london philharmonic orchestra 23 january 2016 concert programme

Concert programme2015/16 London Seasonlpo.org.uk

Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI supported by the Tsukanov Family FoundationPrincipal Guest Conductor ANDRÉS OROZCO-ESTRADALeader pIETER SChOEMAN supported by Neil WestreichComposer in Residence MAgNUS LINDbERgPatron hRh ThE DUKE OF KENT Kg

Chief Executive and Artistic Director TIMOThY WALKER AM

Contents

2 Welcome3 On stage tonight 4 About the Orchestra5 Leader: Pieter Schoeman6 Vladimir Jurowski7 Soile Isokoski8 Programme notes10 Magnus Lindberg13 Song texts14 Recommended Recordings15 Next concerts16 Recent CD releases17 Shakespeare40018 Sound Futures donors19 Supporters20 LPO administration

The timings shown are not precise and are given only as a guide.

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Southbank Centre’s Royal Festival hallSaturday 23 January 2016 | 7.30pm

Mozart Serenade No. 8 (Notturno), K286 (18’)

Magnus Lindberg Gran Duo (20’) Interval Mozart Wind Serenade No. 12 (Nacht Musik), K388* (22’)

R Strauss Four Last Songs (25’)

*Please note a change to the programmed work from originally advertised.

Vladimir Jurowski conductor

Soile Isokoski soprano

2 | London Philharmonic Orchestra

Welcome

Kurt Masur 1927–2015 We were deeply saddened to learn of the death of the Orchestra's former Principal Conductor, Kurt Masur, on 19 December 2015. The Orchestra and Vladimir Jurowski will dedicate their concert at Royal Festival Hall on Wednesday 27 January to his memory,

and a full tribute will appear in that concert programme.

glyndebourne 2016Each summer the Orchestra bids a fond farewell to the Royal Festival Hall and heads for the Sussex countryside for the Glyndebourne season, where it is Resident Symphony Orchestra. This summer Glyndebourne’s contributions to the 'Shakespeare400' anniversary year are a production of Britten’s A Midsummer Night’s Dream – a revival of the 1981 production directed by Peter Hall – and a new production of Berlioz’s Béatrice et Bénédict. Also featuring this year is Wagner’s Die Meistersinger von Nürnberg with conductor Robin Ticciati. The DVD of the previous production in 2011, with Vladimir Jurowski at the helm, won the BBC Music Magazine Award 2015 for Best Opera and we look forward to revisiting the opera with Robin. The other operas with the LPO are Rossini’s Il barbiere di Siviglia and Janáček’s The Cunning Little Vixen. Public booking opens on 7 March.glyndebourne.com

Recent LpO Label release: Mahler box SetFor fans of Klaus Tennstedt, we’ve recently released a real treat on our LPO Label: a box set of Mahler symphonies with over seven glorious hours of music on nine CDs. This set documents the extraordinary relationship between Tennstedt and the London Philharmonic Orchestra, and the conductor’s particular affinity with Mahler – he felt that his works could only be approached with an acknowledgement and experience of life’s hardships, and this was always apparent in his performances. The set is priced £49.99. Visit lpo.org.uk/recordings or call 020 840 4242.

Welcome to Southbank Centre

We hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries please ask any member of staff for assistance.

Eating, drinking and shopping? Southbank Centre shops and restaurants include Foyles, EAT, Giraffe, Strada, YO! Sushi, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffè Vergnano 1882, Skylon, Feng Sushi and Topolski, as well as cafes, restaurants and shops inside Royal Festival Hall.

If you wish to get in touch with us following your visit please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone 020 7960 4250, or email [email protected]

We look forward to seeing you again soon.

Queen Elizabeth Hall, Purcell Room and Hayward Gallery are closed for essential refurbishment until 2018. During this period, our resident orchestras are performing in venues including St John's Smith Square. Find out more at southbankcentre.co.uk/sjss

A few points to note for your comfort and enjoyment:

phOTOgRAphY is not allowed in the auditorium.

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

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

MObILES, pAgERS AND WATChES should be switched off before the performance begins.

Orchestra news

London Philharmonic Orchestra | 3

On stage tonight

First ViolinsPieter Schoeman* Leader

Chair supported by Neil Westreich

Yang XuVesselin Gellev Sub-LeaderIlyoung Chae

Chair supported by an anonymous donor

Ji-Hyun LeeChair supported by Eric Tomsett

Katalin VarnagyChair supported by Sonja Drexler

Catherine CraigThomas EisnerMartin Höhmann

Chair supported by The Jeniffer and Jonathan Harris Charitable Trust

Geoffrey LynnChair supported by Caroline, Jamie & Zander Sharp

Robert PoolSarah StreatfeildYang ZhangTina GruenbergRebecca ShorrockCaroline Frenkel

Second ViolinsPhilippe Honoré

Guest PrincipalKate Birchall

Chair supported by David & Victoria Graham Fuller

Nancy ElanLorenzo Gentili-TedeschiFiona HighamNynke HijlkemaJoseph MaherMarie-Anne MairesseAshley StevensDean Williamson Helena NichollsHarry KerrMila Mustakova

Sheila LawJohn DickinsonElizabeth Baldey

ViolasBenjamin Roskams

Guest PrincipalCyrille Mercier Robert DuncanGregory AronovichKatharine LeekSusanne MartensBenedetto PollaniEmmanuella ReiterLaura VallejoNaomi HoltMartin FennStanislav Popov

CellosKristina Blaumane

PrincipalChair supported by Bianca and Stuart Roden

Pei-Jee NgFrancis BucknallLaura DonoghueSantiago Carvalho†David LaleGregory WalmsleyElisabeth Wiklander

Chair supported by The Viney Family

Sue Sutherley Susanna RiddellDavid BucknallPhilip Taylor

Double bassesColin Paris Guest PrincipalGeorge Peniston Laurence LovelleKenneth KnussenCharlotte KerbegianHelen RowlandsBen WolstenholmeRyan Smith

