AUTUMN CONCERT SEASON 2020 IN THE STREAM OF LIFE

PROGRAMME NOTES THURSDAY 10 DECEMBER 2020 • 8PM

2018: BEHIND NIGHT AND CLOUDS JUROWSKI CONDUCTS ENESCU, BACH & KATS-CHERNIN

J S Bach Orchestral Suite No. 1 Elena Kats-Chernin Piano Concerto No. 3 (Lebewohl) EUROPEAN PREMIERE Enescu for Winds* Enescu Chamber Symphony*

Vladimir Jurowski conductor Alexandra Silocea piano

Concert supported by the

*Generously supported by the Romanian Cultural Institute LONDON PHILHARMONIC ORCHESTRA • 10 DECEMBER 2020 LONDON PHILHARMONIC ORCHESTRA • 10 DECEMBER 2020

CONTENTS HOW TO CLICK ON THE HEADINGS TO JUMP TO A SECTION WATCH TONIGHT’S CONCERT

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15 ALEXANDRA SILOCEA www.marquee.tv 16 LONDON PHILHARMONIC ORCHESTRA 17 LEADER: PIETER SCHOEMAN 18 ON STAGE TONIGHT 19 NEXT CONCERTS 20 PLAY ON APPEAL 21 SOUND FUTURES DONORS 22 THANK YOU February–December 2020 25 MEMBERSHIPS & DONATIONS Tonight’s concert is part of our 26 CORPORATE PARTNERSHIPS year-long 2020 Vision series, 27 LPO ADMINISTRATION exploring the journey of music with pioneering works that have defined the sound of the Concert recorded at the Southbank Centre’s Royal Festival Hall on 2 December 2020. 21st century, alongside music This broadcast was rescheduled from the original planned date of 9 December 2020. written exactly 100 and 200 years before. This performance has been made possible through a grant from the Cultural Recovery Fund from the Department of Digital, Culture, Media and Sport. #HereForCulture lpo.org.uk/2020vision

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JOHANN SEBASTIAN ELENA BACH KATS-CHERNIN 1685–1750 BORN 1957

ORCHESTRAL SUITE NO. 1 IN C MAJOR, BWV 1066 PIANO CONCERTO NO. 3 (LEBEWOHL) 2017–18 C.1717 – APPROX 22 MINS – – APPROX 26 MINS – EUROPEAN PREMIERE

1 OUVERTURE 2 COURANTE 3 GAVOTTE I & II 4 FORLANE ALEXANDRA SILOCEA 5 MENUET I & II 6 BOURRÉE I & II 7 PASSEPIED I & II PIANO

1 THE DEEP AND BITTER FLOOD Johann Sebastian Bach demonstrated his compositional Gavotte as two movements, it is really a single dance genius in every type of music he wrote: sacred and with a contrasting second section, after which the 2 … BEHIND NIGHT AND CLOUDS secular vocal works, keyboard pieces for both organ initial passage returns once more. The resulting 3 YOU THUNDEROUS WORD and harpsichord, , and orchestral design is often referred to schematically as compositions. The latter encompass both genres of ‘A–B–A form’, and we encounter it repeatedly in 4 SO AFLAME IN LOVE orchestra music in use during Bach’s day, the Bach’s dance music. Indeed, similar constructions concerto and the dance suite. Bach composed many shape the Menuet, Bourrée and Passepied 5 ALLOW, PRINCESS, ALLOW JUST ONE RAY BEAM concertos featuring either one or several solo movements that close this Suite. instruments. By contrast, he left just four dance suites In this work Elena Kats-Chernin contemplates the his departure. The news that she had been ill and for orchestra, but these are among the finest works of Preceding these, however, and immediately following uncelebrated wife of one of her primary inspirations. died reached him only when he entered his own their kind from the 18th century. the Gavotte, comes a Forlane. Originally a rather wild Piano Concerto No. 3 is called Lebewohl, which house’. Imagine the scene for the 35-year-old Venetian folk dance, this retains something of its means ‘farewell’ in German. It’s an old-fashioned composer at the prime of his life and now suddenly, While it is not certain when Bach wrote the Suite in original character even in the highly cultivated term of endearment, literally ‘live well until we meet violently, impelled to the edge of an abyss and C major, BWV 1066, its instrumentation and stylistic rendition Bach offers here. again’. Lebewohl explores the core and soul of plunged to his heart’s nadir. details suggest that it originated during the Johann Sebastian Bach at the worst time of his life, composer’s service at Cöthen. The introductory Every page of this Suite offers a skilful weaving of the death of his first wife Maria. What are the Maria and Johann Sebastian had seven children prelude of the Ouverture has a pronounced two or more distinct melodic strands, and polyphonic ramifications of this tragedy? What does it do to together, but lost three in infancy. It was thought that ceremonial character, while the faster main body of echoes occur throughout the work. Bach uses Bach? Kats-Chernin honours the mysterious Maria Maria’s unexplained final illness was a complication music entails lively fugal counterpoint. Besides counterpoint in a particularly ingenious fashion with this work: the ‘forgotten’ wife of the Baroque from childbirth. On that sickening summer day, drawing on Bach’s mastery of echoic polyphony, this during the closing Passepied. The second part of this master about whom only cursory details are known. Johann Sebastian arrived home to find himself the latter section also features woodwind instruments, dance presents a flowing melody, given out by the sole parent of four children between five and eleven, which occasionally emerge from the full ensemble to oboes, but beneath this the theme from the first Maria Barbara Bach lived for 36 years. In July 1720 and without his wife of 13 years. How did this affect play quasi-solo roles. section of the movement is reproduced note-for-note her husband Johann Sebastian returned from a six- him? At what cost the psychological torment of losing in the strings. week trip to find her dead and buried. Who broke the Maria? Of being powerless to intercede in the most The first of the dances is aCourante , a sprightly news to Johann Sebastian? Was it Maria’s sister? disastrous loss? Did Johann Sebastian have a crisis French dance that typically involves coursing melodic Programme note reprinted by permission of the Was it his own six-year-old son Carl Philipp of faith? Shake his fists in rage at his beloved God? lines and supple rhythms. Bach’s example provides St. Louis Symphony Orchestra. Emmanuel? Later, Carl wrote of the awful shock that just this. Although Bach presents the ensuing struck his father ‘he had left her hale and hearty on Continued overleaf

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The five movements of the Concerto roughly follow the stages of bereavement Johann likely experienced; shock and denial, pain and guilt, anger and bargaining, reflection and loneliness, acceptance and reconstruction. Each movement is prefaced by a quote from one of Bach’s cantatas from the period.

I III V the deep and bitter flood you thunderous word allow, princess, allow just one ray beam though in midst of life we be, O eternity, you thunderous word, allow, princess, allow just one ray snares of death surround us O sword which bores through the soul, beam from Salem’s starry vaults. save us, Lord, from sinking O beginning without end! and behold, with how great a downpour of tears In the deep and bitter flood. O eternity, time beyond time, we enshrine your memorial. I know not, facing great sorrow, In you, you exemplar of a great woman, — Martin Luther to where I can turn. in you, you keeper of the faith, my fully dismayed heart shutters so this image of selflessness apparent. Marked Agitato, this first movement centres around that my tongue is lodged between my gums. one knows what one possesses from you, D, the same as Bach’s Chaconne for solo violin, often posterity will not forget you. recognised as an elegy for Maria Barbara. The piano — unknown, based on the hymn by Johann Rist is relentless throughout, punctuated with sharp — Johann Christoph Gottsched chords featuring brass and percussion. Clashes and manoeuvring between orchestra and soloist, something of a battle of wills and The piano tremolos ever-rising, always resisting the temperament. The piano writing becomes spiky: downward thrust of the orchestra which returns in seventh and ninth intervals alternating with another passacaglia-like theme reminiscent of the II fragmented passagework and arpeggios broken second movement; chanting and brassy. As the … behind night and clouds apart. The emphasis is always slightly off-centre. final climax is reached with the piano part in a vertical ascent of double octaves, Kats-Chernin how long, how long? reintroduces expanded material from movements my anguish is too much IV 1 and 2. I can see no end at all so aflame in love your sweet glance of grace Programme note © Tamara-Anna Cislowska Is hidden behind night and clouds though alas, there remains in my love the measure of tears vast imperfection is always fully granted, my entire life hangs on to you. the wine of joy is lacking Let me be so aflame in love ‘[KATS-CHERNIN] APPEARS TO and almost all my confidence has drained away. that I can love you eternally with whole heart, ACHIEVE THE IMPOSSIBLE, — Salomon Franck with whole soul, with all strength STRADDLING THE TWO SEEMINGLY and with whole mind. The piano begins with a chorale in C sharp minor, IRRECONCILABLE CAMPS a tonality Bach often used to depict tragedy. A slow- — Johann Oswald Knauer moving string accompaniment enters as the piano OF INTELLECTUALISM AND chords gracefully double-back and retrace. A new A fragile piano line begins the movement, sustained ACCESSIBILITY.’ idea emerges gently undulating over a descending and precarious, quoting Kats-Chernin’s piano piece baseline, echoing a passacaglia. Eggshell. High strings shadow the upper line and SYDNEY MORNING HERALD unembellished harmonies underpin the to and fro in the solo part. Woodwinds enter near the coda. © Lars Skaaning – 6 – – 7 – LONDON PHILHARMONIC ORCHESTRA • 10 DECEMBER 2020 LONDON PHILHARMONIC ORCHESTRA • 10 DECEMBER 2020

