lpo programme 16 nov 2011

Principal Conductor VLADIMIR JUROWSKI*Principal Guest Conductor YANNICK NÉZET-SÉGUINLeader pIETER SChOEMANComposer in Residence JULIAN ANDERSONPatron hRh ThE DUKE OF KENT KG

Chief Executive and Artistic Director TIMOThY WALKER AM†

pROGRAMME £3

CONTENTS 2 Southbank Centre 3 List of players4 About the Orchestra5 Osmo Vänskä 6 Janine Jansen 7 Programme notes10 Annual Appeal 2011/12 11 Supporters12 LPO administration The timings shown are not precise and

are given only as a guide.

* supported by the Tsukanov Family † supported by Macquarie Group

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

SOUThBANK CENTRE’S ROYAL FESTIVAL hALLWednesday 16 November 2011 | 7.30pm

OSMO VÄNSKÄconductor

JANINE JANSENviolin

TChAIKOVSKYViolin Concerto in D major (34’)

Interval

BRUCKNERSymphony No. 4 in E-flat major (Romantic) (67’) 1888 version edited by Benjamin Korstvedt

2 | London Philharmonic Orchestra

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 Hall, Queen Elizabeth Hall and Hayward Gallery.

If you wish to get in touch with us following your visit please contact Kenelm Robert, our Head of Customer Relations, at Southbank Centre, Belvedere Road, London SE1 8XX or phone 020 7960 4250 or email [email protected]

We look forward to seeing you again soon.

A few points to note for your comfort and enjoyment:

phOTOGRAphY is not allowed in the auditorium.

LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance.

RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre. Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended.

MOBILES, pAGERS AND WATChES should be switched off before the performance begins.

WELCOME

Hearevery noteAre you hard of hearing or do you use a hearing aid? Did you know Royal Festival Hall, Queen Elizabeth Hall and Purcell Room all have free-of-charge equipment available to help you get the most out of the music you may be missing?

Visit the relevant cloakroom up to one hour before the performance to collect the equipment and learn how to use it effectively.

First ViolinsTomo Keller Guest LeaderJi-Hyun LeeCatherine CraigTina GruenbergMartin Höhmann

Chair supported by

Richard Karl Goeltz

Geoffrey LynnRobert PoolYang ZhangPeter NallGalina TanneyJoanne ChenSarah BuchanAlina PetrenkoIshani Bhoola

Second ViolinsJeongmin Kim PrincipalJoseph MaherKate Birchall

Chair supported by David

and Victoria Graham Fuller

Fiona HighamAshley StevensAndrew ThurgoodNynke HijlkemaDean WilliamsonSioni WilliamsAlison StrangeStephen StewartSheila LawElizabeth BaldeyDafydd Williams

ViolasGillianne Haddow

Guest Principal Robert DuncanGregory AronovichKatharine LeekBenedetto PollaniLaura VallejoSusanne MartensEmmanuella Reiter-

BootimanNaomi HoltDaniel CornfordMichelle BruilSarah Malcolm

CellosKristina Blaumane PrincipalSusanne Beer Co-PrincipalFrancis BucknallLaura DonoghueSantiago Carvalho†Jonathan Ayling

Chair supported by Caroline,

Jamie and Zander Sharp

Gregory WalmsleySusanna RiddellTom RoffHelen Rathbone

Double BassesKevin Rundell* PrincipalTim Gibbs Co-PrincipalLaurence LovelleGeorge PenistonRichard LewisHelen RowlandsMargarida CastroTom Walley

FlutesJaime Martín* PrincipalSusan Thomas

piccoloStewart McIlwham*

Principal

OboesIan Hardwick PrincipalAngela Tennick

ClarinetsNicholas Carpenter*

PrincipalPaul Richards

BassoonsSimon Estell PrincipalClaire Webster

hornsJohn Ryan* PrincipalMartin HobbsMark Vines Co-PrincipalGareth MollisonMarcus Bates

