London Philharmonic Orchestra 6 November 2015 Concert Programme

Concert programme2015/16 London Seasonlpo.org.uk

Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI*Principal Guest Conductor ANDRÉS OROZCO-ESTRADALeader PIETER SCHOEMAN†Composer 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 Schoeman

6 Jaime Martín 7 Arturo Chacón-Cruz8 Programme notes12 Song texts14 Sound Futures donors15 Supporters16 LPO administration

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

* supported by the Tsukanov Family Foundation † supported by Neil Westreich

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

JTI Friday SeriesSouthbank Centre's Royal Festival HallFriday 6 November 2015 | 7.30pm

Castro Intermezzo de Atzimba (5')

Gounod Cavatina: 'L'amour! L'amour!… Ah! Lève-toi soleil!' from Roméo et Juliette (3')

Federico Ibarra Sinfonía No. 2 (10')

Grever Júrame (4')

Velázquez Bésame Mucho (4')

Lara Granada (4')

Interval

Bernstein Symphonic Dances from West Side Story (23')

Revueltas Sensemayá (7')

Arturo Márquez Danzón No. 2 (10')

Jaime Martín conductor*

Arturo Chacón-Cruz tenor*

* Please note a change of artists from previously advertised.

2 | London Philharmonic Orchestra

Welcome

London Philharmonic Orchestra2015/16 season

Mexico and UK joined in CultureWelcome to this evening's distinctly spicy offering of dazzling Mexican classical music that transcends traditional expectations and conventional musical boundaries. The concert is part of The Year of Mexico in the United Kingdom 2015 and, in September, we visited the Latin country for the very first time, with star Mexican conductor Alondra de la Parra. While we enjoyed fantastic audiences in Mexico, particularly at our free concert at Plaza Victoria in Puebla on the Mexican Day of Independence, you can now share the experience: our performance of Mahler's Symphony No. 2 with the CBSO Chorus, live from the Palacio de Bellas Artes in Mexico City, is now available to watch on Medici TV. lpo.uk/ParraMahler2

LPO podcastsEvery month you can enjoy a new LPO podcast. The latest one is an edited version of the pre-concert talk given by composer and conductor Krzysztof Penderecki and the horn soloist Radovan Vlatković in which they discussed Penderecki’s Horn Concerto ‘Winterreise’ performed at Royal Festival Hall on 14 October. lpo.org.uk/podcasts/podcast-oct15.html

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 2017. 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.

London Philharmonic Orchestra | 3

On stage tonight

First ViolinsPieter Schoeman* Leader

Chair supported by Neil Westreich

Ilyoung ChaeChair supported by an anonymous donor

Katalin VarnagyChair supported by Sonja Drexler

Catherine CraigMartin Höhmann

Chair supported by The Jeniffer and Jonathan Harris Charitable Trust

Geoffrey LynnChair supported by Caroline, Jamie & Zander Sharp

Robert PoolSarah StreatfeildYang ZhangGrace LeeRebecca ShorrockAmanda SmithCaroline FrenkelGalina TanneyHelena SmartGavin Davies

Second ViolinsAndrew Storey

Guest PrincipalLorenzo Gentili-TedeschiFiona HighamNynke HijlkemaJoseph MaherMarie-Anne MairesseAlison StrangeElizabeth BaldeyKate ColeJohn DickinsonKsenia BerezinaGuy ButtonAlberto VidalNicole Stokes

ViolasCyrille Mercier PrincipalGregory AronovichSusanne MartensBenedetto PollaniLaura Vallejo

Naomi HoltDaniel CornfordMartin FennSarah MalcolmRichard CooksonStanislav PopovEmma Sheppard

CellosKristina Blaumane

PrincipalChair supported by Bianca and Stuart Roden

Pei-Jee Ng Co-PrincipalFrancis BucknallLaura DonoghueSantiago Carvalho†David LaleGregory WalmsleyElisabeth Wiklander

Chair supported by The Viney Family

Sue Sutherley Susanna Riddell

Double BassesKevin Rundell* PrincipalTim Gibbs Co-PrincipalGeorge PenistonLaurence LovelleTom WalleyLowri MorganHelen RowlandsCharlotte Kerbegian

