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Also available… BRUCKNER SYMPHONY NO.9 LIVE AT THE SALZBURG FESTIVAL CHRISTOPH VON DOHNÁNYI S I G C D 2 5 S I G C D 2 5 6 Brahms: The Four Symphonies Bruckner: Symphony No.4 Philharmonia Orchestra Philharmonia Orchestra Christoph von Dohnányi Christoph von Dohnányi

““Throughout the set the Philharmonia plays excellently – the This is a powerful live account of Bruckner’s Fourth … von rapport with the conductor is evident … these Dohnányi Dohnányi studiously avoids that sense of periodic hiatus readings are consistent and very rewarding.” less attentive interpreters can often convey … The finale Musicweb International becomes a vast, thrilling drama of tension and relaxation, and triumph.” The Times

Engineer - Gernot Hoffmann, ORF Salzburg Cover Image – iStock Design – Darren Rumney

P2015 Philharmonia Orchestra C2015 Signum Records

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Vimeo channels featuring hundreds of award- Both installations were at the heart of a major ACHNRTIOSTNO PBHR VUOCNK DNOEHRN Á1N8Y2I4 – 1896 ASsa lwzbausr gh iFse csutisvtaolm, aThryé âptrraec tdicees, CBhraumckpnse rE blyesgéaens winnBing RdocUumeCntaKry NfilmEs, wRhich have been two-year audience development and education Symphony No. 9 in D minor wino rPka orins haisn dN iTnetaht Sroy mapllhao Sncy aallam ions tM imilamne. dIina ttehley watched by millions of people worldwide. An initiative, iOrchestra (iOrchestra.co.uk), in NBorwn iankto ead faitmioilny o(f1 m9u5s1ic)ians and scientists in aUfntietre d hSatvaitnegs tchoemy phlaevte dp ehrfiosr mEeigd httohg eitnh ert hine app,S TYhe MOrPcheHstrOa Nfor YiP aNd, Ore.le9ased in South-West England during 2014 and 2015. Berlin in 1929, Christoph von Dohnányi studied Csuamrnmegeire oHf a1l8l 8in7 . NGeiwve nYo trhk,a tW haelt hDaids nweyo rHkeadll oin DeceLmIbVer E20 1A2T a nTdH dEev elSopAedL Zin BpaUrtnRerGsh ipFEiOSrTchIeVstAraL attracted more than 100,000 FMeuiesrilci caht, mthies teHroiocshoschule für Musik in Munich Lthoes AEniggehltehs afnodr Dtahvreiees Hyeaallr sin, Shaen nFroa ndciosucbot, and received the city’s Richard Strauss Prize for among others. withR ECsOa-RPDeEkDk aA T SGaRloOnSeSnE,S FToEuScThS PIPErLeHssA USa,n 7d AUpGaUrtSiTc ip2a0n1t4s in the South-West and won the RPS Scherzo: Bewegt, lebhaft – envisaged that under normal circumstances the MusicSales, has sold tens of thousands of Award for Audiences and Engagement again for Tcroino:d uScthinegl,l e–n aSbchlienrgz ohim to study in the United new symphony would have been finished by 1copieIs. anFde ifeeraltiucrhe,d mini sStealroinoesno’s recent global the Orchestra in 2014. The p2r4o.j5e1ct also featured ASdtaatgeiso :w Litahn ghsisa gmr,a fnediefarltihcehr, Ernst von Dohnányi. 