13 Feb 11 LPO Programme notes

CONGRESS THEATRE, EASTBOURNESunday 13 February 2011 | 3.00pm

NICHOLAS MILTONconductor

HAOCHEN ZHANGpiano

WEBEROverture, Der Freischütz (10’)

TCHAIKOVSKYConcerto No. 1 in B flat minor for piano and orchestra (33’)

INTERVAL

BRAHMSSymphony No. 1 in C minor (45’)

PROGRAMME £2.50

CONTENTS

2 List of Players3 Nicholas Milton4 Haochen Zhang5 Programme Notes8 Recordings9 Congress Theatre10 Orchestra History11 Supporters12 Administration

The timings shown are not preciseand are given only as a guide.

Principal Conductor VLADIMIR JUROWSKIPrincipal 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†

† supported by Macquarie Group

Ticket Office01323 412000www.eastbournetheatres.co.uk

CONCERT PRESENTED BY THELONDON PHILHARMONICORCHESTRA IN ASSOCIATION WITHEASTBOURNE BOROUGH COUNCIL.

57687 13 Feb 2011 Eastbourne_57687 13 Feb 2011 Eastbourne 07/02/2011 10:33 Page 1

2 | London Philharmonic Orchestra

LONDON PHILHARMONIC ORCHESTRA

Pieter Schoeman wasappointed Co-Leader ofthe London PhilharmonicOrchestra in 2002 andLeader in 2008. Born in1969 in South Africa hemade his debut at the ageof ten with the Cape TownSymphony Orchestra. Sincethen he has performed assoloist and recitalist insuch famous halls as theConcertgebouw inAmsterdam, Moscow’sRachmaninov Hall, CapellaHall in St Petersburg,Staatsbibliothek in Berlin,Hollywood Bowl in LosAngeles and Wigmore Hall,London. He has also playedextensively on radio andtelevision in the UnitedStates, Russia, SouthAfrica, China and the UK.In 1995, he became Co-Concertmaster of theOrchestre Philharmoniquede Nice in France and hasalso performed as GuestConcertmaster with thesymphony orchestras ofBarcelona, Bordeaux, Lyonand Baltimore. This seasonhe will lead the RotterdamPhilharmonic Orchestra onseveral occasions. Heteaches at Trinity College ofMusic.

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FIRST VIOLINSPieter Schoeman* LeaderArtem KotovKatalin VarnagyMartin HöhmannChair supported byRichard Karl Goeltz

Geoffrey LynnYang ZhangAlain PetitclercPeter NallGalina TanneyJoanne ChenCaroline SharpIshani Bhoola

SECOND VIOLINSClare Duckworth PrincipalChair supported by Richard and Victoria Sharp

Joseph MaherKate BirchallChair supported by David and Victoria Graham Fuller

Nancy ElanFiona HighamAndrew ThurgoodHeather BadkeAlison StrangeMila MustakovaSheila Law

VIOLASRobert Duncan PrincipalKatharine LeekBenedetto PollaniIsabel PereiraSarah MalcolmMartin FennRebecca CarringtonMiranda Davis

CELLOSFrancis Bucknall PrincipalJonathan AylingChair supported by Caroline,Jamie and Zander Sharp

Sue SutherleySusanna RiddellTom RoffRosie BanksTae-Mi Song

DOUBLE BASSESLaurence Lovelle PrincipalGeorge PenistonTom WalleyHelen RowlandsLowri Morgan

FLUTESLaura Lucas Guest PrincipalJoanna Marsh

OBOESSteven Hudson GuestPrincipalSue BohlingChair supported byJulian and Gill Simmonds

CLARINETSKatie Lockhart Guest PrincipalEmily Meredith

BASSOONSGareth Newman* PrincipalGraham Hobbs

CONTRA BASSOONSimon Estell Principal

HORNSPhillip Eastop Guest PrincipalMartin HobbsNicolas WolmarkGareth MollisonStephen Nicholls

