I N S I D E O U T

lpo.org.uk/rachmaninoffConcert programme

Southbank Centre’s Royal Festival HallWednesday 29 April 2015 | 7.30pm

Rachmaninoff (arr. Butsko) Piano Suites, Four movements (14’)

Rachmaninoff (arr. Jurowski) 10 Songs (30’)

Interval

Rachmaninoff Symphony No. 3 in A minor, Op. 44 (38’)

Vladimir Jurowski conductor

Vsevolod Grivnov tenor

Winner of the RPS Music Award for Ensemble

Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI* Leader PIETER SCHOEMAN†Composer in Residence MAGNUS LINDBERGPatron HRH THE DUKE OF KENT KG

Chief Executive and Artistic Director TIMOTHY WALKER AM

Contents

2 Welcome3 On stage tonight 4 About the Orchestra5 Leader: Pieter Schoeman 6 Vladimir Jurowski7 Vsevolod Grivnov 8 Programme notes16 On the LPO label17 LPO 2015/16 London season18 Supporters19 Sound Futures donors20 LPO administration

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

Free pre-concert event 6.15pm–6.45pm Royal Festival Hall

Vladimir Jurowski, in conversation with David Nice, discusses Rachmaninoff’s legacy and his grandfather’s arrangement of the songs heard tonight.

In co-operation with the Serge Rachmaninoff Foundation

* supported by the Tsukanov Family Foundation † supported by Neil Westreich

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

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 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.

London Philharmonic Orchestra2014/15 season

Welcome to Southbank Centre’s Royal Festival Hall and the final concert of our year-long Rachmaninoff: Inside Out season exploring the composer’s life and music. Highlights have included a semi-staged performance of The Miserly Knight: ‘the sound Jurowski coaxed from the LPO was exquisite’ wrote Matthew Wright of the concert, and the Spring Cantata that, according to Hilary Finch of The Times , ‘did credit to the ... series’. (A recording of the LPO/Glyndebourne performance of The Miserly Knight is available on DVD.) lpo.org.uk/rachmaninoff-inside-out

Andrés Orozco-Estrada nominated for awardThe LPO congratulates its new Principal Guest Conductor, Andrés Orozco-Estrada, for his nomination in the Young Artists category for the RPS Awards. The Awards are the highest recognition for live classical music-making in the UK. Andrés conducts the Orchestra in the new season, on Wednesday 25 November 2015 and Friday 26 February 2016, in programmes that includes Mahler’s First Symphony and Stravinsky’s Firebird Suite. lpo.org.uk/whats-on/season15-16

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

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TimpaniSimon Carrington* Principal

PercussionAndrew Barclay* Principal

Chair supported by Andrew Davenport

Keith MillarTom EdwardsJeremy CornesSarah Mason

HarpsRachel Masters* Principal Lucy Haslar

Celeste and PianoCatherine Edwards

Celeste John Cuthbert

* Holds a professorial appointment in London

† Chevalier of the Brazilian Order of Rio Branco

Meet our members: lpo.org.uk/players

On stage tonight

First ViolinsPieter Schoeman* Leader

Chair supported by Neil Westreich

Vesselin Gellev Sub-Leader

Ilyoung ChaeChair supported by an anonymous donor

Ji-Hyun LeeChair supported by Eric Tomsett

Catherine CraigThomas EisnerMartin Höhmann

Chair supported by The Jeniffer and Jonathan Harris Charitable Trust

Geoffrey LynnChair supported by Caroline, Jamie & Zander Sharp

Robert PoolSarah StreatfeildYang ZhangGrace LeeRebecca ShorrockGalina TanneyNilufar AlimaksumovaKate Cole

Second ViolinsPhilippe Honoré

Guest PrincipalJeongmin Kim Joseph MaherKate Birchall

Chair supported by David & Victoria Graham Fuller

Nancy ElanLorenzo Gentili-TedeschiFiona HighamNynke HijlkemaMarie-Anne MairesseAshley StevensDean WilliamsonHelena NichollsSioni WilliamsHarry Kerr

ViolasPrzemyslaw Pujanek

Guest PrincipalCyrille Mercier

Co-PrincipalRobert DuncanGregory AronovichSusanne MartensBenedetto PollaniEmmanuella ReiterLaura VallejoNaomi HoltIsabel PereiraDaniel CornfordMiriam Eisele

CellosPei-Jee Ng Guest PrincipalFrancis BucknallLaura DonoghueSantiago Carvalho†David LaleElisabeth Wiklander Susanna RiddellSibylle HentschelTae-Mi SongPhilip Taylor

Double BassesKevin Rundell* PrincipalTim Gibbs Co-PrincipalLaurence LovelleGeorge PenistonRichard LewisHelen RowlandsCharlotte KerbegianCatherine Ricketts

FlutesSue Thomas* Principal

Chair supported by Victoria Robey OBE

Hannah Grayson

PiccoloStewart McIlwham*

Principal

OboesIan Hardwick* PrincipalAlice Munday

Cor AnglaisSue Böhling* Principal

ClarinetsRobert Hill* PrincipalThomas Watmough Douglas Mitchell

E-flat ClarinetThomas Watmough Principal

Bass ClarinetPaul Richards Principal

BassoonsJaroslaw Augustyniak

Guest PrincipalGareth NewmanSimon Estell

HornsJohn Ryan* Principal Martin HobbsMark Vines Co-PrincipalGareth MollisonDuncan Fulle

TrumpetsPaul Beniston* PrincipalAnne McAneney*

Chair supported by Geoff & Meg Mann

Nicholas Betts Co-Principal

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

Chair Supporters

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert:

Sonja Drexler;

Bianca and Stuart Roden;

Simon Robey

4 | London Philharmonic Orchestra

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.