1C8h9ri0s.t opUhn fvoorntu nDaohtenĺay,n yai wsaesq uMeunsciec Doifr eectvoern tosf 2adveIrIt.i sinSgc hcaemrzpoa:i gBne fwoer gApt,p le’bs hiPaaftd –A irT.rio: Schan eplol p–- uSpc ihneterrzaoctive digital1 0m.5u1sic installation, He has a long-standing relationship with the cthoen sCplierveedl atnod Othrrcohwe sttrhai sf ropmla n1 98d4ra tsot i2ca0l0ly2 . oHfef MusicLab, housed in a £13.5m mobile trailer, BPhruilchkanremr ocnoinac Oeirvcehde stthrea .N Binetghi nSnyimngp hinon 1y 9a9s4 thaes csotaurrtseed. Fhiirss tc arnede rf oarse mGoesnt,e rhaelm euxspiekrdieirnecketodr ain 3 III. Adagio: Langsam, feierlich 25.42 In May 2010 the Orchestra’s digital ‘virtual which uses the latest technologies to create a cthuelm Oinrcahtieosnt roaf’s h iPsr ilnifcei’ps awl oGrku e–s tt hCe ofnindaulc ptoarr, t hine aL̈ulmbeocskt caantads tcronpthiincu bedlo win t oK haisss ehla, rdw-hwiocnh swelafs- PhilhTaortmaol ntiam iOnrgchse: stra’ project, RE-RITE, won series of hands-on mu6s1ic.2a6l games and ase rtvrielodg ays oPfr imncoinpuaml Ceonntadlu cstyomr pfohro tneines y etahrast fhroamd cfoolnlofiwdeedn ceb yw hthene tphoes ctosn douf cCtohri eHfe rCmoanndnu cLteovri , tino both the Royal Philharmonic Society (RPS) interactions that are designed to put the visitor s1o9m97e,w habte forbee labteedinlyg caaptpaopiunltteedd Hhoimno ratroy wCohloomgn eh,e Gheande rsaelmntu stihked irreekcteonrt lya ncdo mpOlpeteerda Audience Development and Creative in the shoes of a composer, performer pCroonmdiuncetnocr ef oirn L iVfeie innn 2a0 0a8t .the end of the 19th mDiarencutsocr raiptt Foraf nhkifsu rEt iOghptehra S, yamndp hIonntey,n dinafnotr maned CommPHunIiLcHatAioRnM AOwNarIdAs ,O aRndC HafEteSrT aRpApearances and producer. century. That the symphony was to be his most hCihmie tfh Cato nhdeu wcatosr uanta bthlee t oH caommbpurregh eSntda tteh eO spceorrae. in LConHdRonIS TaOndP HL eVicOeNst eDr,O HtoNurÁeNd YtIo Lisbon, pTheris osnpael caiartl isatritci stteics traemlaetniotn issh icpo nhfairsm pedro dbuy cietds aLantde rw ohuel dw naost Cbeh iepfr epCaorneddu ctoto rp rogf rathmem eN DitR. Dortmund, Tianjin (China), Izmir (Turkey) and in Recording and broadcasting both continue to dlaenddicmaatirokn