TRUMPETSPaul Beniston* PrincipalAnne McAneney*Chair supported byGeoff and Meg Mann

TROMBONESDavid Whitehouse PrincipalAndrew Connington

BASS TROMBONELyndon Meredith Principal

TIMPANISimon Carrington* Principal

* Holds a professorialappointment in London

Chair SupportersThe London Philharmonic Orchestra also acknowledges the following chairsupporters whose players are not present at this concert:

Andrew DavenportJohn and Angela KesslerThe Tsukanov Family


London Philharmonic Orchestra | 3

NICHOLAS MILTONCONDUCTOR

Music Director of the Jena Philharmonic in Germanyfrom 2004 to 2010 and Chief Conductor and ArtisticDirector of the Canberra Symphony Orchestra since2007, Nicholas Milton has established a reputation asone of the leading Australian conductors of hisgeneration.

His highly acclaimed debut with the DortmundPhilharmonic in 2008 was followed in quick successionby numerous prestigious invitations including hisdebuts with the London Philharmonic Orchestra, NDRRadio Philharmonie Hannover, SWR Radio SymphonyStuttgart, the orchestras of Wiesbaden, Mannheim andDarmstadt, Orchestra della Svizzera Italiana, OdenseSymphony, Orchestre Philharmonique de Nice and theChina National Symphony Orchestra. He also made hisdebut in 2010 at Vienna’s Musikverein with theTonkünstler Orchestra.

Future orchestral highlights include return visits to theLondon Philharmonic Orchestra, DortmundPhilharmonic and Brabants Orkest as well as his debutswith the Stuttgart Philharmonic, Deutsche RadioPhilharmonie Saarbrücken, StaatsphilharmonieRheinland-Pfalz, Bruckner Orchestra Linz, StaatskapelleHalle, Junge Norddeutsche Philharmonie, L’OrchestreSymphonique de Mulhouse and Philharmonia Taiwan. In2011 he will conduct Carmen at the Volksoper Vienna,the new production of La fanciulla del West in Innsbruckand the revival of Die Fledermaus at the Komische OperBerlin followed by the revival of Le nozze di Figaro at theVolksoper Vienna in 2012.

Nicholas Milton is a devoted interpreter of opera withan extensive repertoire. Recent theatre credits includeproductions of Die Fledermaus at the Volksoper Vienna,The Magic Flute in Innsbruck, Carmen in Mainz, DonGiovanni in Leipzig, and performances of Così fan tutte,Le nozze di Figaro and Hänsel und Gretel in Jena. In 2009he led the acclaimed new production of Henze’s balletUndine in Rostock. As a guest conductor for OperaAustralia, Opera Queensland and as Artistic Director ofthe Bel Canto Opera Company in South Australia he hasconducted Carmen, Il barbiere di Siviglia, La traviata, Iltrovatore, Rigoletto, L’elisir d’amore, Don Pasquale, LaBohème, Madama Butterfly, Manon Lescaut and DonGiovanni. He was Assistant to Jeffrey Tate for the StateOpera of South Australia’s acclaimed Ring Cycle in 2001and for Parsifal in 2003.

Milton’s symphonic repertoire is exquisitely diversified,ranging from early Viennese classics through to modernrepertoire of the most dense complexity. Also aninternational advocate for contemporary Australianorchestral music, Milton has conducted numerousworld and European premières of works by PeterSculthorpe, Richard Meale, Ross Edwards, Elena Kats-Chernin, Graeme Koehne, Nigel Westlake, Carl Vine andMatthew Hindson.

Originally a violinist, Nicholas Milton wasConcertmaster of the Adelaide Symphony Orchestra(1996-2002) and violinist with the Macquarie Trio(1998-2005). He studied at the Sydney Conservatoriumof Music, Michigan State University, the Mannes Collegeof Music and the Juilliard School. He holds Master’sdegrees in violin, conducting, music theory andphilosophy, and a doctorate in music from the CityUniversity of New York. Mentored at the SibeliusAcademy in Helsinki by Jorma Panula, he won the 1999Symphony Australia Conductor of the Year Competitionand was a prizewinner in the Matacic InternationalCompetition for Young Conductors.

