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 ROYAL FESTIVAL HALL PROGRAMME £3 Saturday 27 April 2013 | 7.30pm CONTENTS 2 Welcome 3 Tonight’s works in context vladimir jurowski 4 About the Orchestra conductor 5 Leader 6 On stage tonight 7 Vladimir Jurowski barbara hannigan 8 Barbara Hannigan soprano 9 Programme notes and texts 15 Next concerts 16 Birthday Appeal update 17 Orchestra news webern 18 LPO Chamber Contrasts at Variations for Orchestra, Op. 30 (7’) Wigmore Hall 19 Supporters berg 20 LPO administration

Symphonic Pieces from the opera Lulu (32’) The timings shown are not precise and are given only as a guide. Interval martinŮ Double Concerto for two string orchestras, piano and timpani (21’) bartÓK Music for Strings, Percussion and Celeste (32’)

* 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 1881 Béla Bartók born in Nagyszentmiklós, Hungarian Empire (now part of Romania) 1883 Anton Webern born in Vienna 1885 Alban Berg born in Vienna

1890 1890 Bohuslav Martinů born in Polička, Bohemia (now part of Czech Republic) 1891 Carnegie Hall opened in New York City

1896 Henri Becquerel discovered radioactivity. First modern Olympic games held in Athens 1897 Marconi awarded a patent for radio communication 1900 1901 Death of Queen Victoria

1904 Webern began studying with Arnold Schoenberg in Vienna 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 1916 Albert Einstein published his Theory of General Relativity 1918 End of World War I 1920 1920 Beginning of Prohibition in the USA 1922 Creation of the Soviet Union (USSR)

1925 Premiere of Berg’s opera Wozzeck in Berlin

1929 Wall Street Crash 1930 1932 London Philharmonic Orchestra founded by Sir 1934 Berg assembled his concert suite of movements from his unfinished opera Lulu 1935 Death of Berg in Vienna 1936 Bartók completed his Music for Strings, Percussion and Celeste 1938 Martinů completed his Double Concerto 1940 1941 Webern completed his Variations for Orchestra 1941 Martinů emigrated to the USA, fleeing the German invasion of France 1945 End of World War II. Deaths of Webern in Mittersill, Austria, and Bartók in New York 1946 Microwave oven invented 1950 1949 Orwell’s Nineteen Eighty-Four published 1953 Death of Joseph Stalin 1955 Vietnam War began 1960 1959 Death of Martinů in Liestal, Switzerland

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 , Sir John Pritchard, Bernard the UK. Every summer, the Orchestra leaves London Haitink, Sir , and . 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 , 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 over 70 releases available on CD and to download. appointed Leader Recent additions include Tchaikovsky’s Symphonies of the LPO in 2008, Nos. 4 & 5 and Mahler’s Symphony No. 1, both with having previously been Vladimir Jurowski; Brahms’s Symphonies Nos. 1 & 3 Co-Leader since 2002. with Klaus Tennstedt; a disc of orchestral works by Mark-Anthony Turnage; and the world premiere of the Born in South Africa, late Ravi Shankar’s First Symphony conducted by David he made his solo Murphy. debut aged 10 with the Cape Town