FlutesPaola Bonora

Guest PrincipalSue Thomas*

Chair supported by Victoria Robey OBE

Katherine BicknellStewart McIlwham*

PiccolosStewart McIlwham*

PrincipalChair supported by Friends of the Orchestra

Katherine Bicknell

OboesIan Hardwick* PrincipalAlice Munday

Cor AnglaisSue Böhling* Principal

ClarinetsThomas Watmough PrincipalRichard Russell

E-flat ClarinetJane Calderbank

Bass ClarinetPaul Richards Principal

Alto SaxophoneMartin Robertson

BassoonsGareth Newman PrincipalLaura VincentIde Ni ChonaillSimon Estell

ContrabassoonSimon Estell Principal

HornsDavid Pyatt* Principal

Chair supported by Simon Robey

Martin HobbsStephen CraigenGareth MollisonMarcus Bates

TrumpetsPaul Beniston* PrincipalJohn Barclay

Guest Principal Anne McAneney*

Chair supported by Geoff & Meg Mann

Nicholas Betts Co-Principal

TrombonesMark Templeton* Principal

Chair supported by William & Alex de Winton

David Whitehouse

Bass TromboneLyndon Meredith Principal

TubaLee Tsarmaklis* Principal

TimpaniSimon Carrington* Principal

PercussionAndrew Barclay* Principal

Chair supported by Andrew Davenport

Henry Baldwin Co-PrincipalChair supported by Jon Claydon

Keith MillarGary KettelMartin OwensKaren Hutt

Kit DrumsAndrew Barclay*

HarpRachel Masters* Principal

PianoCliodna Shanahan

CelesteIan Tindale

* 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: Eric Tomsett; David & Victoria Graham Fuller; Laurence Watt


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 year 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 works by Alexander Raskatov and Marc-André Dalbavie.

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

Vladimir Jurowski produced one of those utterly compelling performances where the London Philharmonic Orchestra seemed to be playing as if their lives depended on it.Bachtrack, September 2015 (4 Stars)


Western orchestra. Touring remains a large part of 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, Canary Islands, Belgium, a return to the Concertgebouw, Amsterdam and the Orchestra's premiere 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 Vaughan Williams's Symphonies Nos. 4 and 6, Bruckner's Symphony No. 3 conducted by Stanisław Skrowaczewski and Messiaen's Des Canyons Aux Étoiles.

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

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.


Jaime's recordings include Schubert's Symphony No. 9 and Beethoven's Symphony No. 3 'Eroica', with the Orquestra de Cadaqués, and a CD of works by Granados, Garreta, Taltabull and Lamote de Grigno with the Barcelona Symphony Orchestra. All his recordings as conductor are on the Tritó label and received critical acclaim. Solo recordings include Mozart concertos with Sir Neville Marriner, a premiere recording of the Sinfonietta Concerto for Flute and Orchestra written for him by Xavier Montsalvatge and conducted by Gianandrea Noseda, Bach works for flute, violin, and piano with violinist Murray Perahia and the Academy of St Martin in the Fields for Sony, and Mozart's Flute Quartet for EMI, amongst others.

Born in Santander, Spain, Jaime Martín studied with Antonio Arias in Madrid and later with Paul Verhey in The Hague, Holland.

facebook.com/jaime.martin.1675

Jaime Martín has risen quickly to international acclaim as a conductor in recent years, following his prominent career as a flautist. Having taken up the role of Artistic Director and Principal Conductor of the Gävle Symphony Orchestra in September 2013, he is also Chief Conductor of the Orquestra de Cadaqués and Artistic Director of the Santander International Festival.

As a guest conductor he has worked with many leading international orchestras including Orchestre Philharmonique de Radio France, Saint Paul Chamber Orchestra, Orquestra Sinfònica de Barcelona, Royal Scottish National Orchestra, Orchestre National du Capitol de Toulouse, Royal Liverpool Philharmonic, Swedish Radio Symphony, Orquestra Sinfônica do Estado de São Paulo, London Mozart Players, Beijing Symphony and Academy of St Martin in the Fields.

