LPO programme: 13 Jan 2024 - Mutter plays John Williams (Jonathon Heyward/Anne-Sophie Mutter) by London Philharmonic Orchestra

2023/24 concert season at the Southbank Centre

Free 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

Southbank Centre’s Royal Festival Hall Saturday 13 January 2024 | 7.30pm

Mutter plays John Williams John Williams Superman March Violin Concerto No. 2 (UK premiere) Interval (20’) John Williams The Duel from The Adventures of Tintin Nice to Be Around from Cinderella Liberty Hedwig’s Theme from Harry Potter Bernstein Suite, On the Waterfront

Jonathon Heyward conductor Anne-Sophie Mutter violin

The timings shown are not precise and are given only as a guide. Concert presented by the London Philharmonic Orchestra

Contents 2

Welcome LPO news 3 On stage tonight 4 London Philharmonic Orchestra 5 Leader: Pieter Schoeman 6 Jonathon Heyward 7 Anne-Sophie Mutter 9 Programme notes 15 Next concerts 16 LPO at St John’s Waterloo 17 Sound Futures donors 18 Thank you 20 LPO administration

London Philharmonic Orchestra • 13 January 2024 • Mutter plays John Williams

Welcome

LPO news

Welcome to the Southbank Centre

Spring at St John’s Waterloo Join us at St John’s Church in Waterloo for two unique chamber concerts showcasing the talents of our musicians. Next Wednesday, 17 January, we’ll be chasing away the winter blues with a 6.30pm ‘rush-hour’ performance of John Luther Adams’s stunning songbirdsongs. Inspired by the beauty of birdsong, this unique work will be brought to life by an LPO chamber ensemble of ocarinas, piccolos and percussion.

We’re the largest arts centre in the UK and one of the nation’s top visitor attractions, showcasing the world’s most exciting artists at our venues in the heart of London. We’re here to present great cultural experiences that bring people together, and open up the arts to everyone. The Southbank Centre is made up of the Royal Festival Hall, Queen Elizabeth Hall, Purcell Room, Hayward Gallery, National Poetry Library and Arts Council Collection. We’re one of London’s favourite meeting spots, with lots of free events and places to relax, eat and shop next to the Thames.

Then on Wednesday 7 February at 6.30pm, we present ‘Jazz Roots, Soul Branches’. The performance will feature chamber arrangements of Duke Ellington’s most-loved tunes, Carl Davis’s reimagining of Gershwin’s Porgy and Bess, an homage to Miles Davis, and tributes to Stevie Wonder and Chaka Khan, whose chart-topping hits will be experienced afresh as an LPO bassoon quartet breathe new life into ‘Ain’t Nobody’ and ‘Superstition’.

We hope you enjoy your visit. If you need any information or help, please ask a member of staff. You can also write to us at Southbank Centre, Belvedere Road, London SE1 8XX, or email hello@southbankcentre.co.uk

Tickets for both dates are available from £12: book at lpo.org.uk

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On 17 January, ahead of the evening songbirdsongs performance, a daytime workshop session will also take place with an invited audience from the homeless community groups supported by St John’s, together with LPO musicians and workshop leaders, which will be followed by a shared lunch. We’re thrilled to be working once again with St John’s, with whom we launched a successful partnership last season.

Drinks You are welcome to bring drinks from the venue’s bars and cafés into the Royal Festival Hall to enjoy during tonight’s concert. Please be considerate to fellow audience members by keeping noise during the concert to a minimum, and please take your glasses with you for recycling afterwards. Thank you.

17 January concert generously supported by TIOC Foundation.

Canary Islands tour At the end of this month, the Orchestra will visit the Canary Islands for two concerts in Gran Canaria and Tenerife as part of the Canary Islands International Music Festival.

Enjoyed tonight’s concert?

Conductor Kristiina Poska will lead the Orchestra in two performances of Florence Price’s Violin Concerto No. 2 with LPO Leader Pieter Schoeman as soloist – a work they performed together with the Orchestra here at the Royal Festival Hall in November.

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.

The Canaries concerts will also feature the world premiere of Tajogaite, a new work for piano and orchestra by Tenerife-born composer and pianist Gustavo Díaz-Jerez. The work was inspired by the 2021 eruption of Tajogaite volcano on the island of La Palma.

