LPO concert programme: 12 Feb 2023 Eastbourne - Poetry and Passion (Gergely Madaras/Zlatomir Fung)

2022/23 concert season at Congress Theatre

Where music takes you

Concert programme

Principal Conductor Edward Gardner supported by Aud Jebsen

Principal Guest Conductor Karina Canellakis

Conductor Emeritus Vladimir Jurowski Patron HRH The Duke of Kent KG

Artistic Director Elena Dubinets Chief Executive David Burke

Leader Pieter Schoeman supported by Neil Westreich

Brighton Dome Concert Hall

Saturday 11 February 2023 | 7.30pm

Congress Theatre, Eastbourne

Sunday 12 February 2023 | 3.00pm

Poetry and Passion

Tchaikovsky

Romeo and Juliet: Fantasy Overture (21’)

Tchaikovsky

Variations on a Rococo Theme (18’)

Interval (20’)

Tchaikovsky

Symphony No. 5 (47’)

Gergely Madaras conductor

Zlatomir Fung* cello

* LPO Alexandra Jupin Award recipient: an annual award for an artist making their debut with the London Philharmonic Orchestra.

Contents

2 Welcome

4 London Philharmonic Orchestra

5 Leader: Pieter Schoeman

The timings shown are not precise and are given only as a guide. Concerts presented by the London Philharmonic Orchestra in association with Brighton Dome & Eastbourne Borough Council

Saturday 11

February

Welcome to Brighton Dome

Chief Executive Andrew Comben

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

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

Smoking Brighton Dome is a no-smoking venue.

Interval drinks may be ordered in advance at the bar to avoid queues.

Photography is not allowed in the auditorium.

Recording is not allowed in the auditorium.

Mobiles and watches should be switched off before entering the auditorium.

The concert at Brighton Dome on 11 February 2023 is presented by the London Philharmonic Orchestra in association with Brighton Dome.

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

Sunday

12 February

Welcome to the Congress Theatre

Theatre Director Chris Jordan

Welcome to this afternoon’s performance. As always, we are pleased to welcome back the London Philharmonic Orchestra and its patrons to the Congress Theatre. Whether this is your first visit or you are a season regular, we hope you enjoy your experience at our venue.

The Congress Theatre and the London Philharmonic Orchestra have a wonderful history together: the LPO gave the first ever performance at this Grade II listed building when it originally opened in 1963, and the first performance when it re-opened after refurbishment in 2017. The Orchestra has now performed over 350 concerts here, and as it celebrates its 90th anniversary this season we look forward to strengthening our relationship even further in the years to come and creating many more musical memories together.

The historic theatre in which you are now seated is unique in that it is conceived to be a perfect cube and has fantastic acoustics to enhance your experience of live music.

We thank you for continuing to support the concert series. Please sit back in your seats and enjoy the concert and your visit here. As a courtesy to others, please ensure mobile phones are switched off during the performance. Please also note that photography and recording are not allowed in the auditorium. Thank you.

Brighton Dome is managed by Brighton Dome & Brighton Festival, which also runs the annual threeweek Brighton Festival in May.

