2021/22 concert season at Congress Theatre
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 12 March 2022 | 7.30pm Congress Theatre, Eastbourne Sunday 13 March 2022 | 3.00pm
Daydreams and Fantasies Williams Fantasia on Welsh Nursery Tunes (11’) Rachmaninoff Rhapsody on a Theme of Paganini (23’) Interval (20’) Tchaikovsky Symphony No. 1 in G minor (Winter Daydreams) (43’) Holly Mathieson conductor Martin James Bartlett piano
The Steinway concert piano chosen and hired by the London Philharmonic Orchestra for these performances is supplied and maintained by Steinway & Sons, London.
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
Contents 2 3 4 5 6 7 8 11 12 13 14 16
Welcome On stage London Philharmonic Orchestra New on the LPO Label: Jessye Norman sings Strauss Holly Mathieson Martin James Bartlett Programme notes Recommended recordings LPO Annual Appeal 2022 Next concerts Thank you LPO administration
London Philharmonic Orchestra • 12 & 13 March 2022 • Daydreams and Fantasies
Saturday 12 March 2022
Sunday 13 March 2022
Welcome to Brighton Dome
Welcome to the Congress Theatre
Chief Executive Andrew Comben
Theatre Director Chris Jordan
We hope you enjoy the performance and your visit to Brighton Dome. For your comfort and safety, please note the following:
Welcome to this afternoon’s performance. We are pleased to welcome back the London Philharmonic Orchestra and its patrons to the Congress Theatre.
Latecomers may not be admitted until a suitable break in the performance. Some performances may contain no suitable breaks.
The London Philharmonic Orchestra gave the first ever performance at this Grade II listed building when it originally opened in 1963. This historic building was purpose-built as a theatre and conference venue designed by Bryan and Norman Westwood Architects. What makes the theatre unique is 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.
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.
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. Thank you.
Mobiles and watches should be switched off before entering the auditorium. Thank you for your co-operation. The concert at Brighton Dome on 12 March 2022 is presented by the London Philharmonic Orchestra in association with Brighton Dome.
Enjoying the concert? Help us to share the wonder of the LPO by making a donation today. Use the QR code to donate via the LPO website, or visit lpo.org.uk/donate. Thank you.
Brighton Dome gratefully acknowledges the support of Brighton & Hove City Council and Arts Council England.
Brighton Dome is managed by Brighton Dome and Brighton Festival, which also runs the annual three-week Brighton Festival in May. brightondome.org brightonfestival.org
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London Philharmonic Orchestra • 12 & 13 March 2022 • Daydreams and Fantasies
On stage First Violins
Igor Yuzefovich Guest Leader Lasma Taimina Chair supported by Irina Gofman & Mr Rodrik V. G. Cave
Minn Majoe Catherine Craig Ronald Long Katherine Waller Alice Hall Gavin Davies John Dickinson Maria Fiore Mazzarini Inês Delgado Eleanor Bartlett Joseph Devalle
Second Violins
Cellos
Tom Roff George Hoult Sibylle Hentschel David Bucknall Auriol Evans Helen Thomas Iain Ward
Jon Thorne Guest Principal Benedetto Pollani Martin Wray Alistair Scahill Julia Kornig Raquel López Bolívar Charles Cross Michelle Bruil Julia Doukakis
Trumpets
Paul Beniston* Principal Anne McAneney*
Chair supported by William & Alex de Winton
Flutes
Violas
John Ryan* Principal James Pillai Guest Principal Martin Hobbs Mark Vines Co-Principal Gareth Mollison
Kevin Rundell* Principal George Peniston Tom Walley
Joseph Maher Ashley Stevens Fiona Higham
Kate Birchall Claudia Tarrant-Matthews Maria Oguren Harry Kerr Anna Croad Alison Strange Nicole Stokes
Horns
Double Basses
Tania Mazzetti Principal
Chair supported by David & Yi Buckley
Gareth Newman Principal Simon Estell*
Guest Principal
Simon Oliver Sam Rice Colin Paris
Chair supported by Countess Dominique Loredan
Bassoons
Leonardo Sesenna
Trombones
Mark Templeton* Principal Chair supported by William & Alex de Winton
David Whitehouse
Bass Trombone
Charlotte Ashton Guest Principal
Lyndon Meredith Principal
Imogen Royce Stewart McIlwham*
Tuba
Lee Tsarmaklis* Principal
Piccolo
Stewart McIlwham*
Timpani
Principal
Simon Carrington* Principal
Oboes
Chair supported by Victoria Robey OBE
Ian Hardwick* Principal Jennifer Brittlebank
Percussion
Keith Millar Principal Karen Hutt Feargus Brennan Stefan Beckett
Cor Anglais
Sue Böhling* Principal
Chair supported by Dr Barry Grimaldi
Clarinets
Harp
Benjamin Mellefont Principal Thomas Watmough
Sue Blair Guest Principal
Chair supported by Roger Greenwood
* Holds a professorial appointment in London
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The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Chris Aldren The Candide Trust Gill & Garf Collins Sonja Drexler Friends of the Orchestra Sir Simon Robey Bianca & Stuart Roden Caroline, Jamie & Zander Sharp Eric Tomsett Neil Westreich
London Philharmonic Orchestra • 12 & 13 March 2022 • Daydreams and Fantasies
© Mark Allan
London Philharmonic Orchestra
One of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with its reputation as one of the UK’s most forward-looking ensembles. As well as its concert performances, the Orchestra also records film soundtracks, releases CDs and downloads on its own label, and reaches thousands of people every year through activities for families, schools and local communities.