TrumpetsPaul Beniston* PrincipalAnne McAneney*

Chair supported by

Geoff and Meg Mann

Nicholas Betts Co-Principal Daniel Newell

TrombonesDavid Whitehouse PrincipalTony HoweJulian Turner

Bass TromboneDavid Vines

TubaLee Tsarmaklis* Principal

TimpaniSimon Carrington* Principal

percussion Andrew Barclay* Principal

Chair supported by

Andrew Davenport

* Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco

LONDON phILhARMONIC ORChESTRA

London Philharmonic Orchestra | 3

Chair Supporters

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

John and Angela Kessler The Sharp FamilyJulian and Gill Simmonds

LONDON phILhARMONIC ORChESTRA


The London Philharmonic Orchestra is one of the world’s finest orchestras, balancing a long and distinguished history with a reputation as one of the UK’s most adventurous and forward-looking orchestras. As well as performing classical concerts, the Orchestra also records film and computer game soundtracks, has its own record label, and reaches thousands of Londoners every year through activities for schools and local communities.

The Orchestra was founded by Sir Thomas Beecham in 1932, and since then has been headed by many of the great names in the conducting world, including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. The current Principal Conductor is Russian Vladimir Jurowski, appointed in 2007, with French-Canadian Yannick Nézet-Séguin as Principal Guest Conductor.

The Orchestra is based at Royal Festival Hall in London’s Southbank Centre, where it has performed since it opened in 1951 and been Resident Orchestra since 1992. It gives around 40 concerts there each season with many of the world’s top conductors and soloists. Concert highlights in 2011/12 include a three-week festival celebrating the music of Prokofiev, concerts with artists including Sir Mark Elder, Marin Alsop, Renée Fleming, Stephen Hough and Joshua Bell, and several premières of works by living composers including the Orchestra’s Composer in Residence, Julian Anderson. In addition to its London concerts, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Every summer, the Orchestra leaves London for four months and takes up its annual residency accompanying the famous Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra since 1964.

The London Philharmonic Orchestra tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first-ever visit to China by a Western orchestra. Touring remains a big part of the Orchestra’s life: tours in the 2011/12 season include visits to Belgium, Switzerland, Germany, the US, Spain, China, Russia, Oman, Brazil and France.

You may well have heard the London Philharmonic Orchestra on film soundtrack recordings: it has recorded many blockbuster scores, from The Lord of the Rings trilogy to Lawrence of Arabia, The Mission, Philadelphia and East is East. The Orchestra also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 50 releases on the label, which are available on CD and to download. Recent additions include Dvořák’s Symphonic Variations and Symphony No. 8 conducted by Sir Charles Mackerras; Holst’s The Planets conducted by Vladimir Jurowski; Mahler’s Symphony No. 8 under Klaus Tennstedt; Shostakovich Piano Concertos with Martin Helmchen under Vladimir Jurowski; and Sibelius’s Symphony No. 5, Pohjola’s Daughter and Lutosławski’s Concerto for Orchestra under Jukka-Pekka Saraste. The Orchestra was also recently honoured with the commission to record all 205 of the world’s national anthems for the London 2012 Olympics Team Welcome Ceremonies and Medal Ceremonies.

To help maintain its high standards and diverse workload, the Orchestra is committed to the welfare of its musicians and in December 2007 received the Association of British Orchestras/Musicians Benevolent Fund Healthy Orchestra Bronze Charter Mark.

The London Philharmonic Orchestra maintains an energetic programme of activities for young people and local communities. Highlights include the ever-popular family and schools concerts, fusion ensemble The Band, the Leverhulme Young Composers project and the Foyle Future Firsts orchestral training scheme for outstanding young players. Over the last few years, developments in technology and social networks have enabled the Orchestra to reach even more people worldwide: all its recordings are available to download from iTunes and, as well as a YouTube channel, news blog, iPhone app and regular podcasts, the Orchestra has a thriving presence on Facebook and Twitter.