In summer 2012 the London Philharmonic Orchestra Harrison © Patrick Symphony Orchestra. performed as part of The Queen’s Diamond Jubilee He studied with Jack de Wet in South Africa, winning Pageant on the River Thames, and was also chosen to numerous competitions including the 1984 World record all the world’s national anthems for the London Youth Concerto Competition in the US. In 1987 he 2012 Olympics. was offered the Heifetz Chair of Music scholarship to study with Eduard Schmieder in Los Angeles and The London Philharmonic Orchestra maintains an in 1991 his talent was spotted by Pinchas Zukerman, energetic programme of activities for young people who recommended that he move to New York to study and local communities. Highlights include the with Sylvia Rosenberg. In 1994 he became her teaching Deutsche Bank BrightSparks Series; the Leverhulme assistant at Indiana University, Bloomington. Young Composers project; and the Foyle Future Firsts orchestral training programme for outstanding young Pieter has performed worldwide as a soloist and players. Over recent years, developments in technology recitalist in such famous halls as the Concertgebouw in and social networks have enabled the Orchestra to Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in reach even more people worldwide: all its recordings St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl are available to download from iTunes and, as well in Los Angeles and Southbank Centre’s Queen Elizabeth as a YouTube channel, news blog, iPhone app and Hall in London. As a chamber musician he regularly regular podcasts, the Orchestra has a lively presence on performs at London’s prestigious Wigmore Hall. Facebook and Twitter. As a soloist with the London Philharmonic Orchestra, Find out more and get involved! Pieter has performed Arvo Pärt’s Double Concerto with Boris Garlitsky, Brahms’s Double Concerto with Kristina Blaumane, and Britten’s Double Concerto with Alexander lpo.org.uk Zemtsov, which was recorded and released on the facebook.com/londonphilharmonicorchestra Orchestra’s own record label to great critical acclaim. He has recorded numerous violin solos with the London twitter.com/LPOrchestra 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 Flutes Trumpets Pieter Schoeman* Leader Joel Hunter Guest Principal Juliette Bausor Paul Beniston* Principal Vesselin Gellev Sub-Leader Robert Duncan Guest Principal Anne McAneney* Chair supported by John Gregory Aronovich Sue Thomas Chair supported by Geoff & & Angela Kessler Katherine Leek Chair supported by the Sharp Meg Mann Ilyoung Chae Benedetto Pollani Family Nicholas Betts Co-Principal Chair supported by Moya Laura Vallejo Stewart McIlwham* Greene Susanne Martens Trombones Katalin Varnagy Michelle Bruil Piccolo Mark Templeton* Principal Chair supported by Sonja Stewart McIlwham* Principal David Whitehouse Drexler Naomi Holt Catherine Craig Daniel Cornford Oboes Bass Trombone Tom Eisner Rebecca Carrington Ian Hardwick Principal Lyndon Meredith Principal Martin Höhmann Sarah Malcolm Angela Tennick Geoffrey Lynn Martin Fenn Sarah Harper Tuba Robert Pool Miriam Eisele Lee Tsarmaklis* Principal Sarah Streatfeild Cor Anglais Yang Zhang Cellos Sarah Harper Timpani Rebecca Shorrock Kristina Blaumane Principal Simon Carrington* Principal Benjamin Roskams Francis Bucknall Clarinets Alina Petrenko Laura Donoghue Robert Hill* Principal Percussion Caroline Frenkel Gregory Walmsley Emily Meredith Andrew Barclay* Principal Galina Tanney Santiago Carvalho† Sue Sutherley Douglas Mitchell Chair supported by Andrew Peter Nall Davenport Tae-Mi Song Robert Yeomans Keith Millar Sibylle Hentschel Bass Clarinet Paul Richards Principal Jeremy Cornes Second Violins Orlando Jopling Emily Isaac Andrew Storey Harp William Routledge E-flat Clarinet Guest Principal Rachel Masters* Principal Philip Taylor Douglas Mitchell Jeongmin Kim Chair supported by Friends of Joseph Maher the Orchestra Alto Saxophone Kate Birchall Double Basses Martin Robertson Chair supported by David Kevin Rundell* Principal Piano/Celeste & Victoria Graham Fuller Tim Gibbs Co-Principal Catherine Edwards Bassoons Fiona Higham Laurence Lovelle John Alley Ashley Stevens George Peniston Gareth Newman* Principal Stuart Russell Marie-Anne Mairesse Richard Lewis Assistant Conductor Nancy Elan Helen Rowlands Ilyich Rivas Eugene Lee Jeremy Watt Contrabassoon Ksenia Berezina Tom Walley Simon Estell Principal Caroline Simon Margarida Castro * Holds a professorial Horns Dean Williamson Catherine Ricketts appointment in London Sioni Williams John Ryan* Principal Alison Strange David Pyatt* Principal † Chevalier of the Brazilian Chair supported by Simon Robey Peter Graham Order of Rio Branco Martin Hobbs Stephen Stewart Mark Vines Co-Principal Gareth Mollison

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Caroline, Jamie & Zander Sharp • Julian & Gill Simmonds

6 | London Philharmonic Orchestra Vladimir Jurowski Principal Conductor and Artistic Advisor

One of today’s most Jurowski made his debut at the Metropolitan Opera, sought-after and New York, in 1999 with Rigoletto, and has since returned dynamic conductors, for Jenůfa, The Queen of Spades and Hansel and Gretel. acclaimed worldwide He has conducted Parsifal and Wozzeck at Welsh for his incisive National Opera; War and Peace at the Opera National musicianship and de Paris; Eugene Onegin at Teatro alla Scala, Milan; adventurous artistic Ruslan and Ludmila at the Bolshoi Theatre; and Iolanta commitment, Vladimir and Die Teufel von Loudon at the Dresden Semperoper, Jurowski was born as well as The Magic Flute, La Cenerentola, Otello, in Moscow, and Macbeth, Falstaff, Tristan und Isolde, Die Meistersinger

© Chris Christodoulou completed the first von Nürnberg, Don Giovanni, The Rake’s Progress, part of his musical studies at the Music College of the The Cunning Little Vixen and Peter Eötvös’s Love and Moscow Conservatory. In 1990 he relocated with his Other Demons at Glyndebourne Festival Opera. Future family to Germany, continuing his studies at the High engagements include new productions of Ariadne auf Schools of Music in Dresden and Berlin. In 1995 he Naxos at Glyndebourne; Die Frau ohne Schatten at the made his international debut at the Wexford Festival Metropolitan Opera; at the Komische Rimsky-Korsakov’s , and the same Oper, Berlin; and The Fiery Angel at the Bayerische year saw his debut at the , Covent Staatsoper in Munich. Garden, with Nabucco. Jurowski’s discography includes the first ever recording Vladimir Jurowski has been Music Director of of the cantata Exil by Giya Kancheli for ECM; Meyerbeer’s Glyndebourne Festival Opera since 2001, and in 2003 L’etoile du Nord for Marco Polo; Massenet’s for was appointed Principal Guest Conductor of the London BMG; and a series of records for PentaTone with the Philharmonic Orchestra, becoming the Orchestra’s Russian National Orchestra. The London Philharmonic Principal Conductor in September 2007. He also holds Orchestra has released a wide selection of his live the titles of Principal Artist of the Orchestra of the Age of recordings on its LPO Live label, including Brahms’s Enlightenment and Artistic Director of the Russian State Symphonies Nos. 1 and 2; Mahler’s Symphonies Nos. Academic Symphony Orchestra. He has also held the 1 and 2; Rachmaninoff’s Symphonic Dances; positions of First Kapellmeister of the Komische Oper, Tchaikovsky’s Symphonies 1, 4, 5, 6 and Manfred; Berlin (1997–2001); Principal Guest Conductor of the and works by Turnage, Holst, Britten, Shostakovich, Teatro Comunale di Bologna (2000–03); and Principal Honegger and Haydn. His tenure as Music Director at Guest Conductor of the Russian National Orchestra Glyndebourne has been documented in a CD release of (2005–09). Prokofiev’sBetrothal in a Monastery, and DVD releases of his performances of La Cenerentola, Gianni Schicchi, Vladimir Jurowski is a regular guest with many leading Die Fledermaus, Don Giovanni, and Rachmaninoff’s orchestras in both Europe and North America, including The Miserly Knight. Other DVD releases include Hansel the Berlin and Oslo Philharmonic orchestras; the Dresden and Gretel from the Metropolitan Opera New York; his Staatskapelle; the Leipzig Gewandhausorchester; the first concert as the London Philharmonic Orchestra’s Tonhalle Orchester Zurich; and the Royal Concertgebouw, Principal Conductor featuring works by Wagner, Berg Philadelphia, Chicago Symphony, Bavarian Radio and Mahler; and DVDs with the Orchestra of the Age Symphony and Mahler Chamber orchestras. Highlights of Enlightenment (Beethoven’s Symphonies Nos. 4 and of the 2012/13 season and beyond include his debuts 7) and the Chamber Orchestra of Europe (Strauss and with the Vienna Philharmonic, Boston Symphony, New Ravel), all released by Medici Arts. York Philharmonic, NHK Symphony and San Francisco Symphony orchestras, and return visits to the Chamber Vladimir Jurowski’s position as Principal Conductor and Orchestra of Europe; the Tonhalle Orchester Zurich; Artistic Advisor of the London Philharmonic Orchestra the Accademia di Santa Cecilia; and the Philadelphia, is generously supported by the Tsukanov Family St Petersburg Philharmonic, Royal Concertgebouw and Foundation and one anonymous donor. Chicago Symphony orchestras.