COMPOSER PROFILE PROGRAMME NOTES

ELENA GEORGE KATS-CHERNIN ENESCU 1881–1955

Elena Kats-Chernin was born in 1957 in Tashkent, the Sydney Alpha Ensemble with support from the DECET FOR WINDS, OP. 14 1906 Uzbekistan, and grew up in the Russian regional Australia Council for the Arts, was honoured with capital of Yaroslavl. From childhood she devoted the Classical Music Award of the Australian Music – APPROX 23 MINS – herself to piano playing, and later took composition Centre, and by the APRA performing rights society as lessons at the Sobinov Conservatory in Yaroslavl. the best composition by an Australian composer. Aged 14, she passed the entrance examination at Moscow’s Gnessin Academy of Music. During her In the 1990s Kats-Chernin composed her first training there, her family decided to follow Kats- opera, Iphis, and, as a commission from ZDF/ARTE, 1 DOUCEMENT MOUVEMENTÉ Chernin’s aunt and uncle who had emigrated to the silent-film soundtracks to Victor Sjöström’s Australia, and so in 1975, at the age of 17, Elena Körkarlen (‘The Phantom Carriage’; 1921), Robert 2 MODÉRÉMENT – VIVEMENT settled in Sydney, where she continued her studies Siodmak’s Menschen am Sonntag (‘People on at the Conservatory of Music with Richard Toop Sunday’; 1930), and G W Pabst’s Abwege (‘The 3 ALLÉGREMENT, MAIS PAS TROP VIF (composition) and Gordon Watson (piano), among Devious Path’; 1928). For the opening ceremony others. She received her diploma in 1979. of the Sydney 2000 Olympics, in collaboration with choreographer Meryl Tankard she composed Deep ’s Decet, a work for ten instruments, A comparison of D’Indy’s work with Enescu’s Decet By means of a DAAD scholarship, Kats-Chernin Sea Dreaming for children’s choir and orchestra. Wild dates from 1906 when he was 25 years of age. reveals that Enescu scores his work more intricately moved to Germany, where she studied with Helmut Swans, after Hans Christian Andersen’s fairytale, It might be assumed, given the composer’s relative with a greater emphasis on polyphonic writing. Whilst Lachenmann in Hanover from 1980–82 and lived premiered in 2003 by the Australian Ballet, also youth, that the work is juvenilia, but this would be a Gallic sense of grace is readily apparent, at heart, for nearly 14 years, during which she wrote many emerged from the collaboration with Meryl Tankard; a mistake. In the preceding five years he had Enescu’s Romanian roots are evident upon close works for theatre and ballet. Her collaborations in 2019 it was accepted into the national ‘Sounds completed his first mature symphony, the first listening. An inescapable quality of the Decet is the with director Andrea Berth and choreographer of Australia’ archive. The ‘Eliza Aria’ from this ballet Orchestral Suite, the two Romanian Rhapsodies, variety of timbres achieved with ingenuity from the Reinhild Hoffmann led to productions at Vienna’s score was used for many years by Lloyds TSB for the second Violin Sonata and the for strings, comparatively narrow instrumental range. Such Burgtheater, the Schauspielhaus Bochum, and the its UK advertising campaign ‘For the Journey’, and alongside many minor works. There is a temptation sensitivity towards expressive quality and colour of municipal theatres in Hamburg and Berlin. A close contributed to Kats-Chernin’s international fame. for some commentators to pair Enescu’s Octet and the instruments, is due in no small part to Enescu’s collaboration developed with Ensemble Modern, For the inauguration of Barrie Kosky’s directorship in Decet together, given that the Octet calls for a double understanding regarding the technicalities of playing for whom Kats-Chernin composed the piece Clocks 2012, Kats-Chernin arranged all three of Monteverdi’s and the Decet calls for the forces of each one and his acute ear for sonorities. (1993) and the Concertino with solo violin (1994). surviving operas for the Komische Oper Berlin. She two classical wind quintets – with one notable In 1993 she composed her first large-scale orchestral was Composer-in-Residence of the Queensland exception. Enescu employs pairs of flutes, clarinets, The first movement is gently animated and in a free work, Retonica, a commission from the Australian Symphony Orchestra (2011) and of the Melbourne bassoons and horns, but the single oboe has a cor , indicating that Enescu took the sonata Music Centre. Around this time she underwent Symphony Orchestra (2017). anglais for company. form and altered it to his own requirements. The a fundamental turn away from modernistic musical movement is constructed from no less than four language to a more accessible tonal style, as, for During the 2019/20 season, Kats-Chernin presented The literature for the wind ensemble might be major themes and emphasis is placed upon their example, in Zoom and Zip (1998). Her music since three new musical theatre pieces for young relatively small, yet it includes notable works such development. The first theme is a gentle melody then can be described as a personal amalgam of audiences: Jim Knopf und Lukas der Lokomotivführer as Mozart’s several Divertimenti and Serenades carrying some obvious folksong connotations, heard different influences including minimal music, dance- (Jim Button and Luke the Engine Driver; Berlin), for winds, and Beethoven’s Octet for winds. Such initially on the flute. It is succeeded by a rather more like music and classical models – for example from Die Geschichte von Valemon, dem Eisbärkönig works were often commissioned by aristocratic vigorous and sweeping theme played by the Russian music or the Baroque – as well as Jewish (The Polar Bear King; Luxemburg), and Der Wind in patrons as ‘Harmoniemusik’ for a chamber ensemble bassoons and first horn. Contrast is achieved through and other folk music traditions. den Weiden (The Wind in the Willows; Kassel). Elena of wind instruments for performances in domestic the cantilena of the theme, allotted to the cor anglais Kats-Chernin was named Officer of the Order of salons. Later examples include Strauss’s Serenade which is noble and full of expression. The final In 1994 Kats-Chernin returned with her three sons Australia in 2019. (1881) and D’Indy’s Chansons et Danses for wind thematic element is offered by the first horn, which to Australia and settled in a suburb of Sydney, where septet (1898). Today, such works are relatively suggests a momentary return to folk-inspired she still lives. The piece , Deviations Profile © Jens Luckwaldt (translation: Howard Weiner). infrequently performed, but they often remain the material. Following this, Enescu develops all four and Scarlatti, composed as a commission from Reprinted by kind permission of Boosey & Hawkes. preserve of specialist ensembles. themes at length with great complexity, presenting