Find out more and get involved!

lpo.org.uk

facebook.com/londonphilharmonicorchestra

twitter.com/LpOrchestra


OSMO VÄNSKÄCONDUCTOR

Symphony, New York Philharmonic and Philadelphia orchestras. In Europe he has conducted the Berlin Philharmonic, Royal Concertgebouw and Czech Philharmonic orchestras. He has also developed close relationships with other international ensembles including the London Philharmonic, San Francisco Symphony and Cleveland orchestras; the Mostly Mozart Festival in New York; and the Orchestre de Paris. Future engagements include concerts with the Gewandhausorchester Leipzig and the Hong Kong Philharmonic, Sydney Symphony and Yomiuri Nippon Symphony orchestras.

Vänskä began his musical career as a clarinettist. He held the Principal chair of the Turku Philharmonic Orchestra from 1971–76 and the Co-Principal chair of the Helsinki Philharmonic Orchestra from 1977–82. Following conducting studies at Finland’s Sibelius Academy, Vänskä was awarded First Prize in the 1982 Besançon International Young Conductors’ Competition. Three years later he began his tenure with the Lahti Symphony Orchestra as Principal Guest Conductor, while also serving as Music Director of the Iceland Symphony Orchestra and the Tapiola Sinfonietta. In addition, Vänskä served as Chief Conductor of the BBC Scottish Symphony Orchestra from 1997–2002.

In recent years, Vänskä has enjoyed a return to performing on the clarinet. He made his Twin Cities clarinet performance début at the Sommerfest in 2005 and has played chamber music with members of the Minnesota Orchestra, at the Mostly Mozart festivals and in Finland.

The many honours and distinctions awarded to Osmo Vänskä include an honorary doctorate from the University of Glasgow, and a Doctor of Humane Letters from the University of Minnesota’s School of Music in 2008. He was also honoured with a Royal Philharmonic Society Award for his outstanding contribution to classical music. Vänskä was named Musical America Conductor of the Year in 2005 and was honoured by Columbia University with the 2010 Ditson Conductor’s Award for the advancement of American music.

Praised for his intense and dynamic performances, Finnish conductor Osmo Vänskä is recognised for his compelling interpretations of the standard, contemporary and Nordic repertoires, as well as the close

rapport he establishes with the musicians he leads.

In 2003, Vänskä became Music Director of the Minnesota Orchestra and has since drawn extraordinary reviews for concerts both in the US and abroad. Together they have an annual series at New York’s Carnegie Hall and tour regularly both in the US and Europe – including an exceptional pair of concerts at the 2010 BBC Proms. His contract with the Minnesota Orchestra has been extended until 2015.

Vänskä and the Minnesota Orchestra’s recordings of the complete Beethoven symphonies on the BIS label have amassed rave reviews whilst their recording of Beethoven’s Symphony No. 9 received a 2008 Grammy nomination for Best Orchestral Performance. Their most recent release is the first disc in a complete cycle of Beethoven’s piano concertos with pianist Yevgeny Sudbin. For the Hyperion label they have recently recorded Tchaikovsky’s complete piano concertos with pianist Stephen Hough. Future projects include the complete Sibelius symphonies. In 2008 Vänskä recorded Rachmaninov’s Symphony No. 3 and Bax’s Tintagel with the London Philharmonic Orchestra on the Orchestra’s own label.

Vänskä was Music Director of the Lahti Symphony Orchestra from 1988 and now holds the position of Conductor Laureate. During two decades at the helm, Vänskä transformed the regional ensemble into one of Finland’s flagship orchestras. Their partnership received widespread attention through its complete collection of multi-award winning Sibelius recordings and its international performances.

Internationally in demand as a guest conductor, Osmo Vänskä has worked with many of the world’s leading orchestras including the Boston Symphony, Chicago

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A truly exciting and versatile artist, Janine Jansen’s performances have left audiences spellbound and critics searching for superlatives.

