London Philharmonic Orchestra Vladimir Jurowski, Conductor Jan Lisiecki, Piano Sofia Fomina, Soprano (New York debut)

The Program Sunday, February 26, 2017 at 3:00 pm Symphonic Masters London Philharmonic Orchestra Vladimir Jurowski, Conductor Jan Lisiecki, Piano Sofia Fomina, Soprano (New York debut) GLINKA Valse-Fantaisie (1839 56) CHOPIN Piano Concerto No. 1 in E minor (1830) Allegro maestoso Larghetto Rondo: Vivace Intermission MAHLER Symphony No. 4 in G major (1899 1900) Bedächtig: Nicht eilen In gemächlicher Bewegung Ruhevoll Sehr behaglich Please make certain all your electronic devices are switched off. These programs are supported by the Leon Levy Fund for Symphonic Masters. Symphonic Masters is made possible in part by endowment support from UBS. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Steinway Piano David Geffen Hall

Great Performers Support is provided by Rita E. and Gustave M. Hauser, Audrey Love Charitable Foundation, Great Performers Circle, Chairman s Council, and Friends of Lincoln Center. Public support is provided by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. Endowment support for Symphonic Masters is provided by the Leon Levy Fund. Endowment support is also provided by UBS. American Airlines is the Official Airline of Lincoln Center Nespresso is the Official Coffee of Lincoln Center NewYork-Presbyterian is the Official Hospital of Lincoln Center The London Philharmonic Orchestra is generously supported by Dunard Fund and the American Friends of the London Philharmonic Orchestra. UPCOMING GREAT PERFORMERS EVENTS: Thursday, March 9 at 7:30 pm in Alice Tully Hall Takács Quartet Anthony McGill, clarinet BRAHMS: Clarinet Quintet HAYDN: String Quartet in F major, Op. 77, No. 2 RAVEL: String Quartet in F major Pre-concert lecture by Christopher H. Gibbs at 6:15 pm in the Stanley H. Kaplan Penthouse Wednesday, March 15 at 7:30 pm in Alice Tully Hall Les Arts Florissants William Christie, conductor Xavier de Maistre, harp Music for Marie Antoinette MOZART: Eine kleine Nachtmusik KRUMPHOLTZ: Harp Concerto HAYDN: Symphony No. 85 ( La reine ) HERMANN: Harp Concerto No. 1 Sunday, April 9 at 5:00 pm in Alice Tully Hall Lars Vogt, piano BACH: Goldberg Variations For tickets, call (212) 721-6500 or visit LCGreatPerformers.org. Call the Lincoln Center Info Request Line at (212) 875-5766 to learn about program cancellations or to request a Great Performers brochure. Visit LCGreatPerformers.org for more information relating to this season s programs. Join the conversation: #LCGreatPerfs We would like to remind you that the sound of coughing and rustling paper might distract the performers and your fellow audience members. In consideration of the performing artists and members of the audience, those who must leave before the end of the performance are asked to do so between pieces. The taking of photographs and the use of recording equipment are not allowed in the building.