the Orchestra takes up its annual residency at Glyndebourne Festival Opera, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra. The London Philharmonic Orchestra has recorded many blockbuster film scores, 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 100 releases available on CD and to download. Recent highlights include Shostakovich’s Symphony No. 11 and Mahler’s Symphony No. 8 under Vladimir Jurowski; a commemorative box set of historic recordings with former Principal Conductor Sir Adrian Boult; and works by Richard Strauss under Klaus Tennstedt, featuring soprano Jessye Norman.
The Orchestra was founded by Sir Thomas Beecham in 1932, and has since been headed by many great conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. In September 2021 Edward Gardner became the Orchestra’s Principal Conductor, succeeding Vladimir Jurowski, who became Conductor Emeritus in recognition of his transformative impact on the Orchestra as Principal Conductor from 2007–21. Karina Canellakis is the Orchestra’s current Principal Guest Conductor and Brett Dean is the Orchestra’s current Composer-in-Residence.
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 Orchestra is resident at the Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. It also enjoys flourishing residencies in Brighton, Eastbourne and Saffron Walden, and performs regularly around the UK. Each summer
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London Philharmonic Orchestra • 12 & 13 March 2022 • Daydreams and Fantasies
London Philharmonic Orchestra The London Philharmonic Orchestra is committed to inspiring the next generation of musicians, and recently celebrated the 30th anniversary of its Education and Community department, whose work over three decades has introduced so many people of all ages to orchestral music and created opportunities for people of all backgrounds to fulfil their creative potential. Its dynamic and wide-ranging programme provides first musical experiences for children and families; offers creative projects and professional development opportunities for schools and teachers; inspires talented teenage instrumentalists to progress their skills; and develops the next generation of professional musicians.
views worldwide and led to the LPO being named runner-up in the Digital Classical Music Awards 2020. From Autumn 2020 the Orchestra was delighted to be able to return to its Southbank Centre home to perform a season of concerts filmed live and streamed free of charge via Marquee TV. September 2021 saw the opening of a new live concert season at the Royal Festival Hall, featuring many of the world’s leading musicians including Sheku KannehMason, Klaus Mäkelä, Renée Fleming, Bryn Terfel and this season’s Artist-in-Residence, Julia Fischer. The Orchestra is delighted to be continuing to offer digital streams to selected concerts throughout the season through its ongoing partnership with Intersection and Marquee TV.
The Orchestra’s work at the forefront of digital technology has enabled it to reach millions of people worldwide. Over the pandemic period the LPO further developed its relationship with UK and international audiences through its ‘LPOnline’ digital content: over 100 videos of performances, insights, and introductions to playlists, which collectively received over 3 million
lpo.org.uk
New on the LPO Label: Jessye Norman sings Strauss Richard Strauss: Five Songs | Le Bourgeois Gentilhomme | Salome (excerpts) Klaus Tennstedt conductor Jessye Norman soprano .£9.99 | LPO-0122
Newly available recording: recorded live in concert at the Southbank Centre’s Royal Festival Hall on 4 May 1986
All LPO Label releases are available on CD from all good retailers, and to download or stream via Spotify, Apple Music, Idagio and others.
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London Philharmonic Orchestra • 12 & 13 March 2022 • Daydreams and Fantasies
Holly Mathieson conductor
© Martin Stewart
major orchestras, including the London Symphony, City of Birmingham Symphony, Royal Philharmonic, Royal Liverpool Philharmonic and Ulster orchestras; the BBC Philharmonic, BBC Scottish Symphony and BBC Concert orchestras and BBC National Orchestra of Wales, as well as return visits to the Scottish Chamber and Salomon orchestras, Southbank Sinfonia, Royal Northern Sinfonia’s Young Sinfonia, Red Note Ensemble, the Royal College of Music Philharmonic Orchestra and the Royal Northern College of Music Symphony Orchestra. Holly’s debut CD with Decca, featuring Clara Schumann’s Piano Concerto with Isata Kanneh-Mason and the Royal Liverpool Philharmonic Orchestra, was released in July 2019 and immediately landed on the No. 1 spot in the UK Classical Charts.