She works regularly with the Royal Concertgebouw,

Chicago Symphony, London Symphony, Philadelphia, Cleveland, Mahler Chamber, NHK Symphony, Berlin Philharmonic and New York Philharmonic orchestras. Conductor collaborations include such eminent names as Yannick Nézet-Séguin, Mariss Jansons, Lorin Maazel, Valery Gergiev, Riccardo Chailly, Neeme and Paavo Järvi, Esa-Pekka Salonen, Daniel Harding, Edo de Waart and Gustavo Dudamel.

During the 2011/12 season, Janine will undertake a residency at London’s Wigmore Hall. She will tour Asia with the Royal Concertgebouw Orchestra and Myung-Whun Chung, and Europe with the Accademia Nazionale di Santa Cecilia and Antonio Pappano. She will also return to the Dresden Staatskapelle, Los Angeles Philharmonic, Finnish Radio Symphony and Bavarian Radio Symphony orchestras. Tonight’s appearance is the first of three concerts with the London Philharmonic Orchestra at the Royal Festival Hall this season. On 3 December 2011 she will perform Mozart’s Violin Concerto No. 5 under Vladimir Jurowski, and on 1 February 2012 she returns to perform Prokofiev’s Violin Concerto No. 2, conducted by Yannick Nézet-Séguin. In addition to her concerto performances, Janine is a devoted chamber musician. This season she will perform a chamber project including Schubert’s String Quintet and Schoenberg’s Verklärte Nacht in addition to duo recitals in London, Berlin, Amsterdam, Hamburg, Dortmund, Lyon and Eindhoven. She established and curates the annual International Chamber Music Festival in Utrecht, and since 1998 has performed each season at the Berlin Philharmonie’s Spectrum Concerts series. Her chamber partners include Jean-Yves Thibaudet, Mischa Maisky, Julian Rachlin, Itamar Golan, Martin Fröst, Khatia Buniatishvili, Leif Ove Andsnes and Torleif Thedéen.

JANINE JANSENVIOLIN

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Janine has an exclusive recording contract with Decca (Universal Music). Her most recent release is a disc of French music entitled Beau Soir with pianist Itamar Golan. Each of her previous five albums have been awarded a Platinum Disc for sales in the Netherlands. Renowned for her success on iTunes, her recordings have reached No. 1 in the digital charts on a number of occasions.

In September 2003, Janine received the Dutch Music Prize from the Ministry of Culture – the highest distinction an artist can achieve in the Netherlands. She has received numerous other awards including the Edison Klassiek Public Award three times (most recently in 2010), three Echo Klassik awards, the German Record Critics’ Award, and the NDR Musikpreis for outstanding artistic achievement in 2007. In 2008 she was awarded the VSCD Klassieke Muziekprijs for individual achievement, and in May 2009 she received the Royal Philharmonic Society Instrumentalist Award for performances in the UK.

The outstanding instrument played by Janine Jansen is the ‘Barrere’ by Antonio Stradivari, on extended loan from the Elise Mathilde Foundation.


pROGRAMME NOTES

The intended dedicatee of Tchaikovsky’s Violin Concerto initially considered it almost unplayable, but another violinist proved him wrong, and this concerto has long been among the best loved in the repertory. The first movement’s principal theme resembles a Polonaise. A sad Slavonic song is the basis of the slow middle movement, and the concerto ends with a brilliant dance-like rondo.

Bruckner labelled his Fourth Symphony ‘Romantic’ and, on being pressed later for a programme, suggested medieval knights riding out at dawn. But the music – horn calls and rustling tremolos included – is perfectly self-sufficient. The second movement is an elegiac march and the third a scherzo evoking a hunt. The powerful finale concludes with a last reminder of the symphony’s initial horn call amid a grand reiteration of the home key.

