Rachmaninoff’s Second and Third Symphonies (winner of the 2012 ECHO Klassik German Music Award for Newcoming Conductor of the Year) and a critically acclaimed series of recordings for Naxos including Tchaikovsky’s Manfred (winner of the 2009 Gramophone Award for Best Orchestral Recording). In October 2007 Vasily Petrenko was named Young Artist of the Year at the annual Gramophone Awards, and in 2010 he won the Male Artist of the Year at the Classical Brit Awards. He is only the second person to have been awarded Honorary Doctorates by both the University of Liverpool and Liverpool Hope University (in 2009), and an Honorary Fellowship of the Liverpool John Moores University (in 2012), awards which recognise the immense impact he has had on the Royal Liverpool Philharmonic and the city’s cultural scene.

facebook.com/vasilypetrenkoofficial

The strong musical and personal rapport Petrenko appears to enjoy with the orchestra musicians inspired a performance of Rachmaninoff’s Symphonic Dances that was rich in color, brilliance and idiomatic feeling.John von Rhein, Chicago Tribune, January 2015


Jorge Luis Pratspiano

Hailed as a long-lost virtuoso in the grand tradition and ‘the best pianist you have never heard of’ by the BBC Music Magazine, Jorge Luis Prats gave his first recital at the Miami International Piano Festival in 2007, since when his career has undergone a dramatic

ascent. His recitals at the prestigious Meister Pianisten series at the Concertgebouw in Amsterdam, the Musikverein and Konzerthaus in Vienna, the Piano 4 Etoiles series at Salle Pleyel in Paris, and the Verbier Festival have all been received with standing ovations and re-invitations.

Highlights of recent seasons include Rachmaninoff’s Second and Third Concertos with the Orchestre de Paris under Paavo Järvi, and performances with the Gulbenkian Orchestra and Jukka-Pekka Saraste, Daniele Gatti and Orchestre National de France, Orchestre National du Capitole de Toulouse and Thomas Søndergård, his debut in the Boston Master Pianists, and the opening concert of the 14/15 Club Musical de Quebec series.

Jorge Luis Prats was born in Camaguey, Cuba in 1956. Following his graduation from the Moscow Conservatoire, he studied at the Conservatoire de Paris with Magda Tagliaferro and the Hochschüle für Müsik und Künstler in Vienna with Paul Badura Skoda. Aged just 21, he won first prize at the prestigious Long-Jacques Thibaud Concours in Paris.

Prats’ discography comprises over 20 recordings including Scriabin’s 24 Preludes, all the Rachmaninoff concertos, the Beethoven concertos, as well as works by Grieg and Chopin. His most recent recording is of Granados by Goyescas and works by Cuban composers.

Jorge Luis Prats performs Rachmaninoff’s Second Piano concerto youtube.com/watch?v=pS4mciF3b6o

Anna Samuil is a principal soloist at the Deutsche Staatsoper Berlin. She has appeared at festivals and opera houses around the world including the Metropolitan Opera New York, Teatro alla Scala Milan and Royal Opera House Covent Garden. She appeared

as Freia and Gutrune in Barenboim’s Ring at the 2013 BBC Proms and has worked extensively with eminent conductors such as Daniel Barenboim, Sir Neville Marriner, Zubin Mehta and Antonio Pappano.

Recordings include a CD of Britten’s War Requiem with Marriner, a DVD of Eugene Onegin with Barenboim (Deutsche Grammophon), a DVD of a new production of Don Giovanni from Glyndebourne with Vladimir Jurowski (EMI) and a CD of Don Giovanni with Zubin Mehta and the Israel Philharmonic Orchestra (Helicon). Her latest recording is Beethoven’s Symphony No. 9 with Barenboim and the West-Eastern Divan Orchestra (Decca).

She has given recitals and concerts throughout Europe and her wide concert repertoire includes Britten’s War Requiem, Rossini’s Petite Messe solennelle and Strauss’s Four Last Songs.

Notable roles on stage include Micaela (Carmen), the title role in Rusalka, Lyudmila (Ruslan und Lyudmila), Countess (The Marriage of Figaro), Fiordiligi (Così fan tutte) and Mimi (La bohème). Future highlights include Natasha (War and Peace), Juliette (Gounod’s Roméo et Juliette) and Desdemona (Otello).

facebook.com/pages/ Anna-Samuil/125497157496065

Anna Samuilsoprano


Daniil Shtodatenor

Russian tenor Daniil Shtoda joined the Mariinsky Academy in 1999 studying under Larissa Gergieva. He is now a soloist with the Mariinsky Theatre. In 2000 he was awarded the second prize in the Plácido Domingo

Operalia Competition in Los Angeles, the same year he won the Grand Prix in the Rimsky Korsakov Competition for Young Singers in St Petersburg.

He has performed at internationally renowned venues and festivals such as the Royal Opera House, Covent Garden, Metropolitan Opera, New York, Bayerische Staatsoper, Deutsche Staatsoper Berlin, Opera de Lyon, and Théâtre du Châtelet, Paris. He has collaborated with leading conductors including Claudio Abbado, Zubin Mehta, Valery Gergiev, Antonio Pappano and Plácido Domingo.

In concert, he has performed with the BBC Symphony Orchestra, Berlin Philharmonic, Rotterdam Philharmonic, Rundfunk Sinfonieorchester Berlin, Mahler Chamber Orchestra, Tokyo Philharmonic Orchestra and Cleveland Orchestra amongst others.

In recital, he has performed at Wigmore Hall, the Mozarteum in Salzburg, La Monnaie, the Verbier Festival and most recently at the Théâtre du Châtelet. He has also toured North America where he appeared at the Kennedy Center, Washington DC and Carnegie Hall.