London Philharmonic Orchestra | 7 Barbara Hannigan soprano

Born and brought up Barbara recently made her highly acclaimed debut as in Canada, soprano Lulu in a new production of Berg’s opera at La Monnaie, Barbara Hannigan Brussels, directed by Krzysztof Warlikowski. received her Bachelor and Master of Her appearances as dancer/singer in choreographer Music degrees from Sasha Waltz’s productions of Pascal Dusapin’s Passion the University of and Toshio Hosokawa’s Matsukaze, requiring physical as Toronto, studying well as vocal agility, made an extraordinary impression. with Mary Morrison. Ligeti’s Mysteries of the Macabre, a tour de force She continued for soprano and orchestra, has become a signature

© Elmer de Haas her studies at the work, which she has sung – and sometimes also Royal Conservatory of The Hague with Meinard Kraak conducted – at New York’s Lincoln Center, the Berlin and privately with Neil Semer. Much sought-after in Philharmonie, the Théâtre du Châtelet, the Salzburg contemporary music – she has given over 80 world Festival, Los Angeles’s Disney Hall, the Amsterdam premieres – she is no less brilliant and devoted a Concertgebouw and the Vienna Konzerthaus. Her performer of Baroque and Classical music. Bringing numerous performances of Dutilleux’s Correspondances freshness to older music and authority to new, she is for soprano and orchestra, another beloved work in her among the very few singers whose every performance is repertoire, led to the recent world premiere recording an occasion. of the piece under the baton of Esa-Pekka Salonen with the Orchestre de Radio France, released on the Deutsche A frequent guest of the Berlin Philharmonic, she Grammophon label. Barbara’s talent for programming has also performed with most of the other leading has also been widely recognised, evident in her major orchestras and ensembles worldwide, and with such partnership with Southbank Centre’s innovative 2013 conductors as Sir Simon Rattle, Pierre Boulez, Reinbert festival, The Rest Is Noise. de Leeuw, Esa-Pekka Salonen, Kurt Masur, Alan Gilbert, Jukka-Pekka Saraste and Pablo Heras-Casado. She made her own conducting debut at the Théâtre du Châtelet in Paris with Stravinsky’s Renard, which she most recently performed in London with the London Sinfonietta. Future singing engagements include a tour with Sir Simon Rattle and the Berlin Philharmonic, and concerts with The . Future conducting engagements include concerts with the Gothenburg Symphony Orchestra, Santa Cecilia in Rome, the WDR Orchestra of Cologne and the Prague Philharmonic Orchestra. She has worked with composers including György Ligeti, Karl-Heinz Stockhausen, Henri Dutilleux, Pierre Boulez, Oliver Knussen, Gerald Barry, George Benjamin and Pascal Dusapin.

Her operatic repertory has recently expanded to George Benjamin’s Written on Skin, created for the Aix-en- Provence Festival in July 2012 and presented most recently at the Royal Opera House, . In this work, already widely accepted as a masterpiece of our times, Barbara’s searing performance of the role of Agnès has received unanimous and widespread plaudits.