Another evening of ambition and high quality with the London Philharmonic Orchestra.Richard Fairman, Financial Times, March 2015

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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

Pieter Schoemanleader

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Pieter Schoeman was appointed Leader of the LPO in 2008, having previously been Co-Leader since 2002.

Born in South Africa, he made his solo debut aged 10 with the Cape Town Symphony Orchestra.

He studied with Jack de Wet in South Africa, winning numerous competitions including the 1984 World Youth Concerto Competition in the US. In 1987 he was offered the Heifetz Chair of Music scholarship to study with Eduard Schmieder in Los Angeles and in 1991 his talent was spotted by Pinchas Zukerman, who recommended that he move to New York to study with Sylvia Rosenberg. In 1994 he became her teaching assistant at Indiana University, Bloomington.

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 performs at London’s prestigious Wigmore Hall.

As a soloist with the London Philharmonic Orchestra, Pieter has performed Arvo Pärt’s Double Concerto with Boris Garlitsky, Brahms’s Double Concerto with Kristina Blaumane, and Britten’s Double Concerto with Alexander Zemtsov, which was recorded and released on the Orchestra’s own record label to great critical acclaim. He has recorded numerous violin solos with the London Philharmonic Orchestra for Chandos, Opera Rara, Naxos, X5, the BBC and for American film and television, and led the Orchestra 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. 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.

6 | London Philharmonic Orchestra

Vladimir JurowskiPrincipal Conductor and Artistic Advisor

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.

Vladimir Jurowski was appointed Principal Guest Conductor the London Philharmonic Orchestra in 2003, becoming Principal Conductor in 2007. He also holds the titles of Principal Artist of the Orchestra of the Age of Enlightenment and Artistic Director of the Russian State Academic Symphony Orchestra. 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).

He is a regular guest with many leading orchestras in both Europe and North America, including the Berlin, New York and St Petersburg Philharmonic orchestras; the Royal Concertgebouw Orchestra; The Philadelphia Orchestra; The Cleveland Orchestra; the Boston, San Francisco and Chicago symphony orchestras; and the Tonhalle-Orchester Zürich, Leipzig Gewandhausorchester, Mahler Chamber Orchestra, Staatskapelle Dresden and Chamber Orchestra of Europe.

Jurowski seems to have reached the magic state when he can summon a packed house to hear anything he conducts with the LPO, however unfamiliar.Geoff Brown, The Arts Desk, February 2015

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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; and numerous operas at Glyndebourne including Otello, Macbeth, Falstaff, Tristan und Isolde, Die Meistersinger von Nürnberg, Don Giovanni, The Cunning Little Vixen, Peter Eötvös’s Love and Other Demons, Ariadne auf Naxos and The Miserly Knight.

lpo.org.uk/about/jurowski

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of Mtsensk) with the New Israeli Opera and Don José (Carmen) with the Teatro Bellini Catania. He also recently sang his first Aida with Cologne Opera as well as Lensky with Los Angeles Opera.

Last season’s performances on the concert platform included a selection of Rachmaninoff songs at the Dresden Philharmonie under Michail Jurowski, The Bells with the Philadelphia Orchestra under the baton of Vladimir Jurowski and Schnittke’s Requiem with the Warsaw Philharmonic. Other recent engagements include: Verdi’s Requiem with the Noord Nederlandse Orkest and Rachmaninoff’s Songs for Tenor and Orchestra with the Norrköping Symphony Orchestra. This season he has sung Mazeppa with the NTR Radio and TV Orchestra and earlier this year performed with the LPO at Royal Festival Hall in Rachmaninoff’s The Miserly Knight.

Vsevolod Grivnovtenor

Russian tenor Vsevolod Grivnov became a soloist of the New Opera Company of Moscow’s Municipal Theatre in 1990 and is also a principal soloist with the Bolshoi Theatre. Performances with the latter have included Alfredo (La traviata), Luisa Miller, A Masked Ball and Cilea’s Adriana Lecouvreur.

In October 1995 he sang Levko in Rimsky Korsakov’s opera May Night at the Wexford Festival, and was highly praised for his performances, being hailed by critics as the outstanding new voice of the festival.

Career highlights include the title role in Oedipus Rex at the Teatro Weikl in Poland, the Granada Festival in Valencia, Bilbao and Barcelona; Shostakovich’s Jewish Folk Songs with the Baltimore Symphony and San Francisco Symphony orchestras; and Lensky (Eugene Onegin) with Deutsche Oper Berlin.