This season, Daniil continues as a main principal at the Mariinsky Theatre, and sings Don Ottavio (Don Giovanni) in Bergen and Don Antonio in Prokofiev’s Betrothal in a Monastery in Toulouse.

His latest recording of Rachmaninoff songs accompanied by Iain Burnside was released on the Delphian label.

Daniil Shtoda sings Lensky’s Aria from Eugene Onegin youtube.com/watch?v=hhoueVhd3lo

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Ukrainian baritone Andrei Bondarenko has worked extensively with leading conductors including Valery Gergiev, Ivor Bolton, Vladimir Ashkenazy and Enrique Mazzola.

This season and beyond, his engagements include: the Count (The Marriage of Figaro) at the Teatro Real Madrid, Robert (Iolanta) with the Gürzenich Orchestra, Marcello (La bohème) at Bayerische Staatsoper Munich and the Opernhaus Zürich, Eugene Onegin and Iolanta for the Dallas Opera, as well as Billy Budd at the Cologne Opera. He will also record the title role in Don Giovanni for Sony Classics.

Other recordings include The Marriage of Figaro for Sony Classics, Rachmaninoff songs with Iain Burnside at the Queens Hall in Edinburgh for Delphian Records as well as the highly acclaimed Lieutenant Kijé Suite on the BIS label.

Andrei has appeared at the Salzburg Festival, Carnegie Hall, Wigmore Hall, Glyndebourne Festival and Touring Opera and Mariinsky Theatre. He also gave his role debut as Billy in Billy Budd in the first ever production in Russia at the Mikhailovsky Theatre, St Petersburg. He sang in the theatre/opera project The Giacomo Variations alongside John Malkovich, and has toured extensively with Larissa Gergieva.

He won the 2011 BBC Cardiff Singer of the World Song Prize and won first prize at the international vocal competition ‘Art in the 21st Century’ in Vorzel (Ukraine). He was a prize-winner at the 2006 International Rimsky-Korsakov vocal competition in St. Petersburg, the 2008 all-Russian Nadezhda Obuhova Young Vocalists’ Festival and Competition, and the 7th International Stanisław Moniuszko Vocal Competition in 2010.

hear how Andrei bondarenko won the Song Prize at the 2011 bbc cardiff Singer of the Worldbbc.co.uk/wales/cardiffsinger/sites/2011/pages/video.shtml

Andrei Bondarenkobaritone


London Philharmonic Choir

Founded in 1947, the London Philharmonic Choir is widely regarded as one of Britain’s finest choirs, consistently meeting with great critical acclaim. It has performed under leading international conductors for more than 65 years and made numerous recordings for CD, radio and television.

Enjoying a close relationship with the London Philharmonic Orchestra, the Choir frequently joins it for concerts in the UK and abroad. As part of Southbank Centre’s The Rest Is Noise festival, the Choir performed Arvo Pärt’s Magnificat and Berlin Mass, Shostakovich’s Symphony No. 13 (Babi Yar), Poulenc’s Stabat Mater, Britten’s War Requiem, Stravinsky’s Symphony of Psalms, Orff’s Carmina Burana, Tippett’s A Child of Our Time and John Adams’s El Niño.

In early 2014 the Choir performed Julian Anderson’s Alleluia – which it premiered at the reopening of Royal Festival Hall in 2007 – and Beethoven’s Symphony No. 9 under Vladimir Jurowski, repeating the latter at the Théâtre des Champs-Elysées, Paris. In November 2014 the Choir was delighted to perform Mahler’s Symphony No. 2 under the Orchestra’s new Principal Guest Conductor Designate Andrés Orozco-Estrada, and looks forward to performances of Ravel’s Daphnis et Chloé and Janáček’s Glagolitic Mass this season.

The Choir appears regularly at the BBC Proms at the Royal Albert Hall, and performances have included the UK premieres of Mark-Anthony Turnage’s A Relic of Memory and Goldie’s Sine Tempore in the Evolution! Prom. The Choir performed at the Doctor Who Proms in 2008, 2010 and 2013, and in 2011 appeared in Verdi’s Requiem, Liszt’s A Faust Symphony and Beethoven’s Missa Solemnis. In 2012 it performed Elgar’s The Apostles with Sir Mark Elder and Howells’s Hymnus Paradisi under Martyn Brabbins. Last year’s Proms season included Walton’s Henry V with the Academy of St Martin in the Fields and John Hurt under Sir Neville Marriner, who at 90 years old now holds the record as the oldest conductor to lead a Proms concert.

A well-travelled choir, it has visited numerous European countries and appeared in Kuala Lumpur, Hong Kong and Perth, Australia. Members of the Choir performed Weill’s The Threepenny Opera in Paris, with a repeat performance in London. In 2012 and 2014 it appeared at the Touquet International Music Masters Festival in France, performing Beethoven’s Symphony No. 9 and Mozart’s Requiem.