New Zealand-born Holly Mathieson is Music Director of Symphony Nova Scotia in Halifax, Canada. She is also Co-Artistic Director of the Nevis Ensemble and was recently appointed to the newly-created role of Artist in Association at English Touring Opera. Her previous appointments have included Assistant Conductor with the Royal Scottish National Orchestra, and Resident Conductor with the National Youth Orchestras of Scotland.
In 2018 Holly became Co-Artistic Director of the innovative Nevis Ensemble, which is founded on the maxim that music is for everyone, everywhere, and aims to take music out of the concert hall and into isolated communities. In two years, the orchestra has given 170 free performances to around 25,500 people all across Scotland, including an extensive tour of the Outer Hebrides.
With her passionate communication skills, crystalline technique and collaborative approach, Holly Mathieson has won plaudits for all forms of music direction, from opera and ballet to full-scale symphonic programmes. The 2021/22 season marks the second year of her Music Directorship with Symphony Nova Scotia. This weekend’s concerts in Brighton and Eastbourne mark her full debut with the London Philharmonic Orchestra, following a pre-concert performance conducting the LPO Junior Artists at the Royal Festival Hall in April 2018. Further highlights this season include her debut with the Prague Radio Symphony Orchestra.
Towards the beginning of her conducting career, Holly was chosen as one of only four young conductors from around the world to participate in the Interaktion Dirigentenwerkstatt des Kritischen Orchesters project, with players from the Berlin Philharmonic and other top-tier German orchestras. She has worked with, and learned at the side of, many esteemed conductors, and counts among her mentors Marin Alsop, Esa-Pekka Salonen, Christoph von Dohnányi, Peter Oundjian, Donald Runnicles, Thomas Søndergård and Garry Walker. Holly is based in Glasgow, where she previously held the prestigious Leverhulme Fellowship at the Royal Conservatoire of Scotland. She holds a PhD in Music Iconography and in 2016 was named as one of New Zealand’s Top 50 Women of Achievement.
Last season saw Holly performing extensively in New Zealand, making her debuts with the New Zealand Symphony Orchestra and Christchurch Symphony Orchestra, as well as return visits to the Auckland Philharmonia Orchestra. Other recent debuts include with the Scottish Opera Orchestra, Philharmonia Orchestra, Sinfonia Viva, English Touring Opera (Mozart’s Così fan tutte), Opera North (Song of our Heartland, a new work by Will Todd) and New Zealand Opera, conducting Britten’s Turn of the Screw. Over the past years Holly has worked with almost all the UK’s
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London Philharmonic Orchestra • 12 & 13 March 2022 • Daydreams and Fantasies
Martin James Bartlett piano
© Paul Marc Mitchell
In 2017, whilst still an undergraduate at the Royal College of Music, where he studied with Professor Vanessa Latarche, Martin was a quarter-finalist in the Van Cliburn Competition, held in Fort Worth, Texas, attracting a considerable following both live in the hall and online on Medici TV. In 2021 he graduated with a First Class Bachelors degree, Masters degree and Artist Diploma from the Royal College of Music, having been also awarded the Queen Mother Rosebowl by Prince Charles. In the 2021/22 season Bartlett embarks upon a European tour with the LGT Young Soloists, performing Philip Glass’s ‘Tirol’ Piano Concerto at the Berlin Konzerthaus, Vienna Musikverein and Hamburg Elbphilharmonie, and culminating in a gala performance for the Prince and Princess of Liechtenstein in London. He also gives recitals at the International Chopin Piano Festival at Duszniki Zdrój, Wigmore Hall, the Amsterdam Concertgebouw and the Alte Oper Frankfurt. This spring Bartlett will join the Britten-Shostakovich Festival Orchestra on tour in Russia and will make his New York debut in the Young Concert Artists Series, as well as recitals in Arizona, Missouri, and Washington DC.
Martin James Bartlett possesses a fearless technique and plays with a maturity and elegance far beyond his years. He is an exclusive recording artist with Warner Classics: his first disc was released in 2019 and explores the theme of love and death in works by Bach, Liszt, Schumann, Granados, Wagner and Prokofiev. Newly released this month is his second disc, of Gershwin’s Rhapsody in Blue and Rachmaninoff’s Rhapsody on a Theme of Paganini, recorded with the London Philharmonic Orchestra and conductor Joshua Weilerstein. This weekend’s two concerts in Brighton and Eastbourne mark his concert debut with the LPO.