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First Violins

Pieter Schoeman* Leader

Chair supported by Neil Westreich

Kate Oswin

Lasma Taimina

Chair supported by Irina Gofman & Mr Rodrik

V. G. Cave

Minn Majoe

Katalin Varnagy

Chair supported by Sonja Drexler

Catherine Craig

Elizaveta Tyun

Martin Höhmann

Alice Apreda Howell

Amanda Smith

Maeve Jenkinson

Chu-Yu Yang

Eleanor Bartlett†

Esther Hye-Yoon Kim†

Second Violins

Tania Mazzetti Principal

Emma Oldfield Co-Principal

Kate Birchall

Fiona Higham

Chair supported by David & Yi Buckley

Ashley Stevens

Sioni Williams

Harry Kerr

Jamie Hutchinson

Georgina Leo

Emma Martin

Alison Strange†

Nicole Stokes†

Violas

Jon Thorne Guest Principal

Martin Wray

Benedetto Pollani

Stanislav Popov

James Heron

Daniel Cornford

Linda Kidwell

Matthew Johnstone

Alistair Scahill†

Charles Cross†

On stage

Cellos

Richard Harwood Guest Principal

Francis Bucknall

Helen Thomas

Laura Donoghue

Jane Lindsay

Tamaki Sugimoto

Julia Morneweg†

Louise Dearsley†

Double Basses

Kevin Rundell* Principal

Sebastian Pennar Co-Principal

Hugh Kluger

George Peniston

Tom Walley†

Chair supported by William & Alex de Winton

Charlotte Kerbegian†

Flutes

Juliette Bausor Principal

Imogen Royce

Stewart McIlwham*

Piccolo

Stewart McIlwham* Principal

Oboes

Ian Hardwick* Principal

Luiz De Campos

Cor Anglais

Eleanor Sullivan

Clarinets

Benjamin Mellefont Principal

Thomas Watmough

Chair supported by Roger Greenwood

Bassoons

John McDougall Guest Principal

Emma Harding

Horns

Annemarie Federle Principal

John Ryan* Principal

Martin Hobbs

Duncan Fuller

Gareth Mollison

Trumpets

Paul Beniston* Principal

Katie Smith Guest Principal

Anne McAneney*

Trombones

Mark Templeton* Principal

Chair supported by William & Alex de Winton

Duncan Wilson

Bass Trombone

Lyndon Meredith Principal

Tuba

Lee Tsarmaklis* Principal

Chair supported by Friends of the Orchestra

Timpani

Marney O’Sullivan Guest Principal

Percussion

Feargus Brennan Guest Principal

Joe Richards

Harp

Rachel Masters Principal

* Holds a professorial appointment in London

† 11 February concert only

The LPO also acknowledges the following chair supporters whose players are not present at these concerts:

Gill & Garf Collins

Dr Barry Grimaldi

Sir Simon Robey

Victoria Robey OBE

Bianca & Stuart Roden

Caroline, Jamie & Zander Sharp

Eric Tomsett

London Philharmonic Orchestra

Uniquely groundbreaking and exhilarating to watch and hear, the London Philharmonic Orchestra has been celebrated as one of the world’s great orchestras since Sir Thomas Beecham founded it in 1932. With every performance we aim to bring wonder to the modern world and cement our position as a leading orchestra for the 21st century.

Our home is at the Southbank Centre’s Royal Festival Hall, where we’re at the beating heart of London’s cultural life. You’ll also find us at our resident venues in Brighton, Eastbourne and Saffron Walden, and on tour throughout the UK and internationally, performing to sell-out audiences worldwide. Each summer we’re resident at Glyndebourne Festival Opera, combining the magic of opera with Glyndebourne’s glorious setting in the Sussex countryside.

Sharing the wonder

You’ll find us online, on streaming platforms, on social media and through our broadcast partnership with Marquee TV. During the pandemic period we launched ‘LPOnline’: over 100 videos of performances, insights and introductions to playlists, which led to us being named runner-up in the Digital Classical Music Awards 2020. During 2022/23 we’re once again working with Marquee TV to broadcast selected live concerts, so you can share or relive the wonder from your own living room.

Our conductors

Our Principal Conductors have included some of the greatest historic names like Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. In 2021 Edward Gardner became our 13th Principal Conductor, taking the Orchestra into its tenth decade. Vladimir Jurowski became Conductor Emeritus in recognition of his impact as Principal Conductor from 2007–21. Karina Canellakis is our current Principal Guest Conductor and Brett Dean our Composer-in-Residence, to be succeeded by Tania León in September 2023.

Soundtrack to key moments

Everyone will have heard the London Philharmonic Orchestra, whether it’s playing the world’s National Anthems at every medal ceremony of the London 2012 Olympics and Paralympics, our iconic recording with Pavarotti that made Nessun Dorma a global football anthem, or closing the flotilla at The Queen’s Thames Diamond Jubilee Pageant. And you’ll almost certainly have heard us on the soundtracks for major films including The Lord of the Rings

We also release live, studio and archive recordings on our own label, and are the world’s most-streamed orchestra, with over 15 million plays of our content each month. Recent releases include the first volume of a Stravinsky series with Vladimir Jurowski; Tippett’s complete opera The Midsummer Marriage under

© Mark Allan

Edward Gardner, captured in his first concert as LPO Principal Conductor in September 2021; and James MacMillan’s Christmas Oratorio, recorded at the work’s UK premiere performance in December 2021.