The Choir prides itself on achieving first-class performances from its members, who are volunteers from all walks of life. For more information, including details about how to join, please visit lpc.org.uk

Patron HRH Princess Alexandra | President Sir Mark Elder | Artistic Director Neville Creed Accompanist Jonathan Beatty | chairman Ian Frost | choir Manager Tessa Bartley

SopranosPippa Alderson, Annette Argent, Jane Awdry, Tessa Bartley, Hilary Bates, Sarah Bindon, Catherine Boxall, Anisoara Brinzei, Whitney Burdge, Alana Clark, Sally Cottam, Antonia Davison, Sarah Deane-Cutler, Victoria Denard, Lucy Doig, Jessica Eucker, Leander Frogley, Eloise Garland, Rachel Gibbon, Jane Goddard, Anna Greco, Emma Hancox, Sally Harrison, Louisa Hungate, Laura Hunt, Jenni Kilvert, Judith Kistner, Clare Lovett, Ilona Lynch, Rosalind Mann, Natasha Maslova, Victoria Mattinson, Janey Maxwell, Meg McClure Tynan, Carmel Oliver, Linda Park, Lydia Pearson, Danielle Reece-Greenhalgh, Priscilla Santhosham, Sarah Skinner, Tania Stanier, Cathy Stockall, Julia Warner, Susan Watts

Altos Jenny Adam, Phye Bell, Sally Brien, Andrei Caracoti, Noel Chow, Yvonne Cohen, Liz Cole, Sheila Cox, Fiona Duffy-Farrell, Andrea Easey, Regina Frank, Romaine Gerber, Kathryn Gilfoy, Henrietta Hammonds, Kristi Jagodin, Marjana Jovanovic Morrison, Charlotte Kingston, Andrea Lane, Ayla Mansur, Michelle Marple, Marj McDaid, Sophie Morrison,

Rachel Murray, Angela Pascoe, Sheila Rowland, Muriel Swijghuisen Reigersberg, Mayuko Tanno, Erica Tomlinson, Catherine Travers

tenorsScott Addison, David Aldred, Geir Andreassen, Chris Beynon, Kevin Darnell, Fred Fisher, Robert Geary, Iain Handyside, Patrick Hughes, Stephen Hodges, Tony Masters, Luke Phillips, Knut Olav Rygnestad, Jaka Škapin, Tony Wren, Martin Yates

basses Jonathon Bird, Peter Blamire, Gordon Buky-Webster, Geoff Clare, John Clay, Phillip Dangerfield, Marcus Daniels, Leander Diener, Ian Frost, Christopher Gadd, Paul Gittens, Mark Hillier, Stephen Hines, David Hodgson, Rylan Holey, Yaron Hollander, Martin Hudson, Steve Kirby, Anthony McDonald, John D Morris, Ashley Morrison, Will Parsons, Johan Pieters, Mike Probert, Sean Salamon, John Salmon, Ed Smith, Peter Sollich, Tom Stevenson, Peter Taylor, Alex Thomas, Hin-Yan Wong, John Wood


Programme notes

The luxuriously sombre, post-Tchaikovskian world of Rachmaninoff and the sharp, clean anti-romanticism of Stravinsky suggest minds irreconcilably far apart. Yet when the two men met as exiles in America they became firm friends. Hearing these works side by side should be fascinating. Normally reserved, even scornful about ‘meaning’ in his works, Stravinsky admitted that the crisis of World War Two and his subsequent flight from Europe left a strong imprint on his thrilling Symphony in Three Movements.

Rachmaninoff’s ever-popular Second Piano Concerto similarly reflects a personal crisis – in this case re-emergence from a long and painful creative silence. Finally Rachmaninoff’s choral symphony, The Bells, evokes a subject that obsessed both composers. Bell-like sounds can be heard in all three works, and Rachmaninoff’s symphony explores a spectrum of emotional responses to their tones, from the fresh-air joyousness of sleigh-bells to the chilling knell of death.

Speedread

Gustav Mahler spoke of a sense of being ‘three times homeless’; for Stravinsky the loss of home was more than a sense, it was a concrete reality. Stravinsky’s feelings about his native Russia were mixed, and as a young man he was delighted to find a new intellectual home amongst the artistic elite of Paris. But when the Russian Revolution of 1917 made return impossible, exile was more painful than Stravinsky liked to admit. The outbreak of war in 1939 forced him to uproot again, this time to the United States, where he eventually settled in Los Angeles. Added to this cocktail of trauma was the recent loss of his wife and daughter to tuberculosis, which also infected the composer himself. Stravinsky not only survived, he went on to live for another three decades, now very happily married to Vera de Bosset Sudekin, who for some time had been his mistress – a happy ending of a kind, perhaps, but in the

early 1940s Stravinsky’s feelings about that would have been complicated, to say the least.

Normally Stravinsky hated the idea of anyone relating his music to his real or imagined emotional state at the time he composed it. ‘Composers combine notes. That is all,’ he wrote in a note about his first major American work, the Symphony in Three Movements (1942–5). And at first sight the structure of the Symphony has something of the dignified ‘objective’ formality of a baroque concerto grosso: the piano plays a prominent role in the first movement, the harp in the second, then both join forces in the finale – especially in the final fugal section, where the combination of the two instruments creates a wonderful new colour in orchestral music.

Piano concerto no. 3 in D minor, Op. 30

Simon trpčeski piano

1 Allegro ma non tanto2 Intermezzo: Adagio –3 Finale: Alla breve

IgorStravinsky

1882–1971

Symphony in three Movements

1 = 1602 Andante –3 Con moto


Yet in the case of the Symphony in Three Movements Stravinsky also made some unusually frank concessions. After finishing the Symphony he claimed that each individual section was linked to impressions of the Second World War. The ferociously driven music that opens the first movement – the most thrillingly violent music Stravinsky had composed since the Rite of Spring, some 30 years earlier – was apparently inspired by a documentary about Chinese ‘scorched earth’ battle tactics. The slower, more delicately scored second movement started life as music for a scene entitled ‘Apparition of the Virgin’ in a 1943 film based on Franz Werfel’s novel The Song of Bernadette. But serenity

is soon despoiled. The finale’s beginning, Stravinsky stated, was ‘a musical reaction to the newsreels and documentaries that I had seen of goose-stepping soldiers. The square march-beat, the brass-band instrumentation, the grotesque crescendo on the tuba – these are all related to those repellent pictures’. He also conceded that the Symphony’s super-bright, ‘albeit rather too commercial’, final brass chord ‘tokens my extra exuberance in the allied triumph’. So is the Symphony in Three Movements a ‘War’ symphony? Whatever the listener decides, it remains unquestionably one of Stravinsky’s most colourful, brilliant and stirring scores.

