Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI* Principal Guest Conductor YANNICK NÉZET-SÉGUIN Leader pieter schoeman Composer in Residence JULIAN ANDERSON Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

SOUTHBANK CENTRE’S PROGRAMME £3 Saturday 6 April 2013 | 7.30pm CONTENTS 2 Welcome 3 Tonight’s works in context HANS GRAF conductor 4 About the Orchestra SALLY MATTHEWS soprano 5 Leader 6 On stage tonight andrew kennedy tenor 7 Hans Graf rodion pogossov baritone 8 Sally Matthews / London Philharmonic Choir Andrew Kennedy trinity boys choir 9 Rodion Pogossov / Trinity Boys Choir 10 London Philharmonic Choir 11 Programme notes stravinsky 13 Symphony of Psalms text 14 Programme notes contd. Symphony of Psalms (22’) 16 text 28 Next concerts Interval 29 LPO Chamber Contrasts at orff 30 Birthday Appeal update Carmina Burana (65’) 31 Supporters 32 LPO administration

Concert introduced by Julian Anderson, London Philharmonic Orchestra The timings shown are not precise and Composer in Residence. are given only as a guide.

Free pre-concert event 6.15–6.45pm | Royal Festival Hall Hans Graf looks at the Symphony of Psalms and the lasting appeal of Carmina Burana.

* supported by the Tsukanov Family Foundation and one anonymous donor

CONCERT PRESENTED BY THE 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 and Feng Sushi, as well as cafes, restaurants and shops inside Royal Festival Southbank Centre’s The Rest Is Noise, Hall, Queen Elizabeth Hall and Hayward Gallery. inspired by Alex Ross’s book The Rest Is Noise If you wish to get in touch with us following your visit please contact the Visitor Experience Team at Presented by Southbank Centre Southbank Centre, Belvedere Road, London SE1 8XX, in partnership with the phone 020 7960 4250, or email London Philharmonic Orchestra. [email protected] southbankcentre.co.uk/therestisnoise

We look forward to seeing you again soon. The Rest Is Noise is a year-long festival that digs deep into 20th-century history to reveal the influences on art in A few points to note for your comfort and enjoyment: general and classical music in particular. Inspired by Alex Ross’s book The Rest Is Noise, we use film, debate, talks PHOTOGRAPHY is not allowed in the auditorium. and a vast range of concerts to reveal the fascinating LATECOMERS will only be admitted to the auditorium stories behind the century’s wonderful and often if there is a suitable break in the performance. controversial music. RECORDING is not permitted in the auditorium We have brought together the world’s finest orchestras without the prior consent of Southbank Centre. and soloists to perform many of the most significant Southbank Centre reserves the right to confiscate works of the 20th century. We reveal why these pieces video or sound equipment and hold it in safekeeping were written and how they transformed the musical until the performance has ended. language of the modern world. MOBILES, PAGERS AND WATCHES should be switched off before the performance begins. Over the year, The Rest Is Noise focuses on 12 different parts. The music is set in context with talks from a fascinating team of historians, scientists, philosophers, political theorists and musical experts as well as films, online content and other special programmes.

If you’re new to 20th-century music, then this is your time to start exploring with us as your tour guide. There has never been a festival like this.

Jude Kelly Artistic Director, Southbank Centre

2 | London Philharmonic Orchestra Tonight’s works in context

1880 1882 Igor Stravinsky born in Oranienbaum, Russia

1886 First sales of Coca-Cola in the USA, originally marketed as a patent medicinal remedy 1890

1895 Carl Orff born in Munich 1897 Marconi awarded a patent for radio communication

1900 1901 Death of Queen Victoria

1906 Kellogg’s began selling Corn Flakes 1908 First commercial radio transmission 1910 1912 Sinking of the RMS Titanic. Premiere of Schoenberg’s Pierrot Lunaire in Berlin 1914 Outbreak of World War I

1918 End of World War I

1920 1922 Creation of the Soviet Union (USSR)

1929 Wall Street Crash 1930 1930 Premiere of Stravinsky’s Symphony of Psalms in Brussels 1932 London Philharmonic Orchestra founded by Sir Thomas Beecham

1937 Premiere of Orff’s Carmina Burana in Frankfurt 1940 1939 Outbreak of World War II in Europe 1945 End of World War II 1950 1949 Orwell’s Nineteen Eighty-Four published 1953 Death of Joseph Stalin 1955 Vietnam War began

1960 1962 Cuban Missile Crisis 1963 Assassination of John F Kennedy in Dallas, Texas

1969 Neil Armstrong became the first man on the Moon. Stonewall riots in New York 1970 1971 Death of Stravinsky in New York

1977 First Star Wars film released 1980 1980 John Lennon assassinated 1982 Death of Orff in Munich

London Philharmonic Orchestra | 3 London Philharmonic Orchestra

‘The LPO’s playing throughout was exceptional in Harrison © Patrick its warmth, finesse and detail.’ The Guardian (23 January 2013, Royal Festival Hall: Webern, Schoenberg and Mahler)

The London Philharmonic Orchestra is one of the world’s American works with Marin Alsop; Haydn and Strauss finest orchestras, balancing a long and distinguished with Yannick Nézet-Séguin; and the UK premiere of Carl history with a reputation as one of the UK’s most Vine’s Second Piano Concerto with pianist Piers Lane adventurous and forward-looking orchestras. As well as under Vassily Sinaisky. Throughout 2013 the Orchestra giving classical concerts, the Orchestra also records film is collaborating with Southbank Centre on The Rest Is and video game soundtracks, has its own record label, Noise festival, based on Alex Ross’s book of the same and reaches thousands of Londoners every year through name and charting the 20th century’s key musical activities for schools and local communities. works and historical events.

The Orchestra was founded by Sir Thomas Beecham The Orchestra has flourishing residencies in Brighton in 1932, and since then its Principal Conductors have and Eastbourne, and performs regularly around included Sir Adrian Boult, Sir John Pritchard, Bernard the UK. Every summer, the Orchestra leaves London Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. for four months and takes up its annual residency The current Principal Conductor is Vladimir Jurowski, accompanying the famous Glyndebourne Festival appointed in 2007, and Yannick Nézet-Séguin is Opera, where it has been Resident Symphony Orchestra Principal Guest Conductor. since 1964. The Orchestra also tours internationally, performing concerts to sell-out audiences worldwide. The Orchestra is Resident Orchestra at Southbank Tours in the 2012/13 season include visits to Spain, Centre’s Royal Festival Hall in London, where it has Germany, France, Switzerland, the USA and Austria. performed since it opened in 1951, giving around 40 concerts there each season. 2012/13 highlights include The London Philharmonic Orchestra has recorded three concerts with Vladimir Jurowski based around many blockbuster scores, from The Lord of the Rings the theme of War and Peace in collaboration with the trilogy to Lawrence of Arabia, The Mission, East is East, Russian National Orchestra; Kurt Weill’s The Threepenny Hugo, and The Hobbit: An Unexpected Journey. It also Opera, also conducted by Jurowski; 20th-century broadcasts regularly on television and radio, and in

4 | London Philharmonic Orchestra Pieter Schoeman leader

2005 established its own record label. There are now Pieter Schoeman was nearly 70 releases available on CD and to download. appointed Leader Recent additions include Tchaikovsky’s Symphonies of the LPO in 2008, Nos. 4 & 5 with Vladimir Jurowski; Brahms’s having previously been Symphonies Nos. 1 & 3 with Klaus Tennstedt; a disc Co-Leader since 2002. of orchestral works by Mark-Anthony Turnage; and the world premiere of the late Ravi Shankar’s First Born in South Africa, Symphony conducted by David Murphy. he made his solo debut aged 10 with In summer 2012 the London Philharmonic Orchestra the Cape Town performed as part of The Queen’s Diamond Jubilee Harrison © Patrick Symphony Orchestra. Pageant on the River Thames, and was also chosen to He studied with Jack de Wet in South Africa, winning record all the world’s national anthems for the London numerous competitions including the 1984 World 2012 Olympics. Youth Concerto Competition in the US. In 1987 he was offered the Heifetz Chair of Music scholarship The London Philharmonic Orchestra maintains an to study with Eduard Schmieder in Los Angeles and energetic programme of activities for young people in 1991 his talent was spotted by Pinchas Zukerman, and local communities. Highlights include the who recommended that he move to New York to study Deutsche Bank BrightSparks Series; the Leverhulme with Sylvia Rosenberg. In 1994 he became her teaching Young Composers project; and the Foyle Future Firsts assistant at Indiana University, Bloomington. orchestral training programme for outstanding young players. Over recent years, developments in technology Pieter has performed worldwide as a soloist and and social networks have enabled the Orchestra to recitalist in such famous halls as the Concertgebouw in reach even more people worldwide: all its recordings Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in are available to download from iTunes and, as well St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl as a YouTube channel, news blog, iPhone app and in Los Angeles and Southbank Centre’s Queen Elizabeth regular podcasts, the Orchestra has a lively presence on Hall in London. As a chamber musician he regularly Facebook and Twitter. performs at London’s prestigious Wigmore Hall.

Find out more and get involved! 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 lpo.org.uk Blaumane, and Britten’s Double Concerto with Alexander facebook.com/londonphilharmonicorchestra Zemtsov, which was recorded and released on the Orchestra’s own record label to great critical acclaim. twitter.com/LPOrchestra 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 London Philharmonic Orchestra the Rings trilogy. 2013/14 season concerts – on sale now! In 1995 Pieter became Co-Leader of the Orchestre Philharmonique de Nice. Since then he has appeared Our 2013/14 season concerts at Royal Festival Hall are frequently as Guest Leader with the Barcelona, Bordeaux, now on sale. Browse and book online at Lyon, Baltimore and BBC symphony orchestras, and the www.lpo.org.uk/newseason, pick up a copy of the Rotterdam Philharmonic Orchestra. season brochure from the Royal Festival Hall foyer racks this evening, or call us on 020 7840 4208 to Pieter is a Professor of Violin at Trinity Laban request a copy of the brochure or to book by phone. Conservatoire of Music and Dance.