London Philharmonic Orchestra • 13 January 2024 • Mutter plays John Williams

On stage tonight First Violins

Pieter Schoeman* Leader

Chair supported by Neil Westreich

Kate Oswin

Chair supported by Eric Tomsett

Minn Majoe Elizaveta Tyun Martin Höhmann Katalin Varnagy

Chair supported by Sonja Drexler

Cassandra Hamilton Nilufar Alimaksumova Yang Zhang Gabriela Opacka Ronald Long Jamie Hutchinson Beatriz Carbonell Eve Kennedy Alison Strange Eleanor Bartlett

Second Violins

Tania Mazzetti Principal Emma Oldfield Co-Principal Helena Smart Kate Birchall Nancy Elan Fiona Higham Chair supported by David & Yi Buckley

Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Ashley Stevens Claudia Tarrant-Matthews Chair supported by Friends of the Orchestra

Sioni Williams Sarah Thornett Jessica Coleman

Violas

Oboes

Fiona Winning

Ian Hardwick* Principal Alice Munday Sue Böhling*

Guest Principal

Martin Wray Benedetto Pollani Laura Vallejo Lucia Ortiz Sauco Toby Warr Julia Doukakis James Heron Stanislav Popov Rachel Robson Anita Kurowska

Cor Anglais

Sue Böhling* Principal

Clarinets

Bass Trombone

Thomas Watmough Chair supported by Roger Greenwood

James Maltby Paul Richards*

E-flat Clarinet

Thomas Watmough Principal

Chair supported by Roger Greenwood

Double Basses

Bass Clarinet

Kevin Rundell* Principal Hugh Kluger Tom Walley

Paul Richards* Principal

Alto Saxophone

Chair supported by William & Alex de Winton

Martin Robertson

Laura Murphy Charlotte Kerbegian Lowri Estell George Peniston Elen Roberts

Bassoons

Jonathan Davies* Principal Chair supported by Sir Simon Robey

Flutes

Juliette Bausor Principal Ian Mullin Stewart McIlwham*

Alto Flutes

Stewart McIlwham* Ian Mullin

Lee Tsarmaklis* Principal

Timpani

Simon Carrington* Principal Chair supported by Victoria Robey CBE

Jeremy Cornes

Percussion

Andrew Barclay* Principal

Chair supported by Gill & Garf Collins

Tom Pritchard Karen Hutt

Chair supported by Mr B C Fairhall

Jeremy Cornes Feargus Brennan

Harp

Sue Blair Guest Principal

Contrabassoon

*Professor at a London conservatoire

John Ryan* Principal Martin Hobbs Mark Vines Co-Principal Gareth Mollison Duncan Fuller

Principal

Tuba

Piano/Celeste

Horns

Stewart McIlwham*

Lyndon Meredith Principal

Emma Harding Simon Estell*

Simon Estell* Principal

Piccolo

Trombones

David Whitehouse Principal Merin Rhyd

Principal

Tim Hugh Guest Principal Waynne Kwon Francis Bucknall Helen Thomas Sibylle Hentschel Hee Yeon Cho Pedro Silva Timothée Botbol

Paul Beniston* Principal Tom Nielsen Co-Principal Anne McAneney* David Hilton

Chair supported by Dr Barry Grimaldi

Benjamin Mellefont*

Cellos

Trumpets

Catherine Edwards

The LPO also acknowledges the following chair supporters whose players are not present at this concert: Irina Gofman & Mr Rodrik V. G. Cave Bianca & Stuart Roden Caroline, Jamie & Zander Sharp

London Philharmonic Orchestra • 13 January 2024 • Mutter plays John Williams

London Philharmonic Orchestra

Our conductors

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 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 Tania León our Composer-in-Residence.

Our home is here 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.

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.

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 2023/24 we’re once again be working with Marquee TV to broadcast selected live concerts, so you can share or relive the wonder from your own living room.

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.

London Philharmonic Orchestra • 13 January 2024 • Mutter plays John Williams

Pieter Schoeman Leader

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. 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 also recently launched the LPO Conducting Fellowship, supporting the development of outstanding early-career conductors from backgrounds currently under-represented in the profession.