Great Performers Snapshot By Christopher H. Gibbs Mikhail Glinka, long recognized as the first great Russian composer, originally wrote his Valse-Fantaisie for piano in 1839 and thought highly enough of this haunting series of waltzes to orchestrate it later. He featured the work on an important orchestral concert he gave in Paris in 1845, which his friend and advocate Hector Berlioz praised by stating that Glinka may with good reason claim a place among the outstanding composers of his time. This afternoon s program juxtaposes a master of the keyboard with a master of the orchestra. As a brilliant teenager, Frédéric Chopin wrote a number of works for piano and orchestra that he used as his musical calling card not only in his native Poland, but also in Vienna, Germany, and eventually in Paris, where he lived for most of his mature years. His Piano Concerto No. 1 in E minor, which he premiered at age 20, already exhibits his astounding mixture of boldness, lyricism, inwardness, virtuosity, and exoticism. Gustav Mahler s symphonies fall into three distinct phases: the first four written under the spell of the German folk poetry anthology Des Knaben Wunderhorn ( The Youth s Magic Horn ); a middle trilogy of more abstract and purely instrumental symphonies; and haunting late works that seem to say farewell to life. The Fourth Symphony concludes the most public, programmatic, and folk-inspired phase of Mahler s career while also pointing toward the greater inwardness to come. The entire symphony grows from the section he composed first, its concluding movement featuring a soprano soloist singing the Wunderhorn poem Das himmlische Leben ( The Heavenly Life ), which tells of a child s innocent idea of blissful existence in heaven. Timeframe ARTS 1830 Chopin s Piano Concerto No. 1 Eugène Delacroix paints La Liberté guidant le peuple. 1856 Glinka s Valse-Fantaisie Walt Whitman self-publishes the second edition of Leaves of Grass. 1900 Mahler s Symphony No. 4 L. Frank Baum publishes the novel The Wonderful Wizard of Oz. SCIENCE 1830 First map of the surface of Mars produced 1856 First remains of Neanderthal man found in Neandertal Valley, Germany 1900 Max Planck produces Planck s law, marking the birth of quantum physics. IN NEW YORK 1830 Fortress Prison, known as the Tombs, is built. 1856 The Smallpox Hospital opens on what is now called Roosevelt Island. 1900 Construction begins on the subway system. Copyright 2017 by Christopher H. Gibbs

Great Performers Notes on the Program By Christopher H. Gibbs Valse-Fantaisie (1839 56) MIKHAIL IVANOVICH GLINKA Born June 1, 1804 in Novospasskoye, Russia Died February 15, 1857 in Berlin Approximate length: 6 minutes Glinka is widely considered the first great Russian composer. In the absence of music conservatories in his native land, he honed his gifts with four years of study in Italy and Germany. Upon his return to Russia he wrote A Life for the Tsar, regarded as the founding Russian opera, and then the less successful Ruslan and Lyudmila, whose overture remains an orchestral favorite. Glinka also composed distinguished chamber, keyboard, vocal, and orchestral music. The Valse-Fantaisie is a relatively early work he originally wrote for piano in 1839. It is sometimes known as the melancholy waltz and may have been partly inspired by time he spent in Vienna, where he got to know the dance music of Josef Lanner and the elder Johann Strauss. Like their works, it offers a series of waltzes with some recurring sections. Glinka later orchestrated the piece and featured it on an important concert in Paris in 1845. (He revised the orchestration not long before his death.) His friend Hector Berlioz, whose music greatly influenced him, wrote an enthusiastic review of the concert, praising the scherzo in waltz form that was warmly applauded by the glittering audience. Berlioz found the piece full of spirit and exceedingly piquant rhythmic coquetteries that are really new and superbly developed. This talent is very rare, and when the composer adds to it that of a refined harmonic sense and of a fine, clean orchestration, flawless and full of color, he may with good reason claim a place among the outstanding composers of his time. Piano Concerto No. 1 in E minor, Op. 11 (1830) FRÉDÉRIC CHOPIN Born March 1, 1810, in Zelazowa Wola, Poland Died October 17, 1849, in Paris Approximate length: 39 minutes In what turned out to be a successful bid to boost his professional career in his native Poland, the teenage Chopin did what had worked for Mozart, Beethoven, and others before him: He wrote pieces for piano and orchestra that displayed his gifts as both an instrumentalist and composer. He already had many solo keyboard pieces to his name, but they were generally aimed for domestic consumption, not for public concerts. In addition to the two famous concertos the 19-year-old Chopin wrote in 1829 30, he produced several less familiar works for piano with orchestra, including his Variations