etov e‘ndtesm, lsiuebcehn aGso tto’p (edreaa-rin G-coodn).c eArst BSirnufcoknnieeorr chtoeoskte r.this rejection by a highly 2013 to Hamburg and the Salzburg Festival. RE- play a significant part in the Orchestra’s Bproujcekcntesr ienxcplluadininegd tSot rahvisin spkhyy sOiceiadnip uRsi chRaerxd; respected colleague very much to heart and RITE, devised with Esa-Pekka Salonen, secured activities, notably through its partnership with HScelhleore, nhbiesr gp reMvoiosuess twuno ds yAmrpohno; niHeus mhpaedr dbineecnk aClhmriosstto pihm mvoend iaDtoehlyn ábneygi anis at hec omrepcriephieennts ivoef the Philharmonia’s position as a digital Signum Records, releasing new live recordings dHeädniscealt eudn tdo G‘trweote ml; aajensdt ieSstr, atuo spso oDri eK inFrga Luu dohwnige rheovnisoiroanry odf otchteo rwatoersk f–ro ma ptrhoec eRsosy athl aAtc aodcecmupyi eodf innovator and its follow-up audio-visual of Philharmonia performances with its key aSnchda tote nou, rD iiell uSscthriwouesig sEammpee rForra, uasa ntdh eA rhaigbhelelsat. Mhiums ifco rin a Lt olnedaosnt ,t hthree E yaesatmrsa. n School of Music in installation, Universe of Sound: The Planets, conductors. Since 2003 the Philharmonia has eIna rtPhalyr ism ianj estthye I nirneectoigens isDe’o,h nsáon yiti lseede mtehde Rochester New York, Oberlin College, Case premièred at the Science Museum from May to enjoyed a major partnership with Classic FM, as aorpcphreosptrriaa’ste r etshidaet ncthy iast tfhinea Tl héwâotrke dsuh oCuhlâdt elbeet FWuersthteerrn disRtreascetriovnes hUindiveerersdi tyB,r ucKkennert’ s pSltaantes August 2012, receiving more than 67,000 The Classic FM Orchestra on Tour, as well as oinff Peraerdis ,t oa n‘tdh eh aMs acjoensdtyu cotfe da lel aMcha jessetaiseosn, taot the Ufonr ivtehres iNtyi ninth O. hFioor aenxda mthpel eH,e bwrheiwls tU nreiovnis iCnogl letghe visitors. It won the 2012 RPS Award for continuing to broadcast on BBC Radio 3. dReoayar lL oFreds twiviathl tHhael lh oipne Ltohnadt oHne awnidll gorna ntto umres iEni gLhotsh ,A nthgee lecso,m Cpaolsifeorr nwiaa.s H ea lshoa sp reercseuiavdeedd t hteo Audiences and Engagement. sthurfofiucgiehnotu tt iEmuer optoe caopmpepaleritneg iti na mnda jomr evrceinfulelsy Oisrsdueer noef wA rvte rasniodn sL eotft ehriss oFfo uFrrtahn Sceym, pahnodn yt hine www.signumrecords.com www.philharmonia.co.uk alickcee pMt umsyik gviefrte’.in in Vienna, Luzern Festival, G18e8rm8 aann da nhdis ATuhsirtdri ainn 1O8r8d9e.r Aonf aMdedrit.ional bout of