Other engagements have included Lady Macbeth of Mtsensk at the San Francisco Opera and Teatro del Maggio Musical Fiorentino, Pulcinella with the San Francisco Symphony Orchestra, Shostakovich’s Six Romances On Texts By Japanese Poets in Venice, The Miserly Knight at the Teatro São Carlos in Lisbon, Francesca Da Rimini with the Orchestra São Paolo de Brazil, Rachmaninoff’s The Bells with the Oslo Philharmonic Orchestra conducted by Vladimir Jurowski, the Verdi Requiem with the Bergen Philharmonic Orchestra and Les Noces with the RIAS Kammerchor in Berlin which was also recorded by Harmonia Mundi.

Vsevolod’s recent highlights on the opera stage include Tchaikovsky’s Charodeika at the Bolshoi Theatre, Khovanshchina at the Opera de Paris Bastille, La Forza del Destino with Cologne Opera, Sergei (Lady Macbeth

Vsevolod Grivnov is a winning and impassioned tenor with a thrilling thrust to the voice.Edward Seckerson, The Independent, November 2009

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Programme notes

A deep sadness colours Rachmaninoff’s third and final symphony. For music journalist Robert Angles, it stemmed from ‘the grief of a deeply patriotic man forcibly separated from the land of his birth’. In 1935 Rachmaninoff knew he’d never return to Russia, but still his Symphony finds moments of dignity and optimism, of brilliance and vitality. Here it forms an appropriate ‘farewell’ to Rachmaninoff following our season-long exploration of his music.

Vladimir Jurowski precedes the Symphony with Yuri Butsko’s arrangements of some of the composer’s scintillating piano suites and a selection of his grandfather’s own orchestrations of ten of Rachmaninoff’s most touching songs.

Andrew Mellor

Speedread

It was Respighi who realised the potential of orchestrating Rachmaninoff’s piano music when in 1931, with Rachmaninoff’s blessing, he took five of the études-tableaux from the Op. 33 and Op. 39 sets and made them into an orchestral suite. The colour spectra within Rachmaninoff’s keyboard writing, while drawn naturally from the timbres and shadings of the piano itself, can easily conjure up, or at least imply, tonal qualities of other instruments as well. Yury Butsko, a prolific Russian composer born in 1938, has followed the example of Respighi by selecting four Rachmaninoff pieces and reimagining them in orchestral terms. Interestingly, too, they are, for the most part, miniatures that have remained slightly off-centre of the pianist’s regular repertoire.

Rachmaninoff composed the Op. 11 duets – published under the umbrella title Six Morceaux – in April 1894. For the last of them (which is first in Butsko’s suite), he adopted the Glory! tune familiar from the Coronation Scene of Mussorgsky’s Boris Godunov, and for the third (second in the Butsko sequence) a plaintive Russian folksong – rare instances, both, of Rachmaninoff using folk material. The playful Pulcinella Op. 3 No. 4 has long been overshadowed by the Prelude in C sharp minor from the same set of Morceaux de fantaisie, and the final piece is the Easter celebration from the Fantaisie-tableaux Op. 5 for piano duet, incorporating the same Russian Orthodox chant that Rimsky-Korsakov used in his Russian Easter Festival Overture.

SergeRachmaninoff

1873–1943

Piano Suites, Four movements (arr. Butsko)

1 Glory!, Op. 11 No. 62 Russian Song, Op. 11 No. 33 Pulcinella, Op. 3 No. 44 Easter, Op. 5 No. 4

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1 Christ is risen, Op. 26, No. 62 Before my window, Op. 26, No. 103 All things pass away, Op. 26, No. 154 The little island, Op. 14, No. 25 We shall rest, Op. 26, No. 36 What happiness, Op. 34, No. 127 I remember that day, Op. 34, No. 108 It cannot be, Op. 34, No. 79 Sleep, Op. 38, No. 510 How beautiful it is here, Op. 21, No. 7

Texts start on page 11

If the Butsko orchestral arrangements are all based on Rachmaninoff’s early works, these ones all stem from songs of the composer’s maturity. If you stroll through the expanses of Rachmaninoff’s estate at Ivanovka, deep in the Russian countryside, you are immediately struck by the silence, the whispers and rustlings of nature and the tranquil air of sanctuary that he needed for inspiration to flourish. Indeed, look out of his study window and you can almost hear the strains of one of his most beautiful songs, ‘Before my window’, with its image of a blossoming, perfumed cherry tree encapsulating blissfully the stillness and the magic that Ivanovka enshrines. It is this inner quality that comes through in Rachmaninoff’s songs, of which he composed about 80, starting in 1890, when he was still a conservatoire student, and ending in 1916 with the set of six, Op. 38. Thereafter, despite the fact that in exile he strove to recapture Ivanovka’s serenity at his homes in Switzerland and America, he never again found the stimulus for song writing that the real Russia had nurtured.