FlutesSue Thomas* Principal

Chair supported by Victoria Robey OBE

Clare ChildsHannah GraysonStewart McIlwham

piccolosStewart McIlwham*

PrincipalChair supported by Friends of the Orchestra

Hannah Grayson

OboesIan Hardwick* PrincipalAlice Munday

Cor AnglaisSue Böhling* Principal

ClarinetsRobert Hill* PrincipalThomas Watmough Emily Meredith

bass ClarinetPaul Richards Principal

bassoonsGareth Newman PrincipalJulia Staniforth Simon Estell

ContrabassoonSimon Estell Principal

hornsDavid Pyatt* Principal

Chair supported by Simon Robey

John Ryan* PrincipalChair supported by Laurence Watt

Martin HobbsMark Vines Co-Principal

Gareth MollisonDuncan FullerStephen NichollsAlex Wide

TrumpetsPaul Beniston* PrincipalAnne McAneney*

Chair supported by Geoff & Meg Mann

Nicholas Betts Co-Principal

piccolo Trumpet Nicholas Betts TrombonesMark Templeton* Principal

Chair supported by William & Alex de Winton

David Whitehouse

bass TromboneLyndon Meredith Principal

TubaLee Tsarmaklis* Principal

TimpaniSimon Carrington* Principal

harpRachel Masters* Principal

CelesteCatherine Edwards

Assistant Conductor Tim Murray

* Holds a professorial appointment in London

† Chevalier of the Brazilian Order of Rio Branco

Meet our members: lpo.org.uk/players

Chair Supporters

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Jon Claydon • Andrew Davenport


London Philharmonic Orchestra

Recognised today as one of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with a reputation as one of the UK’s most forward-looking ensembles. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, releases CDs on its own record label, and reaches thousands of people every year through activities for families, schools and community groups.

The Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the world’s greatest conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is currently the Orchestra’s Principal Conductor and Artistic Advisor, appointed in 2007. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in September 2015. Magnus Lindberg is the Orchestra’s current Composer in Residence.

The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives over 30 concerts each season. Throughout 2014/15 the Orchestra gave a series of concerts entitled Rachmaninoff: Inside Out, a festival exploring the composer’s major

orchestral masterpieces. 2015/16 is a strong season for singers, with performances by Toby Spence and Anne Sofie von Otter amongst others; Sibelius enjoys 150th anniversary celebrations; distinguished visiting conductors include Stanisław Skrowaczewski, Jukka-Pekka Saraste and Vasily Petrenko, with Robin Ticciati returning after his debut in 2015; and in 2016 the LPO joins many of London’s other leading cultural institutions in Shakespeare400, celebrating the Bard’s legacy 400 years since his death. The Orchestra continues its commitment to new music with premieres of commissions including Magnus Lindberg’s Second Violin Concerto and Alexander Raskatov’s Green Mass.

Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Each summer the Orchestra takes up its annual residency at Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also 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 large part of

Richard Fairman, Financial Times, September 2015

Jurowski and the LPO can stand alongside the top international orchestras with pride


Pieter Schoemanleader

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Pieter Schoeman was appointed Leader of the LPO in 2008, having previously been Co-Leader since 2002.

Born in South Africa, he made his solo debut aged 10 with the Cape Town Symphony Orchestra. He studied with Jack de Wet in South Africa, winning

numerous competitions including the 1984 World Youth Concerto Competition in the US. In 1987 he was offered the Heifetz Chair of Music scholarship to study with Eduard Schmieder in Los Angeles and in 1991 his talent was spotted by Pinchas Zukerman, who recommended that he move to New York to study with Sylvia Rosenberg. In 1994 he became her teaching assistant at Indiana University, Bloomington.

Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow's Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles, and Southbank Centre's Queen Elizabeth Hall in London. As a chamber musician he regularly performs at London's prestigious Wigmore Hall.

As a soloist with the London Philharmonic Orchestra, Pieter has performed Arvo Pärt's Double Concerto with Boris Garlitsky, Brahms's Double Concerto with Kristina Blaumane, and Britten's Double Concerto with Alexander Zemtsov, which was recorded and released on the Orchestra's own record label to great critical acclaim. He has recorded numerous violin solos with the London Philharmonic Orchestra for Chandos, Opera Rara, Naxos, X5, the BBC and for American film and television, and led the Orchestra in its soundtrack recordings for The Lord of the Rings trilogy.

In 1995 Pieter became Co-Leader of the Orchestre Philharmonique de Nice. Since then he has appeared frequently as Guest Leader with the Barcelona, Bordeaux, Lyon, Baltimore and BBC symphony orchestras, and the Rotterdam and BBC Philharmonic orchestras. He is a Professor of Violin at Trinity Laban Conservatoire of Music and Dance in London. Pieter's chair in the London Philharmonic Orchestra is supported by Neil Westreich.

the Orchestra’s life: highlights of the 2015/16 season include visits to Mexico City as part of the UK Mexico Year of Culture, Spain, Germany, the Canary Islands, Belgium, a return to the Concertgebouw, Amsterdam and the Orchestra’s debut at La Scala, Milan.

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 80 releases available on CD and to download. Recent additions include Messiaen’s Des Canyons Aux Étoiles under Christoph Eschenbach, and archive recordings of Mahler Symphonies and Beethoven’s Symphony No. 5 conducted by Klaus Tennstedt.

In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Music Award for Ensemble.

The London Philharmonic Orchestra is committed to inspiring the next generation of musicians through an energetic programme of activities for young people. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the Young Composers Programme; and the Foyle Future Firsts orchestral training programme for outstanding young players. Its work at the forefront of digital engagement and social media has 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 and regular podcast series, the Orchestra has a lively presence on Facebook and Twitter.

Find out more and get involved!

lpo.org.uk

facebook.com/londonphilharmonicorchestra

twitter.com/LpOrchestra

youtube.com/londonphilharmonic7

Jurowski and the LPO can stand alongside the top international orchestras with pride


Vladimir Jurowskiconductor

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Jurowski seems to have reached the magic state when he can summon a packed house to hear anything he conducts with the LPO, however unfamiliar

Geoff Brown, The Arts Desk, February 2015

One of today’s most sought-after conductors, acclaimed worldwide for his incisive musicianship and adventurous artistic commitment, Vladimir Jurowski was born in Moscow and studied at the Music Academies of Dresden and Berlin. In 1995 he made his international debut at the Wexford Festival conducting Rimsky-Korsakov’s May Night, and the same year saw his debut at the Royal Opera House, Covent Garden, with Nabucco.

Vladimir Jurowski was appointed Principal Guest Conductor of the London Philharmonic Orchestra in 2003, becoming Principal Conductor in 2007. In October 2015 he was appointed the next Chief Conductor and Artistic Director of the Rundfunk-sinfonieorchester Berlin, a position he will take up in September 2017, and also accepted the honorary position of Artistic Director of the Enescu International Festival in Bucharest, also from 2017. He has previously held the positions of First Kapellmeister of the Komische Oper Berlin (1997–2001), Principal Guest Conductor of the Teatro Comunale di Bologna (2000–03), Principal Guest Conductor of the Russian National Orchestra (2005–09), and Music Director of Glyndebourne Festival Opera (2001–13).