Next generations

We’re committed to inspiring the next generation of musicians and music-lovers: there’s nothing we love more than seeing the joy of children and families enjoying their first musical moments, and we’re passionate about equipping schools and teachers through schools’ concerts, resources and training. Reflecting our values of collaboration and inclusivity, our OrchLab and Open Sound Ensemble projects offer music-making opportunities for adults and young people with special educational needs and disabilities. Today’s young instrumentalists are the orchestral members of the future, so we have a number of opportunities to support their progression. Our LPO Junior Artists programme is leading the way in creating pathways into the profession for young artists from under-represented communities, and our LPO Young Composers and Foyle Future Firsts schemes support the next generation of professional musicians, bridging the transition from education to professional careers. We have also recently launched the LPO Conducting Fellowship, supporting the development of two outstanding early-career conductors from backgrounds currently under-represented in the profession.

2022/23 and beyond

We believe in the relevance of our music, and that our programmes must reflect the narratives of modern times. This season we’re exploring themes of belonging and displacement in our series ‘A place to call home’, delving into music by composers including Austrians Erich Korngold and Paul Hindemith, Hungarian Béla Bartók, Cuban Tania León, Ukrainian Victoria Vita Polevá and Syrian Kinan Azmeh. As we celebrate our 90th anniversary we perform works premiered by the Orchestra during its illustrious history. This season also marks Vaughan Williams’s 150th anniversary and we’ll be celebrating with four of his works, as well as both symphonies by Elgar and music by Tippett and Thomas Adès. Our commitment to everything new and creative includes premieres by Brett Dean and Heiner Goebbels, as well as new commissions from composers from around the world including Agata Zubel, Elena Langer and Vijay Iyer.

lpo.org.uk

Pieter Schoeman Leader

Pieter Schoeman was appointed Leader of the London Philharmonic Orchestra in 2008, having previously been Co-Leader since 2002. He is also a Professor of Violin at Trinity Laban Conservatoire of Music & Dance.

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 the Southbank Centre’s Royal Festival Hall. As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. His chamber music partners have included Anne-Sophie Mutter, Veronika Eberle, Patricia Kopatchinskaja, Boris Garlitsky, Jean-Guihen Queyras, Yannick Nézet-Séguin, Martin Helmchen and Julia Fischer.

Pieter has performed numerous times as a soloist with the London Philharmonic Orchestra. Highlights have included an appearance as both conductor and soloist in Vivaldi’s Four Seasons at the Royal Festival Hall, the Brahms Double Concerto with Kristina Blaumane, and the Britten Double Concerto with Alexander Zemtsov, which was recorded and released on the LPO Label to great critical acclaim.

Pieter has appeared as Guest Leader with the BBC, Barcelona, Bordeaux, Lyon and Baltimore symphony orchestras; the Rotterdam and BBC Philharmonic orchestras; and the Leipzig Gewandhaus Orchestra.

Pieter’s chair in the LPO is generously supported by Neil Westreich.

© Benjamin Ealovega

Gergely Madaras conductor

Hungarian-born conductor Gergely Madaras is Music Director of the Orchestre Philharmonique Royal de Liège and has previously held positions as Chief Conductor of the Savaria Symphony Orchestra and Music Director of the Orchestre Dijon Bourgogne.

As well as his debuts with the London Philharmonic Orchestra this weekend in Brighton and Eastbourne, this season Gergely also makes his debuts with the Orchestre Philharmonique de Radio France, Orchestre National de Capitole de Toulouse, Orchestre National de Lille, Orchestre de Chambre de Paris, Orchestra della Svizzera Italiana and Tokyo Metropolitan Symphony Orchestra. He returns to the Bamberg Symphony, City of Birmingham Symphony Orchestra, Bournemouth Symphony Orchestra and Orchestra Sinfonica Nazionale della RAI.