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them not only in their original forms, but transforming This feature alone resembles the main theme of and fragmenting them in succession or in ’s First Chamber Symphony, GEORGE combination, whilst delighting in the polyphonic and composed in the same year but not performed until harmonic possibilities that this allows for. In reaching 8 February 1907. ENESCU the movement’s conclusion, the recapitulation of all 1881–1955 the themes which would be anticipated within a The Decet was assigned the opus number 14, standard sonata form is absent. Only the cor anglais indicating that Enescu thought highly of the work. theme recurs, which precedes a short coda based on Dedicated to Princess Elena Bibescu, Enescu’s 1954 the start of the initial flute melody. patroness in Paris, the premiere was given in 1906 CHAMBER SYMPHONY, OP. 33 by the Société modern d’instruments à vent. This – APPROX 20 MINS – The second movement is a slow minuet written in ensemble, formed to perform new music for wind song form. The oboe and cor anglais offer material of instruments, was founded by Paul Taffanel. A flautist a melancholic, nostalgic or even foreboding and professor at the Paris Conservatoire, Taffanel character against a discrete backdrop played by the was also the dedicatee of Enescu’s Cantabile et flute, before being ornamented at length. A short Presto for flute and piano, written in 1904 as a 1 MOLTO MODERATO, UN POCO MAESTOSO improvisatory episode for the first flute and bassoon Conservatoire competition work for graduating present the nostalgic material once more, but it is students to demonstrate their technical and musical 2 ALLEGRETTO MOLTO MODERATO – extended and enhanced as Enescu explores its prowess. After meeting Enescu in , Richard polyphonic possibilities. Almost without transition, Strauss was pivotal in securing a performance at the 3 ADAGIO – the flute interjects with an invigorating dance-like 1922 Salzburg Festival. Despite some early success theme to provide a much-needed contrast of mood. with these performances and recordings directed by 4 ALLEGRO MOLTO MODERATO This is then elaborately combined with the the composer and his compatriot conductor- movement’s initial thematic material. The entire composer Constantin Silvestri, the Decet has been ensemble contributes to a crescendo, and after recorded several times but performed comparatively receding the melodic line meanders slightly before rarely since. The eminent Romanian composer and The origins of George Enescu’s Chamber Symphony Symphony is written as an extended super-sonata, being assumed by the oboe, alongside which Enescu Enescu authority , has suggested a are to be found in one of his many unfinished works: similar to the Octet for strings completed in 1900. continually reworks his accompanying material by reason for this: he claims that the closing movement a Septet for winds and piano that dates from around utilising thematic gestures from the movement’s has ‘a certain impersonal character’ of the themes 1900–05. That project was abandoned, possibly in The opening movement is written in sonata form with middle section, before concluding briefly on the which fail to sustain the expectations of the listener favour of the Decet for wind instruments. The three thematic ideas. As such, it forms the exposition bassoon. set up by the first two movements. A contributing doomed Septet bequeathed the Chamber Symphony aspect of the super-sonata. What is striking, though, factor, Bentoiu conjectures, could well have been the the first part of its first movement’s opening theme. is the fact that each theme is not stated and The finale is youthful in feeling and cast in a rondo- sheer speed at which the work was written. Thus, For around half a century, the music had laid in developed in sequence, but that each is of equal sonata form, whilst also giving a significant nod to despite being a work with several interesting Enescu’s prodigious musical memory, awaiting the importance. As the movement progresses, a kind of the entertaining and light-hearted divertimento. features, perhaps Enescu does not quite reach the moment for its re-emergence, and was used with unity is arrived at, not least as a result of various The serene main theme is first presented, before heights of conception and unity in the Decet that he scarcely any alteration. If anything surprises the inferences being generated from the primary returning partially or in full throughout the movement was to attain in other works. If one looks for Enescu’s listener about the work’s conception it was (through materials, and still further transformed into ghostly to lend a sense of overall unity to the composition. premier chamber works, there are none finer than the Enescu’s own admission to his long-time friend and echoes. Two subsequent elements, more uplifting and Octet for Strings, Op. 7 and the Chamber Symphony, pianist Céliny Chailley-Richez), that the Chamber exuberant in character also appear. They are Op. 33. Symphony was originally intended for string forces. The second movement is the Chamber Symphony’s integrated naturally into the movement to vary The final work is scored for twelve solo instruments: . Written as a theme and set of variations, the the tonal palette and remind us ultimately of the five winds (flute, oboe, cor anglais, clarinet and initial theme has a stronger profile than any of those symphonic nature of Enescu’s composition, albeit bassoon), two brass (horn and trumpet), four strings used in the preceding movement. The variations played by an ensemble of soloists, given the reduced (violin, viola, cello and double bass) and piano. cumulatively build the movement’s intensity, whilst instrumental scale. Enescu would refine his musical also acting as the development section within thinking around large-scale forms executed on a Four movements constitute the Chamber Symphony; Enescu’s super-sonata conception. reduced scale with the Chamber Symphony, written a short pause separates the first from the last three, some 48 years later. The final movement’s coda which are played without a break. As was often The third movement continues to unite on a broad- significantly features a series of 19 ascending notes, Enescu’s practice, he utilised established forms such spanned canvas many of the melodic ideas first played in several waves of unison or in octave as the sonata and scherzo, but deployed them in his stated in the preceding movement. Therefore, as the intervals by various instrumental combinations. own manner. When viewed in its entirety, the recapitulation within Enescu’s super-sonata, the