He is a regular guest with many leading orchestras in both Europe and North America, including the Berlin Philharmonic, New York Philharmonic and Rundfunk Sinfonieorchester Berlin; the Royal Concertgebouw Orchestra; The Philadelphia Orchestra; The Cleveland Orchestra; the Boston, San Francisco and Chicago symphony orchestras; and the Tonhalle-Orchester Zürich, Leipzig Gewandhausorchester, Mahler Chamber Orchestra, Staatskapelle Dresden and Chamber Orchestra of Europe.

In 2007 Vladimir was a guest on BBC Radio 4's flagship programme Desert Island Discs. Discover his eight records of choice here: bbc.co.uk/programmes/b007w97r

His opera engagements have included Rigoletto, Jenůfa, The Queen of Spades, Hansel and Gretel and Die Frau ohne Schatten at the Metropolitan Opera, New York; Parsifal and Wozzeck at Welsh National Opera; War and Peace at the Opéra national de Paris; Eugene Onegin at the Teatro alla Scala, Milan; Ruslan and Ludmila at the Bolshoi Theatre; Moses und Aron at Komische and Iolanta and Die Teufel von Loudun at Semperoper Dresden, and numerous operas at Glyndebourne including Otello, Macbeth, Falstaff, Tristan und Isolde, Don Giovanni, The Cunning Little Vixen, Peter Eötvös’s Love and Other Demons, and Ariadne auf Naxos. The Glyndebourne production of Wagner's Die Meistersinger von Nürnberg, led by Vladimir Jurowski with the London Philharmonic Orchestra and Glyndebourne Chorus won the 2015 BBC Music Magazine Opera Award.

During the performance we are all 'in the same boat', so since conductors are meant to be silent during the concert, a friendly encouraging look in the right moment is very helpful, almost as helpful as good conducting technique (the latter being rather obligatory). Vladimir Jurowski on engaging players during a performance

As well as his debut at the Salzburg Easter Festival at the helm of the Staatskapelle Dresden, 2015/16 season highlights also include bringing together the London Philharmonic Orchestra and State Academic Symphony of Russia to perform Schoenberg's Gurrelieder at the Moscow Rostropovich Festival.


Soile Isokoski’s name originally means ‘the northern light’ – a light that she carries to the world today in an exceptional way. One of the most celebrated sopranos to emerge from Finland, Isokoski studied at the Sibelius Academy in Helsinki and made her stage debut with Finnish National Opera. She has gone on to capture audiences and critics alike across the world, winning the coveted Pro-Finlandia Medal in 2002 in honour of her notable contribution to Finnish music.

A regular guest at the most renowned opera houses, Isokoski is also a familiar face on the world’s most prestigious concert stages, working with conductors including Philippe Herreweghe, Jukka-Pekka Saraste, Esa-Pekka Salonen, Seiji Ozawa, John Eliot Gardiner, Zubin Mehta, Daniel Barenboim, Sir Simon Rattle, Marek Janowski, Bernard Haitink, Claudio Abbado, Riccardo Muti, Valery Gergiev, Pierre Boulez, James Levine, Leif Segerstam and Michael Tilson Thomas, as well as giving numerous recitals.

Isokoski’s acclaimed discography includes Strauss’s Four Last Songs under Marek Janowski (Gramophone Editor’s Choice Award 2002), as well as two Sibelius CDs under the baton of Leif Segerstam: Kullervo with Tommi Hakala (Diapason d’Or 2008) and Luonnotar and Orchestral Songs (MIDEM Classical Award, BBC Music Magazine Vocal Award and Disc of the Year 2007). She was awarded the Sibelius Medal in 2007 and was honoured with the title of Austrian Kammersängerin in 2008. In 2011 she received an Honorary Doctorate from the University of Helsinki.

Isokoski’s recent engagements have included the title role in Ariadne auf Naxos (Glyndebourne Festival Opera), Donna Elvira in Don Giovanni (Los Angeles Opera), Marschallin in Der Rosenkavalier (in London, Geneva, Vienna, Paris and Munich), Blanche de la Force in Dialogues des Carmélites (Bayerische Staatsoper), Desdemona in Otello (Deutsche Oper Berlin and Wiener Staatsoper), Marguerite in Faust in Vienna, Ellen Orford in Peter Grimes in Dresden, and Elsa in Lohengrin in Los Angeles and Dresden.

I read poetry a lot, and in my youth I wrote poems of my own, too. I love poetry so much, and Lieder combine music and poems so fantastically. Beautiful words are combined with beautiful music. I'm like Madeleine in Capriccio: I can't decide if the music or the words is more important.

Soile Isokoski in an interview with Dominic McHugh for MusicalCriticism.com, 2009.

Isokoski teaches singing at the Oulu University of Applied Sciences and is a guest professor at the Sibelius Academy, Helsinki. She recently served as a jury member for the BBC Cardiff Singer of the World competition and the Mirjam Helin International Singing Competition.

Soile Isokoskisoprano

Is there a more beautiful soprano voice in opera today?

Hugh Canning, The Sunday Times


In spite of its title, Magnus Lindberg’s Gran Duo is for 24 instruments, the dialogue setting the 13 wind instruments against the 11 brass in an exploration of the sounds possible from an orchestra without strings or percussion. Sonic experiments are at the core, too, of Mozart’s ‘Notturno’, K286, an otherwise unassuming work distinguished by its playful echo effects. By contrast, the Wind Serenade, K388, is a work that breaks the traditional emotional bonds of the genre to become one of the greatest works ever written for wind ensemble.

In the years left to him after the Second World War, Richard Strauss lamented what he saw as the death of the Germanic culture represented among other things by the music of Mozart. His own art had lost none of its power to move, however, and perhaps his most profoundly moving legacy is his ‘last’ set of orchestral songs, in which death is addressed with calm acceptance in music of haunting beauty.

Speedread

The works generally known as Mozart’s orchestral Serenades – for which he used various names including Cassation, Divertimento and Notturno – are not heard in live performance all that often, but then, unlike his piano concertos and symphonies, they were never intended for the concert hall. Instead, they were composed to adorn the superior functions and celebrations of Salzburg town life – Carnival time, grand weddings, birthdays or namedays of prominent people, ennoblement ceremonies, ends of the university academic year – and would often have been performed outdoors, perhaps to an audience who was paying less than full attention.