Equally established in the operatic repertoire, Gergely has led productions at English National Opera, Dutch National Opera, Hungarian State Opera and the Grand Théâtre de Genève. This season he makes his debut at La Monnaie in Brussels, conducting Shostakovich’s The Nose

While grounded in the traditional classical and romantic repertoire, Gergely is an advocate of Bartók, Kodály and Dohnányi, and maintains a close relationship with new music, having conducted more than 100 works written after 1970 and collaborated closely with composers including Pierre Boulez, George Benjamin, György Kurtág and Péter Eötvös. In 2011 he was a finalist at the Besançon International Conducting Competition, and winner of the Arte Live Web prize.

© Benjamin Ealovega

Zlatomir Fung cello

golden aura.’ Other recent highlights include appearances at La Jolla Chamber Music Society, ChamberFest Cleveland, Bravo! Vail with Joshua Bell and Shai Wosner, and Aspen Music Festival performing Tchaikovsky’s Rococo Variations.

The first American in four decades and the youngest ever musician to win First Prize in the International Tchaikovsky Competition Cello Division, Zlatomir Fung is poised to become one of the preeminent cellists of our time. Astounding audiences with his boundless virtuosity and exquisite sensitivity, the 23-year-old has already proven himself to be a star among the next generation of world-class musicians. His impeccable technique demonstrates a mastery of the canon and an exceptional insight into the depths of contemporary repertoire.

This weekend’s performances in Brighton and Eastbourne mark Zlatomir Fung’s debut with the London Philharmonic Orchestra. After making his debut with the New York Philharmonic in July 2022 under Leonard Slatkin as part of the Bravo! Vail Festival, this season also sees him make debuts with, among others, the Orchestre National de Lille, the BBC Philharmonic, and the Dallas Symphony for the world premiere of Katherine Balch’s Cello Concerto. He has recently also been invited to make debuts with the the Hallé, the Frankfurt Opera, the Turku Philharmonic and the Hangzhou Philharmonic, among others.

Following recital appearances at major European festivals including Verbier, Dresden and Janáček’s May, Zlatomir Fung will return to the Wigmore Hall in a busy 2022/23 recital season which also includes dates in Elmau, Berlin, and in Amsterdam as part of the Cello Biennale.

Zlatomir Fung made his recital debut at Carnegie Hall in 2021, and was described by Bachtrack as being ‘one of those rare musicians with a Midas touch: he quickly envelopes every score he plays in an almost palpable

A winner of the 2017 Young Concert Artists International Auditions and the 2017 Astral National Auditions, Zlatomir Fung has taken the top prizes at the 2018 Alice & Eleonore Schoenfeld International String Competition, 2016 George Enescu International Cello Competition, 2015 Johansen International Competition for Young String Players, 2014 Stulberg International String Competition and 2014 Irving Klein International Competition. He was selected as a 2016 US Presidential Scholar for the Arts and was awarded the 2016 Landgrave von Hesse Prize at the Kronberg Academy Cello Masterclasses.

Of Bulgarian and Chinese heritage, Zlatomir Fung began playing cello aged three and earned fellowships at Ravinia’s Steans Music Institute, Heifetz International Music Institute, MusicAlp, and the Aspen Music Festival and School. A proud recipient of the Kovner Fellowship, Fung currently studies at The Juilliard School under the tutelage of Richard Aaron and Timothy Eddy.

Zlatomir Fung was announced as Borletti Buitoni Trust Fellowship winner in 2022. He plays a W E Hill and Sons cello from 1905.

Zlatomir Fung is the recipient of the 2022/23 LPO Alexandra Jupin Award: an annual award for an artist making their debut with the London Philharmonic Orchestra.