In 2001, Nicholas Milton was awarded the AustralianCentenary Medal for Service to Australian Society andthe Advancement of Music.



HAOCHEN ZHANGPIANO

In June 2009, Haochen Zhang became one of theyoungest participants and the first Chinese pianist to beawarded the prestigious Nancy Lee and Perry R. BassGold Medal at the Thirteenth Van Cliburn InternationalPiano Competition. Immediately following theCompetition, Zhang embarked on a worldwide sixty-date tour over the 2009/2010 season, withengagements that included a tour of Poland, recitals inKrakow and Lodz, concerts at the Beijing Music Festival,the Worldwide Chinese Festival Orchestra’s New YearConcert at the National Centre for the Performing Artsin Beijing, Carnegie Hall’s Neighborhood Concert Series,Aspen Festival, Washington Performing Arts Series, andthe Hannover Prize Winners Series.

His Hannover debut was a great success and led toimmediate recital invitations from Munich, Berlin,Ludwigshafen and Paris. This season and next, Haochenhas also been invited to perform with orchestras suchas the Philadelphia, Israel Philharmonic, Hong KongPhilharmonic, Krakow Philharmonic and BelgradePhilharmonic.

Haochen Zhang gave his debut recital at the ShanghaiConcert Hall at the age of five, performing the completeBach Two-Part Inventions as well as sonatas by Haydnand Mozart. His orchestral debut was made at the ageof six and he was awarded first prize at the ShanghaiPiano Competition at the ages of seven and nine. In2004, he made his debut at the 59th InternationalChopin Festival in Duszniki, Poland, performing thecomplete Chopin Etudes, Op. 25.

In 2005, Haochen Zhang moved to the United States toattend the Curtis Institute of Music and to study underworld renowned pianist Gary Graffman. The followingyear, he made his debut with the Philadelphia Orchestraperforming Rachmaninov’s Second Piano Concerto.

In 2007, Haochen Zhang was the youngest winner ofthe China International Piano Competition and in 2008at the age of eighteen, he made his Carnegie Hall debutwith the New York Youth Symphony Orchestraperforming Mozart’s D minor Concerto K466 and theworld première of a commission by Ryan Gallagher.



Weber’s Der Freischütz received an immenselysuccessful first performance on 18 June 1821 in Berlin,and was taken up throughout Germany. Its romanticismwas exactly to the popular taste of the period, and thecharm exerted by the melodious music has kept theopera in the international repertory.

Set in the forests of 17th-century Bohemia, the operatells the story of Max, a marksman, who enlists the aidof the Devil to cast magic bullets. These, he hopes, willenable him to win a shooting competition and marriageto Agathe, the girl he loves. The opera’s title issometimes translated as The Marksman, but there is noexact English equivalent and the German title is usuallyretained even when the opera is sung in English.

The overture draws its themes from the opera. In theopening Adagio Weber evokes the mysterious

atmosphere of the forest and reminds us in the passagefor horns that the story concerns a hunting community.Low clarinets and strings introduce the sinister figure ofZamiel, the personification of the Devil as a wildhuntsman who inhabits the Wolf’s Glen. The followingAllegro is based on the storm music in the glen scene,where magic bullets are cast at dead of night. Theclarinet, an instrument much favoured by Weber,anticipates Max’s cry of horror on looking down into theglen. The gloom is dispersed by the melody of Agathe’sfamous aria, Leise, leise (Softly, softly), which vies withthe previous theme in the development and reprise.Zamiel’s theme reappears towards the end, but truelove wins through with a joyful peroration on Agathe’sgreeting to her lover.

© Eric Mason

PROGRAMME NOTES

OVERTURE, DER FREISCHÜTZCarl Maria vonWEBER

1786-1826

SPEEDREAD

We begin this afternoon with the very essence ofGerman romanticism, the overture to Weber’s operaabout a marksman who had to win a shootingcompetition to get the girl he loved, and unwisely soughtthe Devil’s help in casting magic bullets.