London Philharmonic Orchestra | 5 On stage tonight

First Violins Violas Piccolos Daniel Newell Pieter Schoeman* Leader Jonathan Barritt Stewart McIlwham* David Hilton Vesselin Gellev Sub-Leader Guest Principal Principal William O’Sullivan Chair supported by John Robert Duncan Sue Thomas & Angela Kessler Gregory Aronovich Piccolo Trumpet Ilyoung Chae Katherine Leek Oboes Daniel Newell Chair supported by Moya Benedetto Pollani Ian Hardwick Principal Greene Laura Vallejo Angela Tennick Trombones Katalin Varnagy Susanne Martens Helen Barker Mark Templeton* Principal Chair supported by Sonja Michelle Bruil Fraser MacAulay David Whitehouse Drexler Daniel Cornford Tom Eisner Naomi Holt Cor Anglais Bass Trombone Martin Höhmann Alistair Scahill Sue Bohling Principal Lyndon Meredith Principal Geoffrey Lynn Rebecca Carrington Chair supported by Julian Robert Pool & Gill Simmonds Tuba Sarah Streatfeild Cellos Lee Tsarmaklis* Principal Yang Zhang Caroline Dale Clarinets Grace Lee Guest Principal Robert Hill* Principal Timpani Rebecca Shorrock Francis Bucknall Katie Lockhart Simon Carrington* Principal Benjamin Roskams Laura Donoghue Barnaby Archer Alina Petrenko Gregory Walmsley Bass Clarinet Caroline Frenkel Sue Sutherley Paul Richards Principal Percussion Galina Tanney Susanna Riddell Andrew Barclay* Principal Tom Roff E-flat Clarinet Chair supported by Andrew Second Violins Pavlos Carvalho Katie Lockhart Davenport Jeongmin Kim Principal Tae-Mi Song Keith Millar Joseph Maher David Bucknall Bassoons Jeremy Cornes Kate Birchall Joost Bosdijk Guest Principal Ignacio Molins Chair supported by David Gareth Newman* Eddy Hackett & Victoria Graham Fuller Double Basses Stuart Russell Sarah Mason Fiona Higham Kevin Rundell* Principal Ashley Stevens Tim Gibbs Co-Principal Contrabassoon Harp Marie-Anne Mairesse Laurence Lovelle Simon Estell Principal Rachel Masters* Principal Nancy Elan George Peniston Chair supported by Friends of Eugene Lee Richard Lewis Horns the Orchestra Helena Nicholls Helen Rowlands John Ryan* Principal Sioni Williams Jeremy Watt David Pyatt* Principal Pianos Alison Strange Tom Walley Gareth Mollison Catherine Edwards Peter Graham Mark Vines Co-Principal John Alley Stephen Stewart Flutes Jonathan Bareham Sheila Law Juliette Bausor Guest Principal Celeste Sue Thomas Trumpets Cliodna Shanahan Chair supported by Nicholas Betts Principal the Sharp Family Anne McAneney* * Holds a professorial Joanna Marsh Chair supported by Geoff appointment in London Sarah Bennington & Meg Mann

The London Philharmonic Orchestra also acknowledges the following chair supporters whose player is not present at this concert: Caroline, Jamie & Zander Sharp

6 | London Philharmonic Orchestra Hans Graf conductor

Known for his wide In October 2010, Graf led the Houston Symphony on a range of repertoire and tour of the UK including performances in Birmingham, creative programming, Edinburgh, Leeds, Manchester, and two concerts at the the distinguished Barbican in London. Graf and the Houston Symphony Austrian conductor gave two concerts in Moscow as part of the Festival of Hans Graf is one of World Symphony Orchestras in June 2012. today’s most highly respected musicians. Hans Graf has participated in such prestigious European festivals as the Maggio Musicale Fiorentino, Bregenz He was chosen to be and Aix-en-Provence, and appeared at the Salzburg

© Lev Berenshteyn © Lev the Music Director of Festival for 12 consecutive seasons. His recent US festival the Houston Symphony in 2000 and began his tenure appearances include Tanglewood, Blossom Music with the orchestra in September 2001. Prior to his Festival, Aspen Music Festival, Bravo! Vail Valley Music appointment in Houston, he was Music Director of Festival and the Grant Park Music Festival in downtown the Calgary Philharmonic Orchestra for eight seasons Chicago. and held the same post with the Orchestre National Bordeaux Aquitaine for six years. He also led the An experienced opera conductor, Hans Graf first Salzburg Mozarteum Orchestra from 1984–94. conducted the Vienna State Opera in 1981 and has since led productions in the opera houses of Berlin, Munich, Hans Graf is a frequent guest with all the major North Paris and Rome, among others. His extensive opera American orchestras. His recent and upcoming guest repertoire includes several world premieres. Recent engagements include appearances with the Cleveland opera engagements include Parsifal at the Zurich Opera and Philadelphia orchestras; the New York and Los and Boris Godunov at the Opera National du Rhin in Angeles Philharmonics; the Boston, San Francisco, Strasbourg. St Louis, Cincinnati, Detroit, Dallas, Baltimore, Vancouver, Indianapolis and National symphony orchestras; and Born in 1949 near Linz, Hans Graf studied violin and the St Paul Chamber Orchestra, among others. He made piano as a child. He earned diplomas in piano and his Carnegie Hall debut with the Houston Symphony in conducting from the Musikhochschule in Graz and January 2006 and returned leading the Orchestra of continued his conducting studies with Franco Ferrara in St Luke’s in March 2007. He and the Houston Symphony Siena, Sergiu Celibidache in Bologna and Arvid Jansons were re-invited to appear at Carnegie Hall in January in Weimar and the former Leningrad. He served as Music 2010, when they presented the New York premiere of Director of the Iraqi National Symphony Orchestra in The Planets – An HD Odyssey, featuring exclusive Baghdad during the 1975/76 season, and the following high-definition images from NASA’s exploration of the year began coaching at the Vienna State Opera. His solar system accompanied by Holst’s famous work, international career was launched in 1979 when he was The Planets. Hans Graf and the Houston Symphony awarded First Prize at the Karl Böhm Competition. returned to Carnegie Hall once again in May 2012 to participate in the venue’s ‘Spring for Music’ festival. Hans Graf has recorded for the EMI, Orfeo, CBC, Erato, Capriccio and JVC labels. His discography includes the Hans Graf’s recent and upcoming international complete symphonies of Mozart and Schubert, the appearances include the Deutsches Symphonie premiere recording of Zemlinsky’s opera Es war einmal, Orchester Berlin, the Orchestre National Bordeaux and the complete works of Dutilleux for BMG Arte Nova. Aquitaine, and the Bavarian Radio Symphony, Vienna His recordings with the Houston Symphony include Philharmonic, Vienna Symphony, Leipzig Gewandhaus, works by Bartok and Stravinsky for Koch International; Royal Concertgebouw and Danish Radio Symphony Zemlinsky’s Lyric Symphony, Berg’s Three Pieces from the orchestras, as well as the St Petersburg Philharmonic, Lyric Suite and Mahler’s Das Lied von der Erde for Naxos; Budapest Festival, Rotterdam Philharmonic, Netherlands and a DVD of The Planets – An HD Odyssey, available Radio Philharmonic, Sydney Symphony, Hong Kong through the Houston Symphony. Philharmonic and Malaysian Philharmonic orchestras.

London Philharmonic Orchestra | 7 Sally Matthews Andrew Kennedy soprano tenor

Sally Matthews was Andrew Kennedy the winner of the studied at King’s 1999 Kathleen Ferrier College, Cambridge, Award. She studied at and the Royal College the Guildhall School of of Music in London. Music & Drama, was a He was a member member of the Young of the Young Artists Artists Programme Programme at the at the Royal Opera Royal Opera House House, and was part of and a BBC Radio 3 New

© Johan Persson the BBC Radio 3 New © Benjamin Ealovega Generation Artist. Generation Artists scheme. She currently studies with Paul Farringdon. Highlights in his operatic career have included Tamino in The Magic Flute (); Jaquino in Plans for this season and beyond include the Countess Fidelio (Glyndebourne Festival Opera); Tom Rakewell in in for the Royal Opera, Covent The Rake’s Progress (La Scala, La Monnaie, and Opéra de Garden; Konstanze in Die Entführung aus dem Serail for Lyon); Vere in Billy Budd and Peter Quint in The Turn of Glyndebourne Festival Opera; Blanche in Les Dialogues the Screw (Houston Grand Opera); Tito in La clemenza des carmélites at the Bayerische Staatsoper and the di Tito (Opéra de Lyon); Count Almaviva in The Barber of Netherlands Opera; and Jenůfa at La Monnaie, Brussels. Seville (Welsh National Opera); and Ferrando in Così fan Concert appearances include The Turn of the Screw with tutte (Turin). the London Symphony Orchestra; Ellen Orford in Peter Grimes with the Orchestra dell’Academia Nazionale In concert, Andrew’s many appearances include Mozart’s di Santa Cecilia and Sir in Rome; Requiem with the LSO/Sir (recorded for LSO Mahler’s Symphony No. 2 and Beethoven’s Symphony Live); Orfeo in Haydn’s Orfeo e Euridice (Boston Handel No. 9 with the and Sir ; and Haydn Society/Norrington); Tobia in Il ritorna di Tobia Mendelssohn’s Lobgesang with the Mahler Chamber (OAE/Norrington); Mozart’s Requiem and Young Man in Orchestra; and Beethoven’s Cantata on the Death of Korngold’s Das Wunder der Heliane (LPO/Jurowski); Finzi’s Emperor Joseph ll with the San Francisco Symphony Intimations of Immortality (BBCSO/Daniel); Mozart’s Orchestra. Mass in C minor (Hallé/Elder); Bach’s St Matthew Passion (Netherlands Philharmonic/Sir Colin Davis); Elgar’s Past highlights have included the Countess in The The Spirit of at the Last Night of the 2007 BBC Marriage of Figaro for Glyndebourne Festival Opera; Proms; Handel’s Il trionfo with the Gabrieli Consort; Fiordiligi in Così fan tutte, Sifare in Mitridate and Anne Britten’s Nocturne (BBC National Orchestra of Wales), Truelove in The Rake’s Progress at the Royal Opera Serenade for Tenor, Horn and Strings (CBSO, BBC Scottish House, Covent Garden; Cavalli’s La Calisto and Unsuk Symphony Orchestra/BBC National Orchestra of Wales Chin’s Alice in Wonderland in Munich; the Governess in and at the BBC Proms with the Nash Ensemble/Edward The Turn of the Screw at the Theater an der Wien; and Gardner) and Les Illuminations (Edinburgh International Donna Anna in Don Giovanni at the Vienna Staatsoper. Festival/Scottish Ensemble and with the Orchestre de Concert appearances have included Brahms’s Requiem Picardie); and Handel’s Messiah (Tonhalle Zürich). with and the Chamber Orchestra of Europe; Strauss’s Four Last Songs with Robin Ticciati The 2012/13 season includes Beethoven’s Symphony and the Bamberg Symphony Orchestra; Orff’s Carmina No. 9 (); Bliss’s The Beatitudes Burana, Mahler’s Symphony No. 4 and Schumann’s Das (BBC Philharmonic); Britten’s Serenade for Tenor, Horn Paradies und die Peri with the Berlin Philharmonic; and and Strings (Helsinki Philharmonic); Handel’s Messiah Messiaen’s Poèmes pour Mi with the London Symphony (Opéra de Lyon); The Barber of Seville (English National Orchestra and Daniel Harding. Sally has also appeared in Opera); Quint in The Turn of the Screw (LSO); Tamino recital at the Concertgebouw, Amsterdam; La Monnaie, in The Magic Flute (Toulon); and Belfiore in La finta Brussels; and Wigmore Hall, London. giardiniera (Buxton Festival).

