LPO programme notes 19nov11

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 £2.50

CONTENTS 2 Welcome 3 List of players 4 About the Orchestra 5 Eduardo Portal 6 Javier Perianes 7 Programme notes 11 Supporters 12 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 WITH ASSISTANCE FROM BRIGHTON DOME

CONCERT hALL, BRIGhTON DOMESaturday 19 November 2011 | 7.30pm

EDUARDO pORTALconductor

JAVIER pERIANESpiano

ANTONIO JOSÉ Suite, The Muleteer (9’)

FALLA Nights in the Gardens of Spain (23’)

FALLA Suites Nos. 1 and 2 from ‘The Three-Cornered Hat’ (25’)

Interval MUSSORGSKY (orch. Ravel) Pictures at an Exhibition (30’)

Box Office: 01273 709709brightondome.org

2 | London Philharmonic Orchestra

BRIGhTON DOMEChIEF EXECUTIVE Andrew Comben

Saturday 18 February 2012 | 7.30pm

Rachmaninoff Piano Concerto No. 2Kreisler (arr. Rachmaninoff/orch. Leytush) LiebesleidRachmaninoff Symphony No. 2

Neeme Järvi conductor Boris Giltburg pianoIn co-operation with the Serge Rachmaninoff Foundation

Saturday 17 March 2012 | 7.30pm

Weber Overture, OberonMendelssohn Violin ConcertoVaughan Williams The Lark AscendingSibelius Symphony No. 5

Fabien Gabel conductor Fanny Clamagirand violin

Saturday 21 April 2012 | 7.30pm

Mendelssohn Overture, Ruy BlasBeethoven Piano Concerto No. 1Tchaikovsky Symphony No. 4

Yan pascal Tortelier conductor hong Xu piano

Tickets £10–£27.50 (Premium seats £32.50)Box office 01273 709709brightondome.org

Welcome to Brighton Dome

We hope you enjoy the performance and your visit to Brighton Dome. For your comfort and safety, please note the following:

LATECOMERS may not be admitted until a suitable break in the performance. Some performances may contain no suitable breaks.

SMOKING Brighton Dome is a no-smoking venue.

INTERVAL DRINKS may be ordered in advance at the bar to avoid queues.

phOTOGRAphY is not allowed in the auditorium.

RECORDING is not allowed in the auditorium.

MOBILES, pAGERS AND WATChES should be switched off before entering the auditorium.

Thank you for your co-operation.

The concert at Brighton Dome on 19 November 2011 is presented by the London Philharmonic Orchestra with assistance from Brighton Dome.

Brighton Dome gratefully acknowledges the support of Arts Council England and Brighton & Hove City Council.

Brighton Dome is managed by Brighton Dome and Festival Ltd which also runs the annual three-week Brighton Festival in May.

brightonfestival.org

London philharmonic Orchestra 2011/12 concerts at Brighton Dome

For full details and booking information pick up a brochure from the foyer today.

Neeme Järvi and Boris Giltburg

London Philharmonic Orchestra | 3

LONDON phILhARMONIC ORChESTRA

First ViolinsVesselin Gellev Leader

Chair supported by

John and Angela Kessler

Grace LeeCatherine CraigTina GruenbergMartin Höhmann

Chair supported by

Richard Karl Goeltz

Geoffrey LynnRobert PoolYang ZhangRebecca ShorrockPeter NallGalina TanneyJoanne ChenAlina PetrenkoCaroline Frenkel

Second ViolinsClare Duckworth Principal

Chair supported by

the Sharp Family

Jeongmin Kim Joseph Maher Kate Birchall

Chair supported by David

and Victoria Graham Fuller

Fiona HighamAndrew ThurgoodAshley StevensMarie-Anne MairesseNynke HijlkemaImogen WilliamsonSioni WilliamsStephen Stewart

ViolasHelen Kaminga

Guest Principal Robert DuncanKatharine LeekBenedetto PollaniLaura VallejoSusanne MartensDaniel CornfordMichelle BruilAnthony ByrneMatthias Wiesner

CellosTimothy Walden

Guest PrincipalFrancis BucknallLaura DonoghueJonathan Ayling

Chair supported by Caroline,

Jamie and Zander Sharp

Susanna RiddellTae-Mi SongWilliam RoutledgePhilip Taylor

Double BassesTim Gibbs PrincipalLaurence LovelleGeorge PenistonHelen RowlandsTom WalleyLowri Morgan