8 | London Philharmonic Orchestra Programme notes

Music from Dark Times

The Nazi regime, which came to power in Germany Before that, during the 1930s, Switzerland had in January 1933 and exercised considerable influence provided succour for many composers who had in Austria even before the Anschluss of 1938, fallen foul of the Nazis – in particular through banned the works of Schoenberg and his pupils as the patronage of Paul Sacher, a generous musical ‘degenerate music’. This sanction did not distinguish philanthropist and conductor of the Basel Chamber between different applications of Schoenberg’s Orchestra. Two composers supported by commissions 12-note serial technique; for example between the from Sacher were the Hungarian Béla Bartók and the vehemently expressive music of Alban Berg and the Czech Bohuslav Martinů – both of whom were later crystalline purity of the later works of Anton Webern. to seek refuge in the USA. For his Music for Strings, The Nazi ban affected the prospects for Berg’s second Percussion and Celeste of 1936, Bartók chose to divide opera, Lulu, which remained unfinished on the the strings of the Basel orchestra into two antiphonal composer’s death in 1935. But the previous year Berg units, and add harp, piano, celeste, timpani and had completed a concert suite of ‘symphonic pieces’ percussion; he adopted a plan in which two slow from the opera, with a solo soprano representing the movements, the first fugal and the second an free-spirited Lulu herself and, at the end, the last of example of his atmospheric ‘night music’, alternate Lulu’s many ill-fated lovers, the Countess Geschwitz. with two nervously propulsive quick movements. For The application of the ban to Webern was paradoxical his Double Concerto of 1938, Martinů similarly split in view of the composer’s admiration for Hitler, but it the strings, adding only piano and timpani; the piece, duly prevented a performance in the German Reich cast in a traditional fast–slow–fast pattern, has a taut of his last but one work, the compact Variations for intensity that is unusual in the composer’s output, Orchestra of 1940/41: for the premiere in 1943 he reflecting tensions in his personal life as well as in the had to travel to neutral Switzerland. rapidly deteriorating international situation.

Anton Variations for Orchestra, Op. 30 Webern

1883–1945

Webern’s later works, those of roughly the last two conceived the row as first and foremost a melody, decades before his untimely death in 1945, are written Webern devised rows in which different three-note or in a 12-note serial technique derived from that invented four-note segments were mirror images of one another, by his teacher, mentor and idol Arnold Schoenberg. The giving them a kind of crystalline internal structure. principle of the technique is that a single theme or ‘row’ Moreover, in working with this material, he employed consisting of all 12 notes of the chromatic scale, once techniques of strict canon which he had found in the each, is used to generate an entire work – ensuring both works of the Renaissance masters, again often using the work’s inner unity and a new kind of expression, mirror techniques (a rising interval answered by the free from the conventional formulae associated with same interval falling, and so on). But he concealed this major and minor keys. But whereas Schoenberg process by dividing up a single line among different

London Philharmonic Orchestra | 9 Programme notes

instruments or voices, creating textures often described the Viennese suburbs. It was his last but one completed as ‘pointillist’. All this sounds extraordinarily abstract, work, and its premiere, given in March 1943 at and it was the purely technical aspects of Webern’s craft Winterthur in neutral Switzerland, was the last occasion that had a huge influence on composers in the decades on which he heard any of his own music performed. after his death. But the effect of his methods is to create The piece lasts about seven minutes, and is scored for a tiny cells that seem, not drained of emotional content, small orchestra of four woodwind, four brass, timpani, but bursting with meaning. And the last works in celeste, harp and strings. Of course, any serial work particular generate an atmosphere of ‘nature mysticism’ consists in effect of continuous variation, but Webern reflecting Webern’s love of the high, remote mountain gave this one the formal outline of a theme followed by peaks of his native Austria, where he discerned, in six variations in contrasting textures. Characteristically, words that he quoted from Goethe, ‘the mysterious though, he also conceived it as an overture, with clear light, as the highest energy, eternal, singular, and an introduction, an exposition of contrasting ideas, indivisible’. a developmental recapitulation and a coda. But he overlaid both schemes with continuous fluctuations Webern wrote his Variations for Orchestra between of metre and tempo, creating a highly personal January 1940 and February 1941 at his final home in combination of rigour and rhapsody.

New release on the LPO Label Vladimir Jurowski conducts Mahler’s Symphony No. 1

Mahler Symphony No. 1 including original ‘Blumine’ movement

Vladimir Jurowski conductor London Philharmonic Orchestra LPO–0070 | £9.99 Released Monday 29 April

Recorded live at Southbank Centre’s Royal Festival Hall, London, on 4 December 2010.

‘Jurowski made the first movement magnificent, generating a tremendous dramatic radiance.’ The Times, 12 December 2010

Available from 29 April from www.lpo.org.uk/shop, the LPO Box Office (020 7840 4242) and all good CD outlets. Downloads available from iTunes, Amazon, eMusic and classicsonline.com.

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10 | London Philharmonic Orchestra Alban Symphonic Pieces from the opera Lulu Berg Barbara Hannigan soprano* 1 Rondo (Andante and Hymn) 2 Ostinato 1885–1935 3 Lulu’s Song* 4 Variations 5 Adagio (Sostenuto – Lento – Grave)*

The text is overleaf.