8 | London Philharmonic Orchestra Rodion Pogossov Trinity Boys Choir baritone David Swinson director Gillian Plummer chorus master

Born in Moscow, Trinity Boys Choir was founded almost 50 years ago by baritone Rodion David Squibb, and has been directed by David Swinson Pogossov joined the since 2001. Metropolitan Opera’s Lindemann Young The boys frequently appear on such prestigious Artist Development stages as the Royal Opera House, Covent Garden; Program at the Glyndebourne Festival Opera; English National Opera; beginning of the and at various opera houses abroad including the 2000/01 season and Opéra-Comique, Paris; La Fenice, Venice; and at the Aix- made his Carnegie en-Provence Festival. The Choir is especially well known

© Igor Muhin Hall debut with for its role in Britten’s A Midsummer Night’s Dream, the Metropolitan Opera Chamber Ensemble singing in which it has appeared in over 150 professional Stravinsky’s Renard under the baton of James Levine. performances and on a Warner DVD, a Virgin Classics CD The following season, 2002/03, also saw him give and a Glyndebourne own-label CD. a Carnegie Hall recital. On the concert platform, the Choir is regularly invited Since then, his career has gone from strength to to perform at the BBC Proms, and was honoured to take strength and he has sung roles such as Guglielmo part in Her Majesty the Queen’s 80th Birthday Prom at in Così fan tutte with Glyndebourne Touring Opera, the Royal Albert Hall in 2006. The boys have performed Papageno in The Magic Flute at the Bilbao Opera with all the major London orchestras, and with Sir conducted by Jean-Christoph Spinosi, Onegin in Eugene and his Monteverdi Choir in Spain, Onegin at the Festival de Lanaudière conducted by Germany, Italy and the UK. Trinity Boys Choir has also , and Figaro in The Barber of Seville at the been invited to perform in Vienna with the Vienna Boys Metropolitan Opera conducted by Yves Abel. Choir, as well as throughout Europe and Asia. Soloists from the Choir have recently appeared at the Krakow Recently Rodion Pogossov has appeared in L’elisir Film Festival and at Amsterdam’s Concertgebouw. d’amore with Oviedo Opera, Rachmaninoff’s The Bells with VARA Radio, Carmina Burana in Madrid with the The Choir’s many recordings include John Rutter’s opera National Orchestra of Spain, and Guglielmo in Così fan Bang!, which was written for the boys; Britten’s A Boy tutte at the Ravinia Festival under the baton of James Was Born with the BBC Symphony Chorus; and Walton’s Conlon. Henry V with the BBC Symphony Orchestra and the BBC Singers. TV appearances have included The Royal Variety Rodion’s recent engagements have included a Mahler Performance, the Pride of Britain Awards and Children recital in Suntory Hall, Tokyo; Valentin in Faust at the in Need. Bilbao Opera; his debut at Michigan Opera Theatre as Figaro in The Barber of Seville, which was a resounding success; and Posa in Don Carlos at the Hamburgische Tonight’s singers: Staatsoper, with which he has a close relationship and Tomi Adenuga, Billy Bearman, Alfie Bennett, where he returns this season for Valentin in Faust. Caleb Broomfield, Harry Cookson, Gabriel Crozier, Alexander Dantas, Owen Davis, Michael Eagling, Future opera engagements include his LA Opera debut Charlie Gill, Daniel Giffin, Robert Good, Isaac Hilsley, as Papageno in The Magic Flute, Guglielmo in Così fan Joshua Kenney, Daniel Le Maitre-George, tutte at the Metropolitan Opera, and his role debut as Fintan O’Connor, Ben Osland, Shiv Patel, David Read, Don Giovanni at Oviedo Opera. Luke Regan-Daley, Ritvik Rathore, Luke Saville, Milind Sood, William Stone Rodion’s solo recital disc for the prestigious EMI Debut Series received great acclaim, and will shortly be followed by a disc of Rachmaninoff songs with pianist Iain Burnside, which is currently in production.

London Philharmonic Orchestra | 9 London Philharmonic Choir

Patron HRH Princess Alexandra | President Sir Roger Norrington | Artistic Director Neville Creed Accompanist Jonathan Beatty | Chairman Andrew Mackie | Choir Manager Tessa Bartley

Founded in 1947, the London Philharmonic Choir The Choir appears regularly at the BBC Proms at the is widely regarded as one of Britain’s finest choirs, Royal Albert Hall, and performances have included consistently meeting with great critical acclaim. It has the UK premieres of Mark-Anthony Turnage’s A Relic performed under leading international conductors for of Memory and Goldie’s Sine Tempore in the Evolution! over 65 years and made numerous recordings for CD, Prom. The Choir performed at the Doctor Who Proms radio and television. in 2008 and 2010, and in 2011 appeared in Verdi’s Requiem, Liszt’s A Faust Symphony and Beethoven’s Enjoying a close relationship with the London Missa Solemnis. Last year it performed Elgar’s The Philharmonic Orchestra, the Choir frequently joins Apostles with Sir Mark Elder and Howells’s Hymnus it for concerts in the UK and abroad. In 2012/13, Paradisi under . concerts with the LPO have included Rachmaninoff’s The Bells, Haydn’s Nelson Mass, Schoenberg’s A Survivor The Choir has visited numerous European countries from Warsaw, Brahms’s Ein deutsches Requiem and and performed in Kuala Lumpur, Hong Kong and Perth, Elgar’s The Dream of Gerontius. Members of the Choir Australia. The Choir also works with other leading have just returned from Paris performing Weill’s The orchestras, and last June joined forces with the London Threepenny Opera with the LPO at the Théâtre des Symphony Orchestra and Chorus to perform Berlioz’s Champs-Élysées, which was also repeated in London. Grande Messe des Morts with Sir Colin Davis at St Paul’s Forthcoming engagements in the Southbank Centre’s Cathedral, recently released on CD by the LSO. The Choir The Rest Is Noise festival include Tippett’s A Child of Our also sings in Raymond Gubbay’s Classical Spectacular Time, Britten’s War Requiem, Poulenc’s Stabat mater, and Christmas concerts, and has appeared in gala Shostakovich’s Symphony No. 13, Arvo Pärt’s Magnificat concerts with Russell Watson and Katherine Jenkins. and Berlin Mass, and John Adams’s El Niño. The Choir prides itself on achieving first-class Recently released CDs with the London Philharmonic performances from its members, who are volunteers Orchestra include Brahms’s Ein deutsches Requiem from all walks of life. For more information, including with Yannick Nézet-Séguin, Holst’s The Planets and details about how to join, please visit www.lpc.org.uk Mahler’s Symphony No. 2 with Vladimir Jurowski, and Beethoven’s Missa Solemnis with Christoph Eschenbach.