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movement assumes its role with ease. If the original Bucharest, conducted by Constantin Silvestri to marking of ‘Adagio funebre’ was not maintained, commemorate the first anniversary of Enescu’s GEORGE mention must be made of the prominent trumpet part death. Upon immediately realising that it received an which bears parallels to the haunting melody of the indifferent public response, Silvestri turned to the ENESCU Sphinx’s aria in his opera Oedipe. audience and announced: ‘This work is Enescu’s masterpiece; it is more difficult to grasp than others, Though examples are found throughout the Chamber because of its very advanced language. Therefore, Symphony, the last two movements especially we shall perform it once more in its entirety.’ His output of works assigned an opus was small, showcase Enescu’s dextrous use of heterophony, The second audition was far more positively yet a much larger body of compositions remain which was in later years his favoured technique for received. Silvestri obviously felt an affinity with the unpublished or in sketch form, performable only the development of thematic ideas. Often found work, as he performed it again two years later within from manuscript. By his own admission, Enescu’s within Eastern European music and other non- the first edition of the Enescu Festival and made a first mature works were the Second Sonata for piano Western traditions, heterophony can be defined as critically acclaimed recording of it with the same and violin and the Octet for strings: Enescu had not the simultaneous playing of at least two variations Romanian musicians. Today, its musical language reached his 19th birthday when he completed the from the same musical material. Enescu deploys it by might be more approachable to audiences, as a Octet in 1900. using multiple fragmentary variations to achieve a greater range of styles and approaches to constantly shifting combination of timbres. Perhaps composition have since been heard. Many of Enescu’s works bear the influence of this points to why Enescu asserted during an Romanian folk music, though it is wholly inappropriate interview with the French musicologist Bernard Since then, the Chamber Symphony has been to colour him as just a folkloric composer. These Gavoty: performed internationally and recorded on several include two Romanian Rhapsodies, the mighty opera occasions, often as a partner to other works by Oedipe, the third violin sonata, the third orchestral ‘I am not a person for pretty successions of Enescu or alternatively, chamber symphonies by © MNGE suite and the suite Impressions d’Enfance for violin chords… a piece deserves to be called a musical Schoenberg or Shostakovich. A summation of the and piano. Enescu wrote five mature symphonies (two George Enescu is widely regarded as ’s composition only if has a line, a melody, or even work’s lasting value is offered by the composer of them unfinished), a symphonic poem , greatest musician: a magnificent concert violinist, better, melodies superimposed on one another.’ Pascal Bentoiu who stated that the Chamber and many chamber music works. Aside from works an insightful pianist, a conductor of depth and Symphony is ‘a kind of Enescu opus condensé […] already mentioned, there are two sonatas for cello subtlety, not to mention being a fascinating The closing movement bears the tempo indication Rarely has a score represented more thoroughly and piano, two sonatas for piano, three piano suites, teacher, an esteemed musicologist and a tireless Allegro molto moderato. At first it appears dynamic a man and the singularity of his being.’ a piano trio, two string quartets, a , organiser of Romanian musical life. Just some of the in conception as a result of further working upon the Decet for wind instruments and the Chamber spectacular tasks he took on included the forming of the development of the Decet’s major themes. The temptation amongst commentators is often to Symphony for 12 solo instruments. A complete recapitulation of the thematic material describe the last completed work of any composer as a Philharmonic Orchestra, founding the Romanian National Opera in Bucharest and establishing the from the opening movement is eventually presented. their ‘musical testament’, particularly if the work is in Throughout his life Enescu combined composition Romanian Union of Composers. The score’s opening pages are dated May 1954, two a genre the composer had an affinity or prolonged with multiple performing careers. As a violinist he was months before the final stroke that caused Enescu to interest in. When one considers George Enescu’s renowned for his performances of Bach’s concertos Born on 19 August 1881, Enescu was a child prodigy; cease compositional activity. After that severe stroke Chamber Symphony, it might be questioned whether and solo music, and Chausson’s Poème and Lalo’s he wrote his first compositions at the age of five. in July, Enescu was left bedridden and semi- the appellation is too easily arrived at for a musical Symphonie Espagnole largely owe their place in the Shortly thereafter, his father presented him to the paralysed. The final touches to the dynamic nuances mind of Enescu’s complexity. It could be suggested modern repertoire to his early advocacy. As a pianist violinist and composer Eduard Caudella, who advised were dictated to fellow composer Marcel Mihalovici, that if such a testament exists, it is formed not just by and conductor he often played his own music or that that the boy should study in Vienna. At the age of who questioned why the opening movement carried the Chamber Symphony, but also by the Piano of other Romanian composers such as Constantin seven he entered the Conservatoire there, and he four sharps (for the key of E major), when Enescu Quartet, Piano Quintet and the second String Silvestri, Dinu Lipatti, Mihail Jora, Ionel Perlea and graduated before his 13th birthday with the silver leaves the key signature almost immediately, and only Quartet. Each of those works draws upon earlier Marţian Negrea. Many of them were winners of the medal, the Conservatoire’s highest honour. returns to it at the movement’s end. Enescu replied: compositional concerns and takes them to a logical Enescu Prize, which he established in 1921. Outside ‘I respect a tradition.’ Later though, Enescu admitted conclusion. Romania, Enescu conducted orchestras such as Enescu continued his studies at the Paris to the composer Florent Schmitt: ‘Actually, Mihalovici the Lamoureaux, the Orchestre Symphonique de Conservatoire, where his main composition teachers is right.’ Enescu programme notes and profile © Evan Dickerson Paris, the Philadelphia Orchestra and the New York were Jules Massenet and Gabriel Fauré. From this Philharmonic. The score is dedicated to the Association of period come a host of early songs, works for the violin and piano, several overtures, four ‘school’ Chamber Music Concerts of Paris and its permanent He lived in and in Romania. After the Second symphonies that evidence the dual influences of conductor Fernand Oubradous. The first World War and the Soviet occupation of Romania, Brahms and Wagner, and his Op. 1, the orchestral performance took place in a 1956 concert in Enescu remained in Paris, where he died in 1955. 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TONIGHT'S ARTISTS TONIGHT'S ARTISTS

VLADIMIR ALEXANDRA JUROWSKI SILOCEA PRINCIPAL CONDUCTOR & ARTISTIC ADVISOR PIANO

(2005–09), and Music Director of Glyndebourne Orchestra of of Bolzano and Trento, Gävle Symphony Festival Opera (2001–13). Orchestra, Kymi Sinfonietta and Meininger Hofkapelle, with conductors including Vladimir Jurowski, Leo Vladimir enjoys close relationships with the world’s McFall, Philippe Bach, Pablo González, Gérard Korsten, most distinguished artistic institutions, collaborating Christian Badea, Hansjörg Schellenberger and many with many of the world’s leading orchestras including others. the Chamber Orchestra of Europe, the Royal Concertgebouw Orchestra, the Staatskapelle Alexandra has performed in venues such as the Dresden, the Gewandhausorchester Leipzig, the Vienna Musikverein and Konzerthaus (both in recital Cleveland and Philadelphia orchestras, the New York and concerto), the Romanian Atheneum in Bucharest, Philharmonic and the Chicago and Boston symphony New York’s Carnegie Hall, Bridgewater Hall in orchestras, and has also conducted the Berlin and Manchester, and London’s Wigmore Hall, where she Vienna Philharmonic orchestras. performed as a four-hands duo with her mentor, Elisabeth Leonskaja, at the 70th birthday concert of the © Chris Christodoulou Chris © A committed operatic conductor, Vladimir’s recent © Alex Damian acclaimed pianist. She has also been invited to festivals highlights include Strauss’s Die Frau ohne Schatten at including Ravinia, Dvořák, Brighton and Ryedale, her One of today’s most sought-after conductors, Attracting considerable attention across Europe and the Metropolitan Opera, New York; Wozzeck at the concerts being broadcast live by BBC Radio 3, Radio acclaimed worldwide for his incisive musicianship the US with her illuminating interpretations of wide- Salzburg Festival; Moses und Aron at the Komische France and ORF (Vienna), and streamed live online. and adventurous artistic commitment, Vladimir ranging repertoire, the Romanian-born French pianist Oper Berlin; his acclaimed debut at the Bayerische Jurowski was appointed Principal Conductor of the Alexandra Silocea possesses a highly refined Staatsoper with Prokofiev’sThe Fiery Angel; and his Born in Romania, Alexandra Silocea began her musical London Philharmonic Orchestra in 2007, following musicianship. first return to Glyndebourne as a guest conductor, in education in Bucharest, before being accepted into the four seasons as Principal Guest Conductor. In the world premiere production of Brett Dean’s Hamlet Vienna Music Academy at the age of 16 under the September 2021, when his tenure concludes, he will Highlights of this season include debuts at the Enescu with the London Philharmonic Orchestra. guidance of internationally renowned teachers Oleg become the Orchestra’s Conductor Emeritus in Festival in Bucharest with the Russian State Academic Maisenberg and Johannes Marian. She then continued recognition of his transformative time with the LPO – Symphony Orchestra under Vladimir Jurowski; debut The London Philharmonic Orchestra has released her studies at the Conservatoire National Supérieur de over the last 13 years his creative energy and artistic concerts with the Bamberg Symphony Orchestra a wide selection of Vladimir Jurowski’s live recordings Musique et de Danse in Paris with Theodor rigour have been central to the Orchestra’s success. under Jakub Hrůša in Schweinfurt (Germany), and with with the Orchestra on its own label, including the Paraschivesco and Laurent Cabasso. She receives the Oulu Symphony Orchestra (Finland) under Leo complete symphonies of Brahms and Tchaikovsky; constant and significant artistic guidance from Vladimir Jurowski will take up the position of General McFall; return invitations to the Meininger Hofkapelle Mahler’s Symphonies Nos. 1, 2 & 4; and works by Elisabeth Leonskaja and Maria Jõao Pires. Music Director of the Bayerische Staatsoper, Munich with conductor Philippe Bach and to several Romanian Shostakovich, Stravinsky, Beethoven, Rachmaninoff, from the 2021/22 season. He is currently Chief orchestras (Bacau, Sibiu and Bucharest), as well as solo Strauss, Mozart, Vaughan Williams, Julian Anderson Three recordings have been released so far on Avie Conductor and Artistic Director of the Berlin Radio recitals in Austria, Germany and Ireland and recitals and, most recently, Vladimir Martynov’s Utopia. Records: Prokofiev’s Piano Sonatas Nos. 1–5,Sound Symphony Orchestra. In addition, he holds the titles of with singers Matthew Rose and Gabriela Iştoc. In 2017 the Orchestra released a 7-CD box set of Waves, and a chamber music album featuring cello Principal Artist of the Orchestra of the Age of Jurowski’s LPO recordings in celebration of his 10th sonatas by Prokofiev, Shostakovich and Enescu. Enlightenment, Artistic Director of the Russian State Described as a ‘special talent’ (International Piano anniversary as Principal Conductor: see full details Alexandra Silocea is a Bösendorfer artist. Academic Symphony Orchestra, and Artistic Director Magazine), with ‘musical grace and fluency’ at lpo.org.uk/recordings of the George Enescu International Festival, (Gramophone), Alexandra made her LPO debut with The London Philharmonic Orchestra is very grateful to Bucharest. He has previously held the positions of Vladimir Jurowski at Eastbourne’s Congress Theatre Alexandra Silocea, who stepped in at very short notice First Kapellmeister of the Komische Oper Berlin in 2012, performing Mozart’s Piano Concerto No. 17. Vladimir Jurowski returns to the LPO later this month for tonight’s concert after the originally advertised (1997–2001), Principal Guest Conductor of the She has also performed with the Russian State for two more streamed concerts on 16 December and soloist, Tamara-Anna Cislowska, was unable to travel Teatro Comunale di Bologna (2000–03), Principal Academic Symphony Orchestra, Montreal Chamber 30 December: see page 19 for details. owing to the restrictions between Australia and the UK. Guest Conductor of the Russian National Orchestra Orchestra, Vienna Chamber Orchestra, Haydn