FlutesDaniel Pailthorpe

Guest PrincipalJoanna Marsh

piccoloStewart McIlwham* Principal

OboesIan Hardwick PrincipalAngela Tennick

Cor AnglaisSue Bohling Principal

Chair supported by Julian

and Gill Simmonds

ClarinetsNicholas Carpenter* PrincipalKatie Lockhart

Bass Clarinet Paul Richards Principal

BassoonsPaul Boyes Guest Principal Susanna Dias

Contra-bassoonSimon Estell Principal

hornsJohn RyanAdrian Uren Guest PrincipalMartin HobbsNicolas WolmarkGareth Mollison

TrumpetsPaul Beniston* PrincipalAnne McAneney*

Chair supported by

Geoff and Meg Mann

Nicholas Betts Co-PrincipalDaniel Newell

TrombonesMark Templeton* PrincipalDavid WhitehouseBecky Smith

Bass TromboneLewis Edney

EuphoniumDavid Whitehouse

TubaLee Tsarmaklis* Principal

TimpaniSimon Carrington* Principal

percussionAndrew Barclay* Principal

Chair supported by

Andrew Davenport

Keith MillarSacha JohnsonEddy HackettSarah Cresswell

harpsRachel Masters* PrincipalEmma Ramsdale

piano / Celeste Catherine Edwards

* Holds a professorial appointment in London

Vesselin Gellev (Leader)

Bulgarian violinist Vesselin Gellev has been a featured soloist with the London Philharmonic Orchestra, Spoleto Festival Orchestra, New Haven Symphony Orchestra and Juilliard Orchestra, among others. He won First Prize at the Concert Artists Guild Competition in New York as a member of the Antares Quartet, and has recorded several albums and toured worldwide as Concertmaster of Kristjan Järvi’s Grammy-nominated Absolute Ensemble. He has performed as Guest Leader with orchestras including the Royal Philharmonic Orchestra, Royal Scottish National Orchestra, BBC National Orchestra of Wales, Mahler Chamber Orchestra and the Accademia Nazionale di Santa Cecilia. Vesselin studied at The Juilliard School, and joined the London Philharmonic Orchestra as Sub-Leader in 2007. His chair is supported by John and Angela Kessler.

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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; and Shostakovich Piano Concertos with Martin Helmchen under Vladimir Jurowski. 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


EDUARDO pORTALCONDUCTOR

masterclass with Sir Colin Davis, and he also took part in several masterclasses with Bernard Haitink and Peter Eötvös, amongst others.

Eduardo is particularly committed to contemporary repertoire and is founder of the Antares Ensemble in Spain, whose focus is on the performance of new music and research into its links with historical and rarely performed masterpieces.

During the 2011/12 season, young Spanish conductor Eduardo Portal will make his débuts with the Philharmonia Orchestra; the Lausanne Chamber and Vienna Chamber orchestras; the Tenerife, São Paulo and

Madrid symphony orchestras (including performances with the latter at the Auditorio Nacional de Musica de Madrid and the Teatro Real); and the Orquesta Sinfonica de Galicia. Last season he made his débuts with the Hallé, Brandenburgisches Staatsorchester Frankfurt, Northern Sinfonia, Manchester Camerata, Euskadi Symphony Orchestra, Orquesta de la Comunidad de Madrid and Orquesta del Vallés.

Recent seasons have seen Eduardo conduct the Orchestra of the Age of Enlightenment, Orchestre Philharmonique de Luxembourg, Berlin Symphony Orchestra, Orquesta Sinfonica de Castilla y Leon, Orquesta Sinfonica de la Region de Murcia and National Youth Orchestra of Spain. His operatic experience includes performances of Offenbach’s La Belle Hélène, Janáček’s Katya Kabanová, Bernstein’s Candide, Rossini’s The Barber of Seville and Handel’s Imeneo. In summer 2011 he assisted on Donizetti’s L’elisir d’amore at Glyndebourne Festival Opera.

Since graduating from the University of the Arts in Berlin and the Royal Academy of Music in London, Eduardo has held the position of Assistant Conductor at the London Philharmonic Orchestra (during the 2010/11 season), the Orchestra of the Age of Enlightenment and the National Youth Orchestra of Spain.

