Programme notes 3 October 2010

CONGRESS THEATRE, EASTBOURNESunday 3 October 2010 | 3.00pm

MICHAŁ DWORZYŃSKIconductor

PIETER SCHOEMANviolin

KRISTINA BLAUMANEcello

BORODINOverture, Prince Igor (10’)

BRAHMSConcerto in A minor for violin, cello and orchestra (31’)

INTERVAL

DVOŘÁKSymphony No. 9 in E minor (From the New World) (40’)

PROGRAMME £2.50

CONTENTS

2 List of Players3 Michał Dworzyński4 Pieter Schoeman /

Kristina Blaumane5 Programme Notes9 Congress Theatre10 Orchestra History11 Supporters12 Administration

The timings shown are notprecise and are given only as aguide.

Principal Conductor VLADIMIR JUROWSKIPrincipal Guest Conductor YANNICK NÉZET-SÉGUINLeader PIETER SCHOEMANComposer in Residence JULIAN ANDERSONPatron HRH THE DUKE OF KENT KGChief 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.

55763 LPO 3 October 10 _55763 LPO 3 October 10 24/09/2010 14:51 Page 1

2 | London Philharmonic Orchestra

LONDON PHILHARMONIC ORCHESTRA

FIRST VIOLINSVesselin Gellev LeaderJulia RumleyChair supported byMrs Steven Ward

Midori SugiyamaKatalin VarnagyCatherine CraigMartin HöhmannChair supported byRichard Karl Goeltz

Geoffrey LynnYang ZhangPeter NallGalina TanneyToby TramaseurJoanne Chen

SECOND VIOLINSJeongmin Kim PrincipalJoseph MaherKate BirchallChair supported by David and Victoria Graham Fuller

Nancy ElanFiona HighamMarie-Anne MairesseAshley StevensAndrew ThurgoodHeather BadkeAlison Strange

VIOLASAlexander Zemtsov* PrincipalRobert DuncanKatharine LeekSusanne MartensBenedetto PollaniEmmanuella Reiter-BootimanClaudio CavallettiAnthony ByrneChair supported byJohn and Angela Kessler

CELLOSJonathan Ayling PrincipalChair supported by Caroline,Jamie and Zander Sharp

Sue SutherleySusanna RiddellTom RoffTae Mi SongPhilip TaylorWilliam Routledge

DOUBLE BASSESLaurence Lovelle PrincipalGeorge PenistonCharlotte KerbegianJohn BakewellDan Storer

FLUTESKenneth Smith Guest PrincipalJoanna Marsh

PICCOLOKatie Bicknell

OBOESSteve Hudson Guest PrincipalAngela Tennick

COR ANGLAISSue Bohling PrincipalChair supported byJulian and Gill Simmonds

CLARINETSKatie Lockhart Guest PrincipalEmily Meredith

BASSOONSGareth Newman* PrincipalEmma Harding

HORNSJohn Ryan PrincipalEstefania Beceiro GuestPrincipalAnthony ChidellMark VinesMax Garrard

TRUMPETSPaul Beniston* PrincipalNicholas Betts Co-Principal

TROMBONESRobert Workman GuestPrincipalAndrew Connington

BASS TROMBONELyndon Meredith Principal

TUBALee Tsarmaklis Principal

TIMPANIAntoine Bedewi GuestPrincipal

PERCUSSIONAndrew Barclay* PrincipalChair supported byAndrew Davenport

* Holds a professorialappointment in London

+ Chevalier of the Brazilian Order of Rio Branco

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

Geoff and Meg MannRichard and Victoria Sharp

Vesselin Gellev (Leader)was born in Bulgaria and,since his concerto debut atthe age of nine, has been afeatured soloist with theSpoleto Festival Orchestra,New Haven SymphonyOrchestra, JuilliardOrchestra and LondonPhilharmonic Orchestra,among others. As violinistof Antares, a piano-clarinet quartet, he wonFirst Prize at the 2002Concert Artists Guildcompetition in New YorkCity. Mr. Gellev isConcertmaster of KristjanJärvi’s Absolute Ensemble,a Grammy-nominated,genre-blending ‘classicalband’. He has also beenLeader of the New HavenSymphony Orchestra, theSpoleto Festival Orchestrain Italy, and Guest Leaderof the BBC NationalOrchestra of Wales andthe Royal Scottish NationalOrchestra in Glasgow. Hejoined the LondonPhilharmonic Orchestra asSub-Leader in 2007.