It is not known for what purpose Mozart composed the Notturno, K286, though his title for it at least hints at performance after dark. Nor did he date the manuscript, and the best scholars have been able to manage is to propose January 1777 on the evidence of handwriting

and paper-type analysis, thus suggesting that it might therefore have been written for Carnival. If so, it was perhaps to make his listeners smile in remembrance of the atmosphere of a balmy summer-evening courtyard that Mozart cast it for four small orchestras of strings and horns – one to play the music ‘as is’ and the other three to provide successive echo effects, each shorter than the last.

Its three-movement format, ending with a minuet, may look odd to those familiar with Mozart's symphonies, but was common enough in Austrian serenades of the time. Complex composition was not required in such works, and here each movement is formally speaking fairly simple – the first suave, leisurely and lyrical; the second breezy and good-natured; and the third a minuet that reeks of the ballroom. Time, clearly, to shut out the winter night air.

Programme notes

Serenade No. 8 in D major (Notturno), K286

1 Andante2 Andante grazioso3 Menuetto & Trio

Wolfgang AmadeusMozart

1756–91


that of Stravinsky’s Symphonies of Wind Instruments. But Lindberg’s melodic practice reveals the enduring influence of serialism: he doesn’t write tunes of any kind; instead, he generates small cells and motifs and uses them as his building blocks.

In Gran Duo these small units feed into a structure of considerable complexity which reveals the modernist at work. The over-arching shape – a single span of around 20 minutes in duration – is built from five smaller paragraphs, themselves bringing together 19 subsections. Moreover, Lindberg divides his instruments into eight smaller families, which subdivide and reunite as the music requires. But this kind of detail is meat for the analyst rather than the listener, who must judge the effectiveness of the work as sound. And Lindberg’s skill in unifying two very different approaches is undeniable: for all the intricacies of its construction, Gran Duo sometimes sounds like a Nordic tone-poem, a Sibelian piece of nature-painting; indeed, there’s a throwaway reference to Tapiola at the end. And just as with Sibelius, Lindberg’s music often seems to be a manifestation of natural phenomena: in Gran Duo, for example, it’s easy to imagine the woodwind writing as the eddies on the surface of a river while the brass reflects the more powerful forces below, driving it onwards. In the long run an awareness of the compositional nuts and bolts of Gran Duo is no more necessary for an enjoyment

Gran Duo may seem rather an odd title for a work when you look at the stage and see 24 instruments lined up to perform it: three flutes (one doubling piccolo), two oboes, cor anglais, three clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones and tuba. But that’s because the ‘grand duality’, so to speak, is not between two individual instruments, but between two groups of instruments: the woodwind and the brass. Each has its own material: the woodwind enter with bubbling figures, like the dawn chorus in their suggestion of energy, to which the brass eventually respond with a broad and sturdy chorale-like passage. A ‘Publisher’s Note’ in the score explains that these initial characters, ‘equating to the poetic stereotypes of “masculine” and “feminine”, become progressively blurred and androgynised during the course of the work as larger sound-masses give way to chamber music-style sub-groupings and individual instrumental solos’. This description might suggest a process something like the ‘mutual exchange of atoms’ that occurs when Flann O’Brien’s eponymous Third Policeman sits upon his bicycle and each takes on the characteristics of the other, but it is far more complex than meets the ear.

Although over the past two decades or so Lindberg’s music has taken on an increasingly Romantic tone, Lindberg is clear in his own mind that his compositional technique remains that of a modernist – but unlike many other modernists he is not afraid of the past. His contact with it can be structural: his music sets considerable weight on the importance of functional, directional, classical harmony. It can be verbal: in the title Gran Duo there’s an allusion to Mozart’s Wind Serenade No. 10, known as the 'Gran Partita'. It can be referential: Lindberg's First Violin Concerto, for example, opens with a nod to Sibelius’s Violin Concerto, and the scoring of Gran Duo is almost identical to

gran DuoMagnusLindberg

born 1958

With its five connected movements Gran Duo is a symphony in the modern sense ... a darkly brooding yet peaceful work that reflects something of a unique landscape.The Times

Continued overleaf


Programme notes continued

of the music than an understanding of internal combustion or aerodynamics at a Formula One race meeting.

Gran Duo was written in 1999–2000 to a City of Birmingham Symphony Orchestra/Royal Festival Hall Millennium Commission and first performed in this very space on 8 March 2000, by the City of Birmingham Symphony Orchestra conducted by Sir Simon Rattle.

Programme note © Martin Anderson

Finnish composer Magnus Lindberg became the London Philharmonic Orchestra’s Composer in Residence at the beginning of the 2014/15

season. Last season's highlights included the world premiere of Accused with soprano Barbara Hannigan. Last month the

Orchestra gave the world premiere of Lindberg's Violin Concerto No. 2 with soloist Frank Peter Zimmermann. Lindberg also plays an active role in the Orchestra’s education activities, mentoring

the four participants on the LPO Young Composers scheme, and will conduct this year's annual Debut Sounds concert on 4 July

2016 showcasing the young composers' new works.

Lindberg was born in Helsinki in 1958. Following piano studies, he entered the Sibelius Academy where his composition teachers included Einojuhani Rautavaara and Paavo Heininen. His compositional breakthrough came

with two large-scale works, Action–Situation–Signification (1982) and Kraft (1983–85), which were inextricably linked with his founding with

Esa-Pekka Salonen of the experimental Toimii Ensemble.

Lindberg was Composer in Residence of the New York Philharmonic between 2009 and 2012, with new works including the concert-opener EXPO premiered

to launch Alan Gilbert’s tenure as the orchestra’s Music Director, Al Largo for orchestra, Souvenir for ensemble, and Piano Concerto No. 2 premiered by Yefim Bronfman in 2012.

Lindberg’s music has been recorded on the Deutsche Grammophon, Sony, Ondine, Da Capo and Finlandia labels. He is published by Boosey & Hawkes.

Reprinted by kind permission of Boosey & Hawkes

Magnus Lindberg: LpO Composer in Residence

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

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When Mozart moved to Vienna in 1781 to try his luck as a freelance composer and performer, he found the Imperial capital a far more musically conducive place than provincial Salzburg had been. It is from the ten years he spent there before his early death that the vast majority of his greatest works come, inspired by the city’s cultural sophistication and high standards of musical performance and professionalism. These showed themselves in his music in numerous ways, but one very noticeable one was the increased attention he paid to writing for wind instruments. Vienna was well supplied with talented wind players, and Mozart wrote generously for them, whether within the orchestra in his piano concertos, symphonies and operas, or in the three great wind serenades that have come to be seen as the greatest of their kind: K361 (known as the Gran Partita), K375 in E flat major, and K388 in C minor.