The centrepiece of our concert is perhaps the best lovedof all the great romantic piano concertos, Tchaikovsky’sConcerto in B flat minor. Curiously the big tune thatoccupies the first part of the opening movement is notheard again. But Tchaikovsky has plenty more to fill abrilliantly orchestrated work that brims with rhythmicvitality. The second movement begins and ends as a

simple Andantino. Inserted into the middle, however, is aswift scherzo in which the pianist sets playful figuresagainst an old French melody. The finale is a fiery rondowith three themes.

Brahms toiled many years over his First Symphony butultimately triumphed with it. The first movement isstrenuous and tragic, the second brings a vision of peaceand the third is an easy-going intermezzo. The finalebegins in tragic vein, but a horn call breaks through likesunshine and a celebrated C major tune sweeps thesymphony to a gloriously happy climax.

© Eric Mason



PROGRAMME NOTES

One of Tchaikovsky’s worst disappointments was onChristmas Eve 1874, when he took his new First PianoConcerto to Nicholas Rubinstein, the greatest Russianpianist of the day, for a professional opinion of the solopart. According to the composer, Rubinstein declaredthat apart from two or three pages the work wasworthless, the piano part being clumsy beyondcorrection.

The deeply wounded composer completed theorchestration the following February and dedicated theconcerto as it stood to Hans von Bülow, who found it‘perfect and mature in form and full of style’ and gavethe successful first performance the same year inBoston. Rubinstein recanted and became adistinguished exponent of the concerto shortly beforehis death in 1881. However, Tchaikovsky extensivelyrevised the solo part in 1889. The striking melodies,rhythmic vitality and brilliant orchestration have longmade this one of the most popular concertos of all.

It is curious that the big, romantic tune that occupiesthe first quarter of the opening movement has noaudible connection with anything that follows.Fortunately Tchaikovsky’s powers of melodic inventionwere so strong that he could afford to discard a winningtune unexpectedly early on. The nature of the duelbetween soloist and orchestra is indicated by theopening challenge in B flat minor from unison hornsbacked by crashing orchestral chords. The pianistaccepts the challenge, replying in D flat (the relatedmajor key) with emphatic rising chords, which becomean accompaniment to the famous string tune. Thesoloist takes over the tune, but soon digresses into acadenza, after which the strings run through the D flattune with a more elaborate piano accompaniment. Allthis proves to have been an extensive introduction to

the first movement proper, which now begins Allegrocon spirito with a B flat minor folk tune introduced bythe soloist. Strenuous octaves on the piano lead to asecond-subject group consisting of two lyrical themes,the first given out by a clarinet and the second by softmuted strings. After some elaboration of these themuted string theme opens the development section,which combines elements of the first subject withmodified forms of the second group. The recapitulationis interrupted by the soloist’s main cadenza, after whichthe muted string theme reappears on flute and clarinetto launch a brilliant coda.

The Andantino semplice, a combination of slowmovement and scherzo, begins with a gentle flute tunein D flat suited to repetition and modest elaboration invaried instrumental colours. Two subsidiary themes areintroduced as the music modulates through F to D. Inthe middle of the movement the tempo increases toPrestissimo for the interpolated scherzo, in which an oldFrench chansonette on violas and cellos is set againstplayful figuration from the pianist. A piano cadenzaleads back to a varied reprise of the opening tune.

‘With fire’ is the composer’s instruction for the rondofinale, which begins in the home key with two dancetunes. The soloist announces the first, which is ofUkrainian origin. The equally emphatic second tune isgiven to the orchestra. A third, which followsimmediately on the violins and then the piano, is at firsttenderly romantic, but later, after further considerationof all three themes and a display of double octaves bythe pianist, it swells grandly in a peroration for pianoand full orchestra. The initial dance music then returnsbriefly to wind up the concerto.