SergeRachmaninoff

1873–1943

Piano concerto no. 2 in c minor, Op. 18

Jorge Luis Prats piano

1 Moderato2 Adagio sostenuto3 Allegro scherzando

The first performance of Rachmaninoff’s First Symphony in 1897 was one of the most crushing and humiliating ordeals ever endured by a composer of genius. According to some eye-witnesses the conductor, Glazunov, was drunk. Whatever the cause, the performance was a shambles, the 24 year-old Rachmaninoff fled the hall in horror, and the critics were savage. Rachmaninoff now found himself unable to compose anything of significance. Even by the beginning of 1900 he was still in low spirits. A friend arranged a meeting with Rachmaninoff’s literary idol Tolstoy, but it was a disaster. The great man fobbed him off with platitudes: ‘Do you think I’m pleased with myself? Work. I work everyday’ – and so on. Alarmed by Rachmaninoff’s despair, an intimate family friend recommended what we would now call a hypnotherapist: Dr Nikolai Dahl. The fact that Dahl

was also musical would have helped, of course, but even then the results were spectacular. That summer Rachmaninoff began work on a long-abandoned project – his Second Piano Concerto. The second and third movements were finished in a couple of months; the first followed at the beginning of 1901.

As the date of the first performance approached, Rachmaninoff’s anxiety understandably mounted, and when a friend criticised the first movement, Rachmaninoff responded that the movement was ‘ruined, and from now on it is absolutely repulsive to me’. Fortunately the performance went ahead anyway, with the composer himself as soloist, and it was an immediate and lasting triumph. From now until his final departure from Russia in 1917, Rachmaninoff’s creative fluency was fully restored. In gratitude, Rachmaninoff


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

Programme notes continued

dedicated the Concerto to Dr Dahl. Rarely, it seems, has a dedication been so thoroughly deserved.

Listening to the Second Piano Concerto one would surely never guess that the slow movement and finale were actually written first. The highly original opening – rock-like solo piano chords rising by step to fortissimo – feels like someone slowly lifting a huge weight, the energy generated being sufficient to set the entire work in motion. From this a magnificent long-breathed tune emerges on strings, with swirling piano figures. This leads in time to a gentler, more reflective second theme, begun by the piano alone, whose opening phrase ingeniously anticipates ideas in the next two movements. A dark, turbulent drama develops, to which

the opening of the following Adagio sostenuto offers soothing contrast: a few bars of quiet transition from the orchestra yield to melting, liquid piano figures and a long instrumental song from flute and clarinet. The first movement’s storms are briefly remembered later on, but serenity returns, with a final flowering of the original flute and clarinet melody on strings. The finale plunges us back into the action, but now with a growing sense of excitement, until the ardent second theme rises majestically on full orchestra with an avalanche of sonorous chords from the piano. As a man Rachmaninoff may have been tormented by self-doubt, but as a composer he knew exactly how to calculate the kind of ending that could raise the roof.

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10008-CLASS LPO Concert Programme 73x69mm.pdf 1 14/11/2014 10:50

Recommended recordings of tonight’s works

Stravinsky: Symphony in three MovementsBerlin Philharmonic/Sir Simon Rattle [EMI]

Rachmaninoff: Piano concerto no. 2Stephen Hough/Dallas Symphony Orchestra/Andrew Litton [Chandos]

Rachmaninoff: the bellsRussian National Orchestra/Mikhail Pletnev[Deutsche Grammophon]


SergeRachmaninoff

the bells, Op. 35(Poem for soprano, tenor and baritone soli, choir and orchestra)

Anna Samuil sopranoDaniil Shtoda tenorAndrei bondarenko baritoneLondon Philharmonic choir

1 Allegro ma non tanto (‘The Silver sleigh-bells’)2 Lento (‘The mellow wedding bells’)3 Presto (‘The loud alarum bells’)4 Lento lugubre (‘The mournful iron bells’)

TEXT OVERLEAF

Any musical dictionary will tell you that Rachmaninoff wrote three symphonies. But his huge choral-orchestral The Bells is a symphony in all but name; in fact it’s one of the most original choral symphonies composed after Beethoven’s Ninth. Rachmaninoff’s choice of poetry by Edgar Allan Poe as his text has drawn some sniffy remarks from English critics – in this country there is a well-entrenched literary tradition of sneering at Poe’s artificial rhythmic schemes and his admittedly sometimes contrived use of rhyme. But those same features can be a gift to a composer, suggesting musical possibilities to an open and unprejudiced mind. It is striking too that Poe’s poetry has been much more inspirational abroad – to French and Scandinavian composers for instance – and, thanks to Konstantin Balmont’s fine translations, to Russians like Rachmaninoff.

It wasn’t just the sound of Balmont’s Poe translations that attracted Rachmaninoff. The fatalism of Poe’s ‘The Bells’, with its gradual but inevitable transition from the innocent hopefulness of the first two sections, through grim experience in the third to the bleak funereal imagery of the ending, fitted Rachmaninoff’s temperament like a well-worn winter coat. Moreover hearing the awe-inspiring sound of Russian church bells had been one of the most vividly recalled experiences of his childhood. So we owe a great deal to the young cellist Maria Danilova whose idea it was to send Balmont’s version of ‘The Bells’ anonymously to Rachmaninoff in 1912. A year later – ‘mad with joy’ according to one account – Danilova read of the result:

Rachmaninoff had transformed the poem into a colossal symphony. The premiere was one of Rachmaninoff’s greatest successes, and The Bells remained one of the composer’s own special favourites.