As with K286, the reason for the composition of K388 is not known, though it can at least be dated with some certainty to the summer of 1782. Even harder to to explain, however, is the mood of the work. Stormy, dark-hued and minor-key, it was hardly the sort of ‘night music’ traditionally looked for in this kind of piece, while its four-movement structure is more symphonic than serenade-like. Perhaps for once it was intended as a concert piece, and maybe that explains, too, why Mozart later saw it as a suitable candidate for salvage in a transcription for string quintet (K406).

The first movement is a hard-driving Allegro stuffed with taut, emotionally tense and often closely worked thematic ideas of a species typical of Mozart in this key; when, after a turbulent central development, its formerly more relaxed second theme returns in a minor-key transformation the effect is positively sinister. The warmly elegant Andante strikes more of a serenade-like pose, though even here its expression has an undeniably inward nature that would have made it stand out in a more conventional work. The Menuetto is austerely contrapuntal: a canon at one bar’s distance between varying combinations of instruments, and then in the central Trio a double mirror canon (two related canons at once, in each of which one of the parts is inverted). The work ends with a theme and variations in which the prevailing mood remains troubled, and where even the customary turn to the major key at the end is preceded by a passage of eerie mystery.

Wind Serenade No. 12 in C minor (Nacht Musik), K388

1 Allegro2 Andante3 Menuetto in canone4 Allegro

Wolfgang AmadeusMozart

1756–91


Programme notes continued

The song texts begin on the opposite page.

In August 1941, shortly after completing his 15th opera, the 77-year-old Strauss answered an enquiry from the conductor Clemens Krauss about further projects with two questions: ‘Do you really think that after Capriccio there can follow anything better or at least as good? Isn’t this D-flat major the best conclusion to my theatrical life-work?’ To be sure, he did not return to opera, yet for most people it is not Capriccio that represents one of the most moving of all composers’ final artistic statements, but the four orchestral songs Strauss completed while staying in Switzerland with his wife Pauline in the summer of 1948, the year before his death. Premiered and published posthumously, they have come to be known as the ‘Four Last Songs’, a title whose valedictory tone is entirely appropriate, for as expressions of the calm resignation of that period at the end of life when the soul is at peace, when the seasons sharpen in significance, and when, with eternity waiting beyond, nearby death holds no fears, they are without equal.

The songs – settings of three poems by Hesse and one by Eichendorff – do not seem to have been intended to make a formal cycle, but the order of performance chosen by Strauss’s publisher makes a convincing sequence. Frühling (‘Spring’) welcomes the arrival of the season whose return gains greater importance as life goes on. Here the music seems to float above the ground, held aloft by the restless tonality of the accompaniment and by soaring, ecstatic vocal melismas.

In the second song, the melancholy September, summer is already almost past; gently undulating chords, plunging strings and a broad vocal line evoke the slow dying back of nature, before a serene and moving close shows summer closing its tired eyes.

Weariness is the theme again in Beim Schlafengehen (‘Going to Sleep’), a setting of a poem that Hesse wrote at a time when his wife had suffered a nervous breakdown. But although the mood at the start is similar to that of September, with the first two verses looking to sleep for blissful oblivion, the ending takes a different turn as a solo violin awakes the ‘unguarded spirit’ and a new, radiant hope arises.

Im Abendrot (‘At Sunset’) was the first of the songs to be composed, and Eichendorff’s depiction of an elderly couple who, after travelling through life, become aware of the presence of easeful death, was clearly the inspiration for them all. As the couple view the beauties of nature with renewed clarity – and two flutes depict a pair of skylarks – they look forward to a ‘spacious, tranquil peace’. At the end, the kindly orchestra grants it, and the flutes take flight again.

Mozart and Strauss programme notes and Speedread © Lindsay Kemp

Four Last Songs

Soile Isokoski soprano

1 Frühling [Spring]2 September3 Beim Schlafengehen [Going to Sleep]4 Im Abendrot [At Sunset]

RichardStrauss 1864–1949


Frühling

In dämmrigen Grüften Träumte ich lang Von deinen Bäumen und blauen Lüften Von deinem Duft und Vogelgesang.

Nun liegst du erschlossen In Gleiss und Zier Von Licht übergossen Wie ein Wunder vor mir.

Du kennst mich wieder, Du lockst mich zart, Es zittert durch all meine Glieder Deine selige Gegenwart.

Hermann Hesse September

Der Garten trauert, Kühl sinkt in die Blumen der Regen. Der Sommer schauert Still seinem Ende entgegen.

Golden tropft Blatt um Blatt Nieder vom hohen Akazienbaum. Sommer lächelt erstaunt und matt In den sterbenden Gartentraum.

Lange noch bei den Rosen Bleibt er stehen, sehnt sich nach Ruh. Langsam tut er die Müde gewordenen Augen zu.

Hermann Hesse beim Schlafengehen

Nun der Tag mich müd’ gemacht, Soll mein sehnliches Verlangen Freundlich die gestirnte Nacht Wie ein müdes Kind empfangen.

Hände lasst von allem Tun, Stirn vergiss du alles Denken, Alle meine Sinne nun Wollen sich in Schlummer senken.

Und die Seele unbewacht Will in freien Flügen schweben, Um im Zauberkreis der Nacht Tief und tausendfach zu leben.

Hermann Hesse

Spring

In dusky vaults I long dreamed Of your trees and blue skies, Your scents and birdsong.

Now you lie revealed In glittering adornment Bathed in light Like a miracle before me.

You recognise me, You tenderly entice me, There quivers through all my limbs Your blessed presence.

September

The garden is in mourning, Coolly the rain falls on the flowers. The summer shudders Quietly towards its end.

Golden leaf after leaf drops Down from the tall acacia tree. Summer smiles astonished and faint In the dying garden dream.

For a long time by the roses It lingers, longing for rest. Slowly it closes its Weary eyes.

going to Sleep

Now the day has tired me, My ardent wish is to Welcome the starry night Like a weary child.

Hands be done with every deed, Brow forget your every thought, All my senses now Want to sink in slumber.

And the unguarded spirit Wants in free flight to soar, So in the magic circle of the night Deeply and a thousandfold to live.