Fran

Col

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London Philharmonic Orchestra | 3

MICHAŁ DWORZYŃSKICONDUCTOR

Polish conductor Michał Dworzyński is emerging as oneof Europe’s most exciting conducting talents.

In February 2010 he conducted the UK première ofMaciejewski’s extraordinary Requiem Mass inWestminster Cathedral, with the massed forces of theBBC Symphony Orchestra, BBC Symphony Chorus andBBC Singers and a starry Polish cast. He has taken themusic of Lutosławski to major UK festivals such asCheltenham with the BBC Philharmonic, Belfast withthe Ulster Orchestra and St Magnus with the BBCScottish Symphony Orchestra. He also made his debutswith the Israel Philharmonic in 2009 and with theNetherlands Radio Philharmonic in 2010 in the majorclosing events of their seasons with Gorecki’sSymphony No. 3.

Dworzyński maintains a regular presence in Warsawwith the Philharmonic Orchestra with whom he willtour Japan in 2012, and has conducted all the majorPolish orchestras as well as the Warsaw National Opera.He has made several CD recordings for Polish Televisionand Radio and has received numerous honours andawards in recognition of his committed advocacy ofPolish music.

Since winning the Donatella Flick ConductingCompetition in 2006, Michał Dworzyński has conductedthe London Symphony Orchestra several times a seasonand has also established regular relationships with theBBC Scottish Symphony Orchestra (with whom he hasrecorded his first disc for Hyperion Records), BBCSymphony Orchestra and London PhilharmonicOrchestra, all of whom he will return to conduct in2010/11.

In the coming months Dworzyński will conduct theOrchestre National de Belgique for the first time,having already appeared with the Royal FlemishPhilharmonic and the Brussels Philharmonic. He returnsto Iceland, and makes his debuts in Copenhagen and atthe Opéra de Lyon conducting Prokofiev. OtherEuropean engagements have taken him to SwedishRadio, Stockholm Opera, Vienna Chamber Orchestraand Madrid RTVE. In March 2010 he had great successin Japan, appearing in successive weeks with both theTokyo Symphony and Tokyo Philharmonic Orchestras,and making his Suntory Hall debut two months later.He makes his first visit to Australia and New Zealand inJune 2011.

Michał Dworzyński studied in Warsaw with Antoni Witand in Berlin with Christian Ehwald and was appointedAssistant Conductor of the National Polish RadioSymphony Orchestra in Katowice at the age of 21. From2008-10 he was Principal Conductor of the BeethovenAcademy in Cracow, conducting them at the WarsawEaster Festival and in the Warsaw Philharmonic series,and programming Beethoven and Brahms cycles.



PIETER SCHOEMANVIOLIN

Born in South Africa, Pieter Schoeman made his solodebut with the Cape Town Symphony Orchestra at theage of ten. He studied with Jack de Wet in South Africa,winning numerous competitions, including the 1984World Youth Concerto Competition in America. In 1987he was offered the Heifetz Chair of Music scholarship tostudy with Eduard Schmieder in Los Angeles and in1991 his talent was spotted by Pinchas Zukerman whorecommended that he move to New York to study withSylvia Rosenberg. In 1994 he became her teachingassistant at Indiana University, Bloomington.

Pieter Schoeman has performed as a soloist andrecitalist throughout the world and, as a chambermusician, he regularly performs at London’s prestigiousWigmore Hall. As a soloist with the LondonPhilharmonic Orchestra, he has performed Arvo Pärt’sDouble Concerto and Benjamin Britten’s DoubleConcerto, which was recorded and released on theOrchestra’s own record label to great critical acclaim.

In 1995 Pieter Schoeman became Co-Leader of theOrchestre Philharmonique de Nice. Since then he hasperformed frequently as Guest Leader with thesymphony orchestras of Barcelona, Bordeaux, Lyon andBaltimore, and the BBC Symphony Orchestra. In 2002, hejoined the London Philharmonic Orchestra as Co-Leaderand was appointed Leader in 2008. This season he hasalso been invited to lead the Rotterdam Philharmonic.