Aside from the challenging vocal writing – challenging for soloists and chorus alike – Rachmaninoff shows a new daring in his use of orchestral colour in The Bells. The opening evocation of ‘silver sleigh-bells’ on harp, piano, celeste and glockenspiel is delicious, but the use later on of the same instruments (minus the glockenspiel) with chorus quietly humming, at the image of the ‘universal slumber’ that awaits us all, sends a prophetic chill through the music. The introduction to the second movement’s ‘mellow wedding bells’ is likewise strangely chilling. The rapt luxuriant lyricism that follows doesn’t quite dispel this shadow, and in the chorus’s final phrases one of those shadows becomes more distinct. Rachmaninoff had a lifelong fascination with the medieval Catholic funeral chant Dies irae – ‘Day of wrath’. It has already been hinted at in The Bells, but so far this is its clearest manifestation.

The progressive darkening of the bell imagery gathers pace in the third movement, where evocation of ‘loud alarum bells’ builds in a long, steady dramatic crescendo conveying growing panic and, finally, despair. Now it is the turn of death, invoked by quietly tolling strings, harp and horns, lamenting cor anglais and a sombre priest-like bass solo. At the end however the music offers a kind of comfort not suggested by the words. ‘There is neither rest nor respite, save the quiet of the tomb’, Poe tells us; yet Rachmaninoff’s finale strings, harp and quietly soaring solo flute seem to tell us that ‘rest’ and ‘respite’ are at least a possibility.

Programme notes © Stephen Johnson


The Bells text

1

Slyshish, slyshish, sani mchatsja v ryad, mchatsja v rjad. Kolokolchiki zvenyat, serebristym lehkim zvonamslukh nash sladostna tamyatetim penem i gudenema zabvene govoryat.O, kak zvonka, zvonka, zvonka,tochna zvuchnyj smekh rebyonka,v yasnom vozdukhe nochnomgovoryat oni o tom,shto za dnyami zabluzhdenyenastupayet vozrazhdenye,shto volshebno naslazhdene,naslazhdene nezhnym snom.Sani mchatsya, sani mchatsya v ryad,kolokolchiki zvenyat,zvyozdy slushayut, kak sani, ubegaya, govoryat,i vnimaya im, goryat,i mechtaya, i blistaya, v nebe dukhami paryat;i izmenchivym siyanem,molchalivym abayanem,vmeste s zvonam, vmeste s penem, a zabvene govoryat.

2

Slyshysh k svadbe zov svyatoyzolotoy.Skolko nezhnava blazhenstva v etoy pesne molodoy!Slyshysh, k svadbe zov …Skvos spokoynyi vozdukh nochislovno smotryat chi-ta ochi i blestyat,iz volny pevuchikh zvukov, na lunu oni glyadyat.Iz prizyvnykh divnykh keliy,polny skazachnykh veseliy,narastaja, upodaya, bryzgi svetliye letyat.Vnov potukhnut, vnov blestyat,i ronyayut svetlyi vzglyadna gryadushcheye,

1

Hear, hear, the sleighs fly past in line, fly in line. The little bells ring out, their light silvery sound sweetly obsesses our hearing with their singing and their jingling they tell of oblivion. Oh, how clearly, clearly, clearly, like the ringing laughter of a child, in the clear night air they tell the tale, of how days of delusion will be followed by renewal, of the enchanting delight, the delight of tender sleep. The sleighs fly past, the sleighs fly past in line, the little bells ring out, the stars listen, as the sleighs fly into the distance, with their tale, and listening, they glow, and dreaming, glimmering, spread a scent in the heavens; and with their flickering radiance and their silent enchantment, together with the ringing, together with the singing, they tell of oblivion. 2

Hear the holy call to marriage of golden bells. How much tender bliss there is in that youthful song! Hear the call to marriage … Through the tranquil night air it is like someone’s eyes glowing, and through the waves of singing sounds, gazing at the moon. From beckoning, wondrous cells, filled with fairytale delights, soaring, falling, fly out sparks of light. Dimmed again, glowing again, they shed their radiant light on the future,


gde dremlyet bezmyatezhnost nezhnykh snov,vozveshchayemykh soglasem zolotykh,zolotykh kolokolov.Slyshysh k svadbe zov svyatoyzolotoy.

3

Slyshysh, slyshysh, voyushchiyi nabat,tochna stonet mednyi ad.Eti zvuki, v dikoy muke, skasku uzhasov tverdyat.Tochna molyat im pomoch,krik kidayut pryama v noch,pryama v ushi temnoy nochi,kazhdyi zvuk,to dlinneye, to koroche, vozveshchayet svoj ispug.I ispug ikh tak velik,tak bezumen kazhdyi krik,shto razorvanniye zvony, nespasobnye zvuchat,mogut tolko bitsya, bitsya, i krichat, krichat, krichat,tolko plakat o poshchadei k pylayushchev gramadevopli skorbi obrashchat.A mezh tem ogon bezumnyi,i glukhoy i mnogoshumnyi, vsyo gorit.To iz okon, to po kryshe,mchitsya vyshe, vyshe, vyshe,i kak budto govorit:— Ya khochu vyshe mchatsya, razgoratsyavstrechu lunnamu luchu.Il umru, il totchas vplot da mesyatsa vzlechu.O, nabat, nabat, nabat,yesli b ty vernul nazadetot uzhas, eto plamya, etu iskru, etot vzglyad,etot pervyi vzglyad ognya,o kotorom ty veshchayeshs voplem, s plachem, i zvenya.A teper nam net spasenya,vsyudu plamya i kipenea teper nam net spasenya,vsjudu strakh i vozmushchene.Tvoj prizyv, dikikh zvukav nesaglasnost,vozveshchayet nam opasnost,to rastyot beda glukhaya, to spadayet, kak priliv.