Next generations

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.

Looking forward

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.

The centrepiece of our 2023/24 season is our spring 2024 festival The Music in You. Reflecting our adventurous spirit, the festival embraces all kinds of expression – dance, music theatre, and audience participation. We’ll collaborate with artists from across the creative spectrum, and give premieres by composers including Tania León, Julian Joseph, Daniel Kidane, Victoria Vita Polevá, Luís Tinoco and John Williams. Rising stars making their debuts with us in 2023/24 include conductors Tianyi Lu, Oksana Lyniv, Jonathon Heyward and Natalia Ponomarchuk, accordionist João Barradas and organist Anna Lapwood. We also present the long-awaited conclusion of Conductor Emeritus Vladimir Jurowski’s Wagner Ring Cycle, Götterdämmerung, and, as well as our titled conductors Edward Gardner and Karina Canellakis, we welcome back classical stars including Anne-Sophie Mutter, Robin Ticciati, Christian Tetzlaff and Danielle de Niese.

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, Florence Price’s Violin Concerto No. 2, 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.

lpo.org.uk

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

London Philharmonic Orchestra • 13 January 2024 • Mutter plays John Williams

Jonathon Heyward conductor

Brussels Philharmonic orchestras; the Orchestre National Bordeaux Aquitaine, the Tonhalle Düsseldorf; the Hamburg Symphony and the MDR-Leipzig Symphony. During the 2023/24 season Jonathon will make his Australian debut with the Melbourne Symphony, and his New Zealand debut with the Auckland Philharmonia.

In 2021 Jonathon made his Wolf Trap debut, conducting the National Symphony Orchestra in Washington DC, and in 2023 he made his debut with the Chicago Symphony at the Ravinia Festival. Further significant highlights in the United States include collaborations with the New York Philharmonic; the Atlanta, Detroit, Houston, Seattle and St. Louis symphony orchestras; and the Minnesota Orchestra. Equally at home on the opera stage, Jonathon recently made his Royal Opera House debut with Hannah Kendall’s Knife of Dawn, having also conducted Weill’s Lost in the Stars with the Los Angeles Chamber Orchestra, as well as the world premiere of Giorgio Battistelli’s new opera, Wake, in a production by Graham Vick for Birmingham Opera Company.

Jonathon Heyward is forging a career as one of the most exciting conductors on the international scene. He is currently Music Director of the Baltimore Symphony Orchestra, having made his debut with the orchestra in March 2022 in three performances that included the first-ever performance of Shostakovich’s Symphony No. 15. From summer 2024 he will become Renée and Robert Belfer Music Director of Lincoln Center’s Summer Orchestra. This appointment follows a highly-acclaimed Lincoln Center debut with the Mostly Mozart Festival Orchestra in summer 2022, as part of its ‘Summer for the City’ festival.

Born in Charleston, South Carolina, Jonathon began his musical training as a cellist at the age of ten and started conducting while still at school. He studied conducting at the Boston Conservatory of Music, where he became assistant conductor of the prestigious institution’s opera department and of the Boston Opera Collaborative. He received postgraduate lessons from Sian Edwards at London’s Royal Academy of Music. Before leaving the Academy, he was appointed Assistant Conductor of the Hallé Orchestra, where he was mentored by Sir Mark Elder, and became Music Director of the Hallé Youth Orchestra. In 2023 he was named a Fellow of the Royal Academy of Music.

Currently in his third year as Chief Conductor of the Nordwestdeutsche Philharmonie, in summer 2021 Jonathon took part in an intense two-week residency with the National Youth Orchestra of Great Britain, which led to a highly acclaimed BBC Proms debut. According to The Guardian, Jonathon delivered ‘a fast and fearless performance of Beethoven’s ‘Eroica’ Symphony, in which loud chords exploded, repeating like fireworks in the Hall’s dome, and the quietest passages barely registered. It was exuberant, exhilarating stuff.’

Jonathon’s commitment to education and community outreach work deepened during his three years with the Hallé, and has flourished since he arrived in post as Chief Conductor of the Nordwestdeutsche Philharmonie in January 2021. He is equally committed to including new music within his imaginative concert programmes.