Sir Mark Elder headed the jury that in 2008 unanimously voted Eduardo winner of the Junior Fellowship in Conducting at the Royal Northern College of Music, a position he held for two years.

In 2008 Eduardo was chosen to conduct at the Interaction Workshops in Germany with musicians from the Berlin Philharmonic, the Staatskapelle Dresden and baritone Thomas Quasthoff; he was later invited to conduct the London Symphony Orchestra in a public

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The acclaim accorded to the pianist Javier Perianes by audiences and critics alike confirms his status as one of Spain’s most exciting emerging artists. Hugely popular with Spanish audiences, he also has a growing international reputation.

A familiar and sought-after participant at many renowned festivals in Spain, he will be Artist in Residence at the Granada Festival in 2012. He has also performed in distinguished concert series throughout the world, having made notable appearances at New York’s Carnegie Hall; the Amsterdam Concertgebouw; London’s Wigmore Hall; the Tchaikovsky Conservatory, Moscow; the Shanghai Conservatory; Madrid’s Auditorio Nacional de Musica; and recitals at the Ravinia and Gilmore International Festivals in Chicago, the Roque-d’Anthéron Festival, France, and the Konzerthaus, Berlin.

Javier Perianes has worked with leading conductors including Lorin Maazel, Daniel Barenboim, Zubin Mehta, Rafael Frühbeck de Burgos, Jesus Lopez Cobos, Antoni Wit, Daniel Harding and Vassily Petrenko. Recent and forthcoming highlights include appearances with the Israel Philharmonic Orchestra under Zubin Mehta including a performance at the Lucerne Festival; the New World Symphony Orchestra in Florida conducted by Michael Tilson Thomas; the London Philharmonic and São Paulo Symphony orchestras with Eduardo Portal; the Tokyo Symphony Orchestra with Hiroshi Kodama; Warsaw Philharmonic Orchestra conducted by Claus Peter Flor; as well as recitals in Tokyo, Madrid’s ‘Scherzo’ series, the Zurich Tonhalle and at the Moscow December Nights Festival.

Javier Perianes has received critical acclaim for his recordings on Harmonia Mundi of Schubert’s Impromptus and Klavierstücke, Manuel Blasco de Nebra’s keyboard sonatas and Federico Mompou’s Música Callada. In September 2011 he released a disc devoted to Manuel de Falla’s piano music, including a live recording of Nights in the Gardens of Spain with the BBC Symphony Orchestra under Josep Pons.

JAVIER pERIANESpIANO

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pROGRAMME NOTES

‘A magical art that evokes feelings, people and places’. Manuel de Falla’s 1916 description of ‘the new music’ defines a whole philosophy of composition: the belief that music should conjure up visual imagery, evoke past times, and tell stories. For Spanish composers, this meant music rooted in the soil of Spain herself.

Antonio José’s unperformed opera The Muleteer is based on an episode from Don Quixote, and is flavoured with folksongs from his native Burgos. Falla’s Nights in the Gardens of Spain describes real places in the south of Spain – impressions received not from personal experience, but through the prism of postcards, travel literature and paintings. Folksong also features in Falla’s ballet The Three-Cornered Hat:

a farcical tale of lust, envy and fidelity, suffused with the musical mannerisms of its early 19th-century setting.

When Falla tried to trace the origins of this ‘magical art’, it was to Russia that he turned, and especially to Modest Mussorgsky, whose works all have a vivid extramusical dimension. This is especially true of Pictures at an Exhibition, which takes its inspiration from works by the Russian architect and painter Victor Hartmann. Mussorgsky does not merely recreate these images; rather, he transcends them, liberating human characters and physical movement from the static canvases.

Speedread

When Antonio José Martínez Palacios was shot during the first days of the Spanish Civil War, aged just 33, the pianist Arthur Rubinstein mourned the loss of ‘a new Falla’. Antonio José’s music was lost to view for many years, but its current rediscovery reveals a composer of originality and talent. Like Falla, he was rooted in his native territory – in his case the imposing northern city of Burgos. In his 20s he made a study of the traditional music of the province, publishing a collection of folksongs that won the Premio Nacional de Musica in 1932.

Around the same time, he was working on his only opera, El mozo de mulas (‘The Muleteer’), based on an incidental episode from Don Quixote: the story of Don Luis, a nobleman’s son, who disguises himself as a muleteer so that he may follow his sweetheart Clara and her father, a judge, on their travels – an expedition

that brings all three into the company of the demented knight and his squire. The two movements to be heard this evening were premièred by the Orquesta Sinfonica de Madrid in November 1934; the full opera, alas, remains unperformed.