Jaime Martín made his operatic debut conducting The Magic Flute at El Escorial Madrid and San Sebastían Festival in August 2012. He made his debut at the English National Opera in February 2013 conducting The Barber of Seville and returned in autumn 2014 to conduct The Marriage of Figaro.

The 2015/2016 season includes Jaime's debuts with the New Zealand and Queensland symphony orchestras as well as return engagements with Saint Paul Chamber Orchestra, Winterthur Orchestra, Royal Scottish National Symphony Orchestra, Swedish Radio Symphony and multiple performances with the London Philharmonic Orchestra.

Jaime Martínconductor

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Jaime Martín's detailed performance took on heady swagger, and his infectious enjoyment of the music communicated to the orchestra and audience alike.

The Telegraph, December 2014


Recent engagements have taken Arturo to many new venues including Gothenburg Opera for his debut as Gabriele Adorno (Simon Boccanegra) and appearances at the Bavarian State Opera (Jacopo Foscari, Verdi's I due Foscari), a return to Theater an der Wien as Jacopo Foscari and as Alfredo Germont (La traviata) and a debut at the Festival Aix-en-Provence as the Duke in Rigoletto (directed by Robert Carsen with a live broadcast on ARTE and DVD/BlueRay commercial recording). He also returned to Malmö Opera as Roberto in Puccini's Le Villi (in concert with CD recording), and La Scala, Milan debut as Hoffmann.

Arturo has a stong relationship with two of the leading tenors of our day: Plácido Domingo and Ramón Vargas. Since discovering Arturo in 2000, Plácido Domingo has remained a friend and mentor of the younger artist, and the two have shared the operatic stage and concert platform many times. Arturo was awarded the Plácido Domingo Scholarship and Domingo helped launch Arturo's international career after his success in the Operalia Competition. Ramón Vargas became a mentor, teacher and friend of Arturo after he won the 'Vargas Pro Opera' grant in 2005.

A native of Sonora, Mexico, Arturo currently lives in Miami with his wife and son.

arturochaconcruz.com

Since winning Plácido Domingo's Operalia Singing Competition in 2005, Arturo's career has seen a successful steady development and his repertoire spans lyric roles from Bellini and Donizetti to Puccini and Verdi.

Arturo has received many honours and awards for his work, most recently the highly prestigious Alfonso Ortiz Tirado Medal in Mexico. He was invited to perform a solo concert with the Orquesta Filarmónica de Sonora, in Alamos, Sonora, featuring opera arias and Mexican songs. His first solo CD, Arturo Chacón le canta a México, features Mexican music and is accompanied by his hometown orchestra, Orquesta Filarmónica de Sonora on the Naxos Label.

Arturo's recent roles include his debuts as Pollione in Bellini's Norma (Beirut 2015) and at the Hamburg State Opera as Don José in Bizet's Carmen. He travelled to Tel Aviv to make his Israel Philharmonic debut as Don José under the baton of Zubin Mehta and was a last minute stand-in for the opening night in The Tales of Hoffmann at the Munich Bavarian State Opera (as Hoffmann).

Earlier this season the tenor was heard as Alfredo Germont in La traviata (opposite Plácido Domingo and Nino Machaidze), Il Duca di Mantova in Rigoletto in Mexico City, Arcadio in Catán's Florencia en el Amazonas in Los Angeles, and a concert tour through China. He also appeared in concert in his debut as Faust in Boito's Mefistofele with the Collegiate Chorale – a return to Carnegie Hall.

Arturo Chacón-Cruztenor

Arturo Chacón-Cruz has a voice that is packed with Italianate lyricism, and there is a pleasingly intimate quality to his singing.