My grandfather must have felt really inspired when the most famous Russian tenor of the era asked him to orchestrate 10 selected songs ... Vladimir Jurowski

These arrangements were made by Vladimir Jurowski’s grandfather, also called Vladimir (1915–1972), whose first experience of Rachmaninoff’s music in Russia after the Second World War inspired him to orchestrate 10 songs specifically for the celebrated Russian tenor Ivan Kozlovsky, who recorded them with the conductor Kiril Kondrashin. These particular songs, with their original piano accompaniments, have now become staples of the repertoire, exploring as they do the span of emotion from wistfulness to rapture, lyricism to fervent introspection that Rachmaninoff could crystallise so tellingly.

SergeRachmaninoff

10 Songs(arr. Jurowski)

Vsevolod Grivnov tenor

10 | London Philharmonic Orchestra

When my grandfather Vladimir Jurowski senior started studying composition at the Moscow Conservatory with Nikolai Myaskovsky in the early 1930s, Serge Rachmaninoff’s music was officially banned from the concert platforms in the Soviet Union, instigated by his emigration in the West and his anti-Soviet statements in the press. Despite the ban, certain performers continued playing his music in Russia, but it wasn’t until during the Second World War when Rachmaninoff was helping the Red Army financially that his music was officially permitted to be performed again. And even then some of his works (particularly those written for the church like the All-Night Vigil or Liturgy of St John Chrysostom, and also some of the songs such as ‘Christ is risen’) remained a taboo for many years because of their religious context.

Although my grandfather’s own compositional style was rather influenced by his teacher Myaskovsky, and partly also by his older contemporaries Prokofiev and Shostakovich, he had always been a huge admirer of Rachmaninoff’s music and he must have felt really

inspired when the most famous Russian tenor of the era, Ivan Kozlovsky, asked him (in the early 1960s) to orchestrate 10 selected songs by Rachmaninoff. Kozlovsky would later record them with the conductor Kiril Kondrashin and also frequently perform them in concerts. Kozlovsky was very specific about the choice of songs and he insisted ‘Christ is risen’ be included in the selection despite its potentially ‘problematic’ ideological status. My grandfather took this commission very seriously and worked on the orchestration for several months – he was obviously trying to find an equivalent orchestral solution for the accompaniment, which Rachmaninoff wrote specifically for the piano – an instrument he mastered like no other musician of his time.

The result is impressively colourful and ranges from the delicacy of the almost chamber-like settings of such songs as ‘The little Island’ or ‘How beautiful it is here’ through exquisitely impressionistic textures of ‘Sleep’ to the truly symphonic dimensions of ‘Christ is risen’ or ‘What happiness’.

Vladimir Michailovich Jurowski (1915–72)

Programme notes continued

Jurowski on JurowskiVladimir Jurowski considers his grandfather’s inspiration for the Rachmaninoff arrangements

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Vladimir Jurowski also features in this month’s LPO podcast discussing the song arrangements lpo.org.uk/podcasts/podcast-apr15.html

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Christ is risen‘Christ is risen’, they sing in the churches;but I am sorrowful, my soul is silent.The world is filled with bloodshed and tears,and this hymn rising up before the altarsrings out like a mockery.If He came again among usto see the triumphs of our glorious age;to see how brothers hate one another,and how shameful mankind has become;if He were here in this glittering churchto hear the chant of ‘Christ is risen’,what bitter tears he would weepbefore the congregations!

Before my windowBefore my window flowers a cherry tree,blossoming dreamily in a silvery shimmer ...Its fragrant branchesgently call to me ...I draw down the trembling blossomsand joyfully breathe in their fresh scent,until their fragrance clouds my senses;they are singing a wordless love song.

All things Pass AwayAll things pass away, nothing ever returns.Life hurries on, a series of fleeting moments.Where are the words that were once uttered?Where is the light of yesterday’s dawn?A flower blooms and is withered tomorrow.A flame springs up only to die away in ashes ...The waves roll past, never still for a moment ...There can be no joy in my song!

The Little IslandA little island set in sea,To keep her maiden shores inviolate,Did plant them round with laurel treeWith roses, and the violet.

And thus in shade of green repose,The waters lulled this quiet haven.The dreaming woodland trees aroseLike images engraven.

1 Khristos voskres‘Khristos voskres’, poyut vo khrame;No grustno mne ... dusha molchit.Mir polon krovyu i slezami,I etot gimn pred altaryamiTak oskorbitelno zvuchit.Kogda-b On bïl mezh nas i videl,Chevo dostig nash slavnïy vek,Kak brata brat voznenavidel,Kak opozoren chelovek,I yesli b zdes, v blestyashchem khrame,‘Khristos voskres’ On uslïkhal,Kakimi-b gorkimi slezami,Pered tolpoy On zarïdal!

2 U moyevo oknaU moyevo okna cheryomukha tsvetyot,Tsvetyot zadumchivo pod rizoy serebristoy ...I vetkoy svezhey i dushistoySklonilas i zovyot ...Eyo trepeshchushchikh vozdushnïkh lepestkovYa radostno lovlyu veseloye dïkhanye,Ikh sladkiy aromat tumanit mne soznanye,I pesni o lyubvi oni poyut bez slov.