During the 2020/21 season Martin was invited to perform recitals across the UK, including at Wigmore Hall and the Belfast International Arts Festival, as well as internationally, including recitals at the Concertgebouw, Salle Cortot, the Elbphilharmonie, the Wiener Konzerthaus, and Muziekcentrum De Bijloke Gent. He was also invited to play with the BBC National Orchestra of Wales, and for his debuts with the NDR Radiophilharmonie Hannover and the Royal Liverpool Philharmonic Orchestra. In 2020 he was also awarded First Prize at the inaugural Cleveland Virtualoso Global Piano Competition.
Martin James Bartlett’s early public success was as the winner of the BBC Young Musician of the Year in 2014. This led to engagements with the BBC Symphony, BBC Scottish Symphony, Bournemouth Symphony and Royal Philharmonic orchestras, as well as recitals across the UK. He made his BBC Proms debut in 2015, performing Gershwin’s Rhapsody in Blue with the Royal Philharmonic Orchestra. He also performed the piece with the Ulster Orchestra at the BBC Proms ‘Last Night’ celebrations, broadcast live from Belfast on BBC Four and BBC Radio Ulster. In the following year, he performed at Her Majesty The Queen’s 90th Birthday thanksgiving service, which was broadcast live on BBC One from St Paul’s Cathedral. During this period he received support from the Young Classical Artists Trust (YCAT).
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London Philharmonic Orchestra • 12 & 13 March 2022 • Daydreams and Fantasies
Programme notes Grace Williams 1906–77
Fantasia on Welsh Nursery Tunes 1940 Grace Williams was one of the first professional Welsh composers of the 20th century to attain significant national recognition, and many of her remarkably distinctive pieces are directly inspired by Wales and its culture. Born in Barry, Williams studied music at Cardiff University, later studying composition at the Royal College of Music with Ralph Vaughan Williams and in Vienna with Egon Wellesz. She particularly enjoyed writing for the orchestra, and her gift for this medium is apparent in her early overture Hen Walia (1930) and tonight’s work, the Fantasia on Welsh Nursery Tunes (1940).
It is not clear when Williams started to compose the Fantasia, but Benjamin Britten records a meeting with Williams to discuss ‘her new Welsh variations’ on 24 March 1938. Williams claimed that ‘I tossed it off (i.e. the sketch of it) in an evening’ – in a letter to Idris Lewis, musical director of British International Pictures, in June 1942. The last page of the score is annotated ‘Feb 9th 1940’. The Fantasia may have been modelled on Sir Henry Wood’s Fantasia on British Sea Songs, or the fantasias on folk tunes by Vaughan Williams, Williams’s teacher, in which a number of familiar tunes are joined with original music. From the outset, where the muted trumpet quotes the children’s song ‘Dacw Mam yn Dwâd’ (sometimes confused with ‘Yankee Doodle Dandy’ by American listeners), the work presents a skilful and beautiful arrangement of several traditional songs. Williams keeps the liveliest tunes for the beginning and end, framing a middle section of slower more wistful music in contrast. The tunes, in order, are: – Dacw Mam yn Dwâd (Here’s mummy coming) – Deryn y Bwn (The Bittern) – Migildi, Magildi (nonsense words imitating the sound of a hammer on an anvil) – Si lwli mabi (Sleep my baby) – Gee Geffyl Bach (Gee-up, little horse) – Cysga Di, Fy Mhlentyn Tlws (Sleep, my pretty child) – Yr eneth ffein ddu (Where are you going, my pretty maid?) – Cadi Ha (Summer Katie) Programme note © Tŷ Cerdd – Music Centre Wales
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London Philharmonic Orchestra • 12 & 13 March 2022 • Daydreams and Fantasies
Programme notes Serge Rachmaninoff 1873–1943
Rhapsody on a Theme of Paganini 1934 Martin James Bartlett piano
By the 1930s, Serge Rachmaninoff was a major celebrity. His music was regularly performed, widely published and frequently recorded. Yet he had an uneasy relationship with his fame, often accepting and then rejecting offers to tour Europe and America. Finding himself exiled from post-Revolutionary Russia and his possessions, forced to support his family, Rachmaninoff was more or less obliged to perform when he could, leading to an increasingly peripatetic life, which moved him between Stockholm and Copenhagen, on to New York and finally to a house on Lake Lucerne in Switzerland.
Rather than opening with Paganini’s theme, Rachmaninoff begins his work with a sassy chromatic introduction, followed by the first variation on the theme we are yet to hear. The tune proper finally appears and is played by the strings, echoing its original violin form, with the piano picking out various constituent notes, before providing more dazzling decoration. The opening ten variations form the outline of a first movement and during the seventh variation Rachmaninoff introduces a second theme, based on the plainchant Dies irae (Day of Wrath) from the Requiem Mass. This motivic kernel appears in many of Rachmaninoff’s works – not least The Isle of the Dead and The Bells – chillingly reminding us that in the midst of life we are in death. After the tenth variation comes what is, effectively, a slow movement, capped by the glorious 18th variation in a luscious D flat major, before the Rhapsody closes with a challengingly virtuosic finale.