Alban Berg’s second opera, Lulu, is written in a highly The opera is based on two plays by Frank Wedekind, personal version of the 12-note technique of his teacher Earth Spirit and Pandora’s Box, both of which centre Schoenberg, overlaid with elaborate formal schemes on the magnetic figure of Lulu, a free spirit whose but imbued with great expressivity in its application promiscuity brings about the destruction of her to operatic characters and situations. Berg began lovers. The first, and longest, movement of the suite composing the work in 1928, while living comfortably is a ‘Rondo’, with a closing Hymn, drawn chiefly from on the proceeds of his first opera, Wozzeck, which was the episodes in Act II in which the young composer enjoying great success in the German opera houses. Alwa declares his love for her; the music conveys his But it was still only in draft form in the spring of 1933, romantic ardour, although the colouring of saxophone after the Nazi regime had come to power in Germany and vibraphone suggests the decadent atmosphere and imposed a virtual ban on modernist music such in which it is conceived. The ‘Ostinato’ is an orchestral as Berg’s. In search of new sources of income, Berg interlude between the two scenes of Act II, intended abandoned work on the opera to fulfil commissions to accompany a film sequence showing Lulu’s trial for the concert aria Der Wein and the Violin Concerto. and imprisonment for the murder of her husband Because of this interruption, much of the third and last (and Alwa’s father) Dr Schön; the interlude stands at act of the opera remained unorchestrated at the time of the centre of the opera and marks the turning-point Berg’s premature death on Christmas Eve 1935. of Lulu’s fortunes, and is accordingly constructed as a free palindrome. ‘Lulu’s Song’, which she sings to Dr However, during 1934 Berg had completed a concert Schön in Act II Scene 1, is her most direct statement suite of ‘Symphonic Pieces’ from the opera (the last in the opera, a proud assertion of independence. The two movements of which were to aid Friedrich Cerha ‘Variations’ form an interlude between the two scenes in his task of completing the score of the opera in the of Act III; their theme, a song written by the playwright 1960s and ’70s). Berg dedicated this ‘Lulu Symphony’ Wedekind, is played by the horns near the start, but to Schoenberg on his 60th birthday, and its third emerges most clearly at the end of the movement: in movement, ‘Lulu’s Song’, to his fellow pupil Webern on the opera, it is played on a barrel organ on the streets of his 50th. The suite was given its first performance under London, where Lulu has become a prostitute. The final fraught circumstances in Berlin in November 1934, ‘Adagio’ is adapted from the last scene of the opera, in conducted by Erich Kleiber (who shortly afterwards which Lulu and her most faithful lover, the Countess left the country). Berg was too ill to attend, but he did Geschwitz, are murdered by Jack the Ripper; after the manage to get to a performance in his native Vienna climactic moment of Lulu’s death, it ends with the just under a fortnight before his death – the last time Countess’s dying words of love. he heard any of his own music performed.

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

London Philharmonic Orchestra | 11 Programme notes

3 Lulu’s Song

Wenn sich die Menschen um meinetwillen Although for my sake a man may kill himself or kill Umgebracht haben, others, so setzt das meinen Wert nicht herab. My value still remains what it was. Du hast so gut gewusst, weswegen du mich You know the reasons why you wanted to be my Zur Frau nahmst, husband, wie ich gewusst habe, weswegen ich dich And I know my reasons for hoping we should be married. zum Mann nahm. Du hattest deine besten Freunde mit mir You let your dearest friends be deceived by what you Betrogen, made me, du konntest nicht gut auch noch dich Yet you can’t consider yourself caught in your own selber mit mir betrügen. deception. Wenn du mir deinen Lebensabend zum Opfer bringst, Though you have given me your later and riper years, so hast du meine ganze Jugend dafür gehabt. From me you’ve had my youth in flower as fair exchange. Ich habe nie in der Welt etwas anderes Scheinen wollen, I have not asked in my life to appear in another colour als wofür man mich genommen hat. than the one which I am known to have. Und man hat mich nie in der Welt für Nor has any man in my life been led to look on me Etwas anderes genommen, als was ich bin. As other than what I am.

5 Adagio

Lulu – mein Engel! Lulu – my angel! Lass dich noch einmal sehn! Show yourself one more time! Ich bin dir nah! Bleibe dir nah! In Ewigkeit! I am near you! I am always near! Into eternity!

Alban Berg, after Erdgeist and Büchse der Pandora English translation: Arthur Jacobs by Frank Wedekind (1864–1918) © Copyright by Universal Edition A.G., Wien/UE 34115 Reproduced by permission. All rights reserved.

‘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 Double Concerto for two string orchestras, Bohuslav piano and timpani

Martinů Catherine Edwards piano Simon Carrington timpani

1890–1959 1 Poco allegro 2 Largo – Adagio 3 Allegro

Martinů’s Double Concerto was commissioned by the be unleashed by the two bodies of strings, opposed Swiss conductor and patron Paul Sacher in 1938 for or united, with the piano acting as a binding agent his Basel Chamber Orchestra, which gave its premiere and the timpanist making incisive interjections. in February 1940. Martinů began work on the piece in Later, the textures are more varied, including flowing August 1938, while staying at the family home of his string counterpoint, fragments of melody against French wife Charlotte in the countryside north of Paris. a background of string pizzicatos and dry piano But the following month, to hasten its completion, chords, and a sustained crescendo driven by insistent Sacher invited the couple to stay in a villa on his estate semiquavers towards a free reprise of the opening in the mountains south of Basel. The manuscript section and an animated coda. score of the work is inscribed ‘to my dear friend P S, in memory of a calm and anguished stay at Schönenberg, The central slow movement begins with four bars between the deer and the threat of war’. ‘The threat of of uneasily dissonant chords in a chaconne rhythm, war’ must have seemed ever-present at Schönenberg, followed by a build-up towards an anguished climax. close to the border with both France and Germany; Prominent in this passage is a three-note rising and indeed the date of completion of the Concerto, chromatic scale; and the same figure recurs in the 29 September, was also the date of the Munich muttered cello and bass phrases that introduce two Agreement, which effectively signed over Martinů’s long solos for the piano, then in the central section native Czechoslovakia to Hitler’s armies. But private leading up to the return of the opening, and finally matters were also weighing on the composer’s mind: in the calmer coda. The finale begins with driving on recent visits to Czechoslovakia from his adopted rhythmic intensity, enhanced by tremolos and Martinů’s home of Paris, he had fallen in love with his young characteristic syncopated rhythms. This is maintained and talented pupil Vítěslava Kaprálová. The tension through the central section of the movement and of unresolved situations, both political and personal, into a recapitulation that erupts into a hectic Vivo. gives the Concerto a powerful intensity exceptional in Then the rising chromatic figure of the second Martinů’s output. movement returns, building up to a restatement of that movement’s opening chords. These bring the Concerto The piece is a ‘concerto’ in the tradition of the Baroque to a harmonically irresolute end – as if staring into an concerto grosso, splitting up the orchestra into unknown future. complementary groups. Following the example of Bartók in his Music for Strings, Percussion and Celeste, written for Sacher’s Basel Chamber Orchestra in 1936, Martinů chose to divide the string section of the orchestra into two equal halves, placed left and right on the platform, and to add additional keyboard and percussion instruments – though in his case no more than a piano and timpani. The opening section of the first movement reveals the power that can