3 Prokhodit vseProkhodit vsyo, i net k nemu vozvrata.Zhizn mchitsa vdal, mgnoveniya bïstrey.Gde zvuki slov, zvuchavshikh nam kogda-to?Gde svet zari nas ozaryavshikh dney?Rastsvel tsvetok, a zavtra on uvyanet.Gorit ogon, shtob vskore otgoret ...Idyot volna, nad ney drugaya vstanet ...Ya ne mogu vesyolïkh pesen pet!

4 OstrovokIz morya smotrit ostrovok,Yevo zelyonïe uklonïUkrasil trav gustïkh venok,Fialki, anemonï.

Nad nim spletayutsa listï,Vokrug nevo chut pleshchut volnï.Derevya grustnï, kak mechtï,Kak statui, bezmolvnï.

Rachmaninoff 10 Songs texts

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Rachmaninoff 10 Songs texts continued

Zdes yele dïshit veterok,Syuda groza ne doletayet,I bezmyatezhnïy ostrovokVsyo dremlet, zasïpayet.

5 Mï otdokhnyomMï otdokhnyom! Mï uslïshim angelov,mï uvidim vsyo nebo v almazakh,mï uvidim, kak vsyo zlo zemnoye,vse nashi stradaniya potonut v miloserdii,Kotoroye napolnit soboyu ves mir,i nasha zhizn stanet tikhoyu,nezhnoyu, sladkoyu, kak laska.Ya veruyu, veruyu ...Mï otdokhnyom ... Mï otdokhnyom.

6 Kakoye schastyeKakoye schastye: i noch, i mï odni!Reka kak zerkalo, i vsya blestit zvezdami.A tam-to golovu zakin – ka, da vzglyani:Kakaya glubina i chistota nad nami.

O, nazïvay menya bezumnïm!Nazovi, chem khochesh:V etot mig ya razumom slabeyuI v serdtse chuvstvuyu takoy priliv lyubvi,Shto ne mogu molchat, ne stanu, ne umeyu!

Ya bolen, ya vlyublyon,No, muchas i lyubya,O, slushay! o poymi! Ya strasti ne skrïvayu,I ya khochu skazat, shto ya lyublyu tebya,Tebya, odnu tebya lyublyu ya i zhelayu!

7 Sey den ya pomnyuSey den, ya pomnyu, dlya menyaBïl utrom, zhiznennevo dnya.Stoyala molcha predo mnoyu,Vzdïmalas grud yeyo,Aleli shchoki, kak zarya,Vsyo zharche rdeya i gorya ...I vdrug, kak solntse zolotoye,Lyubvi priznanye molodoye,Istorglos iz grudi yeya,I novïy mir uvidel ya!

Each single breath of air is mild,From sov’reign rule of tempest sever’d,The island sleeps like any child;So tranquil, peace deliver’d.

We shall restWe shall rest, we shall hear the angels,we shall see stars in heaven like diamonds;we shall see how all the evil on earth,all our sufferings, are swept away,by the grace that will fill the world.And our life will be peaceful, gentle,tender, as sweet as a caress.I believe it, I believe it ...We shall rest ... We shall rest.

What happinessWhat happiness! It is night, and we are alone.The river is like a mirror reflecting the glow of the stars.Come, bend your head: see how its depthsreflect the pure blue of heaven.

Oh tell me I have lost all reason,tell me whatever you wish!At such a moment my reason falters,my heart is so flooded with love and desire,that I can neither keep silent nor understand.

I am sick with loveand with the pains of love.Listen, believe me: I cannot hide my agony,but I have to tell you how I love you,it is you alone that I love and desire!

I remember that dayI remember that day; for meit was the morning of my life.She stood silently before me,her breast heaving,her cheeks flushing red as dawn,glowing with ever more fire ...And suddenly, like a golden sun,a youthful confession of loveburst out from her,and I beheld a new world!

London Philharmonic Orchestra | 13

8 Ne mozhet bït!Ne mozhet bït! Ne mozhet bït!Ona zhiva! Seychas prosnyotsa ...Smotrite: khochet govorit,Otkroyet ochi, ulïbnyotsa,Menya uvidevshi, poymyot,Shto neuteshnïy plach moy znachit,I vdrug s ulïbkoyu shepnyot:“Ved ya zhiva! O chom on plachet?”No net! Lezhit ... tikha, nema, nedvizhna ...

9 SonV mire net nichevo vozhdelenneye sna,Charï yest u nevo, u nevo tishina,U nevo na ustakh ni pechal i ni smekh,I v bezdonnïkh ochakh mnogo taynïkh utekh.

U nevo shiroki, shiroki dva krïla,I legki, tak legki, kak polnochnaya mgla.Ne ponyat, kak nesyot, i kuda i na chyom,On krïlom ne vzmakhnyot, i ne dvinet plechom.

10 Zdes khoroshoZdes khorosho …Vzglyani, vdaliOgnyom gorit reka;Tsvetnïm kovrom luga legli,Beleyut oblaka.Zdes net lyudey …Zdes tishina …Zdes tolko Bog da ya.Tsvetï, da staraya sosna,Da tï, mechta moya!