The Prelude presents four principal themes from the work. An unaccompanied oboe melody (associated with Clara) leads to a Tristan-like chromatic motif on the strings, representing hopeful love; these two themes recur at the end of the movement. The central portion of the Prelude combines Clara’s love theme (on the flute) with the more thickly-scored love theme of Don Luis. The Popular Dance, taken from the second act of the opera, is based on a genuine round dance from the province of Burgos: it is distinguished by irregular metres and spectacular orchestration.

SUITE FROM ‘ThE MULETEER’

PreludePopular Dance

AntonioJOSÉ

1902–1936


pROGRAMME NOTES

NIGhTS IN ThE GARDENS OF SpAIN

JAVIER pERIANES piano

In the GeneralifeDistant Dance In the Gardens of the Sierra de Córdoba

Manuel deFALLA

1876–1946

Although most of Manuel de Falla’s best-known music is bathed in the scents of his native Andalusia, it was in Madrid and Paris that he discovered his own distinctive voice. Nights in the Gardens of Spain was the fruit of a seven-year stay in Paris before the First World War, and its subtitle betrays its French origins: ‘Symphonic Impressions for Piano and Orchestra’.

The work began life as a set of four pieces, each one evoking a different city in the south of Spain (Granada, Cordova, Seville and Cádiz), and originally intended for solo piano. This ancestry is apparent in the finished work: the pianist is given a part that is practically that of a concerto soloist, frequently entering into dialogue with the orchestra, and demanding high levels of virtuosity. But Nights in the Gardens of Spain is not a concerto in one important respect: it is explicitly programmatic. Falla’s compositional sketches clearly reveal his intention in this regard, for specific passages are labelled as representations of real things: pianistic flourishes are associated with fountains, while the low notes of the instrument evoke stiller water. In a programme note for the first performance in April 1916, the composer also acknowledged that the instrumental writing sought to stylize the traditional sounds of Andalusian music.

As Falla expanded the work’s orchestral canvas, he contracted its scope from four movements to three, and brought its contents into closer focus. Two extra-musical sources of inspiration led Falla to develop a horticultural theme for the three pieces: the impressionist paintings of Spanish gardens by the Catalan painter Santiago Rusiñol (1861–1931), and Falla’s own growing fascination with the city of Granada and its atmospheric Moorish water gardens, the Generalife. Falla visited the place for the first time

only when he was putting the finishing touches to the work – but he knew it well through literary descriptions and picture postcards. The Generalife gardens, then, are the subject of the first piece: an intense sonata-form movement with a single theme based on two alternating notes, heard initially on the violas and harp, then transferred in inversion to the piano. The second movement has no geographical designation, but may also have been inspired by Granada: its melodies are suitably arabesque, and the piano and orchestra seem to mimic the roles of the flamenco singer and guitarist respectively. This leads directly into the finale, set in the mountains around Cordova. It begins as a lively rondo, but concludes in the more contemplative mood of the first movement.


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

SUITES NOS. 1 AND 2 FROM ‘ThE ThREE-CORNERED hAT’Manuel deFALLA

1876–1946

Suite No. 1: Scenes and DancesIntroductionAfternoon Dance of the Miller’s Wife: FandangoThe CorregidorThe Grapes

Suite No. 2: Three DancesThe Neighbours’ Dance: SeguidillasThe Miller’s Dance: FarrucaFinal Dance: Jota

After his apprenticeship in Paris, Manuel de Falla returned to Spain in 1914 and embarked on the most prolific stage of his career. The culmination of this period of intense work was the première in London of his ballet The Three-Cornered Hat, given in July 1919 by the Ballets Russes of Serge Diaghilev, who had commissioned the work when the troupe was based in neutral Spain during the war. The ballet was rapturously received, and was to become a keystone of Diaghilev’s post-war repertoire.

The two suites that Falla extracted from the ballet preserve the vast majority of the music: the only omissions are the first few pages of the first act, and a single dance and some connecting material from the second. The ballet is based on a novella by the Granadine author Pedro Antonio de Alarcon (1833–91), set in the early years of the 19th century. It tells of a miller and his beautiful wife, who is coveted by an elderly local magistrate (whose symbol of office gives the work its title). The magistrate’s various attempts to

bring about an assignation with the miller’s wife have farcical results, and the ballet ends with a spectacular ensemble dance (a jota) in which the villagers ridicule the magistrate by tossing him in a blanket. The music narrates the story in intricate bar-by-bar detail, complete with leitmotifs and onomatopoeic orchestral effects.