Sopranos Linnea Olsson, Angela Pascoe, Carolyn Saunders, Mary Bateman, Tessa Bartley, Laura Beeley, Laura Buntine, Mayuko Tanno, Erica Tomlinson, Philippa Walden, Gemma Chance, Paula Chessell, Esther Chiang, Jenny Watson Alana Clark, Emily Clarke, Sheila Cox, Lucy Doig, Tenors Rosha Fitzhowle, Jane Hanson, Sally Harrison, Scott Addison, David Aldred, Geir Arne Andreassen, Carolyn Hayman, Frances Holles, Georgina Kaim, Christopher Beynon, Lorne Cuthbert, Kevin Darnell, Judith Kistner, Ilona Kratochvilova, Roseanna Levermore, Fred Fisher, Robert Geary, Josh Haley, Iain Handyside, Suzannah Lipmann, Natasha Maslava, Janey Maxwell, Stephen Hodges, Rylan Holey, Jesse Hollister, Marj McDaid, Linda Park, Lydia Pearson, Patrick Hughes, Andrew Mackie, Tony Masters, Oktawia Petronella, Alexia Prakas, Rebecca Schendel, Philip Padfield, Alex Thomas, Travis Winstanley, Leanne Singh-Levitt, Rachael Stokes, Louisa Sullivan, Hin-Yan Wong, Tony Wren, William Yates Tracey Szwagrzak, Susan Thomas, Agnes Tisza, Basses Susan Watts, Frances Wheare David Booth, Gordon Buky-Webster, Geoff Clare, Altos Rob Collis, Phillip Dangerfield, Marcus Daniels, Ian Frost, Joanna Arnold, Deirdre Ashton, Phye Bell, Sally Brien, Nigel Grieve, Martin Harvey, Mark Hillier, Stephen Hines, Andrei Caracoti, Lara Carim, Isabelle Cheetham, Yaron Hollander, Martin Hudson, Steve Kirby, John Luff, Noel Chow, Yvonne Cohen, Liz Cole, Elisa Dunbar, John D Morris, John G Morris, Robert Northcott, Carmel Edmonds, Regina Frank, Henrietta Hammonds, Richard Pardon, Will Parsons, Johan Pieters, Tony Piper, Sophy Holland, Marjana Jovanovic Morrison, Andrea Lane, David Regan, Fraser Riddell, John Salmon, Kevin Sebastian, Lisa MacDonald, Michelle Marple, Mary Moore, Daniel Snowman, Peter Taylor, James Torniainen, Sophie Morrison, Rachel Murray, Raluca Negriuc, James Wilson, John Wood

10 | London Philharmonic Orchestra Programme notes

Speedread

Tonight’s concert features two works in which the deemed Stravinsky’s music ‘degenerate’ in 1938, he composers celebrate their respective roots. The belligerently shirked their accusations of cultural Symphony of Psalms (1930) marked Igor Stravinsky’s Bolshevism. The erotically charged Carmina Burana return to his Russian Orthodox faith, while Carl likewise fell foul of the new regime. Yet as soon as Orff’s irrepressible cantata Carmina Burana (1937) Orff’s popularity proved uncontainable, the Nazis revels in the bawdy poetry of his native Bavaria. embraced the composer as one of their own. Orff was As nefarious authorities came to power during the all too willing to comply, becoming one of the most 1930s, questions about who you were and what successful musicians under that devastating regime. you believed became paramount. When the Nazis

Igor Symphony of Psalms Stravinsky London Philharmonic Choir Part I Part II 1882–1971 Part III

The text is on page 13.

By the time Stravinsky began work on his Symphony Yet a figure as plural as Stravinsky was unlikely to stick of Psalms in 1930, he had held the world’s musical to just one style. And one indication of the composer’s imagination captive for two decades. With The Firebird ongoing fascination with Russia was his return to the in 1910, Petrushka (1911), The Rite of Spring (1913) Orthodox faith in 1926. Three years later, his fellow and later works such as Les Noces (1923), Stravinsky Russian and theatrical advocate Sergey Diaghilev had become the noble savage of European music. His died. And it was out of this melée of mourning, nascent theatrical flair, riotous use of orchestral colour Neoclassicism and renewed faith that the Symphony of and barbarous rhythms tapped the feral roots of his Psalms was born. native Russia as well as the spirit of an increasingly energetic age. Serge Koussevitzky, another Russian-born émigré, had commissioned Stravinsky to write a new orchestral During the 1920s, however, Stravinsky began to work for the Boston Symphony Orchestra’s 50th move away from Russian influences and embrace the anniversary. On 12 December 1929 Stravinsky signed structures and sounds of European music, such as the the contract, but by 6 January 1930 (Russian Christmas sonata, variation and fugue. Gone was the colour of Eve) he had already begun to write down passages from his earlier theatre works and in came a new emotional the Latin translation of the Psalms. This was clearly detachment. This Neoclassicism, as it has been termed, not going to be an ordinary symphony. Around Easter, provoked the opera-cum-oratorio Oedipus rex (1927) Stravinsky finished the finale, and he completed the and the pellucid ballet score Apollo (1928). first movement around the Feast of the Assumption on 15 August.

London Philharmonic Orchestra | 11 Programme notes

He dutifully dedicated the work to Koussevitzky’s orchestra, though more revealing are the words ‘composée à la gloire de DIEU’ (‘composed to the glory of God’).

In his book The Rest Is Noise, Alex Ross fittingly describes the first movement in terms of a large cathedral. Its jolting E minor chords, which punctuate otherwise sinuous music, are like great pillars within the building’s structure. In this imagined vaulted space we hear repentant parishioners. Slowly their appeals move from E minor to the relative key of G major, which in turn becomes the springboard (the dominant) for C minor, the key of the second movement. Here, Stravinsky generates an austere double fugue, with its contrapuntal strands finally combining as the singers ‘put their trust in the Lord’.

When later describing the finale to the writer and conductor Robert Craft, Stravinsky said that it ‘was inspired by a vision of Elijah’s chariot climbing the Heavens; never before had I written anything quite so literal as the triplets for horns and piano to suggest the horses and chariot.’ That initial sense of attrition, however reverential, eventually gives way to a celebration, in which the Psalm’s list of instruments provides the basis for highly theatrical outbursts before ending with more hushed professions of faith.

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

‘It’s been tremendously exciting to look on as the works I discuss in The Rest Is Noise have come together in Southbank Centre’s festival. Twentieth-century classical music is an extraordinary creative achievement that has shaped so many aspects of what we hear now, classical or not. There will always be something smouldering at the heart of this repertoire, something dangerous and untamed, but placing the music in a broad cultural and historical context should help people to become more comfortable with it and to understand how it came to be.’ Alex Ross, author, The Rest Is Noise southbankcentre.co.uk/therestisnoise

12 | London Philharmonic Orchestra Stravinsky: Symphony of Psalms

I Exaudi orationem meam, Domine, Hear my prayer, O Lord, et deprecationem meam: and give ear unto my cry; auribus percipe lacrimas meas. hold not Thy peace at my tears. Ne sileas, quoniam advena ego sum apud te: For I am a stranger with Thee, and a sojourner, as all my et peregrinus, sicut omnes patres mei. fathers were. Remitte mihi, ut refrigerer prius quam abeam: O spare me a little that I may recover my strength: et amplius non ero. before I go hence and be no more. Psalm 39: 12–13 (King James Version)

II Expectans expectavi Dominum: I waited patiently for the Lord; et intendit mihi. and He inclined unto me, and heard my cry. Et exaudivit preces meas; He brought me up also out of an horrible pit, et eduxit me de lacu miseriae, et de luto fæcis. out of the miry clay, Et statuit super petram pedes meos: and set my feet upon a rock, et direxit gressus meos. and established my goings. Et immisit in os meum canticum novum: And He hath put a new song in my mouth, carmen Deo nostro. even praise unto our God. Videbunt multi, videbunt et timebunt: Many shall see it, and fear, et sperabunt in Domino. and shall trust in the Lord. Psalm 40: 1–3 (King James Version)

III Alleluia. Alleluia. Laudate Dominum in sanctis Ejus. Praise God in his sanctuary: Laudate Eum in firmamento virtutis Ejus. Praise Him in the firmament of His power. Laudate Eum in virtutibus Ejus. Praise Him for His mighty acts: Laudate Eum secundum multitudinem Praise Him according to His excellent greatness. magnitudinis Ejus. Laudate Dominum in sanctis Ejus. Laudate Eum in sono tubae. Praise Him with the sound of the trumpet. Laudate Eum in timpano et choro. Praise Him with the timbrel and dance. Laudate Eum in chordis et organo. Praise Him with stringed instruments and organs. Laudate Eum in cymbalis benesonantibus. Praise Him upon the loud cymbals. Laudate Eum in cymbalis jubilationibus. Praise Him upon the high sounding cymbals. Laudate Dominum. Laudate Eum, omnis spiritus laudet Dominum, Let everything that hath breath praise the Lord. omnis spiritus laudet Eum. Alleluia. Laudate, laudate, laudate Dominum. Alleluia. Praise the Lord. Psalm 150 (King James Version)

London Philharmonic Orchestra | 13 Programme notes

Carl Carmina Burana Sally Matthews soprano Orff Andrew Kennedy tenor Rodion Pogossov baritone London Philharmonic Choir 1895–1982 Trinity Boys Choir

The text begins overleaf.

Like Stravinsky, Carl Orff was a somewhat plural figure an important document in Bavarian history and culture. within musical modernism. He embraced a wide range The discovery of these texts coincided with the völkisch of musical styles, looked to the past for his models and movement within Romanticism, celebrating the origins fused them within a dramatic idiom. Unlike Stravinsky, of Germany – often aligned with patriotic and anti- Orff did not remain impervious to the political shifts urban principles – which later became part and parcel of his time. Having been a vocal adherent of left-wing of Nazi ideology. educational policies in the 1920s, he became entangled within the Nazi machine. At first, the Party was After the premiere of Orff’s setting of 24 texts from the sceptical about his feral cantata Carmina Burana (1937). manuscript – selected by the composer in collaboration In the wake of its unbridled popularity, however, the with the classicist Michel Hofmann – the Nazi-endorsed Nazis found it convenient to embrace Orff’s hit. He was Völkischer Beobachter newspaper called the cantata unlikely (and unwilling) to object, making huge sums ‘Bavarian Niggermusik’. But Orff’s popularity was but forever tainting his music by association. unstoppable, so the Nazis quietly adopted the piece. Yet despite these unshakable associations and Orff’s Orff was born in Munich in 1895. He studied there consequent chilling opportunism, Carmina Burana and worked as Kapellmeister at the city’s esteemed remains an infectious and brilliantly orchestrated work. Kammerspiele. Drafted into the army during World War I, he was later deemed unfit for service and Echoing the wheel of fortune that illustrates the returned home, splitting his time between studying original poems and Orff’s score alike, the cantata is the music of the 16th and 17th centuries – producing cyclical, bookended by a poem about the cruel hand of several realisations of works by Monteverdi – and fate. Orff’s D minor ‘O Fortuna’ makes a huge impact, developing new educational processes. These full of chugging rhythms, building to a scorching climax. ‘elemental’ ideas began first in dance, but were applied ‘Fortune piango vulnera’ can only offer a bruised chant by Orff to music and to verbal and physical expression. in its wake. This sense of community, as well as his interest in the music and culture of the past (not least his Bavarian Spring arrives, albeit cast in melancholic colours. The origins), provided the groundwork for what would basses and altos’ mournful mantra could not be further become Orff’s most popular work. from the ‘joyous face of spring’ described in the text. The tenors and sopranos likewise fail to provide cheer, Carmina Burana is a collection of over 250 satirical and the baritone soloist’s descriptions of April return medieval poems, created by an alcoholic group of to a brooding D minor. Suddenly, the mood breaks, clerical students. The texts poke fun at what they see shifting in F major with a jovial ‘Ecce gratum’. Here, as a hypocritical church, before indulging in erotic Orff’s jangling orchestrations come to the fore with a fantasy and pondering ideas of fate and fortune. five-person percussion section and two pianos. The illustrated manuscript was found in 1803 in the Benedictine monastery of Benediktbeuern and became