Opera News, November 2014


Ricardo Castro (1864–1907) Intermezzo from Atzimba (1900)

Charles Gounod (1818–93) L'amour! L'amour! … Ah! Lève-toi soleil! from Roméo et Juliette* (1867)

Federico Ibarra (born 1946) Sinfonia No. 2 'Las antesalas del sueño' (1993)

María Grever (1885–1951) arranged & orchestrated by Eduardo Magallanes CalvaJúrame* (1926)

Consuelo Velásquez (1916–2005) arranged & orchestrated by Eduardo Magallanes CalvaBésame Mucho* (1941)

Agustín Lara (1897–1970) arranged & orchestrated by Eduardo Magallanes CalvaGranada* (1932)

*Texts start on page 12

Programme notes

Mexican Magic

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

Leonard Bernstein (1918–90)Symphonic Dances from West Side Story (1957)

Prologue –Somewhere –Scherzo – Mambo – Cha Cha –Meeting Scene – 'Cool' Fugue – Rumble – Finale

Silvestre Revueltas (1899–1940)Sensemayá (1938)

Arturo Márquez (born 1950)Danzón No. 2 (1994)


'There is such a cultural richness in Mexican music – its Hispanic and indigenous origins and how they mix – where melody and rhythm merge.' María Grever, the million-selling composer of Júrame and What A Difference A Day Makes was living in New York at the time, but what she said should have surprised no one. In the century in which the New World discovered its musical voice, Mexico – with its exuberant folk traditions, its links to the culture of Spain, and its deep pre-Columbian roots – would produce some of the most dynamic and distinctive creators of both popular and classical music.

Tonight's concert begins with a tradition transplanted from Europe, thriving and flowering in the Mexican sun. It traces the growth of a modern school of classical composition, which drew new strength from the political struggles of the mid-20th century. It showcases the world-conquering passion of Mexican popular song – and the moment when composers in the USA and beyond met the music of Latin America on its own terms. 'So much the better if our tradition is richer and multiple,' said the Mexican symphonist Carlos Chávez. 'To circumscribe ourselves, to fix on one thing or the other, is to impoverish ourselves.'

Speedread

When the 29-year-old violinist and composer Julián Carillo returned home in 1904, having won First Prize at the Ghent Conservatoire International Violin Commission, he was presented with an Amati violin 'as a gift from the Mexican Nation'. That gesture was a powerful symbol: in the Mexico of the early 20th century, music mattered. Even if, ran the subtext, success on European terms was what really counted.

Not that Mexico was alone in that. Throughout the Americas, composers sought a distinctively national musical voice – and from Amy Beach and Edward MacDowell in the USA to Melesio Morales and Ricardo Castro in Mexico, they looked to Europe for a language and closer to home for a subject. Imagine Verdi's Aida turned on its head and transplanted to Michoacán in the age of the Aztecs, and you've got some idea of Castro's opera Atzimba. Premiered in Mexico City early in 1900 it's the tragedy of an Aztec princess who loses her heart to a captive Spanish conquistador, shortly before he loses his heart rather more literally on the sacrificial altar. A Mexican critic was reminded of Giordano's Andrea Chénier – adding that 'the number which most pleased the audience was the Act 2 Intermezzo, which was encored'.

Modern audiences, though, might find themselves reminded of Mascagni's Cavalleria Rusticana – though Roméo's big aria from Gounod's Roméo et Juliette also gives some idea of Castro's musical roots. For those hindered by having seen Shakespeare's original, this is Romeo's 'But, soft! what light

through yonder window breaks?', filtered through the sensibility of French romantic opera. It's hard to overstate just how popular Gounod's operas were in the late 19th century, and for composers like Castro (who worked at different times in Paris, Brussels and Milan) their soaring melodies and rich but elegant orchestral writing were a masterclass in style.

Jump forward 90 years from Castro to the late 20th century, and Mexico hasn't just found a musical language of its own: it's created a symphonic tradition. A ten-minute, single movement symphony might not fit European assumptions – but in his Sinfonía No. 2 (1993), the prolific Federico Ibarra is following the form of the most celebrated of all Mexican symphonies, G

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Carlos Chávez's Sinfonía India (1936). His inspiration, though, is entirely personal. Ibarra has subtitled the symphony 'Las antesalas del sueño' ('Antechambers of dreams'), and by way of explanation, appended a quote from a surrealist poem by Xavier Villaurrutia (1903–50):

'A muffled sound Blue and numerous Captive in the spiralOf my sleeping ear.'