Programme notes

Pyotr Ilyich Tchaikovsky

1840–93

Romeo and Juliet: Fantasy Overture

1869

Tchaikovsky was no stranger to disillusionment. A homosexual, living within a highly patriarchal and judgmental society, he channelled his frustrations into a sequence of works about impossible love, beginning with his ‘Fantasy Overture’ Romeo and Juliet in 1869 (subsequently revised) and continuing with his ballet Swan Lake, his opera Eugene Onegin and the fatalistic Fourth, Fifth and Sixth Symphonies. While he attempted to marry in the late 1870s – ‘to shut the mouths of assorted contemptible creatures whose opinions mean nothing to me, but who are in a position to cause distress to those near to me,’ as he wrote to his gay brother Modest – the union was a failure.

No less doomed was the relationship of Romeo Montague and Juliet Capulet, the ‘star-cross’d lovers’ who ‘take their life’ in William Shakespeare’s great tragedy. The idea of a tone-poem on the subject was originally suggested by Balakirev, who likewise advised the young Tchaikovsky to draw three separate elements from the drama, namely the solemn Friar Laurence (whose potions prove so fatal), the sword-fighting Montagues and Capulets, and the eponymous lovers. Tchaikovsky brilliantly combines the first two in the development section of his sonata-form piece, before crowning the work with an outspoken declamation of the famous lovers’ theme.

Programme notes

Pyotr Ilyich Tchaikovsky

1840–93

Variations on a Rococo Theme

1867

Zlatomir Fung cello

As much as Tchaikovsky was drawn to subjects of brooding fatalism – witnessed in the other works in today’s programme – he also embraced the music of the past. The composer’s hero was Mozart, with the seeming order and balance of the Age of Enlightenment proving a significant influence. While evidence of Tchaikovsky’s interest in the period is found right across his output, a veritable case in point is the Variations on a Rococo Theme for cello and orchestra, written between late 1876 and early 1877.

The work came hot on the heels of Francesca da Rimini, with its heated evocation of passages from Dante’s Inferno. The difference could not have been more marked. Instead of the large orchestral forces and intense chromaticism employed to describe Dante’s adulterous lovers, Tchaikovsky turns to forces more readily associated with the late 18th century, without need for brass or percussion. The work nonetheless provides a showcase for its soloist, originally the German-born cellist Wilhelm Fitzenhagen, who amended Tchaikovsky’s score – and in which form it has been performed by many since.

Despite the hint in the title that the work is based on a theme from the rococo era, characterised by highly decorated interiors, curlicues and ogees, the music is, in fact, Tchaikovsky’s own – albeit donning rococo garb. After a brief, melancholy introduction, a horn and pizzicato strings pave the way for the entry of the soloist and the presentation of the theme. It offers both legato and staccato textures, as well as toying with the listener’s expectations as to phrase-lengths, though a delightful sense of symmetry remains.

Simplicity, of course, belies the resources contained within, which are promptly put to work in the ensuing variations. The first is a dance of triplets, followed in the second with something yet fleeter. Having demanded vertiginous runs from the soloist, the third variation turns down a more soulful path. Variation 4 mirrors No. 2, before the melodic honours are passed to the woodwind section for the opening of the next in the series. And the soulfulness likewise returns, in a moment that Fitzenhagen claimed inspired the greatest appreciation from the audience. Finally, however, we return to the theme’s bouncing ease with a glorious tutti of rococo raffinesse.

Interval – 20 minutes

An announcement will be made five minutes before the end of the interval.

Programme notes

Pyotr Ilyich Tchaikovsky

1840–93

Symphony No. 5 in E minor

1888

1 Andante – Allegro con anima

2 Andante cantabile, con alcuna licenza

3 Valse: Allegro moderato

4 Finale: Andante maestoso – Allegro vivace

Tchaikovsky described his Fifth Symphony as ‘a complete resignation before fate’, though it is often hard to reconcile that with the music. Fate may have been one of Tchaikovsky’s darkest preoccupations, but this particular work was written during a rare happy time in his career, coinciding with the creation of his hugely successful ballet The Sleeping Beauty. It is not only parallels with Tchaikovsky’s own works that are germane here, however. Indeed, the recurrent motto of the Fifth Symphony, heard right at the beginning of the piece, may well echo the four-note ‘fate’ motif of Beethoven’s Fifth, with its paradigmatic journey from darkness to light, from struggle to glory.