London Philharmonic Orchestra | 13 Béla Music for Strings, Percussion and Celeste 1 Andante tranquillo Bartók 2 Allegro 3 Adagio 4 Allegro molto 1881–1945

Bartók composed this austerely named masterpiece The second movement is a sonata-form Allegro with in Budapest in the summer of 1936, when he was prominent parts for the piano and harp. The central at the height of his European fame. It had been section includes a passage of Stravinskyan syncopation, commissioned by the Swiss conductor and patron Paul with pizzicato strings, which is based on the upside- Sacher to celebrate the tenth anniversary of his Basel down version of the fugue subject, followed by a Chamber Orchestra, and was first performed in Basel development based on falling and rising scale figures. in January 1937. Sacher’s orchestra was larger than The recapitulation transforms the themes of the most chamber orchestras of more recent years, and opening section from their original 2/4 metre into capable of expansion. Bartók decided from the start (mostly) 3/8, although duple time is restored in the that he would augment the basic string orchestra with coda. other instruments: in the end he chose harp and piano (presumably counting both as part of the ‘strings’ of The third movement is an example of Bartók’s familiar his title), celeste (the player doubles as a second pianist vein of atmospheric ‘night music’, full of mysterious a couple of times in the last movement), xylophone, sounds of nature, and rising to a climax of anguished timpani and unpitched percussion. He also decided to introspection. The composer himself analysed the divide the strings into two orchestras, placed left and movement drily in terms of ‘bridge’ (or arch) form, right, to allow both antiphonal effects and increased A–B–C + D–B–A: C is coloured by swirling scales on clarity of counterpoint among instruments of similar piano, celeste and harp; D is the strident climax; the colour and range. melody of B, initially introduced by the celeste and two solo violins, returns in a free canon, counterpointed All his life, Bartók avoided the traditional four- by celeste arpeggios and piano and harp tremolos. movement plan of the Classical and Romantic The fugue subject of the first movement is never far symphony and quartet; and, although this work is in away here, and segments of it link the various sections. four movements, they are arranged in the slow–fast– The dance-like finale is in a loosely structured rondo slow–fast pattern of the Baroque sonata da chiesa. The form, with a main theme of falling and rising scales in first movement is an intense fugue, reminiscent of that syncopated rhythms, related to the scalewise episode in Beethoven’s late String Quartet in C-sharp minor; it in the second movement. The opening fugue subject is based on a winding chromatic subject in changing also reappears once more towards the end of this finale, metres, which is later turned upside-down. The strings its narrow chromatic intervals widened to turn it into a are muted at the start, but the mutes come off as the broad modal melody. It is followed by a coda of rapidly movement approaches its climactic mid-point, briefly shifting tempo markings but irresistible momentum. underpinned by the percussion; then they are restored for the ending, which includes an unexpected dazzle of Programme notes by Anthony Burton © 2013 celeste.

14 | London Philharmonic Orchestra Last LPO concerts this season at Southbank Centre

Wednesday 1 May 2013 | 7.30pm Booking details Royal Festival Hall

Vaughan Williams Symphony No. 4 London Philharmonic Orchestra Ticket Office Tippett A Child of our Time 020 7840 4242 Monday to Friday 10.00am–5.00pm lpo.org.uk Ryan Wigglesworth conductor Rebecca Evans soprano Southbank Centre Ticket Office Pamela Helen Stephen mezzo soprano 0844 847 9920 Daily 9.00am–8.00pm Ben Johnson tenor southbankcentre.co.uk Matthew Rose bass London Philharmonic Choir

Tickets £9–£39 (Premium seats £65) 2013/14 season concerts – on sale now Free pre-concert discussion 6.15–6.45pm | Royal Festival Hall Our 2013/14 season concerts at Royal Festival Hall Writer and broadcaster Daniel Snowman takes a are on sale now. Browse and book online at look at Tippett’s A Child of our Time. www.lpo.org.uk/newseason, pick up a copy of the season brochure from the Royal Festival Hall foyer racks this evening, or call us on 020 7840 4208 to Friday 17 May 2013 | 7.30pm request a copy of the brochure or to book by phone. Royal Festival Hall Highlights of the new season include: JTI Friday Series • Vladimir Jurowski opens the season with a Stravinsky Jeu de Cartes centenary celebration of the music of Britten, Prokofiev Violin Concerto No. 2 including Peter Grimes and the War Requiem Shostakovich Symphony No. 6 • Yannick Nézet-Séguin demonstrates his flair for Vladimir Jurowski conductor French repertoire with Poulenc, Dutilleux, Berlioz, violin and Saint-Saëns’s magnificent ‘Organ’ Symphony Tickets £9–£39 (Premium seats £65) • The Orchestra celebrates The Genius of Film Music, exploring some of the scintillating film scores created between 1960–2000 Monday 10 June 2013 | 7.30pm Queen Elizabeth Hall • Vladimir Jurowski brings The Rest Is Noise to a Debut Sounds close on 14 December 2013 with John Adams’s powerful and theatrical ‘Nativity Oratorio’, El Niño Oliver Knussen Music For a Puppet Court • World premieres of James MacMillan’s Viola Grisey Modulations Concerto, with soloist Lawrence Power, and And world premieres of music by Leverhulme Young Górecki’s Fourth Symphony Composers Hannah Kendall, Daniel Kidane, Peter Yarde Martin and Stephen Willey • Classical guitarist Miloš Karadaglič performs Rodrigo’s evocative Concierto de Aranjuez Clement Power conductor London Philharmonic Orchestra Foyle Future Firsts • Legendary pianists Mitsuko Uchida and Leif Ove Members of the London Philharmonic Orchestra Andsnes join the Orchestra for Beethoven’s Piano Concertos Nos. 3 and 5 respectively All tickets £9