Ibarra has a natural sense of musical drama (he's written eight operas); and the Symphony does much more than just throw up a series of colourful and fantastic musical images, interwoven with half-conscious reminiscences of Stravinsky, Bartók and Revueltas. Rooted in a very particular classical tradition, it generates a powerful momentum in its own right.

There was a more popular way, of course, for Mexican composers to find an international voice. 'It is my wish and yearning to present the native rhythms and tunes [of Mexico] from a real perspective, but with the necessary flexibility to appeal to the universal audience,' said the Guanajuato-born songwriter (and one-time pupil of Claude Debussy) María Grever. As recorded in 1927 by the celebrity tenor and future monk José Mojica, her habañera-boléro, Júrame, did just that. Bésame Mucho ('Kiss me a Lot') by the late Consuelo Velázquez went even further; it's been recorded by everyone from Jimmy Dorsey to Dave Brubeck and The Beatles, with Velázquez's original classical inspiration – a melody from Granados's Goyescas – long forgotten.

Agustín Lara, meanwhile – or, to give him his full name, Ángel Agustín María Carlos Fausto Mariano Alfonso del Sagrado Corazón de Jesús Lara y Aguirre del Pino – now has his own statue in Madrid, for all that he was born in Tlacotalpan. The fantasia española Granada is just one reason why he became so popular in Spain; orchestral versions such as this one by the Mexican composer Eduardo Magallanes Calva have even nudged it into the repertoire of Neapolitan song. It's somehow fitting that the flamboyant Lara – with his tales of duels and romantic conquests (he fell in love with the artist Frida Kahlo's sister at the age of 13), and the facial scar that he claimed was inflicted by a jealous lover – is now

assumed by many to be Spanish or Italian, though in his native Veracruz he'll always be remembered as 'the Jarocho Schubert'.

The music of Latin America has never existed in a bubble, and across the Rio Grande in the USA, it's been part of the texture of musical life for over two centuries. Leonard Bernstein – a Jewish Harvard graduate from Boston – might not have seemed the most obvious

composer for West Side Story, a musical set in New York's Puerto Rican community. But as the son and husband of immigrants he was determined to do the story justice, assimilating popular forms into his own style and creating – as one critic put it the morning after West Side Story opened on 26 September 1957 – 'the most savage, restless, electrifying dance patterns we've been exposed to in a dozen seasons'. When the astonishing young musicians of Venezuela's Orquesta Sinfónica Simón Bolívar adopted the Mambo as a roof-raising encore, they acknowledged its place in their own tradition.

The action kicks straight in with a menacing Prologue, as tensions mount between the rival teen gangs, the white Jets and the Puerto Rican Sharks. Somewhere is lovers Tony and Maria's soaring dream of a better life, then, after the brief, playful Scherzo, the rivalry breaks loose again in the ferocious Mambo – a testosterone-charged physical face-off between the two gangs at a neighbourhood dance hall. Tony and Maria encounter each other for the first time to a gentle Cha Cha – but temperatures begin to rise as the sinister, bluesy 'Cool' Fugue finally erupts into the all-out violence of the final Rumble. Flick-knives flash, a gun is pulled – and as the drama reaches its tragic climax, Maria and the survivors

Programme notes continued

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Interval – 20 minutes


are left with only their hopes of a more tolerant world. The dance rhythms cease; Bernstein quotes Wagner, and echoes Mahler, but you're never, for a moment, anywhere other than under that freeway on New York's run-down West Side.

The generation of Mexican composers after Ricardo Castro lived through challenging times. There was a drive, an impatience and a level of political engagement in the personality of Silvestre Revueltas that would supercharge his music – even as it drove him to an early death, broken by alcoholism. He was born in Durango and studied in Chicago, but claimed that he 'found better teachers in the Mexican people and my own country'. 'I like all kinds of music,' he said later. 'I can even stand the classics and some of my own music. But I prefer the music of the people of the ranches and villages.' In the Mexico of the 1930s, that was a political statement: Revueltas was prominent in the socialist Liga de Escritores y Artistas Revolucionarios (LEAR), and although he didn't use folk-melodies, Alex Ross has compared his music to the murals – bold, energetic, somehow hyper-real – that his fellow LEAR member Diego Rivera was painting around the same time.