– 14 – – 15 – LONDON PHILHARMONIC ORCHESTRA • 10 DECEMBER 2020 LONDON PHILHARMONIC ORCHESTRA • 10 DECEMBER 2020

PIETER LONDON PHILHARMONIC SCHOEMAN LEADER ORCHESTRA CHAIR SUPPORTED BY NEIL WESTREICH

PRINCIPAL CONDUCTOR AND ARTISTIC ADVISOR VLADIMIR JUROWSKI PRINCIPAL CONDUCTOR DESIGNATE EDWARD GARDNER SUPPORTED BY MRS CHRISTINA LANG ASSAEL In summer 2012 the London Philharmonic Orchestra Pieter Schoeman was appointed Leader of the London

PRINCIPAL GUEST CONDUCTOR KARINA CANELLAKIS • LEADER PIETER SCHOEMAN SUPPORTED BY NEIL WESTREICH performed as part of The Queen’s Diamond Jubilee Philharmonic Orchestra in 2008, having previously ARTISTIC DIRECTOR CHIEF EXECUTIVE PATRON HRH KG CRISTINA ROCCA • DAVID BURKE • THE DUKE OF KENT Pageant on the River Thames, and was also chosen to been Co-Leader since 2002. record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Born in South Africa, Pieter made his solo debut aged Music Award for Ensemble. 10 with the Cape Town Symphony Orchestra. Five years later, while studying with Jack de Wet, he won the The London Philharmonic Orchestra is committed to World Youth Concerto Competition in Michigan. Aged inspiring the next generation of musicians. It recently 17, he moved to the US to further his studies in Los celebrated the 30th anniversary of its Education and Angeles and Dallas. In 1991 his talent was spotted by Community department, whose work over three Pinchas Zukerman who, after several consultations, decades has introduced so many people of all ages to recommended that he move to New York to study with orchestral music and created opportunities for people Sylvia Rosenberg. of all backgrounds to fulfil their creative potential. Its dynamic and wide-ranging programme provides first Pieter has performed worldwide as a soloist and musical experiences for children and families; offers recitalist in such famous halls as the Concertgebouw in creative projects and professional development Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall opportunities for schools and teachers; inspires in St Petersburg, Staatsbibliothek in Berlin, Hollywood talented teenage instrumentalists to progress their Bowl in Los Angeles and London’s Royal Festival Hall. skills; and develops the next generation of professional As a chamber musician he regularly appears at musicians. London’s prestigious Wigmore Hall. His chamber © Benjamin Ealovega Benjamin © music partners have included Anne-Sophie Mutter, The Orchestra’s work at the forefront of digital Veronika Eberle, Patricia Kopatchinskaja, Boris One of the finest orchestras on the international stage, has flourishing residencies in Brighton, Eastbourne and technology has enabled it to reach millions of people Garlitsky, Jean-Guihen Queyras, Yannick Nézet-Séguin the London Philharmonic Orchestra balances a long at Saffron Hall in Essex, and performs regularly around worldwide: all its recordings are available to download and Martin Helmchen. and distinguished history with its reputation as one of the UK. Each summer the Orchestra takes up its annual and stream and, as well as a YouTube channel and the UK’s most forward-looking ensembles. As well as residency at Glyndebourne Festival Opera in the podcast series, the Orchestra has a lively presence on Pieter has performed numerous times as a soloist with its performances in the concert hall, the Orchestra also Sussex countryside, where it has been Resident social media. Over the lockdown period the LPO has the London Philharmonic Orchestra. Highlights have records film and video game soundtracks, releases Symphony Orchestra for over 50 years. The Orchestra sustained its relationship with UK and international included an appearance as both conductor and soloist CDs and downloads on its own label, and reaches also tours internationally, performing to sell-out audiences through ‘LPOnline’, reaching many in Vivaldi’s Four Seasons at the Royal Festival Hall, the thousands of people every year through activities for audiences worldwide. In 1956 it became the first British thousands of people. From initial individual player Brahms Double Concerto with Kristina Blaumane, and families, schools and local communities. orchestra to appear in Soviet Russia and in 1973 made performances recorded at home, to online the Britten Double Concerto with Alexander Zemtsov, the first ever visit to China by a Western orchestra. engagement intitiatives such as its wellbeing strand which was recorded and released on the LPO Label to The Orchestra was founded by Sir Thomas Beecham Touring remains a large part of the Orchestra’s life: Lean In and Listen, the Orchestra progressed over time great critical acclaim. in 1932. It has since been headed by many of the highlights of recent seasons included a major tour of to larger-scale split-screen performances, before finally world’s greatest conductors including Sir Adrian Boult, Asia including South Korea, Taiwan and China, as well being able to play together in small chamber groups for Pieter has appeared as Guest Leader with the Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and as performances in Belgium, France, Germany, The the free LPO Summer Sessions from Henry Wood Hall, Barcelona, Bordeaux, Lyon, Baltimore and BBC Kurt Masur. Vladimir Jurowski is the Orchestra’s current Netherlands, Spain, Greece, Switzerland and the USA. as well as small-scale outdoor performances at Symphony orchestras, and the Rotterdam and BBC Principal Conductor and Artistic Advisor, and in 2017 Glyndebourne. This autumn the Orchestra returns at Philharmonic orchestras. In April 2016 he was Guest we celebrated the tenth anniversary of this The London Philharmonic Orchestra has recorded the last to its Royal Festival Hall home to perform 13 full- Concertmaster with the Leipzig Gewandhaus extraordinary partnership. In July 2019 Edward Gardner soundtracks to numerous blockbuster films, from length concerts filmed live and streamed for audiences Orchestra for Kurt Masur’s memorial concert. was announced as the Orchestra’s Principal Conductor The Lord of the Rings trilogy to Lawrence of Arabia, to enjoy at home via Marquee TV. Designate, and will take up the position when East is East, The Hobbit: An Unexpected Journey and Pieter is a Professor of Violin at Trinity Laban Jurowski’s tenure concludes in September 2021. Thor: The Dark World. It also broadcasts regularly on Conservatoire of Music & Dance in London. He has television and radio, and in 2005 established its own lpo.org.uk given public masterclasses in Los Angeles, New York, The Orchestra is resident at Southbank Centre’s Royal record label. There are now over 100 releases available Wrocław, Shanghai, Taipei and London. Pieter proudly Festival Hall in London, where it gives around 40 on CD and to download. plays strings by Thomastik-Infeld. concerts each season. Outside London, the Orchestra – 16 – – 17 – LONDON PHILHARMONIC ORCHESTRA • 10 DECEMBER 2020