14 | London Philharmonic Orchestra The next part of the cantata – ‘Uf dem Anger’ – is more After such muscularity, Orff moves to the ‘Cour highly charged. The opening dance, tonally stable but d’amours’. This is the domain of a boys’ choir and the Stravinsky-like in its rhythmic inconsistencies, triggers soprano soloist. The melancholic tone of ‘Primo vere’ a waltzing ‘Floret silva’. The peasants are clearly on heat returns; sexual frustration is palpable in the baritone’s and in the sopranos’ spry ‘Chramer, gip die varwe mir’ ‘Dies, nox et omnia’. The soprano responds with her (moving from Latin into Middle High German) and the coquettish ‘Stetit puella’, which in turn triggers the harmonically lush humming that follows, sex is never virile ‘Circa mea pectora’. The tavern brawlers reappear far away. Building to a fanfaric climax in ‘Were diu werlt and chase the women in ‘Veni, veni, venias’. Caught, alle min’, members of the chorus imagine the Queen of the soprano soloist acquiesces with an amorous but, England lying in their arms. according to the score, ‘always veiled’ solo ‘In trutina’. With the women having conceded, the soloists, boys, ‘In the Tavern’, lustful ambitions have come to nothing chorus and orchestra join together in ‘Tempus est and the men are bitter – the upper voices absent from iocundum’, a wild carnival of sexual congress, out of this testosterone-charged section. After the baritone’s which the soprano’s leaping ‘Dulcissime’ appears in braying introduction, we hear a swan roasting on the orgasmic submission. The chorus greets the virginal fire. Squealing bassoons and a gruellingly high tenor heroines Blanchefleur, Helen and Venus, wild bells ring solo provide a picture of ironic emasculation. The out, but Fortune stamps her foot once more. The wheel abbot of Cockaigne is having none of it, however, and has turned, the peasants are powerless and Carmina his ‘gesturing and mocking’ incantations provoke the Burana ends just as it began. riotous drinking song ‘In taberna quando sumus’. Programme notes © Gavin Plumley

‘Carl Orff, who had participated in Leo Kestenberg’s socialistic education schemes in the Weimar period, scored a surprise hit in Nazi Germany with his cantata Carmina Burana. With its exotic percussion writing (modelled on Stravinsky’s Les Noces) and its syncopated “bounce”, Orff’s showpiece was far removed from Hitler’s favourite Wagner operas. The review in the Völkischer Beobachter, the Nazi Party paper, identified it as “Bavarian Niggermusik”. Once the work had demonstrated huge popular appeal, however, Nazi aesthetics were adjusted to accommodate it. By 1944 Goebbels was gushing in his diary that Carmina Burana contained “extraordinary beauties”.’ Alex Ross, The Rest Is Noise (Fourth Estate)

London Philharmonic Orchestra | 15 Orff: Carmina Burana

Fortuna Imperatrix Mundi Fortune, Empress of the World 1 O Fortuna O fortune chorus 2 Fortune piango vulnera I lament the wounds that Fortune deals chorus

I – Primo vere Springtime 3 Veris leta facies The joyous face of spring small chorus 4 Omnia sol temperat All things are tempered by the sun baritone 5 Ecce gratum Behold the welcome chorus

Uf dem Anger On the Green 6 Tanz Dance orchestra 7 Floret silva The forest flowers chorus and small chorus 8 Chramer, gip die varwe mir Salesman, give me coloured paint boys’ chorus and chorus 9 Reie Round Dance orchestra Swaz hie gat umbe They who here go dancing round chorus Chume, chum, geselle min Come, come, dear heart of mine chorus Swaz hie gat umbe (reprise) They who here go dancing round chorus 10 Were diu werlt alle min If the whole world were but mine chorus

II – In Taberna In the Tavern 11 Estuans interius Seething inside baritone 12 Olim lacus colueram Once in lakes I made my home tenor and male chorus 13 Ego sum abbas I am the abbot of Cockaigne baritone and male chorus 14 In taberna quando sumus When we are in the tavern male chorus

III – Cour d’amours Court of Love 15 Amor volat undique Love flies everywhere soprano and boys’ chorus 16 Dies, nox et omnia Day, night and all the world baritone 17 Stetit puella There stood a young girl soprano 18 Circa mea pectora In my breast baritone and chorus 19 Si puer cum puellula If a boy and a girl baritone and male chorus 20 Veni, veni, venias Come, come, pray come double chorus 21 In trutina On the scales soprano 22 Tempus est iocundum Pleasant is the season soprano, baritone, chorus and boys’ chorus 23 Dulcissime Sweetest boy soprano

Blanziflor et Helena Blanchefleur and Helen 24 Ave formosissima Hail to thee, most lovely chorus

Fortuna Imperatrix Mundi Fortune, Empress of the World 25 O Fortuna (reprise) O fortune chorus

16 | London Philharmonic Orchestra FORTUNA IMPERATRIX MUNDI (Fortune, Empress of the World)

1 O Fortuna (chorus) O fortuna, O fortune! velut luna Like the moon statu variabilis, ever changing, semper crescis rising first aut decrescis; then declining; vita detestabilis hateful life nunc obdurat treats us badly et tunc curat then with kindness, ludo mentis aciem, making sport with our desires, egestatem, causing power potestatem and poverty alike dissolvit ut glaciem. to melt like ice. Sors immanis Dread destiny et inanis, and empty fate, rota tu volubilis, an ever turning wheel, status malus, who make adversity vana salus and fickle health semper dissolubilis, alike turn to nothing, obumbrata in the dark et velata and secretly michi quoque niteris; you work against me; nunc per ludum how through your trickery dorsum nudum my naked back fero tui sceleris. is turned to you unarmed. Sors salutis Good fortune et virtutis and strength michi nunc contraria, now are turned from me, est affectus Affection et defectus and defeat semper in angaria. are always on duty. Hac in hora Come now, sine mora pluck the strings corde pulsum tangite; without delay; quod per sortem and since by fate sternit fortem, the strong are overthrown, mecum omnes plangite! weep ye all with me.

2 Fortune piango vulnera (chorus) Fortune piango vulnera I lament the wounds that fortune deals stillantibus ocellis, with tear-filled eyes, quod sua michi munera for returning to the attack subtrahit rebellis. she takes her gifts from me. Verum est, quod legitur It is true fronte capillata, as they say,

London Philharmonic Orchestra | 17 Orff: Carmina Burana contd.

sed plerumque sequitur the well-thatched pate occasio calvata. may soonest lose its hair. In fortune solio Once on fortune’s throne sederam elatus, I sat exalted, prosperitatis vario crowned with a wreath flore coronatus; of prosperity’s flowers. quicquid enim florui But from my happy, felix et beatus, flower-decked paradise nunc a summo corrui I was struck down gloria privatus. and stripped of all my glory. Fortune rota volvitur: The wheel of fortune turns; descendo minoratus; dishonoured I fall from grace alter in altum tollitur; and another is raised on high. nimis exaltatus Raised to over-dizzy heights of power rex sedet in vertice — the king sits in majesty — caveat ruinam! but let him beware of his downfall! Nam sub axe legimus For ‘neath the axle of fortune’s wheel Hecubam reginam. behold Queen Hecuba.

I – PRIMO VERE (Springtime)

3 Veris leta facies (small chorus) Veris leta facies The joyous face of spring mundo propinatur, is presented to the world; hiemalis acies winter’s army victa iam fugatur, is conquered and put to flight. in vestitu vario In colourful dress Flora principatur, Flora is arrayed, nemorum dulcisono and the woods are sweet que canto celebratur. with birdsong in her praise. Flore fusus gremio Reclining in Flora’s lap Phobus novo more Phoebus again risum dat, hoc vario laughs merrily, iam stipatur flore. covered with many-coloured flowers. Zephyrus nectareo Zephyr breathes around spirans in odore; the scented fragrance; certatim pro bravio eagerly striving for the prize, curramus in amore. let us compete in love. Cytharizat cantico Trilling her song dulcis Philomena, sweet Philomel is heard, flore rident vario and smiling with flowers prata iam serena; the peaceful meadows lie; salit cetus avium a flock of wild birds silve per amena, rises from the woods; chorus promit virginum the chorus of maidens iam gaudia millena. brings a thousand joys.

18 | London Philharmonic Orchestra 4 Omnia sol temperat (baritone) Omnia sol temperat All things are tempered by the sun purus et subtilis, so pure and fine. novo mundo reserat In a new world are revealed faciem Aprilis; the beauties of April; ad amorem properat to thoughts of love animus herilis, the mind of man is turned, et iocundis imperat and in pleasure’s haunts deus puerilis. the youthful God holds sway. Rerum tanta novitas Nature’s great renewal in solemni vere in solemn spring et veris auctoritas and spring’s example iubet nos gaudere; bid us rejoice; vias prebet solitas, they charge us keep to well-worn paths, et in tuo vere and in your springtime fides est et probitas there is virtue and honesty tuum retinere. in being constant to your lover. Ama me fideliter! Love me truly! Fidem meam nota: Remember my constancy. de corde totaliter With all my heart et ex mente tota and all my mind sum presentialiter I am with you absens in remota. even when far away. Quisquis amat taliter, Whoever knows such love volvitur in rota. knows the torture of the wheel.