It was through LEAR that Revueltas met the Cuban poet Nicolás Guillén, and heard him read (with hypnotic power) his poem Sensemayá: A Chant for Killing a Snake. The poem imagines a Cuban folk-ritual for slaughtering a snake, beginning and ending with a pounding incantation: 'Mayombé-bombé-Mayombé'. Revueltas's orchestral work (1937–8) recreates the poem in musical terms: the jagged repetitive rhythm of the chant and the steadily building sense of primal, ritual violence – culminating in an ominous quiet and the

dissonant, climactic cry, 'Hit it with the axe and it dies!'. And afterwards, the dance of triumph over evil: a sense of something elemental, relentless yet necessary and cathartic. Sensemayá has been called the Mexican equivalent of Stravinsky's The Rite of Spring; it's not a bad comparison.

Arturo Márquez, meanwhile, is alive, well, and living in Mexico City. His father was a mariachi musician, and he got his first taste of orchestral music playing in the wind band at a high school in Los Angeles. And out of all that, he's created

one of the most popular orchestral pieces of recent years – this flamboyant, irresistibly danceable salute to the Cuban Danzón, composed in 1994.

A modern classic from the son of a mariachi? Lara and Grever would have understood exactly where he was coming from – so too, you suspect, would Bernstein and Revueltas. And just listen to those trumpets squeal! '[I] approach the dance rhythms in the closest possible way … to express my respect and emotivity towards genuine popular music,' says Márquez. Gustavo Dudamel and the Orquesta Sinfónica Simón Bolívar first brought this piece to the attention of British audiences in 2007, and no one who was at that BBC Prom is likely to forget it. But as Mexican music dances on into the 21st century, all the signs are that Danzón No. 2 has already taken on a life of its own.

Programme note © Richard Bratby


L'amour! L'amour! … Ah! Lève-toi soleil! L'amour, l'amour!Oui, son ardeur a troublé tout mon être!

Mais quelle soudaine clartéResplendit à cette fenêtre ?C'est là que dans la nuit rayonne sa beauté!Ah! lève-toi, soleil! fais pâlir les étoilesQui, dans l'azur sans voiles,Brillent au firmament,Ah! lève-toi! parais! parais!Astre pur et charmant!Elle rêve! Elle dénoueUne boucle de cheveuxQui vient caresser sa joue.Amour! Amour! porte-lui mes vœux!Elle parle! Qu'elle est belle!Ah! Je n'ai rien entendu!Mais ses yeux parlent pour elle,Et mon cœur a répondu!Ah! lève-toi, soleil! fais pâlir les étoiles, etc.... Viens! Parais!Libretto by Jules Barbier and Michel Carré

JúrameTodos dicen que es mentira que te quieroporque nunca me habían visto enamorado.Yo te juro que yo mismo no comprendoel porqué tu mirar me ha fascinado.

Cuando estoy cerca de ti estoy contento.No quisiera que de nadie te acordaras.Tengo celos hasta del pensamientoque pueda recordarte a otra persona amada.

Júrameque aunque pase mucho tiempono olvidarás en el momentoen que yo te conocí.

Mírame,pues no hay nada más profundoni más grande en este mundoque el cariño que te di.María Grever

Love! Love!Ay, its intensity has disturbed my very being![A light comes on in Juliet's window.]But what sudden lightthrough yonder window breaks?'Tis there that by night her beauty shines!Ah, arise, o sun! Turn pale the starsthat, unveiled in the azure,do sparkle in the firmament.Ah, arise! Ah, arise! Appear! Appear,thou pure and enchanting star!She is dreaming, she loosensa lock of hairwhich falls to caress her cheek.Love! Love, carry my vows to her!She speaks! How beautiful she is!Ah, I heard nothing.But her eyes speak for herand my heart has answered!Ah, arise, o sun! Turn pale the stars, etc.... come thou, appear!

Swear Your LoveOf my love for you they all say that I'm lyingbecause never have they seen me so enamoured,and I swear that I have never comprehendedwhy it is your gaze for me's so fascinating.