At first, tragedy looms, with the opening gestures recalling the first (rather antique) theme of the Romeo and Juliet Fantasy Overture. But this is quickly supplanted by a more bouncing theme – albeit echoing the motto – as the Allegro con anima stirs into life. More charged harmonic language emerges in the second theme, yet for all the fervour with which this melody is delivered, the initial theme proves more tenacious, leading to a dark conclusion.

The Andante cantabile emerges from its waste, sounding in Tchaikovsky’s favoured tragic key of B minor (as in the ‘Pathétique’ Symphony that was to follow), before moving to a much happier D major. Its quietly hopeful horn theme harks back to the second subject of the first movement, before an oboe melody suggests clear kinship with the pas d’action from the visionary second act of The Sleeping Beauty, where

true love is promised to Princess Aurora in the guise of a pining prince. Indeed, the first inkling Tchaikovsky had of creating that fairytale ballet was in May 1888, just as he was beginning work on the Fifth Symphony. But despite the love duet that follows – the music is marked ‘con desiro’, citing the name of Prince Désiré from the ballet – fate intrudes once more.

Undimmed, unthreatened, an amorous mood resumes in the ensuing waltz. Semiquavers hint at unease, but even the Symphony’s motto has been transformed and looks ahead to the triumphant last movement. As this Finale begins, the theme returns in even more hopeful form. Occasionally, the Allegro vivace may threaten its sanguinity, though the path to E major seems sure. But then, unlike the truly triumphant conclusion to Brahms’s First Symphony – another work harking back to Beethoven’s ‘darkness to light’ model – there is no giddy rush to the finishing line. Instead, Tchaikovsky inserts a strange hiatus. For some, there may be no doubting the majesty of what follows, but the perpetually melancholy Tchaikovsky seemingly could not bring himself to charge headlong into a happy ending. Perhaps this brief pause reveals that the conclusion was, in the end, just an illusion, another fairytale. Certainly, once Tchaikovsky had completed The Sleeping Beauty, his thoughts quickly returned to tragedy, with the composition of his dark operatic masterpiece The Queen of Spades

Programme notes © Gavin Plumley

Still to come this season in Brighton & Eastbourne

LPO at Brighton Dome

Heroes and Heroines

Saturday 1 April 2023 | 7.30pm

Tania León Stride

Mendelssohn Piano Concerto No. 1

Sibelius Symphony No. 2*

Dima Slobodeniouk conductor

Beatrice Rana piano

* Please note that due to unforeseen circumstances, Sibelius’s Lemminkäinen Suite has been replaced by Sibelius’s Symphony No. 2.

LPO at the Congress Theatre

Romantic Journeys

Sunday 26 March 2023 | 3.00pm

Mendelssohn Symphony No. 3 (Scottish)

Rachmaninoff Piano Concerto No. 3

Patrick Hahn conductor

Tom Borrow piano

Imaginary Landscapes

Sunday 16 April 2023 | 3.00pm

Mendelssohn Hebrides Overture

Dvořák Violin Concerto

Brahms Symphony No. 3

Chloé van Soeterstède conductor

Few sonic experiences are more invigorating than Sibelius’s Second Symphony. But first, we hear Stride by the LPO’s new Composer-inResidence from September 2023, Tania León. With a heroine at the centre ‘who did not take “no” for an answer’, Léon’s new work promises to be a wonderfully appropriate upbeat to the headlong energy of Mendelssohn’s First Piano Concerto, played by the dazzling Beatrice Rana.

Tai Murray violin Book

Chloé van Soeterstède & Tai Murray Photos

Dima Slobodeniouk & Beatrice Rana

Photos © Marco Borggreve/Simon Fowler

Tchaikovsky on the LPO Label

Symphonies Nos. 1 & 6

Vladimir Jurowski conductor

Symphonies Nos. 2 & 3

Vladimir Jurowski conductor

Symphonies Nos. 4 & 5

Vladimir Jurowski conductor

Manfred Symphony

Vladimir Jurowski conductor

Complete Symphonies 1–6

7CD Box Set

Vladimir Jurowski conductor

Violin Concerto plus Lalo's Symphonie espagnole

Augustin Hadelich violin

Vasily Petrenko/Omer Meir Wellber conductors

All LPO Label releases are available to buy on CD, and to download or stream via Spotify, Apple Music, Idagio and others. Scan the QR codes to listen or find out more.