© Eric Mason

CONCERTO NO. 1 IN B FLAT MINOR FOR PIANO AND ORCHESTRA, OP. 22

HAOCHEN ZHANG piano

Allegro non troppo e molto maestoso – Allegro conspirito | Andantino semplice – Prestissimo – Tempo primo | Allegro con fuoco

Peter IlyichTCHAIKOVSKY

1840-1893



PROGRAMME NOTES

When the 20-year-old Brahms met Robert and ClaraSchumann in 1853 and played them the powerful pianosonatas he had written, the older composer at oncepublicly hailed the arrival of a new master. Recognisingthe young man’s grasp of large-scale composition, hecalled the sonatas ‘veiled symphonies’. But 23 yearswere to elapse before Brahms completed his firstsymphony, for as time passed and ever greaterexpectations were heaped on his shoulders, he becamemore and more determined to release nothing that didnot satisfy his highly self-critical judgement. Over awould be composer of symphonies in the middle of the19th-century the shadow of Beethoven loomedoppressively. As late as 1870 Brahms complained to afriend: ‘You don’t know what it feels like to be doggedby that giant’.

His first intended symphony, a reworking of a two-pianosonata he had played with Clara Schumann in 1853,eventually emerged – in part – as the D minor PianoConcerto of 1859. Brahms then turned his thoughts to aC minor symphony, and in 1862 he sent Clara a draft ofthe first movement, which began with what is now theopening of the Allegro. Nothing more was heard of thework for some years, but in 1868 Brahms sent Clara thehorn tune from the finale. The spur to finish thesymphony was applied by the success of the St AnthonyVariations in 1873. Philipp Spitta wrote to thecomposer: ‘After this incomparable achievement in thefield of orchestral composition your admirers will renewall the more intensely their long-cherished wish for asymphony’. Brahms completed the work in the autumnof 1876 but was still not wholly satisfied. The eve of thefirst performance, which took place on 4 November in

Karlsruhe under Otto Dessoff, found him shortening thetwo middle movements. Further performances underthe composer’s direction quickly followed in Mannheim,Munich, Vienna and Leipzig, and Joachim conducted theBritish première in Cambridge the following March.

Being clearly Beethovenian in strength and scale, thenew symphony was admiringly nicknamed ‘The Tenth’,but Brahms hated having that kind of greatness thrustupon him. He disliked still more those who remarkedupon a similarity between the big C major tune of hisfinale and the Ode to Joy in Beethoven’s NinthSymphony. When someone said it was extraordinarythat there should be this similarity, he gruffly replied:‘And still more extraordinary that any fool can see that’.In fact, the two composers’ procedures were not alike;where Beethoven developed great structures frompregnant motives, the essentially romantic Brahmsmore often began with richly harmonised melodiesfrom which motives could be extracted fordevelopment.

The slow, tense introduction, a late addition to the planof the symphony, sets the tragic mood. Over a throbbingC on drums and basses the violins strive upwards whilewoodwind, horns and violas descend gloomily in asequence of thirds that will reappear later as a kind ofmotto. A dropping seventh followed by a dropping sixth,a swaying string passage and an oboe solo echoed bythe cellos complete the source materials to bedeveloped in the ensuing Allegro, which takes as firstsubject a speeded-up version of the introduction’sopening and the seventh-and-sixth idea. The secondsubject, introduced by the oboe, is related to the latter,

SYMPHONY NO. 1 IN C MINOR, OP. 68

Un poco sostenuto – Allegro | Andante sostenuto | Un poco allegretto e grazioso | Adagio – Allegro nontroppo ma con brio

INTERVAL 20 minutesA bell will be rung 3, 2 and 1 minute before the end of the interval.

JohannesBRAHMS

1833-1897



PROGRAMME NOTES

and there is a vigorous third subject, which is aninversion of the first. After a strenuous developmentand recapitulation the introduction’s throbbing drumsreturn in the coda, but the ending suggests quietresignation.