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Ceemnptrhea siasned thBee dffaocrtd ’tsh aCt o‘rBne etEhxocvheann ghae.d Tahlseo oDnuer ionfg B itrsu cfikrnset rs’se vmeno sdte dceavdoetse,d t hdei sPchipillheasr, mLöowniea Wmhuesriecaiasn st eaxtt uthael sitsasrut eosf thceoinrc cearrneienrgs , tinhcel ufdiirnsgt Undoubtedly the most time-consuming project Omrcahdees trhai sa lsfao rhewase lllo ntgo- telirfme pwairtthn erhsihsi pNs iwntihth’. wOarcsh aensxtiroau sh taos seccoullraeb ao rpaotsetdh uwmitohu sm troisutm opfh ftohre tahnre eO rmchoevsetmrael nAtsw aorfd ,t hwe hNicinht ha llSoywmsp htwonoy ywouenreg Twhaes P hiislh daermcisoinoina iOnr c1h8e9s1t rtao isu obnje cotf etvheer yw boralrd ’osf DFeu rthMeromntofroer, tt heH daallt esi nin scLreibiceeds itne rt he( oRrecshiedsetnratl tghree acto mclpaossseirc.a lB uatr thiset ss uobfj ecthteed 2t0hteh sceonret utroy. npolawy ercso emvpelrey tyeelay r troe sgoalivne dp,e rftohremrien gw eaxps erliietntlcee ghriesa tF irosrtc hSeysmtrpahso. nyA ctkon ofowrleendsgice dt ranss ftohrem aUtiKo’ns, Omrcahneustcrraip t soifn cteh e 1s9y9m7p)h, onayt deTphoes iteAdn viinl tihne nCuomnedruocutso rsa ltearsastoiocniast eodf iwnsitthru mtheen taOtirocnh easntrda cwointhseinn stuhse Owrcithhe srtergaa. rd to the Finale. 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Tahnisd poalilcmy oesxtt enadlsl Ftiencahlneo tlhogaite hs atvoe aacphpieavree dth iins .r eMcaenty ymeailrlsio nhsa voef tihnev itOerdc hoebsvtiroau sc ceolembpraatreisdo ni tsw it7h0 tthhea wnnorivk eorsf ahriys wsiytmh phEosnai-ePse, ktkhae dSisasloenmein,a tiao nt ofu rt heto N iMntehx iwcao,s pinetrofo rtmhea nOcrecsh eussterda Oitrseel lof,r twhhee 1re9 5m1 aendyi tioofn tbhye epneaobplleed sliinscteen e1rs9 45to hgaavien ean jroaytehde r thdeiifrf erfeirnstt agnrdea tth pe r2e0dtehceAsnsnoirv?e Trshae rey voifd ethnec ef,o oun dbaottiho nc oouf nits, Cfroaloumghbti aw, ithP ecroun traonvedr syB. rSaezvile n wyietahr s Valfatderi mthire Lpelaopyeorlsd hNaovwe asko lop eorfro rcmhaemd bienr mthuis icc ocnacreertrs, peexrpsepreicetnicve ofo tfh ec olvaesrsailcl atrl ajemcutosriyc of tBhrruocukgnhe r’sa msugcghe satdsm oitrheedr wUiKse .a nWde Iknntoewrn afrtoimon aclo nRveesrsidaetniocnys Acsohmkpenosaezry’,s adneadt hc,o tnhcee crtosn diunc tForra Fnecred,i nGaenrdm Laönwy,e wahloinchg smide retlhye icro rwreocrkts wai thfe wth em iOsprcrhinetsst rain. tThhee NPihnitlh,a trhmeo fnaicat rremcoaridnisn gth, aat ntdh e ttohdraeey caoumdpielentceeds Pwroitghr ahmis msteu,d ewnhtsic thh atb eBgruacnk nienr p1o9s9it5iv ewly irtehl isthheed Apuesrtfroiram, ed Btehleg iufimrs,t thSrpeea inm, oveSmweintztesr lant da, ePahrillihear rsmconreia. ’s Martin Musical Scholarship Fund menogvaegmee nwtist h ftohrem Orac hecsotrmap ltehtreoluyg hs actoimsfpyuintegr lathuen clihn ko fw ititsh r eBseiedtehnocviens, aatn Ldo ntdhaont ’sh eS ofuretqhubeanntkly Lmuxeemmobrioaul rgc oanncde rPt oliann dV.i enna’s Musikverein. As has for many years supported talented mgaumsiecsa,l feinlmti tsyc. oFruersth, aernmd otrher,o tuhgeh n iotsti oYno uoTfu ebned ainngd