5 Ecce gratum (chorus) Ecce gratum Behold the welcome, et optatum long-awaited spring, ver reducit gaudia, which brings back pleasure purpuratum and with crimson flowers floret pratum, adorns the fields. sol serenat omnia. The sun brings peace to all around. Iamiam cedant tristia! Away with sadness! Estas redit, Summer returns, nunc recedit and now departs Hyemis sevitia. cruel winter. Iam liquescit Melt away et decrescit and disappear grando, nix et cetera; hail, ice and snow; bruma fugit, the mists flee, et iam sugit and spring is fed ver estatis ubera; at summer’s breast. illi mens est misera, Wretched is the man qui nec vivit, who neither lives nec lascivit, nor lusts sub estatis dextera. under summer’s spell.

London Philharmonic Orchestra | 19 Orff: Carmina Burana contd.

Gloriantur They taste delight et letantur and honeyed sweetness in melle dulcedinis, who strive for qui conantur, and gain ut untantur Cupid’s reward. premio Cupidinis; Let us submit simus jussu Cypridis to Venus’s rule, gloriantes and joyful et letantes and proud pares esse Paridis. be equal to Paris

UF DEM ANGER (On the Green)

6 Tanz (Dance) (orchestra)

7 Floret silva (chorus and small chorus) Floret silva nobilis The noble forest floribus et foliis. Is decked with flowers and leaves. Ubi est antiquus Where is my old, meus amicus? my long-lost lover? Hinc equitavit, He rode away on his horse. eia, quis me amabit? Alas, who will love me now? Floret silva undique, The forest all around is in flower, nach mime gesellen ist mir we. I long for my lover. Gruonet der walt allenthalben, The forest all around is in flower, was ist min geselle alse lange? whence is my lover gone? Der ist geriten hinnen, He rode away on his horse. owi, wer sol mich minnen? Alas, who will love me now?

8 Chramer, gip die varwe mir (boys’ chorus and chorus) Chramer, gip die varwe mir, Salesman, give me coloured paint die min wengel roete, to paint my cheeks so crimson red, damit ich die jungen man that I may make these bold young men, an ir dank der minnenliebe noete. whether they will or not, love me. Seht mich an, Look at me, jungen man! young men all! Lat mich iu gevallen! Am I not well pleasing?

Minnet, tugentliche man, Love, all you right-thinking men, minnecliche frouwen! women worthy to be loved! Minne tuot iu hoch gemuot Love shall raise your spirits high unde lat iuch in hohlen eren schouwen. and put a spring into your step. Seht mich an, etc. Look at me, etc. Wol dir, werit, das du bist Hail to thee, O world that art also freudenriche! in joy so rich and plenteous! Ich wil dir sin undertan I will ever be in thy debt

20 | London Philharmonic Orchestra durch din liebe immer sicherliche. surely for thy goodness’s sake! Seht mich an, etc. Look at me, etc.

9 Reie (Round Dance) (orchestra)

Swaz hie gat umbe (chorus) Swaz hie gat umbe, They who here go dancing round daz sint allez megede, are young maidens all die wellent an man who will go without a man alle disen sumer gan. this whole summer long.

Chume, chum, geselle min (chorus) Chume, chum, geselle min, Come, come, dear heart of mine, ih enbite harte din. I so long have waited for thee. Suzer rosenvarwer munt, Sweetest rosy coloured mouth, chum un mache mich gesunt. come and make me well again.

Swaz hie gat umbe (reprise) (chorus) Swaz hie gat umbe, etc. They who here go dancing round, etc.

10 Were diu werlt alle min (chorus) Were diu werlt alle min If the whole world were but mine von deme mere unze an den Rin, from the sea right to the Rhine, des wolt ih mih darben, gladly I’d pass it by daz diu chünegin von Engellant if the Queen of England fair lege an minen armen. in my arms did lie.

II – IN TABERNA (In the Tavern)

11 Estuans interius (baritone) Estuans interius Seething inside ira vehementi with boiling rage, in amaritudine in bitterness loquor mee menti: I talk to myself. factus de materia, Made of matter, cinis elementi, risen from dust, similis sum folio, I am like a leaf de quo ludunt venti. tossed in play by the winds. Cum sit enim proprium But whereas it befits viro sapienti a wise man supra petram ponere to build his house sedem fundamenti, on a rock, stultus ego comparor I, poor fool,

London Philharmonic Orchestra | 21 Orff: Carmina Burana contd.

fluvio labenti, am like a meandering river, sub eodem tramite never keeping nunquam permanenti. to the same path. Feror ego veluti I drift along sine nauta navis, like a pilotless ship ut per vias aeris or like an aimless bird, vaga fertur avis; carried at random through the air. non me tenent vincula, No chains hold me captive, non me tenet clavis, no lock holds me fast; quero mihi similes, I am looking for those like me, et adiungor pravis. and I joined the depraved. Mihi cordis gravitas The burdens of the heart res videtur gravis; seem to weigh me down; iocus est amabilis jesting is pleasant dulciorque favis; and sweeter than the honeycomb. quicquid Venus imperat, Whatever Venus commands labor est suavis, is pleasant toil; Que nunquam in cordibus she never dwells habitat ignavis in craven hearts. Via lata gradior On the broad path I wend my way more iuventutis, as is youth’s wont, inplicor et vitiis, I am caught up in vice immemor virtutis, and forgetful of virtue, voluptatis avidus caring more for voluptuous pleasure magis quam salutis, than for my health; mortuus in anima dead in spirit, curam gero cutis. I think only of my skin.

12 Olim lacus colueram (tenor and male chorus) Olim lacus colueram, Once in lakes I made my home, olim pulcher extiteram — once I dwelt in beauty — dum cignus ego fueram. that was when I was a swan. Miser, miser! Alas, poor me! Modo niger Now I am black et ustus fortiter! and roasted to a turn! Girat, regirat garcifer; On the spit I turn and turn, me rogus urit fortiter: the fire roasts me through; propinat me nunc dapifer. now I am presented at the feast. Miser, miser! etc. Alas, poor me! etc. Nunc in saltella iaceo, Now in a serving dish I lie et volitare nequeo, and can no longer fly; dentes frendentes video. gnashing teeth confront me. Miser, miser! etc. Alas, poor me! etc.

22 | London Philharmonic Orchestra 13 Ego sum abbas (baritone and male chorus) Ego sum abbas Cucaniensis, I am the abbot of Cockaigne, et consilium meum est cum bibulis, and I like to drink with my friends. et in secta Decii voluntas mea est, I belong from choice to the sect of Decius, et qui mane me quesierit in taberna, and whoever meets me in the morning at the tavern post vesperam nudus egredietur, by evening has lost his clothes, et sic denudatus veste clamabit: and thus stripped of his clothes cries out: Wafna, wafna! Wafna, wafna! Quid feristi sors turpissima? What hast thou done, oh, wicked fate? Nostre vite gaudia All the pleasures of this life abstulisti omnia! thus to take away! Wafna, wafna! Wafna, wafna! Ha, ha! Ha, ha!

14 In taberna quando sumus (male chorus) In taberna quando sumus, When we are in the tavern non curamus quid sit humus, we spare no thought for the grave, sed ad ludum properamus, but rush to the gaming tables cui semper insudamus. where we always sweat and strain. Quid agatur in taberna, What goes on in the tavern, ubi nummus est pincerna, where a coin gets you a drink— hoc est opus ut queratur, if this is what you would know, si quid loquar, audiatur. then listen to what I say. Quidam ludunt, quidam bibunt, Some men gamble, some men drink, quidam indiscrete vivunt. some indulge in indiscretions. Sed in ludo qui morantur, But of those who stay to gamble, ex his quidam denudante, some lose their clothes, quidam ibi vestiuntur, some win new clothes, quidam saccis induuntur. while others put on sack cloth. Ibi nullus timet mortem, There no one is afraid of death, sed pro Bacho mittunt sortem. but for Bacchus plays at games of chance. Primo pro nummata vini; First the dice are thrown for wine; ex hac bibunt libertini, this the libertines drink. semel bibunt pro captivis, Once they drink to prisoners, post hec bibunt ter pro vivis, then three times to the living, quater pro Christianis cunctis, four times to all Christians, quinquies pro fidelibus defunctis, five to the faithful departed, sexies pro sororibus vanis, six times to the dissolute sisters, septies pro militibus silvanis. seven to the bush-rangers. Octies pro fratribus perversis, Eight times to the delinquent brothers, nonies pro monachis dispersis, nine to the dispersed monks, decies pro navigantibus, ten times to the navigators, undecies pro discordantibus, eleven to those at war, duodecies pro penitentibus, twelve to the penitent, tredecies pro iter angentibus. thirteen to travellers. Tarn pro papa quam pro rege They drink to the Pope and king alike, bibunt omnes sine lege. all drink without restraint.

London Philharmonic Orchestra | 23 Orff: Carmina Burana contd.

Bibit hera, bibit herus, The mistress drinks, the master drinks, bibit miles, bibit clerus, the soldier drinks, the man of God, bibit ille, bibit illa, this man drinks, this woman drinks, bibit servus cum ancilla, the manservant with the serving maid, bibit velox, bibit piger, the quick man drinks, the sluggard drinks, bibit albus, bibit niger, the white man and the black man drink, bibit constans, bibit vagus, the steady man drinks, the wanderer drinks, bibit rudus, bibit magus. the simpleton drinks, the wise man drinks. Bibit pauper et egrotus, The poor man drinks, the sick man drinks, bibit exul et ignotus, the exile drinks and the unknown, bibit puer, bibit canus, the boy drinks, the old man drinks, bibit presul et decanus, the bishop drinks and the deacon, bibit soror, bibit frater, sister drinks and brother drinks, bibit anus, bibit mater; the old crone drinks, the mother drinks, bibit ista, bibit ille, this one drinks, that one drinks, bibunt centum, bibunt mille. a hundred drink, a thousand drink. Parum sexcente nummate Six hundred coins are not enough durant, cum immoderate when all these drink too much, bibunt omnes sine meta. and without restraint. Quamvis bibant mente leta, Although they drink cheerfully, sic nos rodunt omnes gentes, many people censure us, et sic erimus egentes. and we shall always be short of money. Qui nos rodunt confundantur May our cries be confounded et cum iustis non scribantur. and never be numbered among the just.