Speedread

Seeking to recover mental equilibrium after the collapse of his disastrous marriage, Tchaikovsky spent the winter of 1877–78 in Italy and Switzerland. In Clarens beside Lake Geneva he found a measure of peace, and there on 17 March he began composing this concerto. He had a young violinist friend, Iosif Kotek, on hand to try the music as it was written, and in only 12 days the sketches were complete. Some doubts were felt about the slow movement, and a week later Tchaikovsky composed a completely different one. (The discarded movement was too good to lose and under the title of Meditation it became one of the three Op. 42 pieces.) The whole concerto was finished by the middle of April.

The first performance was advertised for 22 March 1879 in St Petersburg, but Leopold Auer, the celebrated Russian violinist for whom Tchaikovsky intended the concerto, found it awkward and took against it. Certainly it was formidably difficult for the soloist. Fortunately a young Russian, Adolf Brodsky, came on the scene,

worked at the concerto reportedly ‘in a fit of frenzy’ and gave the first performance on 4 December 1881 in Vienna, with Hans Richter conducting the Vienna Philharmonic Orchestra. Public and press there were generally hostile, but the concerto found much favour when the same conductor and soloist performed it in London soon afterwards. The first Russian performance, given by Brodsky in Moscow, was warmly received, and before long the concerto was established as a popular repertory piece. Auer finally took up the concerto, and technical improvements he made in the solo part were incorporated in the score.

A brief scene-setting melody opens the concerto. This gives way to a rhythmic figure that anticipates the main theme and works up excitement before the soloist enters. The soloist launches the principal theme (a suave tune with a catch in the rhythm suggesting a Polonaise) and continues into dancing figuration with orchestral interjections until the second subject arrives.

VIOLIN CONCERTO IN D MAJOR, Op. 35

JANINE JANSEN violin

Allegro moderatoCanzonetta: AndanteFinale: Allegro vivacissimo

Peter IlyichTChAIKOVSKY

1840–93


This has a smoother contour and is marked ‘with much expression’, although it contains the rhythmic figure (four semiquavers and a crotchet) from the introduction and first subject. The soloist introduces it and goes on to embroider it in exchanges with the woodwind, after which a vigorous codetta brings the return of the first subject, its Polonaise character now made explicit by the orchestra. The tune has acquired a new second half, however, and the soloist richly ornaments this fresh version with a display of scales, arpeggios and chords. The orchestra asserts itself again with the Polonaise, and after some dialogue between the high and low voices, a dominant chord announces the violin cadenza, which embroiders the original first and second subjects. Violin and orchestra recapitulate the main themes and gather speed to end the movement with great brilliance.

Tchaikovsky calls his slow movement a Canzonetta (‘little song’), and a rather sad Slavonic song it is that the violin sings. Woodwind and horns establish the mood with a melody of folksong flavour, and the muted solo violin enters quietly with the main tune, supported by muted orchestral strings. The violin’s second melody is brighter but does not dispel the prevailing atmosphere. Now the

introduction returns on the strings with ornamentation by the violin, after which the latter resumes the main ‘song’, enhanced by exquisite woodwind counter-melodies. The woodwind introduction reappears to round off the movement, the nostalgic mood being suddenly shattered by the opening fortissimo chord of the finale. Rhythmic flourishes from the orchestra suggest the introduction to a vigorous dance and announce the soloist, who has a cadenza-like recitative before dashing into the main rondo theme, which does indeed have the character of a Russian dance. The tempo slackens for the second theme, a statelier dance tune with a drone bass, but this kicks over the traces and takes up the first tempo. Another, more marked slowing brings a wistful third tune, shared by oboe and clarinet and then meditated upon by the violin. But the violin is soon off again with its rondo theme, and the other two tunes follow in the same order as before but with varied treatment. Back comes the irrepressible rondo theme, and the remainder of the movement maintains its driving energy, the soloist performing ever more brilliant feats of prestidigitation to the end.