His numerous violin solos with the LondonPhilharmonic Orchestra have been recorded byChandos, Opera Rara, Naxos, X5, the BBC and forAmerican film and television. He led the Orchestra in itssoundtrack recordings for The Lord of the Rings trilogy.He teaches at Trinity College of Music, London.

KRISTINA BLAUMANECELLO

Kristina was born in Riga into a family of musicians.After graduating from the Latvian Academy of Musicwhere she studied with Eleonora Testeleca, Kristinamoved to England and studied with Stefan Popov at theGuildhall School of Music and Drama. She has wonmany competitions and, in 2005 and 2007, became alaureate of the Great Music Award, the highest prizegiven by the Latvian State in the field of music.

She now enjoys a busy career giving recitals andperforming with orchestras such as the LondonPhilharmonic Orchestra, Amsterdam Sinfonietta,Chicago Civic Orchestra, Kremerata Baltica, BrittenSinfonia, Latvian National Symphony Orchestra andNetherlands Wind Ensemble. She has also been a guestat major international festivals such as Lockenhaus,Gstaad, Salzburg, Verbier, Basel, Jerusalem, Utrecht,Spitalfields, Cheltenham and Aldeburgh, and hasperformed chamber music with artists such as IsaacStern, Gidon Kremer, Yo Yo Ma, Yuri Bashmet, Leif OveAndsnes, Janine Jansen, Julian Rachlin, Bruno Giuranna,Misha Maisky, Nikolaj Znaider, Tatyana Grindenko, OlegMaisenberg and others. Kristina has recorded for Onyx,Quartz, Connifer Classics as well as BBC, Dutch, Israeli,Russian and Latvian Radio and Television. Last seasonshe released her debut recital CD, comprising sonatas byBarber and Grieg as well as Martinů’s Variations on aSlovakian Theme, with Russian pianist Jacob Katsnelson.

At the age of 22 Kristina was appointed Principal Cellistof the Amsterdam Sinfonietta. She also regularlyappears as a guest principal with Kremerata Baltica. InNovember 2007 she was appointed Principal Cello ofthe London Philharmonic Orchestra. Her chair isgenerously supported by Simon Yates and Kevin Roon,members of the Orchestra's Thomas Beecham Group.



It may seem odd to call so masterly a composer asBorodin an amateur, but by profession he was adistinguished research chemist. He could be only a part-time composer, and the wonder is that in acomparatively short life he accomplished as much as hedid in music.

In 1869 the influential art critic Vladimir Stassov offeredBorodin the idea of an opera about Prince Igor ofSeversk, the 12th-century Russian warrior whodefended his homeland against the Polovtsi, aninvading tribe of Tartars. With its epic nationalism andelements of passion, drama and the oriental, Stassovfelt that the story ‘met all the demands of Borodin’stalent and artistic nature’. The composer acceptedStassov’s sketched scenario and started work, writinghis own libretto piecemeal as he composed the music.But the long opera was still unfinished when he died 18years later. His friends Rimsky-Korsakov and Alexander

Glazunov completed and orchestrated it, and the operawas produced at the Maryinsky Theatre, St Petersburg,in November 1890.

One of Borodin’s last concerns was the overture, whichhe composed from themes in the opera and played onthe piano for his friends. However, he failed to write itdown, and the overture we hear was composed byGlazunov on the basis of that remembered pianoperformance. The themes themselves Glazunov wasable to copy from the opera score. He also found somefeatures of their treatment among sketches left byBorodin. But he had to compose the closing scalepassage himself and, of course, to orchestrate theoverture. The result was, as he put it, ‘nearly accordingto Borodin’s plan’.

The overture is a D major Allegro in sonata form with asombre Andante introduction in the minor. Polovtsian

PROGRAMME NOTES

OVERTURE, PRINCE IGORAlexanderBORODIN

1833-1887

SPEEDREAD

Alexander Borodin, a distinguished chemist as well as afine composer, was fatally overworked, and he left hisopera Prince Igor unfinished when he died at 53. Theopera’s hero is a 12th-century warrior who defended hisland against invading Tartars. Borodin had put togetherat the piano an overture using themes from the operabut had not written it down, so his friend AlexanderGlazunov, who had heard the composer play it, producedthe impressive approximation that opens thisafternoon’s concert.