London Philharmonic Orchestra | 15 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 £12,000 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, Mr D Gray, 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 The Sharp Family, 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.

16 | London Philharmonic Orchestra Orchestra news

New LPO Label release: Vladimir Jurowski LPO at the BBC Proms: 27 & 30 August 2013 conducts Mahler’s Symphony No. 1 This summer the Orchestra This week sees an exciting new makes two appearances release on the Orchestra’s own at the BBC Proms. On CD label: Mahler’s Symphony Tuesday 27 August our No. 1 under Principal Conductor Glyndebourne Prom Vladimir Jurowski, recorded live celebrates Britten’s centenary with a semi-staged in concert at Royal Festival Hall performance of Billy Budd under Sir , on 4 December 2010 (LPO-0070). with the cast of the 2013 Glyndebourne Festival The recording includes the Opera production. And on Friday 30 August, Vladimir Symphony’s original second movement, ‘Blumine’. Jurowski conducts the Orchestra in The Witch of Atlas by British composer Sir Granville Bantock, Prokofiev’s This is the second Mahler symphony recording by Piano Concerto No. 3 with soloist Anika Vavic, Vladimir Jurowski on the LPO Label – No. 2 (released in Sibelius’s Pohjola’s Daughter and Strauss’s Also sprach 2011) met with great acclaim and has become one of Zarathustra. the label’s best-selling recordings. Booking opens on 11 May, and tickets are available The new CD is priced £9.99 and is available from directly from the BBC Proms Box Office. Tickets range 29 April from lpo.org.uk/shop, the LPO Box Office from £7.50–£57, or you can queue on the day for (020 7840 4242) and all good CD retailers. Alternatively standing ‘Promming’ tickets for just £5. Phone the BBC you can download it from iTunes. Visit lpo.org.uk/shop Proms Box Office on 0845 401 5045 or book online: for more details. bbc.co.uk/proms

Live and Local: the LPO in Northern England The Cunning Little Vixen: Glyndebourne DVD release We are excited to announce a new ‘Live and Local’ tour during May and June, comprising concerts in Bradford Recently released on DVD and (7 May), Blackburn (8 May), Liverpool (22 June) and Blu-ray is the Glyndebourne Manchester (26 June). Festival Opera’s 2012 For the first pair of concerts in Bradford and Blackburn, production of Janáček’s we welcome Classic BRIT Award-winning classical opera The Cunning Little guitarist Miloš Karadaglić for a concert of orchestral Vixen, featuring the London favourites including Rodrigo’s Concierto de Aranjuez Philharmonic Orchestra and Beethoven’s Fifth Symphony. In June, we perform conducted by Vladimir in Liverpool and Manchester alongside high-definition Jurowski. The director is Melly films of breathtaking NASA footage in two celestial- Still and the cast includes Lucy themed concerts featuring Holst’s and John Crowe, Emma Bell, Mischa Adams’s Short Ride in a Fast Machine. Schelomianski and Sergei Leiferkus. Thanks to the generous support of our long-term corporate partner JTI, tickets to each concert are just Watch a video trailer or order now from the Glyndebourne £15. So whether you live in the North-West or Yorkshire, website: are visiting the area over the summer, or have friends glyndebourne.com/shop and family who might enjoy a night with the LPO, book now! www.lpo.org.uk/newseason/liveandlocal.html

London Philharmonic Orchestra | 17 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.

a Pantone 293 4-colour process: Foyle Future Firsts supported by 100%Cyan 57% Magenta. 2% Black

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 18 | London Philharmonic Orchestra