In contrast to this nervous tension the E major slowmovement is a vision of peace. After two lyrical themes,the first on the strings and the second on the oboe, apassage for radiant high strings leads to a minor-keymiddle section with a new theme for solo oboe andclarinet in turn. Then the opening themes return,differently orchestrated and with new touches,culminating in a serene coda in which a solo violin leadsthe way.

Instead of a scherzo for third movement Brahms offers ashort, easy-going intermezzo with a flowing main tuneintroduced by a clarinet. The rhythm changes from 2/4to 6/8 for the more energetic central section, afterwhich the original theme returns in charmingly variedlayout and the movement ends with a calm look back tothe middle section.

Like the first movement the finale has a slowintroduction, again tragic in character. Here we find theromantic artist in Brahms at the height of his powers.The violins begin an adagio minor-key melody, twiceinterrupted by a pizzicato attempt to increase thetempo. After the second interruption the violins swirldesperately. This leads to a thunderclap on the timpani,and at once, like sunshine breaking through clouds, thehorns sound a chime-like call. The flutes take it over andthe trombones pronounce a solemn benediction. Againthe horn call is heard, this time leading to the famous C major tune for strings, a confident march-like melodythat we now realise was what the violins were trying tointroduce at the beginning. There follows a sonata-typeexposition with an even happier second subject, severalsubsidiary themes and a reminder of the horn call. Atthe climax the trombone benediction reappears, nowblazed forth as a triumphant peroration before thesymphony rushes to its exultant end.

© Eric Mason

RECORDINGS ON THE LONDON PHILHARMONIC ORCHESTRA’S OWN RECORD LABEL

The recordings may be downloaded in high quality MP3 format from www.lpo.org.uk/shop. CDs may alsobe purchased from all good retail outlets or through the London Philharmonic Orchestra: telephone 0207840 4242 (Mon-Fri 10am-5pm) or visit the website www.lpo.org.uk

LPO-0043 Vladimir Jurowski conducts Brahms’s Symphonies Nos 1 and 2

‘This pair of budget-priced CDs on the LPO’s own label demonstrate how, in the righthands, the first two symphonies can thrill and delight…exquisite windplaying…genuinely exciting.’GRAHAM RICKSON, THE ARTS DESK, 22 FEBRUARY 2010

LPO-0039 Vladimir Jurowski conducts Tchaikovsky’s Symphonies Nos 1 and 6

‘Both are exceptional performances, superbly recorded with a breathtaking range ofdynamics … In both works, the playing of the LPO is world class.’ANDREW CLEMENTS, THE GUARDIAN, 4 SEPTEMBER 2009



CONGRESS THEATRE, EASTBOURNEARTISTIC DIRECTOR CHRIS JORDANGENERAL MANAGER GAVIN DAVIS

WELCOME TO THE CONGRESS THEATRE

Welcome to this afternoon’s performance by the London Philharmonic Orchestra. We hope you enjoy the concertand your visit here. As a courtesy to others, please ensure all pagers, mobile phones or watches with alarms areswitched off during the performance. Thank you.

We are delighted and proud to have the London Philharmonic Orchestra reside at the Congress Theatre for thefourteenth year. Thank you, our audience, for continuing to support the concert series. Without you, these concertswould not be possible.

We welcome comments from our customers. Should you wish to contribute, please speak to the house manager onduty or write to Suzanne Hopp, Marketing Manager, Eastbourne Theatres, Compton Street, Eastbourne, East Sussex,BN21 4BP.