Transliteration © Andrew Huth

It cannot be!It cannot be! It cannot be!She is alive! She is waking now ...Look, she wishes to speak,she’s opening her eyes and smiling;when she sees me she will understandthe meaning of my bitter tearsand will whisper, with a smile:‘But I am alive! What are you weeping for?’But no. She lies there silent, still, unmoving ...

SleepNothing in the world is more longed-for than sleep;it has such enchantment and quietness,its features show neither sorrow nor laughter,in its fathomless eyes lie many secret delights.

It soars to the heights on shining wingsas lightly as the darkness of midnight.Incomprehensible, beyond time and space,soaring on wings that are still and motionless.

How beautiful it is hereHow beautiful it is here …Look, in the distancethe river shines like fire;the meadows are like a coloured carpet,the clouds are white.There is no one here …There is only silence …Only God and I are here.Flowers, an old pine tree,and you, my dream!

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

14 | London Philharmonic Orchestra

SergeRachmaninoff

Symphony No. 3 in A minor, Op. 44

1 Lento – Allegro moderato – Allegro2 Adagio ma non troppo – Allegro vivace3 Allegro – Allegro vivace – Allegro (Tempo primo) – Allegretto – Allegro vivace.

Sir Henry Wood, writing in his autobiography My Life of Music (1938), predicted that Rachmaninoff’s Third Symphony would ‘prove as popular as Tchaikovsky’s Fifth’. If that has never really been the case, Wood’s further assessment of the score does ring true:

‘The work impresses me as being of the true Russian romantic school. One cannot get away from the beauty and melodic line of the themes and their logical development. As did Tchaikovsky, Rachmaninoff uses the instruments of the orchestra to their fullest effect. Those lovely little phrases for solo violin, echoed on the four solo woodwind instruments, have a magical effect in the slow movement. I am convinced that Rachmaninoff’s children will see their father’s Third Symphony take its rightful place in the affection of that section of the public which loves melody.’

There is certainly melody in the Third Symphony, but there is much else besides. This is late Rachmaninoff, a Rachmaninoff with his roots still firmly planted in Russian Romantic soil but with other influences, other ideas, other impulses coming into play as well.

In the years up to and including 1917, Rachmaninoff had enjoyed a tri-partite musical life as composer, pianist and conductor. If the public in Russia, Europe and America recognised his gifts in all three branches of the profession, he himself always regarded himself as a composer first and foremost. If he also happened to be one of the finest pianists the world has ever known, that was, to a certain extent, a bonus. In 1917, however, there came a seismic change in his life. With the onset and aftermath of the October Revolution, Rachmaninoff and his family felt compelled to emigrate. ‘Everything

around me makes it impossible for me to work’, he wrote to his cousin and fellow pianist Alexander Ziloti, ‘and I am frightened of becoming completely apathetic. Everybody around me advises me to leave Russia for a while. But where to, and how? And is it possible? ... Can I count on getting a passport to leave the country with my family, even if only to Norway, Denmark, Sweden …It doesn’t matter where! Just somewhere!’ His despair was palpable, added to the fact that, as he said, he could ‘kiss goodbye’ to the money tied up in his country estate at Ivanovka. The estate, in fact, was razed to the ground in the revolutionary turmoil.

The family left Russia at Christmas 1917, not for a while but for ever. This led to a serious rethink about his future together with a shift in priorities. The piano and the concert platform would now have to be put in first place, composition in second. Rachmaninoff’s repertoire was not then large. It centred, naturally enough, on his own works, with the addition of such composers as Chopin, Liszt and Tchaikovsky. In 1917 he was able to offer impresarios his own first three concertos together with Liszt’s No. 1 in E flat major, Tchaikovsky’s No. 1 in B flat minor and Anton Rubinstein’s No. 4 in D minor. But he set about broadening his scope, and for the next 25 years of his life he was lionized by audiences wherever he went. With a concert and recital schedule of exhausting proportions, the amount of time he could spend on composition was necessarily limited. Whereas in his Russian years he had completed 39 opus numbers, during his last quarter century he managed only six: the Fourth Piano Concerto (completed in its first version in 1926 and subsequently revised), the Three Russian Songs (1926), the Variations on a Theme of Corelli (1931), the Rhapsody on a Theme of Paganini (1934), the Third Symphony (1935–6) and the Symphonic Dances (1940).

Programme notes continued

London Philharmonic Orchestra | 15

After a decade or so as nomads in Europe and America, Rachmaninoff together with his wife Natalya and their two daughters finally settled in Switzerland in the early 1930s, building for themselves a villa called Senar (combining the names Serge and Natalya Rachmaninoff) on the shores of Lake Lucerne. It was here, in the tranquil surroundings he needed for inspiration, that he wrote the Third Symphony. The first two movements were composed during the summer and autumn of 1935. He then had to put the score aside to concentrate on practising for his next concert season, but he resumed work on it during May and June 1936, when he wrote the third movement and revised the first.

Everybody advises me to leave Russia ... But where to? ... Can I count on getting a passport to leave the country with my family? ... it doesn’t matter where! Just somewhere!