where tender dreams slumber tranquilly, heralded by the golden harmony, harmony of golden bells. Hear the holy call to marriage of golden bells. 3

Hear, hear, the howling of the alarm bell, like the groaning of a brazen hell. These sounds, in a wild torment, keep repeating a tale of horror. As though begging for help, hurling cries into the night, straight into the ears of the dark night, every sound, now strange, now shorter, proclaims its terror. And so great is their terror, so desperate every shriek, that the tortured bells, incapable of ringing out, can only batter, batter, and shriek, shriek, shriek, only weep for mercy and to the thunderous blaze address their wails of grief. But meanwhile the raging fire, both heedless and tumultuous, ever burns. From the windows, on the roof, it soars higher, higher, higher, as though announcing: — I want to soar higher, and aflame meet the beams of moonlight. I will die, or now, now fly right up to the moon. O alarm bell, alarm bell, alarm bell, if you could only take back the horror, the flames, the spark, the look, that first look of the fire, which you proclaim with your howls and cries and wails. But now we are past help, the flames seethe everywhere, but now we are past help, everywhere is fear and wailing. Your call, this wild, discordant noise, proclaims our peril, the hollow sounds of misfortune, flowing and ebbing like a tide.

Please turn the page quietly


We can only hear the waves in the changing sounds, now ebbing, now sobbing, of the brazen groaning surf. 4Hear the funeral knell, lengthy knell! Hear the sound of bitter sorrow, ending the dream of a bitter life. The iron sound proclaims a funeral’s grief. And we unwittingly shiver, hurry away from our amusements, and we weep, and remember, that we too shall close our eyes. Unchanging and monotonous, that faraway call, the heavy funeral knell, like a groan, plaintive, angry, and lamenting, swells to a lengthy booming. It proclaims that a sufferer sleeps the eternal sleep. From the belfry’s rusty cells for the just and the unjust it sternly repeats its theme: that a stone shall cover your heart, that your eyes will close in sleep. As the mourning torch burns someone shrieks from the belfry, someone is loudly talking. Someone dark is standing there, laughing and roaring, and howling, howling, howling. He leans against the belfry, and swings the hollow bell, and the hollow bell sobs and groans through the silent air, slowly proclaiming the stillness of the grave.

Slukh nash chutka lovit volnyv peremene zvukavoy,vnov spadayet, vnov rydayet, medno-stonushchyi priboy.

4

Pokhoronnyi slyshen zvon,dolgiy zvon!Gorkoy skorbi slyshny zvuki, gorkoy zhizni konchen son.Zvuk zheleznyi vozveshchayet o pechali pokhoron.I nevolna my drazhim,ot zabav svoikh speshim,i rydayem, vspominayem, shto i my glaza smezhim.Neizmenno monotonnyi,etat vozglas otdalennyi,pokhoronnyi tyazhkiy zvon,tochna ston,skorbnyi, gnevnyi, i plachevnyi,vyrastayet v dolgyi gul.Vozveshchayet, shto stradalets neprobudnym snom usnul.V kolokolnych kelyach rzhavykhon dlya pravykh i nepravykhgrozna vtorit ob odnom:shto na sertse budet kamen,shto glazasamknutsya snom.Fakel traurnyi gorit,s kolokolni kto-to kriknul, kto-to gromko govorit.Kto-to chyornyi tam stoit,i khokhochet, i gremit,i gudit, gudit, gudit.K kolokolne pripadayet,gulkiy kolokol kochayet,gulkiy kolokol rydayet,stonet v vozdukhe nemom,i pratyazhno vozveshchayet o pokoye grobovom.

Edgar Allan Poe, translated by Konstantin Balmont

2015/16 season at Royal Festival HallHighlights

2015Wednesday 23 SeptemberMahler Symphony No 7Vladimir Jurowski conductor

Wednesday 14 OctoberPenderecki conducts Penderecki including UK premieres of Harp Concerto and Adagio for Strings

Saturday 31 OctoberBruckner Symphony No. 5Stanisław Skrowaczewski conductor

Friday 6 November A celebration of Mexican orchestral music Alondra de la Parra conductor JTI Friday Series

2016Shakespeare400In 2016 the LPO joins many of London’s other leading cultural institutions to celebrate the legacy of Shakespeare, 400 years since his death. Highlights include:

Wednesday 3 FebruaryDvorák Overture, Otello

Wednesday 10 FebruarySibelius The Tempest (extracts)

Friday 15 AprilProkofiev Romeo and Juliet (extracts) JTI Friday Series

Saturday 23 AprilAnniversary Gala ConcertIncluding:Verdi Otello and Falstaff (extracts)Music from Britten, Mendelssohn and WaltonVladimir Jurowski conductor Simon Callow director

Booking now Tickets from £9.00Ticket office 020 7840 4242lpo.org.uk

LP14_LPO_SeasonBrochure_FullPage_Advert_AW3_2.indd 2 03/02/2015 12:35


2015/16 season at Royal Festival HallHighlights

2015Wednesday 23 SeptemberMahler Symphony No 7Vladimir Jurowski conductor

Wednesday 14 OctoberPenderecki conducts Penderecki including UK premieres of Harp Concerto and Adagio for Strings