When I'm near you that is when I can be happy.I don't want you to remember any other.I am jealous of each thought and every memorythat you might have for any past or future lover.

Swear to methat however much time passesyou will not forget those glanceswhen I first came knowingly.

Look at me,there's no feeling more profound,on earth greater and unbound,than the affection I let free.

Texts


Bésame muchoBésame, bésame muchoComo si fuera esta nocheLa última vez.Bésame, bésame muchoQue tengo miedo a tenerteY perderte otra vez.

Bésame, bésame mucho, etc.

Quiero tenerte muy cercaMirarme en tus ojosVerte junto a miPiensa que tal vez mañanaYo ya estaré lejos,Muy lejos de tiConsuelo Velázquez

GranadaGranada tierra soñada por míMi cantar se vuelve gitanoCuando es para ti.

Mi cantar hecho de fantasía,Mi cantar flor de melancolíaQue yo te vengo a dar.

Granada tierra ensangrentadaEn tardes de toros.Mujer que conserva el embrujoDe los ojos moros.

Te sueño rebelde y gitanaCubierta de floresY beso tu boca de granaJugosa manzanaQue me habla de amores.

Granada manola cantadaEn coplas preciosas.No tengo otra cosa que darteQue un ramo de rosas.De rosas de suave fragancia,Que le dieron marco a la virgen morena.

Granada tu tierra esta llenaDe lindas mujeresDe sangre y de sol.Agustín Lara

Kiss me a LotKiss me, kiss me a lotAs if tonight wereThe last time.Kiss me, kiss me a lotFor I am afraid of having youAnd losing you all over again.

Kiss me, kiss me a lot, etc.

I want to have you close to meTo see myself in your eyesTo see you next to meThink that perhaps tomorrowI will be far,So far away from you

GranadaGranada, land of dreams for meMy song becomes gypsy-likeWhen it is for you.

My song made of fantasy,My song a melancholy flowerThat I come to give to you.

Granada, blood-stained soilIn bull fight afternoons.Woman who preserves the enchantmentOf Moorish eyes.

I dream of you rebellious, a gypsyCovered with flowersAnd I kiss your scarlet mouthJuicy appleThat speaks to me of love.

Granada, manola, sungIn precious verses.I have nothing else to give youThan a bouquet of roses,Of roses of sweet fragranceThat framed the dark virgin.

Granada your land is fullOf lovely womenof blood and sun.


at Royal Festival Hall

Sunday 8 November | 12.00pmPIRATES!FUNharmonics family concert

Tickets: Children £5–£9 | Adults £10–£18

Wednesday 11 November |7.30pm

Fauré Suite, Pelléas et Mélisande Magnus Lindberg Violin Concerto No. 1 Ravel Valses nobles et sentimentales Debussy La mer

Robin Ticciati conductor Christian Tetzlaff violin

Wednesday 25 November | 7.30pm

Dvořák Cello Concerto Mahler Symphony No. 1

Andrés Orozco-Estrada conductor Johannes Moser cello

Friday 27 November | 7.30pm JTI FRIDAY SERIES

Liadov From the Apocalypse Prokofiev Piano Concerto No. 2 Sibelius Symphony No. 1

Susanna Mälkki conductor Beatrice Rana piano

Recorded for broadcast on BBC Radio 3

Friday 4 December 2015 | 7.30pmJTI FRIDAY SERIES

Puccini Tosca (excerpts) Rota Suite, La Strada Respighi Pines of Rome

Enrique Mazzola conductor Maria Luigia Borsi Tosca Thiago Arancam Cavaradossi Vittorio Vitelli Scarpia

Wednesday 9 December 2015 | 7.30pm

Wagenaar Overture, Cyrano de BergeracMagnus Lindberg Violin Concerto No. 2 (world premiere)* Beethoven Symphony No. 7

Jaap van Zweden conductor Frank Peter Zimmermann violin

*Commissioned by the London Philharmonic Orchestra, New York Philharmonic, Berliner Philharmoniker and Swedish Radio Symphony Orchestra.

Live broadcast on BBC Radio 3

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.