It was there, in the summer of 1934, that Rachmaninoff wrote his Rhapsody on a Theme of Paganini (effectively forming his fifth piano concerto). The work is based on the last of virtuoso violinist Niccolò Paganini’s 24 Caprices. Rachmaninoff was not the first to use its terse little theme. Liszt, Brahms and Szymanowski, alongside other less celebrated names, had already tapped its potential and Rachmaninoff was to be succeeded by Lutosławski and Andrew Lloyd Webber, among others. Yet Rachmaninoff’s Rhapsody arguably remains the most imaginative of these, not least because of its ingenious inversion of the original theme in the 18th variation and the highly expressive use of the orchestra throughout.
Programme note © Andrew Mellor
Interval – 20 minutes An announcement will be made five minutes before the end of the interval.
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London Philharmonic Orchestra • 12 & 13 March 2022 • Daydreams and Fantasies
Programme notes Pyotr Ilyich Tchaikovsky 1840–93
Symphony No. 1 in G minor (Winter Daydreams) 1866–67 1 ‘Reveries of a Winter Journey’: Allegro tranquillo 2 ‘Land of Desolation, Land of Mists’: Adagio cantabile ma non tanto 3 Scherzo: Allegro scherzando giocoso 4 Finale: Andante lugubre—Allegro maestoso Tchaikovsky’s First Symphony is such an endearing, vital, seductively atmospheric work that one would imagine it must have been a joy to write. In fact, the opposite is true: few, if any of his other works caused Tchaikovsky such protracted pain. He was 26 when he began it, having freshly graduated from the St Petersburg Conservatoire and walked straight into a job at the newly created Conservatoire in Moscow. At first things were looking encouraging. His first orchestral performance (an Overture in F major) had been a success, and his teacher, the pianist and composer Anton Rubinstein, had urged him to write a symphony. But then came a crushing review of another work, and Tchaikovsky’s confidence plummeted: ‘I spent the entire day wandering aimlessly about the town’, he told a friend, ‘repeating to myself “I am sterile, I am a nonentity, nothing will ever come of me, I have no talent”.’ He soldiered on with the new symphony, but his determination to keep working through the nights (inevitably resulting in insomnia) led to a frightening breakdown.
success; but Tchaikovsky’s self-doubt was not appeased, and it wasn’t until 1874 that he at last allowed the further-revised score to be published. Surprisingly, despite memories of this agonising slow birth, Tchaikovsky always maintained a special affection for his First Symphony. ‘For all its glaring deficiencies’, he wrote in 1883, ‘I have a soft spot for it. Although it is immature in many respects it is essentially better and richer in content than many other more mature works.’ As so often, he was being harsh: the First Symphony may have its faults, but they are hardly ‘glaring’, and most of the time the freshness of the material fully compensates. The opening theme (flute and bassoon above shimmering violins) is a lovely inspiration, with an unmistakable Slavic accent. From the first there is a strong sense of forward-gliding momentum, like the easy movement of a sleigh across smooth snow. Tchaikovsky’s sharp, clear orchestration registers impressions of cold very effectively, while from time to time warm string harmonies manage to convey a sense of cosiness and security – this traveller is clearly well wrapped up and enjoying his ‘winter daydreams’.
In the end, work seems to have saved Tchaikovsky, and the Symphony was finished in piano score by the beginning of June 1867. But his troubles weren’t over yet. Rubinstein was highly critical of the completed score, and virtually ordered Tchaikovsky to revise it. Even that didn’t please, and only the Scherzo was performed – unsuccessfully. More alterations were made then, at last, in February 1868, the First Symphony had its first full performance in Moscow. This time it was a huge
The slow movement is still more effective. An eloquent theme for muted strings leads to a long oboe tune, with answering birdcalls on flute, unmistakably Russian in so many of its melodic twists and turns. The rest of the movement is essentially a meditation (daydreams again) on phrases from this tune, with occasional reminiscences of the flute’s birdsong, all done with
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London Philharmonic Orchestra • 12 & 13 March 2022 • Daydreams and Fantasies
Programme notes much more skill and imagination than Tchaikovsky’s later judgement would have us believe. The return of the opening string theme at the end is also deftly timed.