Great Performers I Notes on the Program on Mozart s Là ci darem la mano, Op. 2, that won Schumann s enthusiastic support in a famous review declaring: Hats off, gentlemen, a genius! Because of their order of publication, the chronology of Chopin s concertos is reversed. Both were written in the space of less than a year at age 19 and 20. He began composing the F-minor Concerto, Op. 21, in the fall of 1829, upon returning from a triumphant trip to Vienna, and gave its premiere at the National Theater in Warsaw on March 17, 1830. Its success prompted him to write the E-minor Concerto, Op. 11, which premiered at the same venue in October. That concert proved to be Chopin s farewell to Poland; he never played there again, although he had no way of knowing that at the time. Three weeks later he left Poland for Vienna, where he performed the E-minor Concerto, before eventually settling in Paris, where he lived the rest of his life. The opening movement uses the so-called double exposition typical of Classical concertos in which the orchestra presents the core thematic material and the soloist waits some time before re-presenting it. The coloratura keyboard writing, reminiscent in some respects to the vocal style of Bellini s operas, is already apparent in this movement. Of the second movement, Chopin wrote to a friend that it was not meant to create a powerful effect; it is rather a Romance, calm and melancholy, giving the impression of someone looking gently toward a spot that calls to mind a thousand happy memories. The finale is a Polish dance, in this case a krakowiak. During rehearsals, Chopin remarked, The Rondo, I think, will go down well with everyone. And so it does. Symphony No. 4 in G major (1899 1900) GUSTAV MAHLER Born July 7, 1860, in Kaliště, Bohemia Died May 18, 1911, in Vienna Approximate length: 55 minutes By conventional 19th-century standards, Mahler s Fourth Symphony is imposing in length and instrumentation, and extraordinary in ending with a movement featuring soprano soloist. But for later audiences ones familiar with all of the composer s symphonies the Fourth may seem modest, intimate, and classical. It is his shortest, calls for the smallest orchestra, and employs some traditional symphonic forms. This is Mahler s most normal symphony and his happiest. At least that is what many commentators have said about it for more than a century, despite the fact that with a composer so prone to irony, things may not be as straightforward as they initially appear. By 1901, when Mahler conducted the symphony s premiere in Munich, he was one of the leading musical figures in Europe. His appointment four years earlier to the directorship of the Vienna Court Opera had placed him in a position of enormous power, earning him adoring fans as well as implacable foes. The consuming demands of the job relegated composition mainly to summers, with revisions and orchestrations squeezed in when possible during the regular season.

Great Performers I Notes on the Program After writing his first three symphonies, each increasingly long and complex, Mahler had reached something of a limit and in 1899 struck out in new directions. His earlier symphonies all had programs of some sort stories, titles, and poems extra-musical baggage that he increasingly sought to suppress. The Fourth Symphony s rather complicated genesis accounts for some of its special characteristics. For more than a decade, beginning in the mid-1880s, Mahler was obsessed with the folk poems Des Knaben Wunderhorn ( The Youth s Magic Horn ), a three-volume collection compiled in the early 19th century. One of the texts, Das himmlische Leben ( The Heavenly Life ), relates a child s innocent idea of blissful existence in heaven. Mahler first set the poem for voice and piano in February 1892 and orchestrated it soon afterward. A few years later he decided to end his Third Symphony destined to be the longest ever written by a major composer with the song as its seventh movement. He eventually changed his mind and chose to divert the song to conclude his next symphony. Mahler originally planned for the Fourth Symphony to have six movements, three of them songs, leading to Das himmlische Leben. Although he eliminated the other vocal movements, and suppressed most of the programmatic elements, the heavenly Wunderhorn song remained, becoming the seed that generated the entire symphony. Melodic, rhythmic, and instrumental ideas drawn from both its vocal and orchestral parts are evident in the first three movements. Mahler retained the song s rather modest orchestration, which omitted trombones and tuba, even though he regretted not having recourse to lower brass for the climax of the slow movement. The unusual sound of sleigh bells, which marvelously open the symphony, is derived from the instrumental refrain that separates the song s stanzas. Das himmlische Leben also provided the fundamental vision of the symphony, although Mahler ultimately decided not to divulge any program. He told his confidante Natalie Bauer-Lechner: I know the most wonderful names for the movements, but I will not betray them to the rabble of critics and listeners so they can subject them to banal misunderstandings and distortions. The sleigh bells that open the first movement set a pastoral tone that pervades the work. This sunny landscape, however, darkens in the middle of the movement. The scherzo second movement unleashes more demonic powers. The concertmaster at times plays an instrument tuned up one tone. Mahler originally subtitled the movement Friend Death Strikes Up the Dance. The profound slow movement has the character of a lullaby elaborated in a set of variations. The final vocal movement is charming, wise, and difficult to pin down. Mahler provides an intriguing performance instruction: To be sung with childlike, cheerful expression; entirely without parody. Christopher H. Gibbs is James H. Ottaway Jr. Professor of Music at Bard College. Copyright 2017 by Christopher H. Gibbs