Company Title set in Aldine 721 Lt BT

6 April RFH Programme Ad.indd 1 19/03/2013 10:12:12 We would like to acknowledge the generous support of the following Thomas Beecham Group Patrons, Principal Benefactors and Benefactors: David Ellen Mr R K Jeha Thomas Beecham Group Commander Vincent Evans Mr Gerald Levin The Tsukanov Family Foundation Mr Daniel Goldstein Sheila Ashley Lewis Anonymous Don Kelly & Ann Wood Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Simon Robey Peter MacDonald Eggers Mr Frank Lim The Sharp Family Mr & Mrs David Malpas Paul & Brigitta Lock Julian & Gill Simmonds Mr Maxwell Morrison Mr Brian Marsh Mr Michael Posen Andrew T Mills Garf & Gill Collins Mr & Mrs Thierry Sciard John Montgomery Andrew Davenport Mr John Soderquist & Mr Costas Mr & Mrs Andrew Neill Mrs Sonja Drexler Michaelides Edmund Pirouet David & Victoria Graham Fuller Mr & Mrs G Stein Professor John Studd Moya Greene Mr & Mrs John C Tucker Mr Peter Tausig John & Angela Kessler Mr & Mrs John & Susi Underwood Mrs Kazue Turner Mr & Mrs Makharinsky Lady Marina Vaizey Mr Laurie Watt Geoff & Meg Mann Howard & Sheelagh Watson Des & Maggie Whitelock Caroline, Jamie & Zander Sharp Mr Anthony Yolland Christopher Williams Eric Tomsett Bill Yoe Guy & Utti Whittaker Benefactors Manon Williams Mrs A Beare Hon. Benefactor Dr & Mrs Alan Carrington CBE FRS Elliott Bernerd Mr & Mrs Stewart Cohen Principal Benefactors Mr Alistair Corbett Hon. Life Members Mark & Elizabeth Adams Mr David Edgecombe Kenneth Goode Jane Attias Mr Richard Fernyhough Pehr G Gyllenhammar Lady Jane Berrill Ken Follett Edmund Pirouet Desmond & Ruth Cecil Michael & Christine Henry Mrs Jackie Rosenfeld OBE Mr John H Cook Ivan Hurry Mr Charles Dumas Mr Glenn Hurstfield

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

Corporate Members Trusts and Foundations The Peter Minet Trust Silver: BBC Performing Arts Fund Paul Morgan Charitable Trust AREVA UK The Boltini Trust The Diana and Allan Morgenthau British American Business Sir William Boreman’s Foundation Charitable Trust Destination Québec – UK The Boshier-Hinton Foundation Maxwell Morrison Charitable Trust Hermes Fund Managers Britten-Pears Foundation Musicians Benevolent Fund Pritchard Englefield The Candide Trust Newcomen Collett Foundation The Ernest Cook Trust The Ann and Frederick O’Brien Bronze: The Coutts Charitable Trust Charitable Trust Lisa Bolgar Smith and Felix Appelbe of Diaphonique, Franco-British fund for The Austin & Hope Pilkington Trust Ambrose Appelbe contemporary music The R K Charitable Trust Appleyard & Trew LLP The D’Oyly Carte Charitable Trust Serge Rachmaninoff Foundation Berkeley Law Dunard Fund The Rothschild Foundation Charles Russell Embassy of Spain, Office for Cultural The Samuel Sebba Charitable Trust Lazard and Scientific Affairs The Bernard Sunley Charitable Leventis Overseas The Equitable Charitable Trust Foundation

Fidelio Charitable Trust John Thaw Foundation Corporate Donor The Foyle Foundation The Tillett Trust Lombard Street Research J Paul Getty Junior Charitable Trust The Underwood Trust

The Jeniffer and Jonathan Harris Sir Siegmund Warburg’s Voluntary Preferred Partners Charitable Trust Settlement Corinthia Hotel London Capital Radio’s Help a London Child Kurt Weill Foundation for Music Heineken The Hobson Charity Garfield Weston Foundation Lindt & Sprüngli Ltd The Kirby Laing Foundation Villa Maria and others who wish to remain The Idlewild Trust anonymous The Leverhulme Trust In-kind Sponsors Marsh Christian Trust Google Inc Adam Mickiewicz Institute Sela / Tilley’s Sweets

London Philharmonic Orchestra | 19 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 FSC_57678Finance and IT LPO Manager 14 January 2011 15/09/2011 12:30 Page 1 Honorary Doctor Mark Templeton* Brian Hart Sir Philip Thomas Concert Management Transport Manager 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 Andrew Davenport Melissa Van Emden Barbara Palczynski registered charity No. 238045. Jonathan Dawson Events Manager Glyndebourne and Projects Christopher Fraser OBE Administrator Laura Luckhurst Photograph of Webern © Clive Marks OBE FCA Corporate Relations and Universal Edition. Photograph Stewart McIlwham Jenny Chadwick Events Officer of Martinů © Boosey & Lord Sharman of Redlynch OBE Tours and Engagements Hawkes. Timothy Walker AM Manager Sarah Fletcher Elizabeth Winter Development and Finance Front cover photograph Alison Jones Officer © Patrick Harrison. American Friends of the Concerts Co-ordinator London Philharmonic Jo Orr Marketing Printed by Cantate. Orchestra, Inc. PA to the Chief Executive / Kath Trout Margot Astrachan Chairman Concerts Assistant Marketing Director David E. R. Dangoor Matthew Freeman Vice Chair/Treasurer Mia Roberts Recordings Consultant Marketing Manager Kyung-Wha Chung Peter M. Felix CBE Education & Community Rachel Williams Alexandra Jupin Publications Manager Dr. Felisa B. Kaplan Patrick Bailey William A. Kerr Education and Community Samantha Kendall Jill Fine Mainelli Director Box Office Manager Kristina McPhee (Tel: 020 7840 4242) Dr. Joseph Mulvehill Alexandra Clarke Libby Northcote-Green Harvey M. Spear, Esq. Education Manager Marketing Co-ordinator Danny Lopez Hon. Chairman Caz Vale Noel Kilkenny Hon. Director Community and Young Talent Isobel King Victoria Sharp Hon. Director Manager Intern Richard Gee, Esq Of Counsel Robert Kuchner, CPA Richard Mallett Albion Media Education and Public Relations Community Producer (Tel: 020 3077 4930)

20 | London Philharmonic Orchestra