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

SYMphONY NO. 4 IN E-FLAT MAJOR (ROMANTIC) 1888 version edited by Benjamin Korstvedt

Ruhig bewegt, nur nicht schnell (Allegro molto moderato)AndanteScherzo: BewegtFinale: Mässig bewegt

AntonBRUCKNER

1824–96

Bruckner began composing this symphony in 1873 and completed the first version in November 1874. It failed to satisfy him, and in 1878 he began a thorough revision, substituting a new ‘hunting’ scherzo for the previous one. In 1880 he replaced the comparatively light 1878 finale entitled Volksfest (‘People’s Festival’) with a weightier new one, and in this form the symphony received a successful first performance at a

Vienna Philharmonic concert under Hans Richter on 20 February 1881. It was after a rehearsal for this concert that the composer gratefully thrust into Richter’s hand a coin to buy himself a beer!

Still apparently dissatisfied, Bruckner returned to the score in 1887–88. Extensive alterations were made with help from Ferdinand Löwe and probably Franz and

pROGRAMME NOTES


Joseph Schalk. Richter and the Vienna Philharmonic successfully reintroduced the symphony on 20 January 1888, and in the light of that performance Bruckner made final revisions the following month. The work was first published in that version.

The extent of Bruckner’s participation in and approval of the many revisions has been hotly debated down the years. Under the auspices of the International Bruckner Society, in 1953 Leopold Nowak produced an edition of the symphony as it stood in 1880, and for 50 years most performances relied on Nowak. However, the 1888 score was republished in 2004 in an officially sanctioned edition by an American musicologist, Benjamin Korstvedt, and this will be performed this evening. Osmo Vänskä says: ‘Korstvedt is my choice because I believe this version has the latest knowledge about how Bruckner wanted the Fourth Symphony played.’

This version makes two cuts: the scherzo repeat is shortened by 65 bars, and in the finale the loud recall of the opening theme at the start of the recapitulation has been removed. A piccolo and a pair of cymbals are added to the orchestra in the finale, enabling a cymbal clash to top the first crescendo. Other modifications of the scoring tend to make the sound less massive. Tempo and dynamic markings are much more numerous than before, and Korstvedt has inserted metronome marks.

The symphony’s apt ‘Romantic’ label was Bruckner’s own. In response to a request he went further and invented – after the event – a ‘programme’ in which a horn proclaims the day from the town hall and knights ride out of the medieval town at dawn. But the music is self-sufficient, even if the opening horn calls over rustling E-flat tremolos do suggest some romantic landscape by early light. Woodwind answer the horns, and the continuation rouses the orchestra to powerful rising and falling sequences of five-note phrases. The second subject is a lyrical D-flat theme on violas with counterpoints on the higher and lower strings. The development begins with the soft return of the opening horn and woodwind calls. The five-note figures combine with these, and the second subject returns in a passage that is religious in feeling. Gradually the music leads back to the initial horn calls, cue for a recapitulation and broad coda.

An elegiac march in C minor provides the second movement. A solemn theme leads to a chorale-like passage punctuated by wind figures. The march theme comes three times in progressively richer dress, rising the last time to an impressive climax. Between its appearances there is a contrasting episode with a solitary theme.

Bruckner said that the scherzo ‘represents the hunt, whereas the trio is a dance melody played to the hunters during their repast’. The hunt sets off at a gallop with its D-flat fanfare theme, to which the strings append a smoother one. Both appear several times before the party stops for lunch and is entertained by one of Bruckner’s Ländler tunes. Then the hunt continues with a shortened repeat of the scherzo material.

The finale opens with low pedal notes, over which a three-note descending phrase forms the first part of the main subject. A crescendo leads up to the presentation of the theme in full by the whole orchestra. A string figure follows. The comparatively solemn second subject gives rise to variants in the development section before the lighter string figure comes to the fore. The feeling of the earlier movements is recalled but for the most part through the homogeneity of the symphony’s themes more than direct quotation. After a reprise of the finale’s themes the symphony culminates in a massive coda, which is dominated by the three-note descending phrase and ends with a last reminder of the symphony’s initial horn call amid a grand reiteration of E-flat chords.