Great Performers I Texts and Translations Das himmlische Leben Text: Das Knaben Wunderhorn Wir genießen die himmlischen Freuden, D rum tun wir das Irdische meiden, Kein weltlich Getümmel Hört man nicht im Himmel! Lebt Alles in sanftester Ruh! Wir führen ein englisches Leben! Sind dennoch ganz lustig daneben! Wir tanzen und springen, Wir hüpfen und singen! Sankt Peter im Himmel sieht zu! Johannes das Lämmlein auslasset, Der Metzger Herodes drauf passet! Wir führen ein geduldig s, Unschuldig s, geduldig s, Ein liebliches Lämmlein zu Tod! Sankt Lucas den Ochsen tät schlachten Ohn einig s Bedenken und Achten, Der Wein kost kein Heller Im himmlischen Keller, Die Englein, die backen das Brot. Gut Kräuter von allerhand Arten, Die wachsen im himmlischen Garten! Gut Spargel, Fisolen Und was wir nur wollen! Ganze Schüsseln voll sind uns bereit! Gut Äpfel, gut Birn und gut Trauben! Die Gärtner, die alles erlauben! Willst Rehbock, willst Hasen? Auf offener Straßen Sie laufen herbei! Sollt ein Fasttag etwa kommen, Alle Fische gleich mit Freuden angeschwommen! Dort läuft schon Sankt Peter Mit Netz und mit Köder Zum himmlischen Weiher hinein. Sankt Martha die Köchin muß sein! The Heavenly Life Trans.: Emily Ezust We enjoy the heavenly pleasures and avoid the earthly things. No worldly tumult does one hear in Heaven! Everything lives in the gentlest peace! We lead an angelic life! Nevertheless we are very merry: We dance and leap, hop and sing! Meanwhile, Saint Peter in the sky looks on. Saint John has let his little lamb go to the butcher Herod. We lead a patient, innocent, patient, a dear little lamb to death! Saint Luke slaughters oxen without giving it thought or attention. Wine costs not a penny in Heaven s cellar, and angels bake the bread. Good vegetables of all sorts grow in Heaven s garden! Good asparagus, beans and whatever we wish! Full bowls are ready for us! Good apples, good pears and good grapes! The gardener permits us everything! Would you like roebuck, would you like hare? In the very streets they run by! Should a fast-day arrive, all the fish swim up to us with joy! Over there, Saint Peter is running already with his net and bait to the heavenly pond. Saint Martha must be the cook!

Great Performers I Texts and Translations Kein Musik ist ja nicht auf Erden, Die uns rer verglichen kann werden. Elftausend Jungfrauen Zu tanzen sich trauen! Sankt Ursula selbst dazu lacht! Cäcilia mit ihren Verwandten Sind treffliche Hofmusikanten! Die englischen Stimmen Ermuntern die Sinnen! Daß Alles für Freuden erwacht. No music on earth can be compared to ours. Eleven thousand maidens dare to dance! Even Saint Ursula herself is laughing! Cecilia and all her relatives are splendid court musicians! The angelic voices rouse the senses so that everything awakens with joy. Translation copyright by Emily Ezust