Photograph courtesy of the Royal College of Music, London
Next comes an agile, lightly dancing Scherzo, with wonderful use of woodwind colours (a very mature Tchaikovskian touch). Hesitant cellos and basses suggest for a moment that the central trio section might be darker-hued, but what actually emerges is a warm, suave waltz theme on violins and cellos. Then, after a sombre slow introduction, the Finale soon sets off at a more determined pace in the major key, with trombones, tuba, cymbals and bass drum adding their weight to the orchestra for the first time. The exuberance can sound a little forced (a rare indication of Tchaikovsky’s state of mind at the time he wrote it?). But after all his labours, Tchaikovsky is surely entitled to a bit of over-the-top celebration. Programme note © Stephen Johnson
On the LPO Label: Tchaikovsky’s Symphony No. 1 Tchaikovsky: Symphony No. 1 (Winter Daydreams) Symphony No. 6 (Pathétique) Vladimir Jurowski conductor London Philharmonic Orchestra £10.99 (2 audio CDs) | LPO-0039 All LPO Label releases are available on CD from all good retailers, and to download or stream via Spotify, Apple Music, Idagio and others.
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LPO ANNUAL APPEAL 2022
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London Philharmonic Orchestra • 12 & 13 March 2022 • Daydreams and Fantasies
Final LPO concerts this season in Brighton & Eastbourne Brighton Dome Saturday 23 April 2022 | 7.30pm
Congress Theatre, Eastbourne Sunday 24 April 2022 | 3.00pm
Magical Tales
Spirit of the City
Mussorgsky Night on a Bare Mountain Glazunov Concerto for Saxophone Ravel Ma mère l’Oye Ravel Boléro
Coleridge-Taylor Ballade Bruch Violin Concerto No. 1 Vaughan Williams Symphony No. 2 (London) Tom Gauterin conductor Daniel Pioro violin
Finnegan Downie-Dear conductor Jess Gillam saxophone
Book online brightondome.org
Book online eastbournetheatres.co.uk
Ticket Office 01273 709709
Ticket Office 01323 412000
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London Philharmonic Orchestra • 12 & 13 March 2022 • Daydreams and Fantasies
Thank you We are extremely grateful to all donors who have given generously to the LPO over the past year. Your generosity helps maintain the breadth and depth of the LPO’s activities, as well as supporting the Orchestra both on and off the concert platform.
Artistic Director’s Circle
Anonymous donors Mrs Aline Foriel-Destezet Mrs Christina Lang Assael In memory of Mrs Rita Reay Sir Simon & Lady Robey OBE
Orchestra Circle
The Candide Trust William & Alex de Winton Aud Jebsen Mr & Mrs Philip Kan Neil Westreich The American Friends of the London Philharmonic Orchestra
Principal Associates An anonymous donor Richard Buxton Gill & Garf Collins In memory of Brenda Lyndoe Casbon In memory of Ann Marguerite Collins Hamish & Sophie Forsyth The Tsukanov Family
Associates
Anonymous donors Mrs Irina Andreeva In memory of Len & Edna Beech Steven M. Berzin Ms Veronika BorovikKhilchevskaya Irina Gofman & Mr Rodrik V. G. Cave The Lambert Family Charitable Trust Countess Dominique Loredan Mr & Mrs Makharinsky George Ramishvili Stuart & Bianca Roden Julian & Gill Simmonds In memory of Hazel Amy Smith Deanie & Jay Stein
Gold Patrons
An anonymous donor Chris Aldren David & Yi Buckley David Burke & Valerie Graham David & Elizabeth Challen
In memory of Allner Mavis Channing Sonja Drexler The Vernon Ellis Foundation Peter & Fiona Espenhahn Marie-Laure Favre-Gilly de Varennes de Beuill Mr Roger Greenwood Malcolm Herring John & Angela Kessler Dame Theresa Sackler Scott & Kathleen Simpson Eric Tomsett Andrew & Rosemary Tusa The Viney Family Guy & Utti Whittaker
Silver Patrons
Mrs A Beare The Rt Hon. The Lord Burns GCB Bruno De Kegel Jan & Leni Du Plessis Ulrike & Benno Engelmann Simon & Meg Freakley Pehr G Gyllenhammar The Jeniffer & Jonathan Harris Charitable Trust Catherine Høgel & Ben Mardle Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Sofiya Machulskaya Mrs Elizabeth Meshkvicheva The Metherell Family Andrew Neill Peter & Lucy Noble Marianne Parsons Tom & Phillis Sharpe Laurence Watt Grenville & Krysia Williams
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Anonymous donors Michael Allen Dr Manon Antoniazzi Julian & Annette Armstrong Roger & Clare Barron Mr Philip Bathard-Smith Sir Peter Bazalgette Mikhail Noskov & Vasilina Bindley Mr Bernard Bradbury Sally Bridgeland In memory of Julie Bromley Desmond & Ruth Cecil Mr John H Cook Howard & Veronika Covington John & Sam Dawson