Four Last Songs texts


Im Abendrot

Wir sind durch Not und Freude gegangen Hand in Hand, vom Wandern ruhen wir nun überm stillen Land.

Rings sich die Täler neigen, es dunkelt schon die Luft, zwei Lerchen nur noch steigen nachträumend in den Duft.

Tritt her und lass sie schwirren, bald ist es Schlafenzeit, dass wir uns nicht verirren in dieser Einsamkeit.

O weiter, stiller Friede! So tief im Abendrot. Wie sind wir wandermüde – ist dies etwa der Tod?

Joseph von Eichendorff

Hesse texts © copyright 1950 by Boosey & Co. Ltd. Reproduced by permission of Boosey & Hawkes Music Publishers Ltd.

At Sunset

We have through hardship and joy walked hand in hand, from our travels we are resting now in the quiet countryside.

All around the valleys incline, it is already getting dark, only two larks are still rising dreamily in the atmosphere.

Come here and leave them whirring, it will soon be time to sleep, we must not lose our way in this solitude.

O spacious, silent peace! So profound in the sunset. How travel-weary we are – is this perhaps death?

English translations © Eric Mason

Recommended recordings of tonight’s works

Many of our recommended recordings, where available, are on sale this evening at the Foyles stand in the Royal Festival Hall foyer.

Mozart: Serenade No. 8 (Notturno), K286 Vienna Mozart Ensemble | Willi Boskovsky [Decca: download only]

Magnus Lindberg: gran Duo Finnish Radio Symphony Orchestra | Sakari Oramo [Ondine]

Mozart: Wind Serenade No. 12 (Nacht Musik) London Wind Soloists | Jack Brymer [Decca]

R Strauss: Four Last Songs Lucia Popp | London Philharmonic Orchestra | Klaus Tennstedt [Warner] or Jessye Norman | Leipzig Gewandhausorchester | Kurt Masur [Philips]

Mini film guides to this season’s works

For our 2015/16 season we’ve produced a series of short films introducing the music we’re performing. Watch on our YouTube channel at youtube.com/londonphilharmonic7

Song texts continued


Saturday 30 January | 7.30pm

beethoven Symphony No. 6 (Pastoral)Alexander Raskatov Green Mass

(world premiere)*

Vladimir Jurowski conductor Elena Vassilieva soprano Iestyn Davies countertenor Mark padmore tenor Nikolay Didenko bass Choir of Clare College, Cambridge

* Commissioned by the London Philharmonic Orchestra

Wednesday 3 February | 7.30pm

Dvořák Overture, Otello brahms Double Concerto for violin

and celloDvořák Symphony No. 6

Yannick Nézet-Séguin conductor Lisa batiashvili violin Maximilian hornung cello

Wednesday 27 January | 7.30pm

Schnittke PianissimoShostakovich Cello Concerto No. 2bruckner Symphony No. 3

Vladimir Jurowski conductorNatalia gutman cello

This concert is dedicated to the memory of Kurt Masur.

Broadcast live by BBC Radio 3

Next concerts at Royal Festival Hall

pLAYINg ThE bARD IN 2016

In collaboration with some of London’s leading cultural, creative and educational institutions, the London Philharmonic Orchestra joins Shakespeare400 with a series of concerts this year celebrating the Bard’s love of music.

FIND OUT MORE: LpO AND ShAKESpEARE400lpo.org.uk/shakespeare

Tickets £9–£39 (premium seats £65)

London philharmonic Orchestra Ticket Office: 020 7840 4242 Monday–Friday 10.00am–5.00pm lpo.org.uk Transaction fees: £1.75 online, £2.75 telephone.


Recent releases on the LpO label

John Mauceri conductor

£10.99 (2 CDs) | LPO-0086

Klaus Tennstedt conductor

A BBC recording

£6.99 | LPO-0087

The genius of Film Music:hollywood blockbusters 1960s to 1980s

beethoven: Coriolan OvertureSymphony No. 5

browse the catalogue and sign up for updates at lpo.org.uk/recordings

Available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets

Available to download or stream online via iTunes, Spotify, Amazon and others.

Subscription packages

One year CD subscription: £79.9910 CDs (worth at least £100)Exclusive pre-release mailingInclusive of P&P

half year CD subscription: £44.995 CDs (worth at least £50)Exclusive pre-release mailingInclusive of P&P

Treat yourself or someone you know to a subscription to the London Philharmonic Orchestra's CD releases and they will receive all the new releases on the LPO label for a whole year, mailed before the CDs are available in the shops.

Available online at lpo.org.uk/recordings-and-gifts or LpO Ticket Office (020 7840 4242)

The centrepiece of the London Philharmonic Orchestra’s 2015/16 concert season at Royal Festival Hall is Shakespeare400, a festival of concerts, talks and exploratory events celebrating the musical legacy of the world’s greatest playwright, William Shakespeare.

For four and a half centuries, the most admired playwright and poet in history has inspired music both intimate and grand, devastating and uplifting. Shakespeare’s body of plays and poems has exercised more influence over composers and musicians than anything else in literature bar the Bible, and continues to inspire across the generations of today.

In collaboration with some of London’s leading cultural, creative and educational institutions, the London Philharmonic Orchestra joins Shakespeare400 with a celebration of the Bard’s love of music, and his influence on it. Join the LPO at Southbank Centre’s Royal Festival Hall this year for a celebration of creativity and collaboration, and dive into a musical world born of the words of the legendary William Shakespeare.

lpo.org.uk/shakespeare

Wednesday 27 January 2016 | 6.00pmHamlet in Russia: Shostakovich’s Hamlet

Wednesday 10 February 2016 | 5.00pmNew Horizons: Inspired by Shakespeare

Saturday 5 March 2016 | 6.00pmOphelia Dances

Saturday 9 April 2016 | 6.00pmLPO Soundworks & Quicksilver:

Inspired by Shakespeare

Saturday 30 April 2016 | post-concert RCM Big Band: Such Sweet Thunder

Wednesday 3 February 2016 | 7.30pm Dvořák | Othello

Wednesday 10 February 2016 | 7.30pm Sibelius | The Tempest

Friday 12 February 2016 | 7.30pm | JTI Friday Series Nicolai | The Merry Wives of Windsor