Though there are traces (in the ‘Miller’s Dance’, for instance) of the arabesque and highly rhythmical Andalusian style recognised as Spanish the world over, The Three-Cornered Hat marks the first step in Falla’s adoption of a more neoclassical style: the language is unremittingly tonal, and the rhythms often evoke the formal dances of the early 19th century. In this respect he was ahead of his time. Diaghilev, much impressed by the work, proposed a new project to Falla: a ballet based on themes of Pergolesi. We can only speculate how different the history of music might have been had he accepted; as it is, he had other fish to fry, and the commission for Pulcinella went to Stravinsky.


PromenadeGnomusPromenadeThe Old CastlePromenadeTuileriesBydłoPromenade –Ballet of the Unhatched ChicksSamuel Goldenberg and SchmuyleThe Market Place at LimogesCatacombæ (Sepulcrum Romanum) –Cum mortuis in lingua mortuaThe Hut on Hen’s LegsThe Great Gate of Kiev

Modest Mussorgsky had much in common with the architect and painter Victor Hartmann (1834–73): both sought to incorporate strongly Russian themes and motifs into their works; both also brought together in close harmony the curiously complementary worlds of realism and fantasy. Mussorgsky wrote his piano suite Pictures at an Exhibition in a matter of days in 1874, after attending a memorial exhibition of 400 of his friend’s designs. Eleven such paintings are represented in the suite; sadly, five of these designs are now lost.

Pictures at an Exhibition is Mussorgsky’s only major instrumental work, but in its own way it is almost as theatrical as Boris Godunov or Khovanshchina. Each movement injects life into Hartmann’s paintings; thus, a costume design for an unhatched chick – essentially a dancer wearing an egg – becomes in Mussorgsky’s hands a real-life bird that waddles, pecks and clucks. Similarly, the two Jews, Samuel Goldenberg and Schmuyle – whom Hartmann painted in separate pictures – are brought together and made to converse. Even Mussorgsky himself gets involved in the action,

for the recurring ‘Promenade’ theme (which initially depicts his contemplative strolling from one exhibit to another) gradually insinuates itself into the pictures themselves: thus it seems to be Mussorgsky himself who ascends from the Paris Catacombs at the end of the eighth picture, rather than Hartmann and two companions as in the original painting.

The present popularity of the work owes much to Maurice Ravel’s extraordinarily effective orchestration, commissioned by Sergei Koussevitzky in 1920. In fact, Mussorgsky’s writing for the piano is at times so unnatural that it is easy to forget which version came first: the Catacombs movement, for instance, has hairpin crescendi written under held chords! Mussorgsky had been one of Ravel’s favourite composers since the early 1900s, when the Frenchman and his friends used to meet at one another’s homes to play through Russian music. The imagery of Pictures would have been extremely attractive to this most childlike of French composers, in whose home a clock in the shape of a witch’s hut on a chicken’s legs would not have been out of place.

Programme notes © Chris Collins

ModestMUSSORGSKY 1839–1881

ORChESTRATED BY MAURICE RAVEL (1875–1937)

pICTURES AT AN EXhIBITION

pROGRAMME NOTES


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 TrustMarsh Christian Trust

The Mercers’ CompanyAdam Mickiewicz InstituteThe Peter Minet TrustPaul 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

Rachel FryerPublications Manager

Helen BoddyMarketing Co-ordinator

Samantha KendallBox Office Manager(Tel: 020 7840 4242)

Lucy Martin Intern

Valerie BarberPress Consultant(Tel: 020 7586 8560)

Archives

Philip StuartDiscographer

Gillian PoleRecordings Archive

London philharmonic Orchestra89 Albert Embankment London SE1 7TPTel: 020 7840 4200Fax: 020 7840 4201Box Office: 020 7840 4242lpo.org.uk

The London Philharmonic Orchestra Limited is a registered charity No. 238045.

Front cover photograph © Benjamin Ealovega.

Printed by Cantate. †Supported by Macquarie Group

Documents

LPO programme notes 19nov11