III — COUR D’AMOURS (Court of Love)

15 Amor volat undique (soprano and boys’ chorus) Amor volat undique, Love flies everywhere captus est libidine. and is seized by desire. Iuvenes, iuvencule Young men and women coniunguntur merito. are matched together. Siqua sine socio, If a girl lacks a partner, caret omni gaudio; she misses all the fun; tenet noctis infirma in the depths sub intimo of her heart cordis in custodia: is darkest night: fit res amarissima. it is a bitter fate.

16 Dies, nox et omnia (baritone) Dies, nox et omnia Day, night and all the world mihi sunt contraria, are against me, virginum, colloquia the sound of maidens’ voices me fay planszer, makes me weep. oy suvenz suspirer, I often hear sighing, plu me fay temer. and it makes me more afraid.

24 | London Philharmonic Orchestra O sodales, ludite, O friends, be merry, vos qui scitis dicite, say what you will, michi mesto parcite, but have mercy on me, a sad man, grand ey dolur, for great is my sorrow, attamen consulite yet give me counsel per voster honur. for the sake of your honour. Tua pulchra facies, Your lovely face me fey planszer milies, makes me weep a thousand tears pectus habet glacies, because your heart is of ice, a remender but I would be restored statim vivus fierem at once to life per un baser. by one single kiss.

17 Stetit puella (soprano) Stetit puella There stood a young girl rufa tunica; in a red tunic; si quis earn tetigit, if anyone touched her, tunica crepuit. the tunic rustled. Eia, eia. Heigho, heigho. Stetit puella, There stood a girl tamquam rosula; fair as a rose; facie splenduit, her face was radiant, os eius floruit. her mouth like a flower. Eia, eia. Heigho, heigho.

18 Circa mea pectora (baritone and chorus) Circa mea pectora My breast multa sunt suspiria is filled with sighing de tua pulchritudine, for your loveliness, que me ledunt misere. and I suffer grievously. Manda liet, Manda liet, manda liet, manda liet, min geselle my sweetheart chumet niet. comes not. Tui lucent oculi Your eyes shine sicut solis radii, like sunlight, sicut splendor fulguris like the splendour of lightning lucem donat tenebris. in the night. Manda liet, etc. Manda liet, etc. Vellut deus, vellent dii May God grant, may the gods permit quod mente proposui: the plan I have in mind: ut eius virginea to undo the bonds reserassem vincula. of her virginity. Manda liet, etc. Manda liet, etc.

London Philharmonic Orchestra | 25 Orff: Carmina Burana contd.

19 Si puer cum puellula (baritone and male chorus) Si puer cum puellula If a boy and a girl moraretur in cellula, linger together, felix coniunctio. happy is their union. Amore sucrescente, Increasing love pariter e medio leaves tedious avulso procul tedio, good sense far behind, fit ludus ineffabilis and inexpressible pleasure fills membris, lacertis, labiis. their limbs, their arms, their lips.

20 Veni, veni, venias (double chorus) Veni, veni, venias, Come, come, pray come, ne me mori facias, do not let me die, hyrca, hyrca, nazaza hyrca, hyrca, nazaza, trillirivos ... trillirivos ... Pulchra tibi facies, Lovely is your face, oculorum acies, the glance of your eyes, capillorum series, the braids of your hair, oh, quam clara species! oh, how beautiful you are! Rosa rubicundior, Redder than the rose, lilio candidior, whiter than the lily, omnibus formosior, comelier than all the rest; semper in te glorior! always I shall glory in you.

21 In trutina (soprano) In trutina mentis dubi On the scales fluctuant contraria of my wavering indecision lascivus amor et pudicitia. physical love and chastity are weighed. Sed eligo quod video, But I choose what I see, collum iugo prebeo: I bow my head in submission ad iugum tarnen suave transeo. and take on the yoke which is after all sweet.

22 Tempus est iocundum (soprano, baritone, chorus and boys’ chorus) Tempus est iocundum, Pleasant is the season, O virgines; O maidens; modo conguadete, now rejoice together, vos iuvenes. young men. Oh, oh, oh, Oh, oh, oh, totus floreo, I blossom, iam amore virginali now with pure love totus ardeo, I am on fire! novus, novus amor This love is new, new, est, quo pereo. of which I perish. Mea me confortat My love brings me comfort

26 | London Philharmonic Orchestra promissio, when she promises, mea me deportat but makes me distraught negatio. with her refusal. Oh, oh, etc. Oh, oh, etc. Tempore brumali In winter time vir patiens, the man is lazy, animo vernali in the spring he will turn lasciviens. amorous. Oh, oh, etc. Oh, oh, etc. Mea mecum ludit My chastity virginitas, teases me, mea me detrudit but my innocence simplicitas. holds me back! Oh, oh, etc. Oh, oh, etc. Veni, domicella, Come, my darling, cum gaudio, come with joy, veni, veni, pulchra, come, my beauty, iam, pereo. for already I die! Oh, oh, etc. Oh, oh, etc.

23 Dulcissime (soprano) Sweetest boy, Dulcissime, ah, I give my all to you! ah, totam tibi subdo me!

BLANZIFLOR ET HELENA (Blanchefleur and Helen)

24 Ave formosissima (chorus) Ave formosissima, Hail to thee, most lovely, gemma pretiosa, , most precious jewel ave decus virginum, hail pride of virgins, virgo gloriosa, most glorious virgin! ave mundi luminar, Hail, light of the world, ave mundi rosa, hail, rose of the world! Blanziflor et Helena, Blanchefleur and Helen, Venus generosa. noble Venus, hail!

FORTUNA IMPERATRIX MUNDI (Fortune, Empress of the World)

25 O Fortuna (chorus) O fortuna! O fortune! velut luna, etc. Like the moon, etc.

© 1937 Schott Music GmbH & Co. KG, Mainz. © Renewed 1965.

London Philharmonic Orchestra | 27 Next LPO concerts at Royal Festival Hall

Saturday 27 April 2013 | 7.30pm Booking details Webern Variations for Orchestra, Op. 30 Tickets £9–£39 (Premium seats £65) Berg Lulu Suite 11 May FUNharmonics concert tickets £5–£18 Martinů Double Concerto for Two String Orchestras, Piano and Timpani London Philharmonic Orchestra Ticket Office Bartók Music for Strings, Percussion and Celeste 020 7840 4242 Monday to Friday 10.00am–5.00pm lpo.org.uk Vladimir Jurowski conductor Barbara Hannigan soprano Southbank Centre Ticket Office 0844 847 9920 Daily 9.00am–8.00pm southbankcentre.co.uk Wednesday 1 May 2013 | 7.30pm Vaughan Williams Symphony No. 4 Tippett A Child of our Time 2013/14 season concerts – on sale now conductor Our 2013/14 season concerts at Royal Festival Hall Rebecca Evans soprano are on sale now. Browse and book online at mezzo soprano www.lpo.org.uk/newseason, pick up a copy of the Ben Johnson tenor season brochure from the Royal Festival Hall foyer Matthew Rose bass racks this evening, or call us on 020 7840 4208 to London Philharmonic Choir request a copy of the brochure or to book by phone. Free pre-concert discussion 6.15–6.45pm | Royal Festival Hall Highlights of the new season include: Writer and broadcaster Daniel Snowman takes a look • Vladimir Jurowski opens the season with a at Tippett’s A Child of our Time. centenary celebration of the music of Britten, including Peter Grimes and the War Requiem

Saturday 11 May 2013 | 12.00pm • Yannick Nézet-Séguin demonstrates his flair for French repertoire with Poulenc, Dutilleux, Berlioz, FUNharmonics Family Concert and Saint-Saëns’s magnificent ‘Organ’ Symphony Be Afraid, Be Very Afraid • The Orchestra celebrates The Genius of Film featuring Prokofiev Peter and the Wolf Music, exploring some of the scintillating film Chris Jarvis presenter scores created between 1960–2000 Vladimir Jurowski conductor • Vladimir Jurowski brings The Rest Is Noise to a Tickets £5–£18 close with John Adams’s powerful and theatrical Nativity oratorio, El Niño • World premieres of James MacMillan’s Viola Friday 17 May 2013 | 7.30pm Concerto with soloist Lawrence Power, and JTI Friday Series Górecki’s Fourth Symphony Stravinsky Jeu de Cartes • Classical guitarist Miloš Karadaglič performs Prokofiev Violin Concerto No. 2 Rodrigo’s evocative Concierto de Aranjuez Shostakovich Symphony No. 6 • Legendary pianists Mitsuko Uchida and Leif Ove Vladimir Jurowski conductor Andsnes join the Orchestra for Beethoven’s Piano Patricia Kopatchinskaja violin Concertos Nos. 3 and 5 respectively

28 | London Philharmonic Orchestra CHAMBER CONTRASTS Wigmore Hall, London Soloists of the London Philharmonic Orchestra and Foyle Future Firsts Members

Sunday 28 April | 7.30pm Thursday 13 June | 7.30pm Wigmore Hall Wigmore Hall MILHAUD Wind Quintet, Op. 443 MOZART String Quintet No. 1 in FRANÇAIX Wind Quintet No. 1 B-flat major, K174 MARTINŮ Sextet for piano and wind IRELAND Sextet for clarinet, horn and BEETHOVEN Quintet for piano and string quartet wind in E-flat major, Op. 16 BRAHMS String Sextet in G major, Op. 36 Soloists of the London Philharmonic Orchestra London Philharmonic Orchestra Foyle Catherine Edwards piano Future Firsts and Guests

The London Philharmonic Orchestra’s Chamber Contrasts series at Wigmore Hall is generously supported by Dunard Fund.