ON STAGE TONIGHT

FIRST VIOLINS DOUBLE BASSES TRUMPETS Pieter Schoeman* LEADER Kevin Rundell* PRINCIPAL Paul Beniston* PRINCIPAL Chair supported by Neil Westreich Sebastian Pennar CO-PRINCIPAL James Fountain* PRINCIPAL Vesselin Gellev SUB-LEADER Hugh Kluger Anne McAneney* Kate Oswin George Peniston Lasma Taimina Tom Walley TROMBONES Chair supported by Irina Gofman & Mr Rodrik V. G. Cave Mark Templeton* PRINCIPAL Minn Majoe FLUTES Chair supported by William & Alex de Winton Martin Höhmann Juliette Bausor PRINCIPAL David Whitehouse Katalin Varnagy Stewart McIlwham* Chair supported by Sonja Drexler BASS TROMBONE Thomas Eisner PICCOLO Lyndon Meredith PRINCIPAL Yang Zhang Stewart McIlwham* PRINCIPAL Chair supported by Eric Tomsett TUBA Catherine Craig OBOES Lee Tsarmaklis* PRINCIPAL Tina Gruenberg Ian Hardwick* PRINCIPAL Alice Munday TIMPANI SECOND VIOLINS Simon Carrington* PRINCIPAL Tania Mazzetti PRINCIPAL COR ANGLAIS Chair supported by Victoria Robey OBE Chair supported by Countess Dominique Loredan Sue Böhling* PRINCIPAL Emma Oldfield Chair supported by Dr Barry Grimaldi PERCUSSION Helena Smart Andrew Barclay* PRINCIPAL Kate Birchall CLARINETS Chair supported by Andrew Davenport Nancy Elan Benjamin Mellefont PRINCIPAL Henry Baldwin CO-PRINCIPAL Fiona Higham Thomas Watmough Keith Millar Chair supported by David & Yi Buckley Chair supported by Roger Greenwood Nynke Hijlkema Paul Richards* Marie-Anne Mairesse HARP Rachel Masters PRINCIPAL Ashley Stevens BASS CLARINET Paul Richards* PRINCIPAL PIANO/HARPSICHORD VIOLAS Catherine Edwards David Quiggle PRINCIPAL BASSOONS Richard Waters CO-PRINCIPAL Jonathan Davies PRINCIPAL * Holds a professorial appointment Ting-Ru Lai Chair supported by Sir Simon Robey Katharine Leek Gareth Newman in London Laura Vallejo Benedetto Pollani HORNS Naomi Holt John Ryan* PRINCIPAL The London Philharmonic Alistair Scahill Martin Hobbs Orchestra also acknowledges Mark Vines CO-PRINCIPAL the following chair supporters CELLOS Gareth Mollison whose players are not present Kristina Blaumane PRINCIPAL at this concert: Chair supported by Bianca & Stuart Roden Friends of the Orchestra Pei-Jee Ng CO-PRINCIPAL Caroline, Jamie & Zander Sharp Francis Bucknall Laura Donoghue David Lale Sue Sutherley

– 18 – LONDON PHILHARMONIC ORCHESTRA • 10 DECEMBER 2020

MORE ONLINE CONCERTS THIS AUTUMN

February– December 2020

lpo.org.uk/2020vision

WEDNESDAY 16 DECEMBER 2020 WEDNESDAY 30 DECEMBER 2020 2019: ALL THE WORLD’S A STAGE 2020: INTERRUPTED STORIES

J S Bach Brandenburg Concerto No. 5 Vivaldi Overture, La verità in cimento Brett Dean The Players (UK premiere) Spohr Symphony No. 2 Stravinsky Pulcinella (complete) Honegger Pastorale d’été Bliss Rout Vladimir Jurowski conductor James MacMillan Sinfonietta Pieter Schoeman violin (Chair supported by Neil Westreich) Vladimir Jurowski conductor Juliette Bausor flute Mary Bevan soprano Catherine Edwards harpsichord Bartosz Glowacki accordion* Angharad Lyddon soprano Sam Furness tenor Matthew Rose bass*

Generously supported by Cockayne – Grants for the Arts and The London Community Foundation.

*Please note changes of soloists from originally advertised.

Mary Bevan © Victoria Cadisch

Vladimir Jurowski © Richard Cannon – 19 – PLAY ON APPEAL HELP US CONTINUE TO SHARE THE WONDER OF MUSIC WITH EVERYONE

Whether you are a seasoned concert-goer or new to orchestral music, we are delighted to present our autumn season of concerts, on Marquee TV, free of charge for everyone for the first seven days of broadcast.

As you enjoy this performance please consider, if you are able, making a donation to support the Orchestra.

The LPO has always been an orchestra of the people, for the people, and is driven by an inclusive spirit. Despite facing an uncertain future because of the ongoing devastating impact of the COVID-19 pandemic, we are committed to sharing as much music as possible: to delivering world-class performances to global audiences; to inspiring school students of all ages at our BrightSparks concerts and recordings; to nurturing a fully-inclusive next generation of talented instrumentalists and composers; and to enriching the lives of disadvantaged people and people with disabilities of all ages through the power of music.

We may be back on stage, but with the doors to our concerts sadly closed and with no box office income, it is only with your help that we can continue to provide these concerts and our vital Education and Community Programme. With the help of our generous supporters we have made great progress back to the concert platform and are another step closer to returning as the Orchestra you know and love. With your help we will still be here when the time comes to throw our open our doors and welcome you back into the hall to be inspired, moved, challenged and uplifted by the music of the London Philharmonic Orchestra.

Thank you to everyone who has supported our Play On Appeal so far. It is with your kind support that we have been able to build back the Orchestra to return to the concert platform for our autumn season.

HELP US PLAY ON To make a donation visit lpo.org.uk/donate or call Rosie Morden, Individual Giving Manager, on 020 7840 4212 LONDON PHILHARMONIC ORCHESTRA • 10 DECEMBER 2020

SOUND FUTURES DONORS

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

Masur Circle Haitink Patrons Pritchard Donors Arts Council England Mark & Elizabeth Adams Ralph & Elizabeth Aldwinckle Dunard Fund Dr Christopher Aldren Mrs Arlene Beare Victoria Robey OBE Mrs Pauline Baumgartner Mr Patrick & Mrs Joan Benner Emmanuel & Barrie Roman Lady Jane Berrill Mr Conrad Blakey The Underwood Trust Mr Frederick Brittenden Dr Anthony Buckland David & Yi Yao Buckley Paul Collins Welser-Möst Circle Mr Clive Butler Alastair Crawford William & Alex de Winton Gill & Garf Collins Mr Derek B. Gray John Ireland Charitable Trust Mr John H Cook Mr Roger Greenwood The Tsukanov Family Foundation Mr Alistair Corbett The HA.SH Foundation Neil Westreich Bruno De Kegel Darren & Jennifer Holmes Tennstedt Circle Georgy Djaparidze Honeymead Arts Trust Valentina & Dmitry Aksenov David Ellen Mr Geoffrey Kirkham Richard Buxton Christopher Fraser OBE Drs Frank & Gek Lim The Candide Trust David & Victoria Graham Fuller Peter Mace Michael & Elena Kroupeev Goldman Sachs International Mr & Mrs David Malpas Kirby Laing Foundation Mr Gavin Graham Dr David McGibney Mr & Mrs Makharinsky Moya Greene Michael & Patricia McLaren-Turner Alexey & Anastasia Reznikovich Mrs Dorothy Hambleton Mr & Mrs Andrew Neill Sir Simon Robey Tony & Susie Hayes Mr Christopher Querée Bianca & Stuart Roden Malcolm Herring The Rosalyn & Nicholas Springer Charitable Simon & Vero Turner Catherine Høgel & Ben Mardle Trust The late Mr K Twyman Mrs Philip Kan Timothy Walker CBE AM Rehmet Kassim-Lakha de Morixe Christopher Williams Solti Patrons Rose & Dudley Leigh Peter Wilson Smith Ageas Lady Roslyn Marion Lyons Mr Anthony Yolland John & Manon Antoniazzi Miss Jeanette Martin Gabor Beyer, through BTO Management Duncan Matthews QC and all other donors who wish to remain Consulting AG Diana & Allan Morgenthau anonymous Jon Claydon Charitable Trust Mrs Mina Goodman & Miss Suzanne Dr Karen Morton Goodman Mr Roger Phillimore Roddy & April Gow Ruth Rattenbury The Jeniffer & Jonathan Harris Charitable The Reed Foundation Trust The Rind Foundation Mr James R.D. Korner Sir Bernard Rix Christoph Ladanyi & Dr Sophia Ladanyi- David Ross & Line Forestier (Canada) Czernin Carolina & Martin Schwab Robert Markwick & Kasia Robinski Dr Brian Smith The Maurice Marks Charitable Trust Lady Valerie Solti Mr Paris Natar Mr & Mrs G Stein The Rothschild Foundation Dr Peter Stephenson Tom & Phillis Sharpe Miss Anne Stoddart The Viney Family TFS Loans Limited Marina Vaizey Jenny Watson Guy & Utti Whittaker – 21 – LONDON PHILHARMONIC ORCHESTRA • 10 DECEMBER 2020 LONDON PHILHARMONIC ORCHESTRA • 10 DECEMBER 2020