Saturday 31 OctoberBruckner Symphony No. 5Stanisław Skrowaczewski conductor

Friday 6 November A celebration of Mexican orchestral music Alondra de la Parra conductor JTI Friday Series

2016Shakespeare400In 2016 the LPO joins many of London’s other leading cultural institutions to celebrate the legacy of Shakespeare, 400 years since his death. Highlights include:

Wednesday 3 FebruaryDvorák Overture, Otello

Wednesday 10 FebruarySibelius The Tempest (extracts)

Friday 15 AprilProkofiev Romeo and Juliet (extracts) JTI Friday Series

Saturday 23 AprilAnniversary Gala ConcertIncluding:Verdi Otello and Falstaff (extracts)Music from Britten, Mendelssohn and WaltonVladimir Jurowski conductor Simon Callow director

Booking now Tickets from £9.00Ticket office 020 7840 4242lpo.org.uk

LP14_LPO_SeasonBrochure_FullPage_Advert_AW3_2.indd 2 03/02/2015 12:35


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

Neil Westreich

William and Alex de Winton Simon Robey Victoria Robey OBEJulian & Gill Simmonds*

Anonymous Garf & Gill Collins*Andrew Davenport Mrs Sonja DrexlerDavid & Victoria Graham Fuller Mrs Philip Kan*Mr & Mrs MakharinskyGeoff & Meg MannCaroline, Jamie & Zander SharpEric Tomsett

John & Manon Antoniazzi John & Angela Kessler Guy & Utti Whittaker

* BrightSparks patrons. Instead of supporting a chair in the Orchestra, these donors have chosen to support our series of schools’ concerts.

Principal benefactorsMark & Elizabeth AdamsLady Jane BerrillDesmond & Ruth CecilMr John H CookDavid EllenMr Daniel Goldstein Drs Frank & Gek LimPeter MacDonald Eggers Dr Eva Lotta & Mr Thierry Sciard Mr & Mrs David MalpasMr Michael PosenMr & Mrs G SteinMr & Mrs John C TuckerMr & Mrs John & Susi Underwood Lady Marina Vaizey Grenville & Krysia Williams Mr Anthony Yolland

benefactorsMrs A Beare David & Patricia BuckMrs Alan CarringtonMr & Mrs Stewart CohenMr Alistair Corbett Georgy Djaparidze Mr David Edgecombe Mr Timothy Fancourt QCMr Richard FernyhoughTony & Susan Hayes Michael & Christine HenryMalcolm Herring J. Douglas HomeIvan HurryMr Glenn Hurstfield

Per JonssonMr Gerald LevinWg. Cdr. & Mrs M T Liddiard OBE JP RAFPaul & Brigitta Lock Mr Peter MaceMs Ulrike Mansel Robert MarkwickMr Brian Marsh Andrew T MillsJohn Montgomery Dr Karen Morton Mr & Mrs Andrew Neill Tom & Phillis SharpeMartin and Cheryl Southgate Professor John StuddMr Peter TausigMrs Kazue Turner Simon Turner Howard & Sheelagh Watson Mr Laurie WattDes & Maggie WhitelockChristopher WilliamsBill Yoe and others who wish to remain

anonymous

hon. benefactorElliott Bernerd

hon. Life MembersKenneth Goode Carol Colburn Grigor CBE Pehr G GyllenhammarMrs Jackie Rosenfeld OBE

the generosity of our Sponsors, corporate Members, supporters and donors is gratefully acknowledged:corporate Members

Silver: AREVA UK BerenbergBritish American BusinessCarter-Ruck

bronze: Appleyard & Trew LLP BTO Management Consulting AG Charles Russell SpeechlysLeventis Overseas

Preferred Partners Corinthia Hotel London Heineken Lindt & Sprüngli LtdSipsmith Steinway Villa Maria In-kind SponsorsGoogle IncSela / Tilley’s Sweets

trusts and Foundations Angus Allnatt Charitable Foundation Ambache Charitable Trust Ruth Berkowitz Charitable Trust The Boltini Trust

Borletti-Buitoni TrustBritten-Pears Foundation The Candide Trust The Peter Carr Charitable Trust, in memory

of Peter CarrThe Ernest Cook TrustThe Coutts Charitable TrustThe D’Oyly Carte Charitable TrustDunard FundThe Equitable Charitable Trust Fidelio Charitable TrustThe Foyle FoundationLucille Graham TrustThe Jeniffer and Jonathan Harris

Charitable TrustHelp Musicians UK The Hinrichsen Foundation The Hobson Charity The Idlewild Trust Kirby Laing Foundation The Leche Trust London Stock Exchange Group FoundationMarsh Christian TrustThe Mayor of London’s Fund for Young

MusiciansAdam Mickiewicz Institute The Peter Minet TrustThe Ann and Frederick O’Brien

Charitable Trust

Office for Cultural and Scientific Affairs ofthe Embassy of Spain in London

Palazzetto Bru Zane – Centre de musiqueromantique française

The Austin and Hope Pilkington Trust Polish Cultural Institute in London PRS for Music FoundationThe Radcliffe TrustRivers Foundation The R K Charitable TrustSerge Rachmaninoff Foundation Romanian Cultural Institute Schroder Charity Trust Ernst von Siemens Music Foundation The David Solomons Charitable Trust The Steel Charitable TrustThe John Thaw FoundationThe Tillett Trust UK Friends of the Felix-Mendelssohn-

Bartholdy-Foundation The Viney FamilyGarfield Weston FoundationThe Barbara Whatmore Charitable TrustYouth Music and others who wish to remain anonymous


Sound FutureS donorS

We are grateful to the following donors for their generous contributions to Sound Futures, which will establish our first ever endowment. Donations from those below have already been matched pound for pound by Arts Council England through a Catalyst Endowment grant.