Programme notes © Eric Mason

Next London philharmonic Orchestra concert

Friday 25 November 2011 | 7:30pm

Antonio José Suite, The Muleteer Rodrigo Concierto de Aranjuez Falla Suites Nos. 1 and 2, The Three-Cornered Hat Mussorgsky (orch. Ravel) Pictures at an Exhibition

Eduardo portal conductor Craig Ogden guitar

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Annual Appeal 2011/12: London philharmonic Orchestra Community programme

The Band is the Orchestra’s fusion ensemble for young people in South London aged 15–19, at which they meet to write and perform their own music. Influenced by the group members themselves, music is created in a wide range of genres. This is just one of the dynamic projects within the London Philharmonic Orchestra’s Community Programme, enabling young people and their families to experience and create live music. Also part of the programme are Animate Orchestra, a creative ensemble for children aged 10–13, and FUNharmonics Family Concerts performed by the London Philharmonic Orchestra with surrounding foyer activities.

In order to undertake this essential work we depend entirely on donations from charitable sources each year, and we are asking you to help us to support this work in the communities surrounding the South Bank. If you do feel able to contribute to this year’s Appeal we would be extremely grateful. Gifts of any size make a real difference; to donate please contact Elisenda Ayats on 020 7840 4225 or email [email protected]


Thomas Beecham GroupThe Tsukanov Family

The Sharp FamilyJulian & Gill Simmonds

Garf & Gill CollinsAndrew DavenportDavid & Victoria Graham FullerRichard Karl GoeltzJohn & Angela KesslerMr & Mrs MakharinskyGeoff & Meg MannCaroline, Jamie and Zander SharpEric Tomsett

Mrs Sonja Drexler Guy & Utti Whittaker

principal BenefactorsMark & Elizabeth AdamsJane AttiasLady Jane BerrillDesmond & Ruth CecilMr John H CookMr Charles DumasDavid Ellen

Commander Vincent EvansMr & Mrs Jeffrey HerrmannPeter MacDonald EggersMr & Mrs David MalpasAndrew T MillsMr Maxwell MorrisonMr Michael PosenMr & Mrs Thierry SciardMr John Soderquist & Mr Costas MichaelidesMr & Mrs G SteinMr & Mrs John C TuckerMr & Mrs John & Susi UnderwoodHoward & Sheelagh WatsonMr Laurie Watt Mr Anthony Yolland

BenefactorsMrs A BeareDr & Mrs Alan Carrington CBE FRSMr & Mrs Stewart CohenMr Alistair CorbettMr David EdgecombeMr Richard FernyhoughKen FollettPauline & Peter Halliday

Michael & Christine HenryMr Glenn HurstfieldMr R K JehaMr Gerald LevinSheila Ashley LewisWg. Cdr. & Mrs M T Liddiard OBE JP RAFMr Frank LimPaul & Brigitta LockMr Brian MarshJohn MontgomeryEdmund PirouetMr Peter TausigMrs Kazue TurnerLady Marina VaizeyMr D WhitelockBill Yoe

hon. BenefactorElliott Bernerd

hon. Life MembersKenneth Goode Pehr G GyllenhammarEdmund Pirouet Mrs Jackie Rosenfeld OBE

We would like to acknowledge the generous support of the following Thomas Beecham Group patrons, principal Benefactors and Benefactors:

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

Trusts and FoundationsArts and BusinessAllianz Cultural Foundation Angus Allnatt Charitable FoundationThe Boltini TrustBritten-Pears FoundationThe Candide Charitable TrustThe Coutts Charitable TrustThe Delius TrustDunard FundThe Equitable Charitable TrustThe Eranda FoundationThe Fenton Arts TrustThe Foyle FoundationThe Jeniffer and Jonathan Harris Charitable TrustHattori Foundation for Music and the ArtsCapital Radio’s Help a London ChildThe Hobson CharityThe Kirby Laing FoundationThe Leverhulme TrustLord and Lady Lurgan TrustMaurice Marks Charitable Trust