Great Performers I Meet the Artists Meet the Artists Vladimir Jurowski 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, as well as his debut at Royal Opera House, Covent Garden with Nabucco. Mr. Jurowski was appointed principal guest conductor of the London Philharmonic Orchestra in 2003, becoming principal conductor in 2007. In 2015 he was appointed the next chief conductor and artistic director of the Berlin Radio Symphony Orchestra, a position he will take up this coming September. He also maintains his position as artistic director of the State Academic Symphony Orchestra of Russia (Svetlanov Symphony Orchestra). SHEILA ROCK Mr. Jurowski is a regular guest with many leading orchestras in Europe and North America, including the Berlin and New York Philharmonics, Royal Concertgebouw Orchestra, Philadelphia and Cleveland Orchestras, Boston and Chicago Symphony Orchestras, as well as Zurich Tonhalle Orchestra, Mahler Chamber Orchestra, and Staatskapelle Dresden. He has also been principal guest conductor of the Russian National Orchestra (2005 09) and music director of Glyndebourne Festival Opera (2001 13). Future highlights include his Salzburg Festival debut with Wozzeck, and his first return to Glyndebourne, as a guest conductor, to lead the world premiere production of Brett Dean s Hamlet. Mr. Jurowski s opera engagements have included Rigoletto, Jenu fa, The Queen of Spades, Hansel and Gretel, and Die Frau ohne Schatten at the Metropolitan Opera; Parsifal and Wozzeck at Welsh National Opera; War and Peace at the Opéra National de Paris; Eugene Onegin at the Teatro alla Scala; Ruslan and Lyudmila at the Bolshoi Theatre; and numerous operas at Glyndebourne including Otello, Macbeth, Falstaff, and Tristan und Isolde. In 2015 he returned to the Komische Oper in Berlin for a critically acclaimed new production of Moses und Aron.

Great Performers I Meet the Artists MATHIAS BOTHOR Jan Lisiecki Just 21, Canadian pianist Jan Lisiecki has won acclaim for his extraordinary interpretive maturity, distinctive sound, and poetic sensibility. His insightful interpretations, refined technique, and natural affinity for art give him a musical voice that belies his age. Born in Calgary to Polish parents, Mr. Lisiecki began piano lessons at the age of five, and made his concerto debut four years later. In 2011 Deutsche Grammophon signed an exclusive contract with Mr. Lisiecki when he was just 15 years old. His fourth album for the label presents Chopin s seldom-performed works for piano and orchestra with NDR Elbphilharmonie Orchester and Krzysztof Urbański. Performance highlights include his 2013 appearance with Claudio Abbado and Orchestra Mozart, his BBC Proms debut with Antonio Pappano at Royal Albert Hall, and engagements with the New York Philharmonic and the Philadelphia Orchestra, as well as subscription debuts with the Cleveland Orchestra and San Francisco Symphony. He has performed with many of the world s leading orchestras, including Orchestre de Paris, NHK Symphony Orchestra, Zurich Tonhalle Orchestra, and BBC Symphony Orchestra, at venues such as Suntory Hall, Lincoln Center, Kennedy Center, Barbican Centre, and Royal Albert Hall. Mr. Lisiecki s 2016 debut in the main auditorium at Carnegie Hall with the Philadelphia Orchestra was met with rave reviews. Highlights of the current season include a tour with the London Philharmonic Orchestra conducted by Vladimir Jurowski and performing in the opening festival of the new Elbphilharmonie in Hamburg. In 2013 Mr. Lisiecki received the Leonard Bernstein Award at Schleswig- Holstein Music Festival and was also named as Gramophone magazine s Young Artist of the Year. He has cultivated relationships with prominent conductors including Pappano, Yannick Nézet-Séguin, Daniel Harding, and Pinchas Zukerman. Mr. Lisiecki is also involved in charity work, donating his time and performances to various organizations. In 2012 he was named UNICEF Ambassador to Canada, having been a National Youth Representative since 2008.