THANK YOU THANK YOU – CONTINUED –

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

Artistic Director’s Circle Silver Patrons Mr & Mrs John & Susi Supporters Hon. Benefactor We are grateful to the Board LPO Corporate Circle Lord & Lady Lurgan Trust Anonymous donors Dr Christopher Aldren Underwood Anonymous donors Elliott Bernerd of the American Friends of Leader Adam Mickiewicz Institute Mrs Aline Foriel-Destezet David Burke & Valerie Graham Marina Vaizey Ralph & Elizabeth Aldwinckle the London Philharmonic freuds PRS Foundation Mrs Christina Lang Assael The Rt Hon. The Lord Burns GCB Mr John Weekes Julian & Annette Armstrong Hon. Life Members Orchestra, who assist with Sunshine The Radcliffe Trust Sir Simon & Lady Robey OBE Bruno De Kegel Christopher Williams Lindsay Badenoch Alfonso Aijón fundraising for our activities Rivers Foundation Ulrike & Benno Engelmann Mr John Barnard in the United States of Principal The R K Charitable Trust Orchestra Circle Kenneth Goode Simon & Meg Freakley Principal Supporters Mr John D Barnard America: Berenberg Romanian Cultural Institute The Candide Trust Carol Colburn Grigor CBE Pehr G Gyllenhammar Anonymous donors Damaris, Richard & Friends Simon Freakley Chairman Carter-Ruck RVW Trust William & Alex de Winton Pehr G Gyllenhammar John & Angela Kessler Dr Manon Antoniazzi Mr David Barrett Jill Dyal French Chamber of Commerce Schroder Charity Trust Mr & Mrs Philip Kan Robert Hill The Metherell Family Mr Mark Astaire Diana Barrett Jay Goffman Serge Rachmaninoff Foundation Neil Westreich Mrs Jackie Rosenfeld OBE Tutti Andrew Neill Sir John Baker Mr Andrew Botterill Laurence Watt Alexandra Jupin Ageas The Steel Charitable Trust Principal Associates Mikhail Noskov & Vasilina Mrs A Beare Julian & Margaret Bowden & William A. Kerr Lazard The Thomas Deane Trust Richard Buxton Bindley Mr Anthony Boswood Mr Paul Michel The Thriplow Charitable Trust LPO International Board of Kristina McPhee Russo-British Chamber of In memory of Brenda Lyndoe Laurence Watt Mr Bernard Bradbury Mr Lawrence Alfred Bradley The Viney Family Governors Natalie Pray Commerce Casbon Guy & Utti Whittaker Dr Carlos Carreno Richard & Jo Brass Damien Vanderwilt Garfield Weston Foundation Natasha Tsukanova Chair Walpole In memory of Ann Marguerite Grenville & Krysia Williams Desmond & Ruth Cecil Mr Shaun Brown Antony Phillipson The Barbara Whatmore Steven M. Berzin (USA) Collins Mr Julien Chilcott-Monk Mr Alan C Butler Hon. Chairman Charitable Trust Veronika Borovik-Khilchevskaya Preferred Partners Hamish & Sophie Forsyth Bronze Patrons Mr & Mrs Stewart Cohen Lady Cecilia Cadbury Victoria Robey OBE The William Alwyn Foundation (Cyprus) After Digital The Tsukanov Family Anonymous donors David & Liz Conway Alison Clarke & Leo Pilkington Hon. Director Marie-Laure Favre Gilly de Lidl Michael Allen Mr Alistair Corbett J Clay Richard Gee, Esq Of Counsel and all others who wish to Associates Varennes de Bueil (France) Lindt & Sprüngli Ltd Mr Philip Bathard-Smith Mrs Sam Dawson Mr Joshua Coger Jenifer L. Keiser, CPA, remain anonymous. An anonymous donor Aline Foriel-Destezet (France) London Orthopaedic Clinic Sir Peter Bazalgette Mr Simon Douglas Mr Martin Compton EisnerAmper LLP Steinway Steven M. Berzin Sally Bridgeland Mr Richard Fernyhough Miss Tessa Cowie Irina Gofman (Russia) The LPO would also like to Irina Gofman & Mr Rodrik Countess Dominique Loredan In memory of Julie Bromley Mrs Janet Flynn Mr David Davies Connecticut Gala Committee acknowledge all those who V. G. Cave (Italy) In-kind Sponsor The Earl & Countess of Mrs Ash Frisby Mr Roderick Davies Bea Crumbine & Jill Dyal have made donations to the Gill & Garf Collins Chichester Mr Stephen Goldring Mr David Devons Olivia Ma (Greater China Area) Google Inc Play On Appeal and who have Countess Dominique Loredan Olga Makharinsky (Russia) Co-Chairmen Mr John H Cook Mr Milton Grundy Anthony & Jo Diamond Rodica Brune supported the Orchestra during Mr & Mrs Makharinsky Howard & Veronika Covington Nerissa Guest & David Foreman Mr Kevin Fogarty George Ramishvili (Georgia) Trusts and Foundations the current pandemic. George Ramishvili Victoria Robey OBE (USA) Mandy DeFilippo David Ellen The Jeniffer & Jonathan Harris Christopher Fraser OBE Rachel Franco The Bernarr Rainbow Trust Stuart & Bianca Roden David & Jane Gosman Charitable Trust Mrs Adele Friedland & Friends Jay Stein (USA) The Boltini Trust Julian & Gill Simmonds Nick Gutfreund Mr Gavin Graham Michael & Christine Henry Mr Daniel Goldstein Mary Hull Borletti-Buitoni Trust In memory of Hazel Amy Smith Mrs Dorothy Hambleton J Douglas Home Mr & Mrs Jeffrey Herrmann Thomas Beecham Group Boshier-Hinton Foundation Deanie & Jay Stein Members Steve Magnuson Malcolm Herring Ivan Hurry Dr Joan Hester Natalie Pray The Candide Trust The Jackman Family Per Jonsson Mr David Hodgson David & Yi Buckley The Chalk Cliff Trust Gold Patrons Victoria Robey OBE Jan & Leni Du Plessis Alexandra Jupin & John Bean The Jackman Family The Candide Trust Cockayne – Grants for the Arts An anonymous donor Lisa & Scot Weicker Jamie & Julia Korner Wg. Cdr. & Mrs M T Liddiard Mr Justin Kitson Gill & Garf Collins The London Community David & Yi Buckley Rose & Dudley Leigh OBE JP RAF Richard & Briony Linsell Andrew Davenport Foundation In memory of Allner Mavis Corporate Donors Drs Frank & Gek Lim Paul & Brigitta Lock Mr David MacFarlane William & Alex de Winton The David Solomons Charitable Channing AT&T Geoff & Meg Mann Mr Peter Mace Dame Jane Newell DBE Sonja Drexler Trust Andrew Davenport Barclays Mrs Elizabeth Meshkvicheva Nicholas & Lindsay Merriman Mr Stephen Olton The Friends of the LPO The D’Oyly Carte Charitable Sonja Drexler L Catterton Peter & Lucy Noble Andrew T Mills Mr David Peters Irina Gofman Trust Peter & Fiona Espenhahn CHANEL Fund for Women in Mr Michael Parlof Simon & Fiona Mortimore Mr & Mrs Graham & Jean Pugh Roger Greenwood Dunard Fund Marie-Laure Favre-Gilly de the Arts and Culture Marianne Parsons Mr Gerald Pettit Mr Kenneth Shaw Dr Barry Grimaldi Ernst von Siemens Music Varennes de Beuill Paul Hastings LLP Dr Wiebke Pekrull Mr James Pickford Ruth Silvestre Mr & Mrs Philip Kan Foundation Virginia Gabbertas MBE Payne Hicks Beach Jacopo Pessina Michael & Carolyn Portillo Barry & Gillian Smith John & Angela Kessler The Fidelio Charitable Trust Mr Roger Greenwood Pictet Bank Mr Roger Phillimore Mr Christopher Querée Ms Natalie Spraggon & Countess Dominique Loredan Foyle Foundation Robert Markwick & Kasia Velocity Black Gillian Pole Mr Robert Ross David Thomson Sir Simon Robey Garrick Charitable Trust Robinski White & Case LLP Mr Michael Posen Mr David Russell Ms Mary Stacey Victoria Robey OBE The Leche Trust Francis & Marie-France Sir Bernard Rix Priscylla Shaw Ms Janette Storey Bianca & Stuart Roden Lucille Graham Trust Minkoff Tom & Phillis Sharpe Nigel Silby Ms Caroline Tate Caroline, Jamie & Zander Sharp John Horniman’s Children’s Dame Theresa Sackler Matthew Stephenson & Mr Brian Smith Mr Peter Thierfeldt Julian & Gill Simmonds Trust Eric Tomsett Roman Aristarkhov Martin & Cheryl Southgate Dr Ann Turrall Eric Tomsett John Thaw Foundation Andrew & Rosemary Tusa Charlotte Stevenson Mr & Mrs G Stein Michael & Katie Urmston Neil Westreich The Idlewild Trust The Viney Family Mr Robert Swannell Dr Peter Stephenson Dr June Wakefield Guy & Utti Whittaker Kirby Laing Foundation Jenny Watson CBE Tony & Hilary Vines Mr Ian Tegner Mr Dominic Wallis The Lawson Trust Mr & Mrs John C Tucker Howard & Sheelagh Watson Joanna Williams Andrew Lloyd Webber Mr John Wright Mr C D Yates Foundation Mr Anthony Yolland – 22 – – 23 – WONDER AT THE WORLD OF THE LONDON PHILHARMONIC ORCHESTRA