Annual Appeal 2023

Celebrating 90 years & counting

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Mr John Weekes

Mr C D Yates

Hon. Benefactor

Elliott Bernerd

Hon. Life Members

Alfonso Aijón

Kenneth Goode

Carol Colburn Grigor CBE

Pehr G Gyllenhammar

Robert Hill

Victoria Robey OBE

Mrs Jackie Rosenfeld OBE

Timothy Walker CBE AM

Laurence Watt

Thomas Beecham Group Members

David & Yi Buckley

Gill & Garf Collins

William & Alex de Winton

Sonja Drexler

The Friends of the LPO

Irina Gofman

Roger Greenwood

Dr Barry Grimaldi

Mr & Mrs Philip Kan

John & Angela Kessler

Countess Dominique Loredan

Sir Simon Robey

Victoria Robey OBE

Bianca & Stuart Roden

Caroline, Jamie & Zander Sharp

Julian & Gill Simmonds

Eric Tomsett

Neil Westreich

Guy & Utti Whittaker

Corporate Donor

Barclays

LPO Corporate Circle

Principal

Bloomberg Carter-Ruck

French Chamber of Commerce

Tutti

Lazard

Natixis Corporate Investment

Banking

Walpole

Trialist

Sciteb

Preferred Partners

Gusbourne Estate

Jeroboams

Lindt & Sprüngli Ltd

OneWelbeck

Steinway

In-kind Sponsor

Google Inc

Thank you

Trusts and Foundations

ABO Trust

BlueSpark Foundation

The Boltini Trust

Borrows Charitable Trust

The Candide Trust

Cockayne – Grants for the Arts

The London Community Foundation

The D’Oyly Carte Charitable Trust

Dunard Fund

Ernst von Siemens Music Foundation

Foyle Foundation

Garrick Charitable Trust

John Horniman’s Children’s Trust

John Thaw Foundation

Institute Adam Mickiewicz

Kirby Laing Foundation

Lord and Lady Lurgan Trust

The Marchus Trust

The Radcliffe Trust

Rivers Foundation

Rothschild Foundation

Scops Arts Trust

Sir William Boremans’ Foundation

The John S Cohen Foundation

The Stanley Picker Trust

The Thriplow Charitable Trust

TIOC Foundation

Vaughan Williams Foundation

The Victoria Wood Foundation

The Viney Family

The Barbara Whatmore Charitable Trust and all others who wish to remain anonymous.

Board of the American Friends of the LPO

We are grateful to the Board of the American Friends of the London Philharmonic Orchestra, who assist with fundraising for our activities in the United States of America:

Simon Freakley Chairman

Kara Boyle

Jon Carter

Jay Goffman

Alexandra Jupin

Natalie Pray

Damien Vanderwilt

Marc Wasserman

Elizabeth Winter

Catherine Høgel Hon. Director

Jenifer L. Keiser, CPA, EisnerAmper LLP

LPO International Board of Governors

Natasha Tsukanova Co-Chair

Martin Höhmann Co-Chair

Mrs Irina Andreeva

Steven M. Berzin

Shashank Bhagat

Veronika Borovik-Khilchevskaya

Marie-Laure Favre Gilly de Varennes de Bueil

Aline Foriel-Destezet

Irina Gofman

Countess Dominique Loredan

Olivia Ma

George Ramishvili

Sophie Schÿler-Thierry

Jay Stein

London Philharmonic Orchestra Administration

Board of Directors

Dr Catherine C. Høgel Chair

Lord Hall of Birkenhead CBE Vice-Chair

Martin Höhmann* President

Mark Vines* Vice-President

Kate Birchall*

David Buckley

David Burke

Bruno De Kegel

Deborah Dolce

Elena Dubinets

Tanya Joseph

Hugh Kluger*

Katherine Leek*

Al MacCuish

Minn Majoe*

Tania Mazzetti*

Jamie Njoku-Goodwin

Andrew Tusa

Neil Westreich

Simon Freakley (Ex officio –Chairman of the American Friends of the London Philharmonic Orchestra)