Great Performers I Meet the Artists ALECSANDRA RALUCA DRAGOI & OLGA MARTINEZ Sofia Fomina Born in Russia, Sofia Fomina studied at the Orlovsky Music College and the Gnesin Academy of Music in Moscow. Her career began at the Novosibirsk Opera Theatre, where she sang roles including Despina in Così fan tutte and Susanna in Le nozze di Figaro. She later joined the ensemble of the State Theatre of Saarbrucken. From 2013 to 2015 she was a member of Frankfurt Opera, where her engagements included Onoria in a new production of Gluck s Ezio, Nanetta in a new production of Falstaff, Queen of the Night in Die Zauberflöte, and Sophie in Werther. Recent operatic successes include her performance as Jemmy in Guillaume Tell and, earlier this season, Olympia in Tales of Hoffmann at the Royal Opera House, Covent Garden, as well as her debut at Paris Opera as Blondchen in a new production of Die Entführung aus dem Serail. Last season she appeared as both Blondchen and Oscar in a new production of Un Ballo in maschera at Bavarian State Opera. Her recent concert engagements include Marzelline in a concert version of Fidelio at Royal Festival Hall with the London Philharmonic Orchestra and at Amsterdam s Concertgebouw; with Theater an der Wien as Aquillo in a concert performance of Adriano in Siria; with Orchestra dell Accademia Nazionale di Santa Cecilia for New Year s Gala performances of Die Fledermaus; and Mussorgsky s The Nursery and Mahler s Symphony No. 4 on tour with the Mahler Chamber Orchestra, Gerald Finley, and Vladimir Jurowski. Ms. Fomina also made her debut with the City of Birmingham Symphony Orchestra in a concert version of Falstaff, conducted by Edward Gardner. In 2016 17 Ms. Fomina makes her company debuts with Théâtre du Capitole de Toulouse as Berthe in a new production of Meyerbeer s Le Prophète, and with Russia s Perm Opera and Ballet Theatre in La bohème. She also returns to the London Philharmonic Orchestra for Mahler s Symphony No. 8 and Symphony No. 4 in London and Dresden. London Philharmonic Orchestra The London Philharmonic Orchestra balances a long and distinguished history with a reputation as one of the U.K. s most forward-looking ensembles. In addition to concert performances, the orchestra records film 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 Thomas Beecham in 1932, and has since been

Great Performers I Meet the Artists headed by many great conductors including Adrian Boult, Bernard Haitink, Georg Solti, Klaus Tennstedt, and Kurt Masur. Its current principal conductor is Vladimir Jurowski, appointed in 2007. Andrés Orozco-Estrada took up the position of principal guest conductor in September 2015. The London Philharmonic Orchestra has been performing at Southbank Centre s Royal Festival Hall since it opened in 1951, becoming resident orchestra in 1992. It also has flourishing residencies in Brighton and Eastbourne, and in summer plays for Glyndebourne Festival Opera where it has been resident symphony orchestra for over 50 years. Touring abroad forms a significant part of the orchestra s schedule: Highlights of the 2016 17 season include visits to New York, Germany, Hungary, Spain, France, Belgium, the Netherlands, and Switzerland. The London Philharmonic Orchestra broadcasts regularly on television and radio. It also works with the Hollywood and U.K. film industries, recording soundtracks for blockbusters including the Oscar-winning score for The Lord of the Rings trilogy. In 2005 it established its own record label. In 2012 the orchestra performed as part of the Queen s Diamond Jubilee Pageant on the 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 orchestra s energetic program of activities for young people including the BrightSparks school concerts and FUNharmonics family concerts. Lincoln Center s Great Performers Initiated in 1965, Lincoln Center s Great Performers series offers classical and contemporary music performances from the world s outstanding symphony orchestras, vocalists, chamber ensembles, and recitalists. One of the most significant music presentation series in the world, Great Performers runs from October through June with offerings in Lincoln Center s David Geffen Hall, Alice Tully Hall, Walter Reade Theater, and other performance spaces around New York City. From symphonic masterworks, lieder recitals, and Sunday morning coffee concerts to films and groundbreaking productions specially commissioned by Lincoln Center, Great Performers offers a rich spectrum of programming throughout the season. Lincoln Center for the Performing Arts, Inc. Lincoln Center for the Performing Arts (LCPA) serves three primary roles: presenter of artistic programming, national leader in arts and education and community relations, and manager of the Lincoln Center campus. A presenter of more than 3,000 free and ticketed events, performances, tours, and educational activities annually, LCPA offers 15 programs, series, and festivals including American Songbook, Great Performers, Lincoln Center Festival,