The year of Borodin’s death saw the birth of Brahms’s lastorchestral work, a double concerto for the challengingcombination of violin and cello. A slow movement based

on a melody in Brahms’s warmest romantic vein followsa resourcefully developed first movement. The finale is amerry sonata-rondo.

Brahms’s Czech friend, Dvořák, composed his enduringlypopular last symphony while he was teaching in NewYork. He took a keen interest in American folk music andplantation songs, and – without directly using them –tried, he said, to compose in the spirit of those melodies.The symphony is, however, essentially a hymn to thehomesick composer’s beloved Bohemia. Its best-lovedfeature is the hauntingly sad cor anglais melody in thesecond of the four movements.

© Eric Mason



fanfares launch the Allegro and lead to the joyful themeof the Act Four reunion duet of Igor and his wife. Thesolo clarinet theme that follows comes from a trio inthe third act. The second-subject group consists of twothemes from the aria that Igor sings as a prisoner of thePolovtsi: first his determination to redeem his honour,

then on solo horn the theme of his love for his wife leftat home. All this material is developed in fresh scoring,culminating in a combination of the love and trio themes,the return of the fanfares and an animated coda.

© Eric Mason

PROGRAMME NOTES

Mountain scenery usually stimulated Brahms’s creativepowers, and the long summer he spent in Thun,Switzerland, in 1887 saw the birth of this DoubleConcerto and several chamber works. One of thechamber works was the Piano Trio in C minor, and itmay have been that writing for violin, cello and pianoturned the composer’s mind towards combining violinand cello with orchestra. Having conceived the idea, hecould not resist the technical challenge but was notsure the concerto would work.

Meanwhile Brahms had sent the concerto to hiserstwhile friend Joseph Joachim for a frank appraisal.For some years there had been a rift between Brahmsand the great violinist, caused by the former’s well-meaning intervention in Joachim’s marital troubles.Joachim had not wavered in his support of Brahms’smusic, and the composer hoped that he and RobertHausmann, the cellist in the famous Joachim Quartet,would perform the concerto.

The two players welcomed the new work and agreed togive the first performance, which took place in Cologneon 18 October 1887 with Brahms conducting. The firstrehearsals had been held in Clara Schumann’s house inBaden-Baden in September, and she confided to herdiary: ‘The work is fresh, full of interesting themes anddevelopment’. Joachim, now reconciled with his old

friend, suggested some alterations, but typically Brahmspreferred to make his own revisions.

This is Brahms’s fourth and last concerto, in fact his lastorchestral work. Notwithstanding his doubts, histechnique was perfectly capable of meeting the specialdemands of a double concerto, and he was not tied toconventional classical form. Although the firstmovement begins with the opening of a normalorchestral exposition, the assertive theme lasts onlyfour bars before being interrupted by the solo cello,which picks up the last three notes and considers thetheme ‘in the manner of a recitative but always in stricttime’. The woodwind tries to introduce a gentle secondsubject, only to be similarly interrupted by the soloviolin, after which the two soloists join in anunaccompanied duologue. Only then does the orchestralaunch the exposition proper, moving from first subjectto second by way of a syncopated theme that will figureprominently later. The second subject has a similarrhythmic shape to the opening of a Viotti violinconcerto that was a favourite of both Joachim andBrahms; the latter probably intended the allusion as areminder of their old friendship.

The soloists re-enter – the cello leading as it doesthrough most of the concerto – and discuss boththemes, linking them with a new triplet theme. The

CONCERTO IN A MINOR FOR VIOLIN, CELLO ANDORCHESTRA, OP. 102

PIETER SCHOEMAN violinKRISTINA BLAUMANE cello

Allegro | Andante | Vivace non troppo

JohannesBRAHMS

1833-1897



short development gives the soloists ample scope fordisplay, allowing trills, arpeggios and much double-stopping without the texture becoming turgid. Thesecond subject is lovingly treated in the recapitulation,and the syncopated and triplet themes are turned togood use in the coda.