The symphony had its premiere on 6 November 1936 with the Philadelphia Orchestra under Leopold Stokowski, and was received ‘sourly’, to use Rachmaninoff’s own word. He made a few alterations, and it was published the following year. Sir Thomas Beecham conducted it in London in November 1937 with the London Philharmonic Orchestra, and Wood gave it in Liverpool with the Philharmonic Society in March 1938. But Rachmaninoff decided to make further revisions, chiefly re-touchings of the scoring and the odd cut, and a second edition was published in 1939. This he recorded with the Philadelphia Orchestra in December the same year, one of the few lasting examples we have of his prowess and distinction as a conductor.

Like the First and Second Symphonies, the Third begins with a chant-like motto theme (heard on horn, clarinet and cellos), a motif that recurs throughout the symphony as a point of reference. In contrast with his other two symphonies, the Third has only three movements, although a sharp-edged scherzo is incorporated into the central Adagio. In this scherzo, as in the vigorous finale, we can experience those crisp rhythms and pointed use of instrumental colours that mark so much of Rachmaninoff’s later music. For all this clarity of texture and piquancy of orchestration, however, the Third Symphony retains the essential

Russianness that courses through his entire œuvre. This is by no means a cosmetic or folksy Russianness. Rather, his music embraces a much broader spectrum and plumbs a deeper well of the country’s distinctive character, shot through with a sense of fatalism and with a richness of language that can encompass intense brooding, vital energy and passionate sincerity of soul. These qualities had seeped into Rachmaninoff’s very blood since early childhood, and in the later works are poignantly tinged with nostalgia for the homeland he had lost.

Programme notes © Geoffrey Norris

Friday 1 May 2015 | 7.30pm

Dvořák Cello Concerto

Berlioz Symphonie fantastique

Giancarlo Guerrero conductorNarek Hakhnazaryan cello

JTI Friday SeriesLive broadcast on BBC Radio 3

The final concert in the LPO 2014/15 season at Royal Festival Hall

Tickets £9–£39 (premium seats £65)

London Philharmonic Orchestra Ticket Office020 7840 4242 Monday–Friday 10.00am–5.00pm lpo.org.uk Transaction fees: £1.75 online, £2.75 telephone.

© R

uth

Cra

fer

16 | London Philharmonic Orchestra

The Isle of the Dead

Symphonic Dances

Vladimir Jurowski conductor London Philharmonic Orchestra

LPO-0004 | £9.99

‘The chill mists of The Isle of the Dead are masterfully evoked, the lugubrious colours beautifully shaded ... Jurowski’s slow-burning Rachmaninoff is irresistible.’

The Independent on Sunday

Jurowski conducts Rachmaninoff

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

Stanisław Skrowaczewski conductor London Philharmonic Orchestra

LPO-0084 | £9.99

“It sounds throughout as though the LPO is completely in sympathy for their conductor’s carefully controlled approach … it feels right to the end.” Andrew McGregor, BBC Radio 3 CD Review, March 2015

Latest release

Bruckner

Symphony No. 3

Available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets

Available to download or stream online via iTunes, Spotify, Amazon and others.

Symphony No. 3

with

Bax Tintagel

Osmo Vänskä conductor

London Philharmonic Orchestra

LPO-0036 | £9.99

Thrilling live recordings from Royal Festival Hall, of works by Rachmaninoff and Bax, two composers renowned for their sweeping romanticism

On the LPO label

More Rachmaninoff

RACHMANINOV SYMPHONY NO.3

BAX TINTAGEL

OSMO VÄNSKÄ conductorLONDON PHILHARMONIC ORCHESTRA

London Philharmonic Orchestra | 17

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

18 | London Philharmonic Orchestra

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 OBE Bianca & Stuart Roden Julian & Gill Simmonds*

Anonymous Garf & Gill Collins*Andrew Davenport Mrs Sonja DrexlerDavid & Victoria Graham FullerThe Jeniffer and Jonathan Harris

Charitable TrustMrs 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 AdamsDesmond & 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 Laurence Watt 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 FernyhoughGavin GrahamTony & Susan Hayes Michael & Christine HenryMalcolm Herring

J. Douglas HomeIvan HurryMr Glenn HurstfieldPer JonssonMr Gerald LevinWg. Cdr. & Mrs M T Liddiard OBE JP RAFPaul & Brigitta Lock Mr Peter MaceMs Ulrike Mansel Robert MarkwickMr Brian Marsh Andrew T MillsDr Karen Morton Mr & Mrs Andrew Neill Tom & Phillis SharpeMartin and Cheryl Southgate Mr Peter TausigSimon Turner Howard & Sheelagh Watson Des & 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: Accenture 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 TrustThe Bernarr Rainbow Trust

The Boltini TrustBorletti-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 TrustRVW TrustSerge Rachmaninoff Foundation Romanian Cultural Institute Schroder Charity Trust Ernst von Siemens Music Foundation The David Solomons Charitable Trust Souter 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

London Philharmonic Orchestra | 19

SOUND FUTURES DONORSBy May 2015 we aim to have raised £1 million which will be matched pound for pound by Arts Council England through a Catalyst Endowment grant. This will create a £2 million endowment fund supporting our Education and Community Programme, our creative programming and major artistic projects at Southbank Centre.