*Player-Director

Advisory Council

Martin Höhmann Chairman

Christopher Aldren

Dr Manon Antoniazzi

Roger Barron

Richard Brass

Helen Brocklebank

YolanDa Brown OBE

Simon Burke

Simon Callow CBE

Desmond Cecil CMG

Sir Alan Collins KCVO CMG

Andrew Davenport

Guillaume Descottes

Cameron Doley

Christopher Fraser OBE

Jenny Goldie-Scot

Jonathan Harris CBE FRICS

Marianna Hay MBE

Nicholas Hely-Hutchinson DL

Amanda Hill

Rehmet Kassim-Lakha

Jamie Korner

Geoff Mann

Clive Marks OBE FCA

Stewart McIlwham

Andrew Neill

Nadya Powell

Sir Bernard Rix

Victoria Robey OBE

Baroness Shackleton

Thomas Sharpe KC

Julian Simmonds

Barry Smith

Nicholas Snowman OBE

Martin Southgate

Chris Viney

Laurence Watt

Elizabeth Winter

General Administration

Elena Dubinets

Artistic Director

David Burke Chief Executive

Chantelle Vircavs

PA to the Executive

Concert Management

Roanna Gibson

Concerts and Planning Director

Graham Wood

Concerts and Recordings Manager

Maddy Clarke

Tours Manager

Madeleine Ridout

Glyndebourne and Projects Manager

Alison Jones

Concerts and Recordings

Co-ordinator

Robert Winup

Concerts and Tours Assistant

Matthew Freeman

Recordings Consultant

Andrew Chenery Orchestra Personnel Manager

Sarah Thomas

Martin Sargeson

Librarians

Laura Kitson

Stage and Operations Manager

Stephen O’Flaherty

Deputy Operations Manager

Felix Lo

Orchestra and Auditions Manager

Finance

Frances Slack

Finance Director

Dayse Guilherme Finance Manager

Jean-Paul Ramotar

Finance and IT Officer

Education and Community

Talia Lash

Education and Community Director

Lowri Davies

Hannah Foakes

Education and Community Project Managers

Hannah Smith

Education and Community Co-ordinator

Development

Laura Willis

Development Director

Rosie Morden

Individual Giving Manager

Siân Jenkins

Corporate Relations Manager

Anna Quillin

Trusts and Foundations Manager

Katurah Morrish

Development Events Manager

Eleanor Conroy

Al Levin

Development Assistants

Nick Jackman

Campaigns and Projects Director

Kirstin Peltonen

Development Associate

Marketing

Kath Trout

Marketing and Communications Director

Sophie Harvey

Marketing Manager

Rachel Williams

Publications Manager

Harrie Mayhew

Website Manager

Gavin Miller

Sales and Ticketing Manager

Ruth Haines

Press and PR Manager

Greg Felton

Digital Creative

Hayley Kim

Marketing Co-ordinator

Alicia Hartley

Marketing Assistant Archives

Philip Stuart

Discographer

Gillian Pole

Recordings Archive

Professional Services

Charles Russell Speechlys

Solicitors

Crowe Clark Whitehill LLP

Auditors

Dr Barry Grimaldi

Honorary Doctor

Mr Chris Aldren

Honorary ENT Surgeon

Mr Simon Owen-Johnstone

Hon. Orthopaedic Surgeon

London Philharmonic Orchestra

89 Albert Embankment

London SE1 7TP

Tel: 020 7840 4200

Box Office: 020 7840 4242

Email: admin@lpo.org.uk

lpo.org.uk

Cover illustration

Simon Pemberton/Heart

2022/23 season identity

JMG Studio

Printer John Good Ltd