Friday 26 February 2016 | 7.30pm | JTI Friday Series R Strauss | Macbeth

Mendelssohn | A Midsummer Night’s Dream

Friday 15 April 2016 | 7.30pm | JTI Friday Series Prokofiev | Romeo and Juliet

Saturday 23 April 2016 | 7.30pm Anniversary Gala Concert

featuring very special guests

Sunday 5 June 2016 | 7.30pm FUNharmonics Family Concert | Bottom’s DreamC

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Wednesday 3 February 2016 | 6.00pm Adapting Othello

Wednesday 10 February 2016 | 6.00pmLate works of Shakespeare and others

Friday 12 February 2016 | 6.00pmShakespeare’s Windsor

Friday 26 February 2016 | 6.00pmThe Macbeths

Friday 15 April 2016 | 6.00pmThink you know Romeo & Juliet?Pr

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Sound FutureS donorS

We are grateful to the following donors for their generous contributions to our Sound Futures campaign. Thanks to their support, we successfully raised £1 million by 30 April 2015 which has now been matched pound for pound by Arts Council England through a Catalyst Endowment grant. This has enabled us to create a £2 million endowment fund supporting special artistic projects, creative programming and education work with key venue partners including our Southbank Centre home. Supporters listed below donated £500 or over. For a full list of those who have given to this campaign please visit lpo.org.uk/soundfutures.

Masur CircleArts Council EnglandDunard FundVictoria Robey OBEEmmanuel & Barrie RomanThe Underwood Trust

Welser-Möst CircleWilliam & Alex de Winton John Ireland Charitable TrustThe Tsukanov Family FoundationNeil Westreich

Tennstedt CircleValentina & Dmitry Aksenov Richard BuxtonThe Candide TrustMichael & Elena KroupeevKirby Laing FoundationMr & Mrs MakharinskyAlexey & Anastasia ReznikovichSimon RobeyBianca & Stuart RodenSimon & Vero TurnerThe late Mr K Twyman

Solti patronsAgeas John & Manon AntoniazziGabor Beyer, through BTO

Management Consulting AGJon ClaydonMrs Mina Goodman & Miss

Suzanne GoodmanRoddy & April GowThe Jeniffer & Jonathan Harris

Charitable Trust Mr James R.D. KornerChristoph Ladanyi & Dr Sophia

Ladanyi-CzerninRobert Markwick & Kasia RobinskiThe Maurice Marks Charitable TrustMr Paris Natar

The Rothschild FoundationTom & Phillis SharpeThe Viney Family

haitink patronsMark & Elizabeth AdamsDr Christopher AldrenMrs Pauline BaumgartnerLady Jane BerrillMr Frederick BrittendenDavid & Yi Yao BuckleyMr Clive ButlerGill & Garf CollinsMr John H CookMr Alistair CorbettBruno de KegelGeorgy DjaparidzeDavid EllenChristopher Fraser OBE & Lisa FraserDavid & Victoria Graham FullerGoldman Sachs InternationalMr Gavin GrahamMoya GreeneMrs Dorothy HambletonTony & Susie HayesMalcolm HerringCatherine Høgel & Ben MardleMrs Philip KanRehmet Kassim-Lakha de MorixeRose & Dudley LeighLady Roslyn Marion LyonsMiss Jeanette MartinDuncan Matthews QCDiana & Allan Morgenthau

Charitable TrustDr Karen MortonMr Roger PhillimoreRuth RattenburyThe Reed FoundationThe Rind FoundationSir Bernard RixDavid Ross & Line Forestier (Canada)

Carolina & Martin SchwabDr Brian SmithLady Valerie SoltiMr & Mrs G SteinDr Peter StephensonMiss Anne StoddartTFS Loans LimitedLady Marina Vaizey Jenny WatsonGuy & Utti Whittaker

pritchard DonorsRalph & Elizabeth Aldwinckle Mrs Arlene BeareMr Patrick & Mrs Joan BennerMr Conrad BlakeyDr Anthony BucklandPaul CollinsAlastair CrawfordMr Derek B. GrayMr Roger GreenwoodThe HA.SH FoundationDarren & Jennifer Holmes Honeymead Arts TrustMr Geoffrey KirkhamDrs Frank & Gek LimPeter MaceMr & Mrs David MalpasDr David McGibneyMichael & Patricia McLaren-TurnerMr & Mrs Andrew NeillMr Christopher QuereeThe Rosalyn & Nicholas Springer

Charitable TrustTimothy Walker AMChristopher WilliamsPeter Wilson SmithMr Anthony Yolland

and all other donors who wish to remain anonymous


We would like to acknowledge the generous support of the following Thomas beecham group patrons, principal benefactors and benefactors:

Thomas beecham group

The Tsukanov Family Foundation

Neil Westreich

William and Alex de Winton Mrs Philip Kan* Simon Robey Victoria Robey OBE Bianca & Stuart Roden Laurence Watt

Anonymous Jon Claydon Garf & Gill Collins* Andrew Davenport Mrs Sonja Drexler David & Victoria Graham Fuller The Jeniffer and Jonathan Harris Charitable Trust Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Julian & Gill Simmonds* Eric Tomsett The Viney Family

John & Manon Antoniazzi Jane Attias David Goldstone CBE LLB FRICS John & Angela Kessler Guy & Utti Whittaker

* BrightSparks Patrons: instead of supporting a chair in the Orchestra, these donors have chosen to support our series of schools’ concerts.

principal benefactorsMark & Elizabeth AdamsDavid & Yi Yao BuckleyDesmond & Ruth CecilMr John H CookMr Bruno de KegelDavid EllenMr Daniel GoldsteinDrs Frank & Gek LimPeter MacDonald EggersDr Eva Lotta & Mr Thierry SciardMr & Mrs David MalpasMr & Mrs G SteinMr & Mrs John C TuckerMr & Mrs John & Susi UnderwoodLady Marina VaizeyGrenville & Krysia WilliamsMr Anthony Yolland

benefactorsMr Geoffrey BatemanMrs A BeareMs Molly BorthwickDavid & Patricia BuckMrs Alan CarringtonMr & Mrs Stewart CohenMr Alistair CorbettMr Timothy Fancourt QCMr Richard FernyhoughMr Gavin GrahamWim and Jackie Hautekiet-ClareTony & Susan HayesMr Daniel Heaf and Ms Amanda HillMichael & Christine HenryMalcolm Herring