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a symphony with a valedictory slow movement, harmony between flutes and horns that ends the Somewhat later, a solitary oboe makes a valiant Bruckner described as his ‘farewell to life’. The even if this was not Bruckner’s original exposition. Much of the rest of the movement effort to transform the mood into one of rest of the movement unfolds in a similar intention, mirrored several other symphonic returns to the disturbing death-ridden musical playfulness. But the tonal instability of the manner, juxtaposing passages that are angst- works that appeared during this period, most imagery first heard in the opening paragraph. A accompanying harmonies undermines this, ridden with moments of radiance and warmth notably Tchaikovsky’s Pathétique (1893) and series of tormented climaxes, often followed by ultimately bringing a much more sinister gloss to that have an unmistakable religious connotation. Mahler’s Third (1897) and Ninth (1911). unexpected pauses, creates a feeling of anxiety the proceedings. A similar narrative is projected But whereas the slow movements of the Seventh and uncertainty that culminates in a passage of in the Trio. It opens in the remote key of F sharp and Eighth symphonies move inexorably towards In marking the first movement Feierlich, demonic fury at the relentless fortissimo minor with mercurially light-textured strings and a final apocalyptic yet triumphant climax in a misterioso, Bruckner invokes a similar tempo restatement of the third theme. After this comes the flute’s lively imitations of birdsong – a major key, no such resolution can be achieved in designation to his Third Symphony, which shares a brief prayer-like sequence of chords in the passage that momentarily recalls Mendelssohn. the Ninth. Instead, we have a terrifying vision of the same key of D minor. Indeed, the shimmering woodwind, which recalls the Gloria of the D minor Soon, however, dark clouds appear on the horizon hell with low brass relentlessly blaring out the strings of the opening, which form the backcloth Mass. Finally, Bruckner seeks to reiterate the with a more sober melody accompanied by opening violin theme against a sustained to the ominous first theme enunciated in the low tonal primacy of D minor in the coda, though the characteristically unsettling harmonies. dissonant harmonic background. This brass, are strongly reminiscent of the earlier grating and persistent E flat notes in the extraordinary passage culminates in a violent work. But whereas the analogous passage in the trumpets in the concluding triple-forte passage After the strangeness of the Scherzo, the opening unresolved discord, which is followed by a Third remains rooted to strongly tonal harmonies, hardly suggest that the music has achieved any unaccompanied violin threnody of the Adagio, moment of silence that is almost as shocking. in the Ninth Bruckner almost immediately real sense of closure. with its anguished upward interval of a minor For a brief moment Bruckner responds to this by subverts any sense of stability with a sequence ninth, nakedly exposes Bruckner’s loneliness and making a further attempt to generate another of brief chromatically restless musical ideas that The harsh chromaticism that permeated much of torment. There is a desperate attempt to achieve climax. But the suffering suddenly subsides to be become increasingly fraught as they build up to the first movement reappears in the Scherzo. some element of consolation with a momentary replaced by music that attains a sense of calm a massive unison climax for the full orchestra. In Initially, the mood is subdued as pizzicato strings cadential allusion to the ‘Grail’ motif from resignation in an unequivocal E major. Framed by contrast to the awesome power of this opening trace the individual notes of some tonally Wagner’s Parsifal. But tonal instability quickly thematic references to the slow movements of paragraph, the second and third themes seem ambiguous sustained woodwind chords. Then, intervenes with a gradual build-up to the first the Seventh and Eighth symphonies in the horns more lyrical in character, providing the almost without warning, Bruckner unleashes the climax in which dissonant harmonies are and Wagner tubas, the tonal clarity of this movement with necessary repose. Yet an element full power of the orchestra in a passage of reinforced by insistent repetitive brass fanfares. closing passage is wonderfully affecting. of unease is never far from the surface and is surprising ferocity, where pounding rhythms are Following this, the horns and Wagner tubas most obviously reflected in the piercing tritonal punctuated by grating dissonances in the brass. quietly intone a sombre chorale, a passage that © Erik Levi