Marsh Christian TrustThe Mercers’ CompanyAdam Mickiewicz InstitutePaul Morgan Charitable TrustMaxwell Morrison Charitable TrustMusicians Benevolent FundNewcomen Collett Foundation The Serge Prokofiev FoundationSerge Rachmaninoff FoundationThe Reed FoundationThe Seary Charitable TrustThe Samuel Sebba Charitable TrustThe David Solomons Charitable TrustThe Steel Charitable TrustThe Stansfield TrustThe Bernard Sunley Charitable FoundationThe Swan TrustJohn Thaw FoundationThe Thistle TrustThe Underwood TrustGarfield Weston FoundationYouth Music

and others who wish to remain anonymous

Corporate MembersAppleyard & Trew LLPAREVA UKBritish American BusinessCharles RussellDestination Québec – UKLazardLeventis OverseasMan Group plc

Corporate DonorLombard Street Research

In-kind SponsorsGoogle IncHeinekenThe Langham LondonLindt & Sprüngli LtdSela / Tilley’s SweetsVilla Maria

ADMINISTRATION


FSC_57678 LPO 14 January 2011 15/09/2011 12:30 Page 1

Board of Directors

Martin Höhmann ChairStewart McIlwham Vice-ChairSue BohlingLord Currie*Jonathan Dawson*Gareth NewmanGeorge PenistonSir Bernard Rix*Kevin RundellSir Philip Thomas*Timothy Walker AM†*Non-Executive Directors

The London philharmonic Trust

Victoria Sharp ChairDesmond Cecil CMGJonathan Harris CBE FRICSDr Catherine C. HøgelMartin HöhmannAngela KesslerClive Marks OBE FCAJulian SimmondsTimothy Walker AM†Laurence Watt

American Friends of the London philharmonic Orchestra, Inc.

We are very grateful to the Board of the American Friends of the London Philharmonic Orchestra for its support of the Orchestra’s activities in the USA.

professional Services

Charles RussellSolicitors

Crowe Clark Whitehill LLPAuditors

Dr Louise MillerHonorary Doctor

General Administration

Timothy Walker AM† Chief Executive and Artistic Director

Alison AtkinsonDigital Projects Manager

Finance

David BurkeGeneral Manager andFinance Director

David GreensladeFinance and IT Manager

Concert Management

Roanna GibsonConcerts Director

Ruth SansomArtistic Administrator

Graham WoodConcerts, Recordings andGlyndebourne Manager

Alison JonesConcerts Co-ordinator

Jenny ChadwickTours and Engagements Manager

Jo OrrPA to the Executive / Concerts Assistant

Matthew FreemanRecordings Consultant

Education & Community

Patrick BaileyEducation and Community Director

Anne FindlayEducation Manager

Caz ValeCommunity and Young Talent Manager

Richard MallettEducation and Community Producer

Orchestra personnel

Andrew CheneryOrchestra Personnel Manager

Sarah ThomasLibrarian

Michael PattisonStage Manager

Julia BoonAssistant Orchestra Personnel Manager

Ken Graham TruckingInstrument Transportation(Tel: 01737 373305)

Development

Nick JackmanDevelopment Director

Harriet MesherCharitable Giving Manager

Alexandra RowlandsCorporate Relations Manager

Melissa Van EmdenEvents Manager

Laura LuckhurstCorporate Relations and Events Officer

Elisenda AyatsDevelopment and Finance Officer

Marketing

Kath TroutMarketing Director

Ellie DragonettiMarketing Manager

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Lucy Martin Intern

Valerie BarberPress Consultant(Tel: 020 7586 8560)

Archives

Philip StuartDiscographer

Gillian PoleRecordings Archive

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Photographs of Tchaikovsky and Bruckner courtesy of the Royal College of Music, London Front cover photograph © Benjamin Ealovega.

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lpo programme 16 nov 2011

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