So far all the themes have been built from shortphrases. In contrast the slow movement’s main themeis a long melody in Brahms’s warmest romantic vein,introduced in octaves by the soloists and complementedby the same tune in its inverted form. The key changesabruptly from D to F for a woodwind theme in thirdsand sixths, later embroidered by the soloists. The maintheme returns in varied form, and the movement endswith references to the central section.

The finale is a merry sonata-rondo with an A minorrondo theme of Hungarian dance character introducedby the cello and repeated by the violin before theorchestra takes it up. The cello is also entrusted with thefirst airing of the second subject, a C major tune indouble-stopping. When the cello tries to resume thefirst subject, the solo violin and woodwind interveneand this leads to a vigorous new tune for the orchestraframing a gentle episode for woodwind with arpeggiosfrom the soloists. The dancing rondo theme reappearsand is followed by the second subject, decisively playedin A major. This is the key of the coda, which rounds offthe grand design with a combination of brilliance,delicacy and a final dash of Hungarian spice.

© Eric Mason

PROGRAMME NOTES

The offer of more than twenty-five times his salary as aprofessor in Prague induced Dvořák to move to the NewWorld in 1892 to become Director of the NationalConservatory of Music in New York. Already acclaimed inEurope, he quickly achieved similar success in America.He made good friends, particularly among a Czechcolony in Iowa, but homesickness made him unhappy,and in 1895 he returned to the native Bohemia heloved. During his stay in America he composed some ofhis most successful works, among them this symphony,his last, ‘From the New World’. He began work on it on10 January 1893 and completed it on 24 May. The firstperformance was given in Carnegie Hall on 16 December and was a huge success.

Dvořák listened with great interest to the music ofAfrican Americans and American Indians, but hescotched the notion that he directly used it in the NewWorld Symphony. ‘I tried to write only in the spirit ofthose national American melodies’, he said. At least onetheme seems to have been derived from a well-knownspiritual, although not necessarily consciously. Weconclude that this is ‘genuine Bohemian music’, as itscomposer claimed, but coloured by the impressions hereceived in the New World.

The slow introduction is soon disturbed by a rousingsummons. Violas, cellos and two horns outline the firstpart of the main theme of the Allegro molto, which

SYMPHONY NO. 9 IN E MINOR, OP. 95 (FROM THENEW WORLD)

Adagio – Allegro molto | Largo | Scherzo: Molto vivace |Allegro con fuoco

AntonínDVOŘÁK

1841-1904

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



PROGRAMME NOTES

opens with unison horns proclaiming that strain andclarinets and bassoons replying with a second strain inthirds. Both parts of the theme are vigorously restated,leading to a G minor tune for flute and oboe suggestive of a Czech country dance. This, too, iselaborated until the arrival of the second subject proper, a flute tune that bears a family resemblance toSwing low, sweet chariot. The first half of this tunelaunches the development. The country dance theme isheld back until the recapitulation, where it reappears asa flute solo. At the movement’s climax the trumpetshurl the ‘spiritual’ tune against the main theme ontrombones.

Solemn chords open the Largo, moving from E major toremote D flat for the cor anglais melody that is thissymphony’s best-loved feature. The sad tune is originalDvořák, although one of his American pupils tried tomake it into a Spiritual by supplying words. It seems toexpress all the composer’s homesickness. A slightlyfaster flute and oboe theme and a clarinet theme overplucked basses emphasise the mood of the lament. Thisepisode includes material originally sketched for apossible Hiawatha opera. Cheerfulness breaks in with abucolic tune, but a loud interruption by the firstmovement’s principal theme takes us back to the coranglais solo, pairs of strings taking over the second part

of the melody, and the movement ends with a return tothe initial chords.

The scherzo also employs ideas from the Hiawathasketches. Flute and oboe announce the lively maintheme with its rhythmic interplay of twos and threes,and the same instruments introduce the more flowingsecond theme. The trio section is a rustic dance withcharming exchanges of trills between strings andwoodwind. The scherzo repeat moves straight into acoda that reintroduces on horns and trumpets the firstmovement’s first and second subjects.