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Vimeo channels featuring hundreds of award- Both installations were at the heart of a major CHARNISTTOONPH B VROUNC DKONHENÁRN Y1I824 – 1896 SaAlzsb wurags Fheist icvuaslt, oTmhaéâryt rper adcetsi cCe,h aBmrupcsk nEelry sbéeegsan winBninRg dUocuCmenKtarNy fiElmsR, which have been two-year audience development and education Symphony No. 9 in D minor in wPoarrki so na nhdis TNeianttrho Saylmlap hSocnayla a limn oMsitl aimn.m Iend itahteely watched by millions of people worldwide. An initiative, iOrchestra (iOrchestra.co.uk), in BoNrno iwntao ka feadmitiliyo onf m(1u9si5c1ia)ns and scientists in Unaitfetedr Sthaatveisn gth ecyo mhapvlee tpeedr fohrims edE igtohgteht heinr inthe apSp, YThMe POrcHhesOtraNfYor iNPadO, .re9leased in South-West England during 2014 and 2015. Berlin in 1929, Christoph von Dohnányi studied Casrunmegmiee rH oafl l 1i8n8 N7e. wG ivYeonrk ,t hWaat lth eD ihsande yw Hoarklle din on DeLceImVbEer 2A0T12 TanHd Ed eSvelAopLedZ Bin UpaRrtnGer sFhipESiOTrIcVheAstLra attracted more than 100,000 MuFseiice ralitc ht,h me iHstoecrhiosscohule für Musik in Munich Losth Aen gEeilgehs tha ndf oDr avthierse eH aylle ainrs S, anh eF rannoc isdcoou,bt with Esa-Pekka Salonen, Touch Press and participants in the South-West and won the RPS anSdc rheecreziov:e Bde twheeg ct,i tlye’sb hRaicfth a–r d Strauss Prize for ameonnvgis oatgheedr st.h at under normal circumstances the RECORDED AT GROSSES FESTSPIELHAUS, 7 AUGUST 2014 MusicSales, has sold tens of thousands of Award for Audiences and Engagement again for conTrdiou:c Sticnhgn, eelnl a–b Slicnhge hrziom to study in the United new symphony would have been finished by copies and featured in Salonen’s recent global the Orchestra in 2014. The project also featured Adagio: Langsam, feierlich 1890. Unfortunately, a sequence of events 1 I. Feierlich, misterioso 24.51 States with his grandfather, Ernst von Dohnányi. Christoph von Dohńanyi was Music Director of advertising campaign for Apple’s iPad Air. a pop-up interactive digital music installation, conspired to throw this plan drastically off 2 II. Scherzo: Bewegt, lebhaft – Trio: Schnell – Scherzo 10.51 He has a long-standing relationship with the the Cleveland Orchestra from 1984 to 2002. He MusicLab, housed in a £13.5m mobile trailer, PhBilrhuacrkmnoenr icao nOcrcehiveesdt rtah. eB Negininthn iSnygm ipnh 1on9y9 4a sa sthe stacrotuerds eh. isF ircsat reaenrd afso reGmenoesrta, lmheu seixkpdeirreiekntocre di nan 3 In IIMI.a yA d2a0g1i0o : tLhaen gOsrcahmes, tfrea’ise rdliicghital ‘virtual which uses the latest tec2h5n.4o2logies to create a culmination of his life’s work – the final part in almost catastrophic blow to his hard-won self- the Orchestra’s Principal Guest Conductor, he L̈ubeck and continued in Kassel, which was PhTilohtaarlm toimniian gOsrc:hestra’ project, RE-RITE, won series of hands-on m6u1.s2i6cal games and serav etdri laosg yP roinf cmipoanl uCmonendtuaclt osry fmorp hteonn iyeesa rtsh afrto mhad folclownfeid enbcy e twhhe enp othstes c oonf duCchtioerf HCeormndauncnt oLre viin, to both the Royal Philharmonic Society (RPS) interactions that are designed to put the visitor 19s9o7m, ewbheafot re beblaetinedgl y apcpaotainptueldt ed Honhoimra ryto Cowlohgonme , heG ehnaerda lmseunsti ktdhiere krteocre ntalny d coOmppelerated Audience Development and Creative in the shoes of a composer, performer Copnrdoumcitnoer nfcoer Liinfe Vinie n2n0a0 8a.t the end of the 19th Dirmecatnour sactr ipFrta nofk fhuirst OEpigehrath, aSnydm Ipnhteondy,a nintf