Autumn heralds fresh-faced students returning to or starting at universities across the country. The LPO’s NOISE scheme entitles students and under 26 year-olds to £4 and £8 seats to selected concerts in London and all four concerts in the Brighton season. As part of the scheme, we recruit student representatives at universities and colleges across London and Brighton to help publicise NOISE. This month we attended Freshers’ Fairs at Brighton University and Sussex University to get as many students signed up as possible, whilst successfully recruiting a student representative from Brighton University.

Alongside NOISE the LPO jointly runs Student Pulse, an app providing discounted ticket and loyalty scheme for classical music concerts across London, with eight of London’s best orchestras and venues. Throughout September we attended Freshers’ Fairs across London to promote the app and were delighted with the number of students we helped to recruit at London School of Economics and the University of London.

We’re now busy preparing for the next NOISE concerts in November and we look forward to seeing some of you there!

Students receive best available seats for just £4 plusFREE post-concert drinks courtesy of Heineken at selected concerts throughout the year.Sign up online and find out more at www.lpo.org.uk/noise

Student & Under 26 NOISE Scheme at Southbank Centre’s Royal Festival Hall

‘@LPOrchestra I don’t know much about classical music but I do know when I am listening to something amazing’

‘Listening to the @LPOrchestra is one of the best things to do in life’

‘London concert-goers are lucky to have concerts as creative as this’ Financial Times

‘@LPOrchestra bring it on!’

MAKING A


Wednesday 11 November 2015 7.30pm

French ImpressionsFauré Suite, Pelléas et MélisandeMagnus Lindberg Violin Concerto No. 1Ravel Valses nobles et sentimentalesDebussy La mer

Robin Ticciati conductorChristian Tetzlaff violin

Debussy’s orchestral depiction of the sea, unrivalled in its subtlety and evocation, swells with all the surging currents and surface spray of the ocean. Debussy’s stunningly sensory work is matched with the clarity and luminous restraint that imbues Fauré’s Pelléas and Mélisande Suite, Magnus Lindberg’s Violin Concerto, and Ravel’s teasing French waltzes.

Friday 4 December 2015 7.30pm

The Pines of RomePuccini Tosca (excerpts)Rota Suite, La StradaRespighi Pines of Rome

Enrique Mazzola conductorMaria Luigia Borsi ToscaThiago Arancam CavaradossiVittorio Vitelli Scarpia

JTI FRIDAY SERIES

Even Respighi was moved beyond expectation at the first performance of his imposing orchestral cityscape Pines of Rome, in which ‘the centuries-old trees, which dominate the Roman landscape, become witnesses to the principal events in Roman life.’ Before Respighi’s spectacular tone poem, we hear more music with Rome at its heart: Italian film maestro Nino Rota’s sparkling La Strada Suite, and excerpts from Puccini’s Tosca, arguably his most intense, raw, cruel and compulsive opera.

From the mountains, to the cities, to the sea

Music to take you on a journey to another time and place

lpo.org.uk/journeys

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.

at Royal Festival Hall

‘ Art is the most beautiful deception of all. And although people try to incorporate the everyday events of life in it, we must hope that it will remain a deception lest it become a utilitarian thing, sad as a factory’

Claude Debussy


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 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 CookDavid 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 Bruno de KegelMr David EdgecombeMr Timothy Fancourt QCMr Richard FernyhoughWim 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 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 Yoeand 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 SpeechlysLazardLeventis Overseas

Preferred Partners Corinthia Hotel London Heineken Sipsmith Steinway Villa Maria

In-kind SponsorsGoogle Inc

Trusts and Foundations Angus Allnatt Charitable 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 Leche 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 Dr. Joseph MulvehillHarvey 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 DuffyEducation 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 (maternity leave)

Sarah BreedenPublications Manager (maternity cover)

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.

Front cover photograph: Ilyoung Chae, First Violin © Benjamin Ealovega. Cover design/ art direction: Ross Shaw @ JMG Studio.

Printed by Cantate.

London Philharmonic Orchestra 6 November 2015 Concert Programme

Documents

Transcript of London Philharmonic Orchestra 6 November 2015 Concert Programme