Horns and trumpets blaze forth the finale’s principalsubject, which gives way eventually to a dancing triplettheme for violins, a more romantic one for solo clarinetand a sequel for first violins and flute that somehowgets involved with Three Blind Mice. Variants of themesfrom earlier movements are woven into the treatmentof this material, culminating in the reappearance of theslow movement’s opening chords. In the coda thecomposer reminds us of the first themes of thepreceding movements, and for a grand perorationbrings the opening themes of the first and lastmovements together on the brass in the major key.

© 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 also bepurchased from all good retail outlets or through the London Philharmonic Orchestra: telephone 020 78404242 (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 right hands,the first two symphonies can thrill and delight…exquisite wind playing…genuinely exciting’GRAHAM RICKSON, THE ARTS DESK, 22 FEBRUARY 2010

LPO-0042 Neeme Järvi conducts Dvořák’s Requiem

‘Neeme Järvi leads a sturdy, evocative performance graced by gorgeous singing from theLondon Philharmonic Choir.’JOSHUA KOSMAN, SAN FRANCISCO CHRONICLE, 7 MARCH 2010



CONGRESS THEATRE, EASTBOURNEARTISTIC DIRECTOR CHRIS JORDANGENERAL MANAGER GAVIN DAVIS

WELCOME TO THE CONGRESS THEATRE

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FUTURE CONCERTS

Sunday 16 January 2011 | 3.00pm

Berlioz Overture, King LearRachmaninov Piano Concerto No. 3Brahms Symphony No. 3

Simon Streatfeild conductorStefan Ciric piano

Sunday 13 February 2011 | 3.00pm

Weber Overture, Der FreischützTchaikovsky Piano Concerto No. 1Brahms Symphony No. 1

Nicholas Milton conductorHaochen Zhang piano

Sunday 6 March 2011 | 3.00pm

Haydn Symphony No. 63 (La Roxelane)Mendelssohn Piano Concerto No. 1Tchaikovsky Symphony No. 2 (Little Russian)

Vladimir Jurowski conductorAlon Goldstein piano

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

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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 premièreperformances of works by Matteo D’Amico, MagnusLindberg and Brett Dean; a rare opportunity to hearRossini’s opera Aureliano in Palmira in collaboration withlong term partner Opera Rara; and works by theOrchestra’s new Composer in Residence, 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, 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 own record 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 Elgar’s Symphony No. 1 and SeaPictures with Vernon Handley and Janet Baker; Mahler’sSymphony No. 2 conducted by Klaus Tennstedt; Brahms’sSymphonies Nos 1 and 2 conducted by Vladimir Jurowski;and Dvořák’s Requiem under the baton of Neeme Järvi.The Orchestra’s own-label CDs are also widely availableto download. Visit www.lpo.org.uk/shop for the latestreleases.

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.

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OBE JP RAFMr Frank LimPaul & Brigitta LockMr Brian MarshJohn MontgomeryMr & Mrs Egil OldeideEdmund PirouetMr Peter TausigMrs Kazue TurnerLady Marina VaizeyMr D Whitelock

Hon. BenefactorElliott Bernerd

Hon. Life MembersKenneth GoodeMrs Jackie Rosenfeld OBE

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



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 CMGRichard Karl GoeltzJonathan 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

Horwath 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

Matthew ToddEducation and Community Director

Anne FindlayEducation Officer

Isobel TimmsCommunity Officer

Alec HaylorEducation and Community Assistant

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

Phoebe RouseCorporate Relations Manager

Sarah TattersallCorporate Relations and Events Manager

Melissa Van EmdenCorporate Relations and Events Officer

Elisenda AyatsDevelopment and FinanceOfficer

Elizabeth GrewIntern

MARKETING

Kath TroutMarketing Director

Ellie DragonettiMarketing Co-ordinator

Frances CookPublications Manager

Samantha KendallBox Office Administrator(Tel: 020 7840 4242)

Josephine LangstonTemporary Marketing Assistant

Charly Fraser-AnnandIntern

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.

Photographs of Borodin,Brahms and Dvořák courtesyof the Royal College of Music,London.

The London PhilharmonicOrchestra Limited is aregistered charity No. 238045.

Photograph on the front cover by Pip Eastop.

Programmes printed by Cantate.

†Supported by Macquarie Group


Documents

Programme notes 3 October 2010