J. Douglas HomeIvan HurryMr Glenn HurstfieldPer JonssonMr Gerald LevinWg. Cdr. & Mrs M T Liddiard OBE JP RAFPaul & Brigitta LockMr Peter MaceMs Ulrike ManselMr Robert Markwick and Ms Kasia Robinski Mr Brian MarshAndrew T MillsDr Karen MortonMr & Mrs Andrew NeillMr Michael PosenAlexey & Anastasia ReznikovichMr Konstantin SorokinMartin and Cheryl SouthgateMr Peter TausigSimon and Charlotte WarshawHoward & Sheelagh WatsonDes & Maggie WhitelockChristopher WilliamsBill Yoe

and others who wish to remainanonymous

hon. benefactorElliott Bernerd

hon. Life MembersKenneth Goode Carol Colburn Grigor CBE Pehr G GyllenhammarMrs Jackie Rosenfeld OBE

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

Corporate Members

Silver: Accenture BerenbergCarter-Ruck We are AD

bronze: Appleyard & Trew LLPBTO Management Consulting AGCharles Russell SpeechlysLazardRusso-British Chamber of Commerce

preferred partners Corinthia Hotel London Heineken Lindt & Sprüngli LtdSipsmith Steinway Villa Maria

In-kind SponsorGoogle Inc

Trusts and Foundations Angus Allnatt Charitable Foundation Axis Foundation The Bernarr Rainbow Trust The Boltini TrustBorletti-Buitoni TrustThe Candide Trust Cockayne – Grants for the Arts The D’Oyly Carte Charitable TrustDunard FundThe Equitable Charitable Trust The Foyle FoundationLucille Graham TrustThe Jeniffer and Jonathan Harris

Charitable TrustHelp Musicians UK The Idlewild Trust Kirby Laing Foundation The Leverhulme Trust The London Community Foundation London Stock Exchange Group FoundationLord and Lady Lurgan Trust Marsh Christian TrustAdam Mickiewicz Institute The Peter Minet Trust

The Ann and Frederick O’BrienCharitable Trust

Office for Cultural and Scientific Affairs ofthe Embassy of Spain in London

The Austin and Hope Pilkington Trust The Stanley Picker Trust The Radcliffe TrustRivers Foundation The R K Charitable TrustRVW TrustSerge Rachmaninoff Foundation The David Solomons Charitable Trust Souter Charitable Trust The John Thaw FoundationThe Tillett Trust UK Friends of the Felix-Mendelssohn-

Bartholdy-Foundation The Viney FamilyGarfield Weston FoundationThe Barbara Whatmore Charitable Trust

and all others who wish to remain anonymous


Administration

board of DirectorsVictoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-PresidentDr Manon Antoniazzi Roger BarronRichard Brass Desmond Cecil CMG Jonathan Harris CBE FRICS Amanda Hill Dr Catherine C. Høgel Rachel Masters* George Peniston* Kevin Rundell* Natasha Tsukanova Mark Vines*Timothy Walker AM Laurence WattNeil Westreich David Whitehouse** Player-Director

Advisory CouncilVictoria Robey OBE Chairman Christopher Aldren Richard Brass David Buckley Sir Alan Collins KCVO CMG Andrew Davenport Jonathan Dawson William de Winton Edward Dolman Christopher Fraser OBE Lord Hall of Birkenhead CBE Rehmet Kassim-Lakha Jamie Korner Clive Marks OBE FCA Stewart McIlwham Sir Bernard Rix Baroness ShackletonLord Sharman of Redlynch OBE Thomas Sharpe QC Julian Simmonds Martin SouthgateSir Philip Thomas Sir John TooleyChris VineyTimothy Walker AMElizabeth Winter

American Friends of the London philharmonic Orchestra, Inc.Jenny Ireland Co-ChairmanWilliam A. Kerr Co-ChairmanKyung-Wha ChungAlexandra JupinJill Fine MainelliKristina McPhee Harvey M. Spear, Esq.Danny Lopez Hon. ChairmanNoel Kilkenny Hon. DirectorVictoria Robey OBE Hon. DirectorRichard Gee, Esq Of Counsel Jenifer L. Keiser, CPA,EisnerAmper LLP

Stephanie Yoshida

Chief Executive

Timothy Walker AM Chief Executive and Artistic Director

Amy SugarmanPA to the Chief Executive / Administrative Assistant

Finance

David BurkeGeneral Manager and Finance Director

David GreensladeFinance and IT Manager

Dayse GuilhermeFinance Officer

Concert Management

Roanna Gibson Concerts Director

Graham WoodConcerts and Recordings Manager

Jenny Chadwick Tours Manager

Tamzin Aitken Glyndebourne and UK Engagements Manager

Alison JonesConcerts and Recordings Co-ordinator

Jo CotterTours Co-ordinator Orchestra personnel

Andrew CheneryOrchestra Personnel Manager

Sarah Holmes Sarah ThomasLibrarians ( job-share)

Christopher AldertonStage Manager

Damian Davis Transport Manager

Madeleine Ridout Assistant Orchestra Personnel Manager

Education and Community

Isabella Kernot Education Director (maternity leave)

Clare Lovett Education Director (maternity cover)

Talia LashEducation and Community Project Manager

Lucy SimsEducation and Community Project Manager

Richard MallettEducation and Community Producer

Development

Nick JackmanDevelopment Director

Catherine Faulkner Development Events Manager

Kathryn HagemanIndividual Giving Manager

Laura Luckhurst Corporate Relations Manager

Anna Quillin Trusts and Foundations Manager

Rebecca FoggDevelopment Co-ordinator

Helen Yang Development Assistant

Kirstin PeltonenDevelopment Associate

Marketing

Kath TroutMarketing Director

Libby Northcote-GreenMarketing Manager

Rachel WilliamsPublications Manager

Samantha CleverleyBox Office Manager(Tel: 020 7840 4242)

Anna O’ConnorMarketing Co-ordinator

Natasha Berg Marketing Intern

Digital projects

Alison Atkinson Digital Projects Director

Matthew Freeman Recordings Consultant public Relations

Albion Media (Tel: 020 3077 4930) Archives

Philip StuartDiscographer

Gillian Pole Recordings Archive professional Services

Charles Russell SpeechlysSolicitors

Crowe Clark Whitehill LLPAuditors

Dr Louise MillerHonorary Doctor

London philharmonic Orchestra89 Albert Embankment London SE1 7TPTel: 020 7840 4200Box Office: 020 7840 4242Email: [email protected]

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

Composer photographs except Magnus Lindberg courtesy of the Royal College of Music, London. Front cover photograph: Ilyoung Chae, First Violin © Benjamin Ealovega. Cover design/ art direction: Ross Shaw @ JMG Studio.

Printed by Cantate.

london philharmonic orchestra 23 january 2016 concert programme

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