FUTURE CONCERTS

Sunday 6 March 2011 | 3.00pm

Haydn Symphony No. 63 (La Roxelane)Mendelssohn Piano Concerto No. 1Tchaikovsky Symphony No. 4

Vladimir Jurowski conductorAlon Goldstein piano

Supported by donors to the 2010/11 Eastbourne Appeal

Sunday 17 April 2011 | 3.00pm

Schubert Overture, RosamundeBrahms Violin ConcertoTchaikovsky Symphony No. 6 (Pathétique)

Wilson Hermanto conductorJennifer Pike violin

Sunday 5 June 2011 | 3.00pm

Wagner Overture, The MastersingersTchaikovsky Violin ConcertoWeber Overture, OberonSchumann Symphony No. 3

Perry So conductorValeriy Sokolov violin

TO BOOKCall the Ticket Office on 01323 412000Credit Card Hotline 01323 411555On-line bookingwww.eastbournetheatres.co.uk

Tickets £12 | £19 | £22 | £24Premium Seats £28

Vladimir Jurowskiand Jennifer Pike

Perry So and ValeriySokolov




Seventy-eight years after Sir Thomas Beecham foundedthe London Philharmonic Orchestra, it is recognisedtoday as one of the finest orchestras on the internationalstage. Following Beecham’s influential founding tenurethe Orchestra’s Principal Conductorship has been passedfrom one illustrious musician to another, amongst themSir Adrian Boult, Bernard Haitink, Sir Georg Solti, KlausTennstedt and Kurt Masur. This impressive traditioncontinued in September 2007 when Vladimir Jurowskibecame the Orchestra’s Principal Conductor and, in afurther exciting move, the Orchestra appointed YannickNézet-Séguin its new Principal Guest Conductor fromSeptember 2008.

The London Philharmonic Orchestra has been performingat Southbank Centre’s Royal Festival Hall since it openedin 1951, becoming Resident Orchestra in 1992. It playsthere around 40 times each season with many of theworld’s most sought after conductors and soloists.Concert highlights in 2010/11 include an exploration ofMahler’s symphonies and complete song cycles duringthe composer’s anniversary season; the premières ofworks by Matteo D’Amico, Magnus Lindberg and BrettDean; a rare opportunity to hear Rossini’s opera Aurelianoin Palmira in collaboration with long term partner OperaRara; and works by the Orchestra’s new Composer inResidence, Julian Anderson.

In addition to its London season and a series of concertsat Wigmore Hall, the Orchestra has flourishingresidencies in Brighton and Eastbourne, and performsregularly around the UK. It is unique in combining theseconcert activities with esteemed opera performanceseach summer at Glyndebourne Festival Opera where ithas been the Resident Symphony Orchestra since 1964.

The London Philharmonic Orchestra performs toenthusiastic audiences all round the world. In 1956 itbecame the first British orchestra to appear in SovietRussia and in 1973 made the first ever visit to China by aWestern orchestra. Touring continues to form asignificant part of the Orchestra’s schedule and issupported by Aviva, the International Touring Partner ofthe London Philharmonic Orchestra. Tours in 2010/11include visits to Finland, Germany, South Korea, Spain,France, Belgium and Luxembourg.

Having long been embraced by the recording,broadcasting and film industries, the London

Philharmonic Orchestra broadcasts regularly on domesticand international television and radio. It also works withthe Hollywood and UK film industries, recordingsoundtracks for blockbuster motion pictures includingthe Oscar-winning score for The Lord of the Rings trilogyand scores for Lawrence of Arabia, The Mission,Philadelphia and East is East.

The London Philharmonic Orchestra made its firstrecordings on 10 October 1932, just three days after itsfirst public performance. It has recorded and broadcastregularly ever since, and in 2005 established its ownrecord label. The recordings on its own label are takenmainly from live concerts given with distinguishedconductors over the years including the Orchestra’sPrincipal Conductors from Beecham and Boult, throughHaitink, Solti and Tennstedt, to Masur and Jurowski.

Recent additions to the catalogue have includedacclaimed releases of Christmas choral music conductedby Vladimir Jurowski, Bruckner’s Symphony No. 6conducted by Christoph Eschenbach, Verdi’s Requiemconducted by Jesús López-Cobos, Holst’s The Planetsconducted by Vladimir Jurowski and Elgar’s SymphonyNo. 1 and Sea Pictures with Vernon Handley and JanetBaker. The Orchestra’s own-label CDs are also widelyavailable to download. Visit www.lpo.org.uk/shop for thelatest releases.