By May 2015 we aim to have raised £1 million which, when matched, will create a £2 million fund supporting our Education and Community Programme, our creative programming and major artistic projects at Southbank Centre.

We thank those who are helping us to realise the vision.

Masur circle

Arts Council EnglandDunard Fund Victoria Robey OBE Emmanuel & Barrie RomanThe Underwood Trust

Welser-Möst circle

John Ireland Charitable Trust The Tsukanov Family Foundation

Neil Westreich

tennstedt circle

Simon Robey Simon & Vero Turner The late Mr K Twyman

Solti Patrons

Ageas John & Manon Antoniazzi Georgy DjaparidzeMrs Mina Goodman and

Miss Suzanne GoodmanRobert Markwick & Kasia RobinskiThe Rothschild Foundation

haitink Patrons

Mark & Elizabeth AdamsMrs Pauline BaumgartnerLady Jane BerrillMr Frederick BrittendenDavid & Yi Yao BuckleyBruno de KegelMr Gavin GrahamMoya GreeneTony and Susie HayesCatherine Høgel & Ben MardleMrs Philip Kan Rose and Dudley Leigh

Lady Roslyn Marion LyonsMiss Jeanette MartinDiana and Allan Morgenthau

Charitable TrustDr Karen MortonRuth RattenburySir Bernard RixKasia RobinskiDavid Ross and Line Forestier (Canada)Carolina & Martin SchwabTom and Phillis SharpeDr Brian SmithMr & Mrs G SteinMiss Anne StoddartTFS Loans LimitedLady Marina VaizeyMs Jenny WatsonGuy & Utti Whittaker

Pritchard Donors

Ralph and Elizabeth AldwinckleMichael and Linda BlackstoneBusiness Events SydneyLady June ChichesterJohn Childress & Christiane WuillamieLindka CierachPaul CollinsMr Alistair CorbettDavid DennisMr David EdgecombeDavid EllenMr Timothy Fancourt QCKarima & David GMr Daniel GoldsteinMr Derek B. GrayMr Roger GreenwoodRebecca Halford HarrisonHoneymead Arts TrustMrs Dawn Hooper

Rehmet Kassim-LakhaMr Geoffrey KirkhamPeter LeaverDrs Frank & Gek LimPeter MaceMr David MacfarlaneGeoff & Meg MannMarsh Christian TrustDr David McGibneyMichael & Patricia McLaren-TurnerJohn MontgomeryRosemary MorganParis NatarMr Roger H C PattisonThe late Edmund PirouetMr Michael PosenSarah & John PriestlandMr Christopher QuereeMr Peter RussellMr Alan SainerTim SlorickLady Valerie SoltiTimothy Walker AMLaurence WattMr R WattsDes & Maggie WhitelockChristopher WilliamsPeter Wilson SmithVictoria YanakovaMr Anthony Yolland

And all other donors who wish to remain anonymous


Administration

board of DirectorsVictoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-PresidentDr Manon Antoniazzi Richard Brass Desmond Cecil CMG Vesselin Gellev* Jonathan Harris CBE FRICS Dr Catherine C. HøgelMartin Höhmann* George Peniston* Kevin Rundell* Julian SimmondsMark Templeton*Natasha TsukanovaTimothy Walker AM Laurence WattNeil Westreich

* Player-Director

Advisory councilVictoria Robey OBE Chairman Christopher Aldren Richard Brass David Buckley Sir Alan Collins KCVO CMG Andrew Davenport Jonathan Dawson Edward Dolman Christopher Fraser OBE Lord Hall of Birkenhead CBE Jamie Korner Clive Marks OBE FCA Stewart McIlwham Sir Bernard Rix Baroness ShackletonLord Sharman of Redlynch OBE Thomas Sharpe QC Martin SouthgateSir Philip Thomas Sir John TooleyChris VineyTimothy Walker AMElizabeth Winter

American Friends of the London Philharmonic Orchestra, Inc.Jenny Ireland Co-ChairmanWilliam A. Kerr Co-ChairmanKyung-Wha ChungAlexandra JupinDr. Felisa B. KaplanJill Fine MainelliKristina McPhee Dr. Joseph MulvehillHarvey M. Spear, Esq.Danny Lopez Hon. ChairmanNoel Kilkenny Hon. DirectorVictoria Robey OBE Hon. DirectorRichard Gee, Esq Of Counsel Jenifer L. Keiser, CPA,

EisnerAmper LLP

chief Executive

Timothy Walker AM Chief Executive and Artistic Director

Amy SugarmanPA to the Chief Executive / Administrative Assistant

Finance

David BurkeGeneral Manager and Finance Director

David GreensladeFinance and IT Manager

Samanta Berzina Finance Officer concert Management

Roanna Gibson Concerts Director

Graham WoodConcerts and Recordings Manager

Jenny Chadwick Tours Manager

Tamzin Aitken Glyndebourne and UK Engagements Manager

Alison JonesConcerts and Recordings Co-ordinator

Jo CotterTours Co-ordinator Orchestra Personnel

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Sarah Holmes Sarah ThomasLibrarians ( job-share)

Christopher AldertonStage Manager

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Isabella Kernot Education Director

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Richard MallettEducation and Community Producer

Development

Nick JackmanDevelopment Director

Catherine Faulkner Development Events Manager

Kathryn HagemanIndividual Giving Manager

Laura Luckhurst Corporate Relations Manager

Anna Quillin Trusts and Foundations Manager

Helen Etheridge Development Assistant

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Documents

London Philharmonic Orchestra 11 February concert programme