– 24 – LONDON PHILHARMONIC ORCHESTRA • 10 DECEMBER 2020 MEMBERSHIPS AND DONATIONS

There are many ways in which you can support the LPO at this time: by making a donation, joining as a member, or buying a gift membership for someone else.

With your help we can ensure that this Orchestra will not only survive, but thrive.

However you choose to give at this time, we remain committed to our supporters and will continue to deliver a range of benefits and exclusive opportunities.

Friends Benefactors Support the orchestra that you love. Get priority Join a circle of dedicated supporters and get booking for our Southbank Centre concerts access to the Beecham Bar, special events and plus access to final rehearsals. Glyndebourne.

From £60 From £600

Gifts in wills Thomas Beecham Group Help others to experience the wonder of music Give a major supporting gift and build by remembering the Orchestra in your will. significant relationships within the Orchestra. Donors can choose to have their gift associated with a player’s chair. From £5,000

lpo.org.uk/support/individuals 020 7840 4212 – 25 – CORPORATE PARTNERSHIPS

Partner with the London Philharmonic Principal Partner Orchestra and enjoy the opportunity to align your business with a world-class orchestra who are committed to delivering music throughout the pandemic. OrchLab Project Partner Whether streaming from the concert stage to a global audience, or delivering as much Education and Community work as possible to children, talented young Principal Supporters musicians and people with disabilities, the LPO’s activity is varied, engaging, and delivers meaningful benefits to its audiences, participants and partners. A partnership with the LPO offers companies significant brand exposure and an opportunity to meet CSR needs at a time when charitable community work is facing severe disruption. lpo.org.uk/corporate 020 7840 4210

Andrew Lloyd Webber Andrew Lloyd Webber Foundation Foundation

Andrew Andrew Lloyd Lloyd Webber Webber Foundation Foundation

Andrew Lloyd Webber Andrew Lloyd Webber Foundation Foundation LONDON PHILHARMONIC ORCHESTRA • 10 DECEMBER 2020

LPO ADMINISTRATION

BOARD OF DIRECTORS GENERAL ADMINISTRATION DEVELOPMENT PUBLIC RELATIONS Victoria Robey OBE Chairman Cristina Rocca Laura Willis Premier: Martin Höhmann* President Artistic Director Development Director [email protected] Dr Catherine C. Høgel David Burke Vicky Moran Tel: 020 7292 7355/ Vice-Chairman Chief Executive Development Events Manager 020 7292 7335 Henry Baldwin* Vice-President Christina McNeill Roger Barron CONCERT MANAGEMENT Corporate Relations Manager ARCHIVES David Buckley Roanna Gibson Philip Stuart Bruno De Kegel Rosie Morden Concerts Director Discographer Tanya Joseph Individual Giving Manager Al MacCuish Graham Wood Anna Quillin Gillian Pole Tania Mazzetti* Concerts and Recordings Trusts and Foundations Recordings Archive Stewart McIlwham* Manager Manager PROFESSIONAL SERVICES Pei-Jee Ng* Fabio Sarlo Izzy Keig Andrew Tusa Glyndebourne and Projects Lewis Hammond Charles Russell Speechlys Mark Vines* Manager Development Assistants Solicitors David Whitehouse* Grace Ko ~ Crowe Clark Whitehill LLP * Player-Director Tours Manager Nick Jackman Auditors Alison Jones Campaigns and Projects Dr Barry Grimaldi ADVISORY COUNCIL Concerts and Recordings Director Honorary Doctor Martin Höhmann Chairman Co-ordinator Kirstin Peltonen Mr Chris Aldren Robert Adediran Christina Perrin Development Associate Honorary ENT Surgeon Christopher Aldren Concerts and Tours Assistant Dr Manon Antoniazzi Mr Brian Cohen Richard Brass Matthew Freeman FINANCE Mr Simon Owen-Johnstone Helen Brocklebank Recordings Consultant Frances Slack Honorary Orthopaedic Simon Callow CBE Andrew Chenery Finance Director Surgeons Desmond Cecil CMG Orchestra Personnel Manager Dayse Guilherme Sir Alan Collins KCVO CMG Sarah Holmes Finance Manager LONDON PHILHARMONIC Andrew Davenport Sarah Thomas Jean-Paul Ramotar ORCHESTRA William de Winton Librarians Finance and IT Officer 89 Albert Embankment Guillaume Descottes London SE1 7TP Laura Kitson Cameron Doley MARKETING Tel: 020 7840 4200 Christopher Fraser OBE Stephen O’Flaherty Box Office: 020 7840 4242 Stage Managers Kath Trout Lord Hall of Birkenhead CBE Marketing Director Email: [email protected] Jonathan Harris CBE FRICS Damian Davis lpo.org.uk Marianna Hay Transport Manager Mairi Warren Marketing Manager Amanda Hill Hannah Verkerk The London Philharmonic Rehmet Kassim-Lakha Orchestra and Auditions Alexandra Lloyd Orchestra Limited is a Jamie Korner Manager Projects and Residencies registered charity Geoff Mann Marketing Manager No. 238045. Clive Marks OBE FCA EDUCATION AND Megan Macarte Stewart McIlwham COMMUNITY Box Office Manager COVER ARTWORK Andrew Neill Isabella Kernot (maternity leave) Ross Shaw @ JMG Studio Jamie Njoku-Goodwin Education and Community Alice Harvey Nadya Powell Director (maternity leave) Box Office Manager Sir Bernard Rix Lindsay Wilson (maternity cover) Victoria Robey OBE Education and Community Rachel Williams Baroness Shackleton Director (maternity cover) Thomas Sharpe QC Publications Manager Julian Simmonds Talia Lash Rachel Smith Barry Smith Education and Community Website Manager Manager Martin Southgate Greg Felton Andrew Swarbrick Emily Moss Digital Creative Chris Viney Education and Community Sophie Harvey Laurence Watt Project Manager Marketing and Digital Officer Elizabeth Winter Hannah Tripp Education and Community Project Co-ordinator

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