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Jason George Mr Stephen Goldring Mr Daniel Goldstein Mr Milton Grundy Prof. Emeritus John Gruzelier Nerissa Guest & David Foreman Michael & Christine Henry Mark & Sarah Holford Ivan Hurry Per Jonsson Alexandra Jupin & John Bean Mr Ian Kapur Ms Kim J Koch Richard & Briony Linsell Paul & Brigitta Lock Mr Peter Mace Nicholas & Lindsay Merriman Andrew T Mills Simon & Fiona Mortimore Mrs Terry Neale John Nickson & Simon Rew Mr James Pickford Michael & Carolyn Portillo Mr David Russell Colin Senneck & the Hartley and District LPO Group Mr John Shinton Nigel Silby Mr Brian Smith Martin & Cheryl Southgate Mr & Mrs G Stein Dr Peter Stephenson Mr Ian Tegner Dr June Wakefield Howard & Sheelagh Watson Joanna Williams Roger Woodhouse Mr John Wright
Supporters
Anonymous donors Ralph & Elizabeth Aldwinckle Alexander & Rachel Antelme Julian & Annette Armstrong Lindsay Badenoch Mr Mark Bagshaw & Mr Ian Walker Mr John Barnard Mr John D Barnard Damaris, Richard & Friends Mr David Barrett Diana Barrett Mr Simon Baynham Harvey Bengen Nick & Rebecca Beresford Mr Paul Bland Mr Keith Bolderson Mr Andrew Botterill
Julian & Margaret Bowden & Mr Paul Michel Richard & Jo Brass Mr & Mrs Shaun Brown Mr Alan C Butler Lady Cecilia Cadbury Mrs Marilyn Casford Alison Clarke & Leo Pilkington J Clay Mr Joshua Coger Mr Martin Compton Mr Martin Connelly Mr Stephen Connock Miss Tessa Cowie Mr David Davies Mr Roderick Davies Mr David Devons Anthony & Jo Diamond Miss Sylvia Dowle Patricia Dreyfus Mr Andrew Dyke Mr Declan Eardly Mrs Maureen Erskine Mr Peter Faulk Mr Joe Field Ms Chrisine Louise Fluker Mr Kevin Fogarty Mr Richard France Mr Bernard Freudenthal Mrs Adele Friedland & Friends Will Gold Mrs Alison Goulter Mr Andrew Gunn Mr K Haines Mr Martin Hale Roger Hampson Mr Graham Hart Mr & Mrs Nevile Henderson The Jackman Family Martin Kettle Mr Justin Kitson Ms Yvonne Lock Mrs Sally Manning Belinda Miles Dr Joe Mooney Christopher & Diane Morcom Dame Jane Newell DBE Oliver & Josie Ogg Mr Stephen Olton Mari Payne Mr David Peters Nadya Powell Ms Caroline Priday Mr Richard Rolls Mr Richard Rowland Mr & Mrs Alan Senior Tom Sharpe Mr Kenneth Shaw Ruth Silvestre
London Philharmonic Orchestra • 12 & 13 March 2022 • Daydreams and Fantasies
Thank you
Barry & Gillian Smith Mr David Southern Ms Mary Stacey Mr Simon Starr Mrs Margaret Thompson Philip & Katie Thonemann Mr Owen Toller Mrs Rose Tremain Ms Mary Stacey Ms Caroline Tate Mr Peter Thierfeldt Dr Ann Turrall Michael & Katie Urmston Dr June Wakefield Mr Dominic Wallis Mrs C Willaims Joanna Williams Mr Kevin Willmering Mr David Woodhead
Hon. Benefactor Elliott Bernerd
Hon. Life Members Alfonso Aijón Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Mrs Jackie Rosenfeld OBE Laurence Watt
Thomas Beecham Group Members Chris Aldren 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 Donors
Barclays CHANEL Fund for Women in the Arts and Culture Pictet Bank
LPO Corporate Circle Leader freuds Sunshine
Principal Berenberg Bloomberg Carter-Ruck French Chamber of Commerce
Tutti Lazard Russo-British Chamber of Commerce Walpole
Trialist Allianz Musical Insurance Sciteb
Preferred Partners Gusbourne Estate Lidl Lindt & Sprüngli Ltd OneWelbeck Steinway
In-kind Sponsor Google Inc
Trusts and Foundations
The Boltini Trust Borrows Charitable Trust Boshier-Hinton Foundation The Candide Trust Cockayne – Grants for the Arts The London Community Foundation The David Solomons Charitable Trust The D’Oyly Carte Charitable Trust Dunard Fund Ernst von Siemens Music Foundation The Fidelio Charitable Trust
Foyle Foundation Garrick Charitable Trust The Leche Trust Lucille Graham Trust John Horniman’s Children’s Trust John Thaw Foundation The Idlewild Trust Kirby Laing Foundation The Marchus Trust Adam Mickiewicz Institute PRS Foundation The Radcliffe Trust Rivers Foundation The R K Charitable Trust Romanian Cultural Institute Rothschild Foundation RVW Trust Schroder Charity Trust Scops Arts Trust Serge Rachmaninoff Foundation Sir William Boreman’s Foundation Souter Charitable Trust The Stanley Picker Trust The Thomas Deane Trust The Thriplow Charitable Trust The Vaughan Williams Charitable Trust The Victoria Wood Foundation The Viney Family The Barbara Whatmore Charitable Trust The William Alwyn Foundation and all others who wish to remain anonymous. The LPO would also like to acknowledge all those who have made donations to the Play On Appeal and who have supported the Orchestra during the COVID-19 pandemic.