Great Performers Lincoln Center Out of Doors, Midsummer Night Swing, the Mostly Mozart Festival, and the White Light Festival, as well as the Emmy Award winning Live From Lincoln Center, which airs nationally on PBS. As manager of the Lincoln Center campus, LCPA provides support and services for the Lincoln Center complex and the 11 resident organizations. In addition, LCPA led a $1.2 billion campus renovation, completed in October 2012. Lincoln Center Programming Department Jane Moss, Ehrenkranz Artistic Director Hanako Yamaguchi, Director, Music Programming Jon Nakagawa, Director, Contemporary Programming Jill Sternheimer, Director, Public Programming Lisa Takemoto, Production Manager Charles Cermele, Producer, Contemporary Programming Mauricio Lomelin, Producer, Contemporary Programming Andrew C. Elsesser, Associate Director, Programming Regina Grande Rivera, Associate Producer Nana Asase, Assistant to the Artistic Director Luna Shyr, Senior Editor Olivia Fortunato, Programming Assistant Mary E. Reilly, Program Content Coordinator

Great Performers I Meet the Artists RICHARD CANNON London Philharmonic Orchestra Timothy Walker AM, Chief Executive and Artistic Director Vladimir Jurowski, Principal Conductor and Artistic Advisor Andrés Orozco-Estrada, Principal Guest Conductor HRH The Duke of Kent KG, Patron Violin I Pieter Schoeman Liana Gourdjia Vesselin Gellev Ilyoung Chae Catherine Craig Thomas Eisner Martin Höhmann Geoffrey Lynn Robert Pool Sarah Streatfeild Yang Zhang Grace Lee Rebecca Shorrock Caroline Sharp Violin II Andrew Storey Helena Smart Jeongmin Kim Tania Mazzetti Kate Birchall Nancy Elan Fiona Higham Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Ashley Stevens Robin Wilson Harry Kerr Sheila Law Viola Cyrille Mercier Gregory Aronovich Katharine Leek Susanne Martens Benedetto Pollani Laura Vallejo Naomi Holt Alistair Scahill Daniel Cornford Sarah Malcolm Cello Kristina Blaumane Pei-Jee Ng Francis Bucknall Santiago Carvalho David Lale Elisabeth Wiklander Sue Sutherley Susanna Riddell Helen Rathbone Sibylle Hentschel Bass Kevin Rundell Sebastian Pennar George Peniston Laurence Lovelle Damián Rubido González Tom Walley Lowri Morgan Flute Juliette Bausor Sue Thomas Stewart McIlwham Clare Childs Oboe Ian Hardwick Alice Munday Sue Böhling Clarinet Timothy Lines Thomas Watmough Paul Richards Bassoon Jonathan Davies Gareth Newman Simon Estell Horn David Pyatt John Ryan Martin Hobbs Mark Vines Gareth Mollison Trumpet Paul Beniston Anne McAneney Toby Street Bass Trombone Lyndon Meredith Timpani Simon Carrington Percussion Andrew Barclay Henry Baldwin Keith Millar Jeremy Cornes Harp Rachel Masters Management Timothy Walker Sophie Kelland Andrew Chenery Sarah Holmes Christopher Alderton Damian Davis