We are grateful to the following donors for their generous contributions to our Sound Futures campaign. For a full list of those who have given to this campaign please visit lpo.org.uk/soundfutures.

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

Welser-Möst CircleWilliam & Alex de WintonJohn Ireland Charitable Trust The Tsukanov Family FoundationNeil Westreich

Tennstedt CircleRichard Buxton Kirby Laing Foundation Simon Robey Bianca & Stuart Roden Simon & Vero Turner The late Mr K Twyman

Solti PatronsAgeas John & Manon Antoniazzi Georgy DjaparidzeMrs Mina Goodman and

Miss Suzanne GoodmanThe Jeniffer and Jonathan Harris

Charitable TrustMr James R D KornerMr Paris Natar Robert Markwick & Kasia RobinskiThe Rothschild FoundationTom and Phillis SharpeThe Viney Family

Haitink PatronsDr Christopher AldrenMark & Elizabeth AdamsMrs Pauline BaumgartnerLady Jane BerrillMr Frederick BrittendenDavid & Yi Yao BuckleyMr Clive ButlerGill & Garf CollinsMr John H Cook

Bruno de KegelChristopher Fraser OBE & Lisa FraserMr Gavin GrahamMoya GreeneMrs Dorothy HambletonTony and Susie HayesCatherine Høgel & Ben MardleMrs Philip Kan Rose and Dudley LeighLady Roslyn Marion LyonsMiss Jeanette MartinDuncan Matthews QCDiana and Allan Morgenthau

Charitable TrustDr Karen MortonMr Roger Phillimore Ruth RattenburyThe Reed Foundation Sir Bernard RixDavid Ross and Line Forestier (Canada)Carolina & Martin SchwabDr Brian SmithMr & Mrs G SteinDr Peter Stephenson Miss Anne StoddartTFS Loans LimitedLady Marina VaizeyJenny WatsonGuy & Utti Whittaker

Pritchard DonorsRalph and Elizabeth AldwinckleMr Bernhard BeineMrs Julia Beine Michael and Linda BlackstoneConrad Blakey OBEDr Anthony BucklandBusiness Events SydneyLady June ChichesterJohn Childress & Christiane WuillamiePaul CollinsMr Alistair CorbettMr David EdgecombeDavid Ellen

Mr Timothy Fancourt QCThe Lady FoleyKarima & David GMr Daniel GoldsteinMr Derek B GrayMr Roger GreenwoodDarren & Jennifer Holmes Mr J Douglas HomeHoneymead Arts TrustMrs Dawn HooperRehmet Kassim-LakhaMr Geoffrey KirkhamPeter LeaverWg Cdr & Mrs M T Liddiard OBE JP RAFDrs Frank & Gek LimPeter MaceMr David MacfarlaneGeoff & Meg MannDr David McGibneyMichael & Patricia McLaren-TurnerJohn MontgomeryRosemary MorganParis NatarMr & Mrs Andrew NeillMr Roger H C PattisonThe late Edmund PirouetMr Michael PosenSarah & John PriestlandMr Christopher QuereeMr Alan SainerTim SlorickLady Valerie SoltiTimothy Walker AMLaurence WattMr R WattsChristopher WilliamsPeter Wilson SmithVictoria YanakovaMr Anthony Yolland

And all other donors who wish to remain anonymous

20 | London Philharmonic Orchestra

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 William de Winton 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

Dayse GuilhermeFinance 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

Andrew CheneryOrchestra Personnel Manager

Sarah Holmes Sarah ThomasLibrarians ( job-share)

Christopher AldertonStage Manager

Damian Davis Transport Manager

Ellie Swithinbank Assistant Orchestra Personnel Manager

Education and Community

Isabella Kernot Education Director

Alexandra ClarkeEducation and Community Project Manager

Lucy DuffyEducation and Community Project Manager

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

Rebecca FoggDevelopment Assistant

Kirstin PeltonenDevelopment Associate

Marketing

Kath TroutMarketing Director

Mia RobertsMarketing Manager

Rachel WilliamsPublications Manager (maternity leave)

Sarah BreedenPublications Manager (maternity cover)

Samantha CleverleyBox Office Manager(Tel: 020 7840 4242)

Libby Northcote-GreenMarketing Co-ordinator

Digital Projects

Alison Atkinson Digital Projects Director

Matthew Freeman Recordings Consultant Public Relations

Albion Media (Tel: 020 3077 4930) Archives

Philip StuartDiscographer

Gillian Pole Recordings Archive Professional Services

Charles RussellSolicitors

Crowe Clark Whitehill LLPAuditors

Dr Louise MillerHonorary Doctor

London Philharmonic Orchestra89 Albert Embankment London SE1 7TPTel: 020 7840 4200Box Office: 020 7840 4242Email: admin@lpo.org.uklpo.org.uk

The London Philharmonic Orchestra Limited is a registered charity No. 238045.

Photograph of Rachmaninoff courtesy of the Royal College of Music, London. Cover design: Chaos Design.

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