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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 Jay Goffman Alexandra Jupin William A. Kerr Kristina McPhee Natalie Pray Damien Vanderwilt Elizabeth Winter Victoria Robey OBE Hon. Director Jenifer L. Keiser, CPA, EisnerAmper LLP
LPO International Board of Governors Natasha Tsukanova Co-Chair Martin Höhmann Co-Chair Mrs Irina Andreeva (Russia) Steven M. Berzin (USA) Veronika Borovik-Khilchevskaya (Cyprus) Marie-Laure Favre Gilly de Varennes de Bueil (France) Aline Foriel-Destezet (France) Irina Gofman (Russia) Countess Dominique Loredan (Italy) Olivia Ma (Greater China Area) Olga Makharinsky (Russia) George Ramishvili (Georgia) Victoria Robey OBE (USA) Jay Stein (USA)
London Philharmonic Orchestra • 12 & 13 March 2022 • Daydreams and Fantasies
London Philharmonic Orchestra Administration Board of Directors Victoria Robey OBE Chairman Martin Höhmann* President Dr Catherine C. Høgel Vice-Chairman Mark Vines* Vice-President Kate Birchall* David Buckley David Burke Bruno De Kegel Deborah Dolce Elena Dubinets Tanya Joseph Hugh Kluger* Al MacCuish Tania Mazzetti* Stewart McIlwham* 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 Simon Callow CBE Desmond Cecil CMG Sir Alan Collins KCVO CMG Andrew Davenport Guillaume Descottes Cameron Doley Christopher Fraser OBE Lord Hall of Birkenhead CBE Jonathan Harris CBE FRICS Marianna Hay MBE 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 QC Julian Simmonds
Barry Smith Martin Southgate Chris Viney Laurence Watt Elizabeth Winter
Finance
General Administration
Jean-Paul Ramotar Finance and IT Officer
Frances Slack Finance Director Dayse Guilherme Finance Manager
Elena Dubinets Artistic Director David Burke Chief Executive Chantelle Vircavs PA to the Executive
Education and Community Talia Lash Interim Education and Community Director
Concert Management
Rebecca Parslow Education and Community Project Manager
Roanna Gibson Concerts Director
Hannah Foakes Tilly Gugenheim Education and Community Project Co-ordinators
Graham Wood Concerts and Recordings Manager Fabio Sarlo Glyndebourne and Projects Manager
Development Laura Willis Development Director
Grace Ko Tours Manager
Scott Tucker Development Events Manager
Alison Jones Concerts and Recordings Co-ordinator Christina Perrin Concerts and Tours Assistant Matthew Freeman Recordings Consultant
Greg Felton Digital Creative Kiera Lockard 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 Simon Owen-Johnstone Hon. Orthopaedic Surgeon
Laura Kitson Stephen O’Flaherty Stage Managers
Nick Jackman Campaigns and Projects Director Kirstin Peltonen Development Associate
Marketing Kath Trout Marketing and Communications Director Mairi Warren Marketing Manager Rachel Williams Publications Manager
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Sophie Harvey Digital and Residencies Marketing Manager
Rosie Morden Individual Giving Manager
Priya Radhakrishnan Georgia Wiltshire Development Assistants
Felix Lo Orchestra and Auditions Manager
Ruth Haines (née Knight) Press and PR Manager
Mr Chris Aldren Honorary ENT Surgeon
Sarah Thomas Martin Sargeson Librarians
Freddie Jackson Assistant Stage Manager
Gavin Miller Sales and Ticketing Manager
Stef Woodford Corporate Relations Manager
Anna Quillin Trusts and Foundations Manager
Andrew Chenery Orchestra Personnel Manager
Harrie Mayhew Website Manager
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 photo James Wicks 2021/22 season identity JMG Studio Printer John Good Ltd