oarnmded CoPmHmIuLnHicAaRtiMonO ANwIaAr dOs,R aCnHd EaSftTeRr Aappearances and producer. century. That the symphony was to be his most Chhieimf Cthoantd huec twora sa ut ntahbel eH taom cbomurpgr eShteanted tOhpee sraco.re in CLHoRndIoSnT OaPnHd VLOeiNce sDtOerH, NtoÁuNreYdI to Lisbon, Thpise rsspoencaila la ratristitsicti ct ersetlaamtioenst hiisp choansf irpmroeddu bcey dits Laatenrd hweo uwlda sn oCt hbief pCreopnadruecdt otro opfr ogthraem NmDeR it. Dortmund, Tianjin (China), Izmir (Turkey) and in Recording and broadcasting both continue to landdemdicaarkti oenv eton t‘sd,e msu lciehb eans Goptte’ ra(d-eina-rc Gonocde).r tAs SinBfrounciekonrecrh etsoteork. this rejection by a highly 2013 to Hamburg and the Salzburg Festival. RE- play a significant part in the Orchestra’s proBjreucctksn eirn celxupdlianigne dS trtao vihnisk yp hOyseidcipaun s RRicehxa;rd respected colleague very much to heart and RITE, devised with Esa-Pekka Salonen, secured activities, notably through its partnership with ScHheolelenrb, ehrigs pMroesveiosu su tnwdo Asryomnp; hoHnuimesp ehraddi nbceken Charlimstospth imvomn edDioahtenláyn ybie gisa n thae croemcipirenhte nosfive the Philharmonia’s position as a digital Signum Records, releasing new live recordings Hädnesdeilc autnedd tGor e‘ttwelo; manadje sSttireasu, stos pDoioer FKrianug Louhdnweig horneovriasriyo nd oocf tothraet ewso rfkro –m ath per oRcoeysasl tAhcaatd eomccyu pofied innovator and its follow-up audio-visual of Philharmonia performances with its key Scahnadtt etno, oDuire iSllcuhswtreioigussa mEme pFerraour, aansd tAhrea bheigllhae.st Muhsiimc ifno rL oant dleoans, t hteh rEeaes ytemaarsn. School of Music in installation, Universe of Sound: The Planets, conductors. Since 2003 the Philharmonia has In eaPratrhilsy imn atjehset y niIn erteiceosg nDisoeh’n, ánsoyi itle ds eethmeed Rochester New York, Oberlin College, Case premièred at the Science Museum from May to enjoyed a major partnership with Classic FM, as orcahpepsrtorpar’sia rtees idthenact y tahti sth ef iTnhaél âtwreo rdku sChhoâutledle tbe WeFsutretrhne r dRiestsrearcvteio nsU nhiivnedresrietdy, BrKuecnknt er’sS tapltaens August 2012, receiving more than 67,000 The Classic FM Orchestra on Tour, as well as in oPfaferirse,d a tnod ‘hthaes cMoanjdeustcyt eodf eaalcl hM saejaestoine sa, t ttoh ethe Unfiovre rtshiety Ninin Oth.i oF aonr de xthaem Hpleeb, rewwh iUlsnti orne vCisoilnlegg ethe visitors. It won the 2012 RPS Award for continuing to broadcast on BBC Radio 3. Rodyeaal r FLeosrtdiv awli thH athlle ihno pLeo ntdhoant Haen dw ilol ng ratonutr sme in ELiogsh tAhn, gtehles ,c Comalpifoosrenri aw. aHse haalsso repceerisvueadd ethde to Audiences and Engagement. thrsouufgfihcoieuntt Etuimroep et oa pcpoemarpilnegte init maanjdo r mvenrcuiefuslly Ordisesru eo f neAwrt vaenrsdi oLnest toefr sh iosf FForuarnthc eS, yamnpdh otnhye in www.signumrecords.com www.philharmonia.co.uk likaec cMeputs imkvye greifitn’. in Vienna, Luzern Festival, Ge1rm88a8n aanndd h Aisu sTthriiradn i nO r1d8e8r 9o.f A Mn earditd.itional bout of 10 3 2 11

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Engineer - Gernot Hoffmann, ORF Salzburg Cover Image – iStock Design – Darren Rumney

P2015 Philharmonia Orchestra C2015 Signum Records

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Y D N O O H H PHILHARMONIA ORCHESTRA N P Á N M Y Y I

S CHRISTOPH VON DOHNÁNYI

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Signum Records Ltd, Suite 14, 21 Wadsworth Road, S L I C G

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