The Orchestra reaches thousands of Londoners throughits rich programme of community and school-basedactivity in Lambeth, Lewisham and Southwark, whichincludes the offshoot ensembles Renga and The Band, itsFoyle Future Firsts apprenticeship scheme foroutstanding young instrumentalists, and regular familyand schools concerts.

To help maintain its high standards and diverseworkload, the Orchestra is committed to the welfare ofits musicians and in December 2007 received theAssociation of British Orchestras/Musicians BenevolentFund Healthy Orchestra Bronze Charter Mark.

There are many ways to experience and stay in touchwith the Orchestra’s activities: visit www.lpo.org.uk,subscribe to our podcast series, download our iPhoneapplication and join us on Facebook and Twitter.

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ADMINISTRATION

BOARD OF DIRECTORS

Martin HöhmannChairmanStewart McIlwhamVice-ChairmanSue BohlingSimon CarringtonLord Currie*Jonathan Dawson*Anne McAneneyGeorge PenistonSir Bernard Rix*Kevin RundellSir Philip Thomas*Sir John Tooley*The Rt Hon. Lord Wakeham DL*Timothy Walker AM †*Non-Executive Directors

THE LONDON PHILHARMONIC TRUST

Pehr Gyllenhammar ChairmanDesmond Cecil CMGJonathan Harris CBE FRICSDr Catherine C. HøgelMartin HöhmannAngela KesslerClive Marks OBE FCAVictoria SharpJulian SimmondsTimothy Walker AM †Laurence Watt

AMERICAN FRIENDS OF THELONDON PHILHARMONICORCHESTRA, INC.

We are very grateful to theBoard of the American Friendsof the London PhilharmonicOrchestra for its support ofthe Orchestra’s activities inthe 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 ChandlerConcerts Director

Ruth SansomArtistic Administrator

Graham WoodConcerts, Recordings andGlyndebourne Manager

Alison JonesConcerts Co-ordinator

Jenny ChadwickTours and EngagementsManager

Jo OrrPA to the Executive / Concerts Assistant

Matthew FreemanRecordings Consultant

EDUCATION ANDCOMMUNITY PROGRAMME

Fiona LambertEducation and CommunityConsultant

Anne FindlayEducation Officer

Richard MallettEducation and Community Producer

ORCHESTRA PERSONNEL

Andrew CheneryOrchestra Personnel Manager

Sarah ThomasLibrarian

Michael PattisonStage Manager

Camilla BeggAssistant Orchestra PersonnelManager

Ken Graham TruckingInstrument Transportation(Tel: 01737 373305)

DEVELOPMENT

Nick JackmanDevelopment Director

Harriet MesherCharitable Giving Manager

Phoebe RouseCorporate Relations Manager

Melissa Van EmdenEvents Manager

Elisenda AyatsDevelopment and FinanceOfficer

MARKETING

Kath TroutMarketing Director

Ellie DragonettiMarketing Manager

Helen BoddyMarketing Co-ordinator

Frances CookPublications Manager

Samantha KendallBox Office Administrator(Tel: 020 7840 4242)

Ed WestonIntern

Valerie BarberPress Consultant(Tel: 020 7586 8560)

ARCHIVES

Edmund PirouetConsultant

Philip StuartDiscographer

Gillian PoleRecordings Archive


89 Albert Embankment London SE1 7TPTel: 020 7840 4200Fax: 020 7840 4201Box Office: 020 7840 4242

www.lpo.org.ukVisit the website for fulldetails of LondonPhilharmonic Orchestraactivities.

The London PhilharmonicOrchestra Limited is aregistered charity No. 238045.

Photographs of Weber,Tchaikovsky and Brahmscourtesy of the Royal Collegeof Music, London.

Photograph on the front cover by Patrick Harrison.

Programmes printed by Cantate.

†Supported by Macquarie Group


Documents

13 Feb 11 LPO Programme notes