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Pantone 283 b 4-colour process: 35% Cyan 9% Magenta c

BOOK NOW a Tickets £12, £16, £22, £26 Black tint 30% b London Philharmonic Orchestra Box Office c 020 7840 4242 | lpo.org.uk (No booking fee) Wigmore Hall Box Office 020 7935 2141 | wigmore-hall.org.uk

Booking fees applyLogo strip. Where the logo appears on a blue strip of pantone 293, there must be equal space from top of strip to top of logo and bottom of logo to bottom of strip. Artwork here shows 5mm London Philharmonic Orchestra | 29

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6 April RFH Programme Ad.indd 1 19/03/2013 10:12:12 London Philharmonic Orchestra Birthday Appeal update

Thank you so much to all of our audience members who have given us a birthday present for our 80th birthday. Two double bass stools Thanks to you, the Appeal has already raised over £10,000 and the double bass stools and tom-toms are on their way!

However, we still need your help with the other presents on our wish list, such as our children’s concerts illustrations and recording for a live stream. Please visit www.lpo.org.uk/birthday and help celebrate our 80th by donating to our wish list. All presents, big or small, will be Three tom-toms gratefully received by the Orchestra and, while you’re at it, why not leave us a birthday message or memory from the last 80 years?

‘For 20 years you have been one of the unfailing delights in my life, and I am lucky to have access to such a great orchestra, conductors and soloists at prices unmatched in Europe.’ Illustrations for our FUNharmonics family concerts ‘I think The Rest Is Noise will turn out to be a highlight, something to look back on. The concerts I have been to so far have been superb. Keep up the good work.’

‘I’m about to be 80 too and have just left the London Philharmonic Choir after 41 years singing many marvellous concerts with you. My last was Gerontius with Sir Mark Elder in January, and I very much enjoyed The Threepenny Opera!’ Recording a concert for live stream

With special thanks to the following people who have given over £250 to our Birthday Appeal:

Mr Aldwinckle, Mrs A Beare, Mr G Bitar, Mr C Blakey, Mr G A Collens, Mrs S Drexler, Mrs A Kessler, Mr R P Harsant, Mr M Hutchinson, Dr & Mrs F Lim, Mr R McCann, Don Kelly & Ann Wood, Mrs G Pole, Or a gift to spend on whatever Mrs V Sharp, Mr C Williams we need most

Get involved and visit www.lpo.org.uk/birthday for more information. Alternatively get in touch via [email protected] or call 020 7840 4212.

30 | London Philharmonic Orchestra We would like to acknowledge the generous support of the following Thomas Beecham Group Patrons, Principal Benefactors and Benefactors: David Ellen Mr Glenn Hurstfield Thomas Beecham Group Commander Vincent Evans Mr R K Jeha The Tsukanov Family Foundation Mr Daniel Goldstein Mr Gerald Levin Anonymous Don Kelly & Ann Wood Sheila Ashley Lewis The Sharp Family Peter MacDonald Eggers Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Julian & Gill Simmonds Mr & Mrs David Malpas Mr Frank Lim Mr Maxwell Morrison Paul & Brigitta Lock Garf & Gill Collins Mr Michael Posen Mr Brian Marsh Andrew Davenport Mr & Mrs Thierry Sciard Andrew T Mills Mrs Sonja Drexler Mr John Soderquist & Mr Costas John Montgomery David & Victoria Graham Fuller Michaelides Mr & Mrs Andrew Neill Moya Greene Mr & Mrs G Stein Edmund Pirouet John & Angela Kessler Mr & Mrs John C Tucker Professor John Studd Mr & Mrs Makharinsky Mr & Mrs John & Susi Underwood Mr Peter Tausig Geoff & Meg Mann Lady Marina Vaizey Mrs Kazue Turner Caroline, Jamie & Zander Sharp Howard & Sheelagh Watson Mr Laurie Watt Eric Tomsett Mr Anthony Yolland Des & Maggie Whitelock Guy & Utti Whittaker Christopher Williams Manon Williams Benefactors Bill Yoe Mrs A Beare Dr & Mrs Alan Carrington CBE FRS Hon. Benefactor Principal Benefactors Mr & Mrs Stewart Cohen Elliott Bernerd Mark & Elizabeth Adams Mr Alistair Corbett Jane Attias Mr David Edgecombe Hon. Life Members Lady Jane Berrill Mr Richard Fernyhough Kenneth Goode Desmond & Ruth Cecil Ken Follett Pehr G Gyllenhammar Mr John H Cook Michael & Christine Henry Edmund Pirouet Mr Charles Dumas Ivan Hurry Mrs Jackie Rosenfeld OBE

The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged:

Corporate Members In-kind Sponsors The Leverhulme Trust Silver: Google Inc Marsh Christian Trust AREVA UK Sela / Tilley’s Sweets Adam Mickiewicz Institute British American Business The Peter Minet Trust Destination Québec – UK Trusts and Foundations Paul Morgan Charitable Trust Hermes Fund Managers BBC Performing Arts Fund The Diana and Allan Morgenthau Pritchard Englefield The Boltini Trust Charitable Trust Sir William Boreman’s Foundation Maxwell Morrison Charitable Trust Bronze: The Boshier-Hinton Foundation Musicians Benevolent Fund Lisa Bolgar Smith and Felix Britten-Pears Foundation Newcomen Collett Foundation Appelbe of Ambrose Appelbe The Candide Trust The Ann and Frederick O’Brien Appleyard & Trew LLP The Coutts Charitable Trust Charitable Trust Berkeley Law Diaphonique, Franco-British fund for The Austin & Hope Pilkington Trust Charles Russell contemporary music Serge Rachmaninoff Foundation Lazard Dunard Fund The Rothschild Foundation Leventis Overseas Embassy of Spain, Office for Cultural The Samuel Sebba Charitable Trust

and Scientific Affairs The Bernard Sunley Charitable Corporate Donor The Equitable Charitable Trust Foundation Lombard Street Research Fidelio Charitable Trust John Thaw Foundation

The Foyle Foundation The Tillett Trust Preferred Partners J Paul Getty Junior Charitable Trust The Underwood Trust Corinthia Hotel London The Jeniffer and Jonathan Harris Sir Siegmund Warburg’s Voluntary Heineken Charitable Trust Settlement Lindt & Sprüngli Ltd Capital Radio’s Help a London Child Kurt Weill Foundation for Music Villa Maria The Hobson Charity Garfield Weston Foundation The Kirby Laing Foundation and others who wish to remain The Idlewild Trust anonymous

London Philharmonic Orchestra | 31 Administration

Board of Directors General Administration Orchestra Personnel Archives Victoria Sharp Chairman Timothy Walker AM Andrew Chenery Philip Stuart Stewart McIlwham* President Chief Executive and Artistic Orchestra Personnel Manager Discographer Gareth Newman* Director Vice-President Sarah Thomas Gillian Pole Desmond Cecil CMG Alison Atkinson Librarian (maternity leave) Recordings Archive Digital Projects Manager Vesselin Gellev* Sarah Holmes Jonathan Harris CBE FRICS Professional Services Finance Librarian (maternity cover) Dr Catherine C. Høgel Charles Russell Martin Höhmann* David Burke Michael Pattison Solicitors Angela Kessler General Manager and Stage Manager George Peniston* Crowe Clark Whitehill LLP Finance Director Julia Boon Sir Bernard Rix Auditors Assistant Orchestra Personnel Kevin Rundell* David Greenslade Manager Dr Louise Miller Julian Simmonds FinanceFSC_57678 and IT LPO Manager 14 January 2011 15/09/2011 12:30 Page 1 Honorary Doctor Mark Templeton* Ken Graham Trucking Sir Philip Thomas Concert Management Instrument Transportation Natasha Tsukanova Roanna Gibson London Philharmonic Timothy Walker AM Concerts Director Development Orchestra Laurence Watt (maternity leave) 89 Albert Embankment Dr Manon Williams Nick Jackman London SE1 7TP Development Director * Player-Director Ruth Sansom Tel: 020 7840 4200 Artistic Administrator / Acting Helen Searl Fax: 020 7840 4201 Advisory Council Head of Concerts Department Corporate Relations Manager Box Office: 020 7840 4242 lpo.org.uk Victoria Sharp Chairman Graham Wood Katherine Hattersley Richard Brass Concerts and Recordings Charitable Giving Manager The London Philharmonic Sir Alan Collins Manager Orchestra Limited is a Jonathan Dawson Melissa Van Emden Barbara Palczynski registered charity No. 238045. Christopher Fraser OBE Events Manager Glyndebourne and Projects Clive Marks OBE FCA Administrator Laura Luckhurst Photograph of Orff Stewart McIlwham Corporate Relations and © INTERFOTO/Alamy. Lord Sharman of Redlynch OBE Jenny Chadwick Events Officer Timothy Walker AM Tours and Engagements Front cover photograph Manager Sarah Fletcher © Patrick Harrison. American Friends of the Development and Finance Alison Jones London Philharmonic Officer Printed by Cantate. Concerts Co-ordinator Orchestra, Inc. Marketing Margot Astrachan Chairman Jo Orr David E. R. Dangoor PA to the Chief Executive / Kath Trout Vice Chair/Treasurer Concerts Assistant Marketing Director Kyung-Wha Chung Matthew Freeman Peter M. Felix CBE Mia Roberts Recordings Consultant Marketing Manager Alexandra Jupin Dr. Felisa B. Kaplan Education & Community Rachel Williams William A. Kerr Publications Manager Jill Fine Mainelli Patrick Bailey Kristina McPhee Education and Community Samantha Kendall Dr. Joseph Mulvehill Director Box Office Manager Harvey M. Spear, Esq. (Tel: 020 7840 4242) Danny Lopez Alexandra Clarke Libby Northcote-Green Honorary Chairman Education Manager Marketing Co-ordinator Noel Kilkenny Caz Vale Honorary Director Community and Young Talent Isobel King Victoria Sharp Manager Intern Honorary Director Richard Mallett Albion Media Richard Gee, Esq Of Counsel Education and Public Relations Robert Kuchner, CPA Community Producer (Tel: 020 3077 4930)

32 | London Philharmonic Orchestra