Tonight’s concert is Jonathon’s debut with the London Philharmonic Orchestra. Other recent and future guest conducting highlights in the UK include engagements with the London Symphony Orchestra, BBC National Orchestra of Wales, BBC Symphony, Royal Scottish National Orchestra, Hallé Orchestra, National Symphony Orchestra in Dublin, and Scottish Chamber Orchestra. In continental Europe, among Jonathon’s recent and forthcoming debuts are collaborations with the Castilla y León Symphony, Galicia Symphony, Danish National Symphony, Basel Symphony, Lausanne Chamber and

London Philharmonic Orchestra • 13 January 2024 • Mutter plays John Williams

Anne-Sophie Mutter violin

Bologne, Chevalier de Saint-Georges; Unsuk Chin’s Gran Cadenza (commissioned by Mutter); and Vivaldi’s Concerto for Four Violins and his Four Seasons. Two further tours in June and August/September took Anne-Sophie and her Virtuosi through Europe, with repertoire including three works by J S Bach: his Violin Concerto No. 1 in A minor, the Double Concerto for Two Violins, and the Brandenburg Concerto No. 3. These werecomplemented by the Nonet by André Previn, a work dedicated to the violinist, as well as Vivaldi’s Concerto for Three Violins and the Concerto in A major Op. 5 No. 2 by Joseph Bologne. These tours featured 14 string players and Knut Johannessen at the harpsichord, under the leadership of Anne-Sophie Mutter. In the USA, the violinist gave performances of Thomas Adès’s Air – Homage to Sibelius, a work she co-commissioned and premiered at the Lucerne Festival in 2022 together with the composer. Her musical partners were the Boston Symphony Orchestra under the baton of Andris Nelsons. She also embarked on a European chamber music tour: performing Brahms’s Sonata for Violin and Piano No. 3, Clara Schumann’s Three Romances for Violin and Piano, Beethoven’s ‘Ghost Trio’, and the first European performances of Sebastian Currier’s Ghost Trio (dedicated to the violinist) with pianist Lambert Orkis and cellist Maximilian Hornung.

Anne-Sophie Mutter is a musical phenomenon: for 47 years the virtuoso has been a fixture in the world’s major concert halls, making her mark on the classical music scene as a soloist, mentor and visionary. The four-time Grammy Award winner is equally committed to the performance of traditional composers as to the future of music. To date, she has given world premieres of 31 works – Thomas Adès, Unsuk Chin, Sebastian Currier, Henri Dutilleux, Sofia Gubaidulina, Witold Lutosławski, Norbert Moret, Krzysztof Penderecki, Sir André Previn, Wolfgang Rihm, Jörg Widmann and John Williams have all composed for her.

Anne-Sophie Mutter concluded 2023 performing Penderecki’s Violin Concerto No. 2, Metamorphosen, in honour of the 90th anniverary of the composer, who passed away in 2020. She played this work, which is also dedicated to her, in Poland and Israel with the Warsaw National Philharmonic Orchestra under Andrey Boreyko.

Anne-Sophie Mutter dedicates herself to supporting tomorrow’s musical elite and numerous charitable projects. In 2021 the Trustees of the German cancer charity Deutsche Krebshilfe elected her the new President of the non-profit organisation. In January 2022 she joined the foundation board of the Lucerne Festival. In 1997 she founded the Association of Friends of the Anne-Sophie Mutter Foundation, to which the Anne-Sophie Mutter Foundation was added in 2008. These two charitable institutions provide support for scholarship recipients, tailored to the fellows’ individual needs. Since 2011 Anne-Sophie has regularly shared the spotlight on stage with her ensemble of fellows, ‘Mutter’s Virtuosi’.

Another current musical focus is, of course, the oeuvre of John Williams. As well as tonight’s UK premiere of his Violin Concerto No. 2, dedicated to Anne-Sophie, the Concerto – together with the film music adaptations we hear this evening – is performed this season in Europe, Australia, New Zealand and the USA, the American performances conducted by the composer himself.

In 2023, the year she turned 60, Anne-Sophie Mutter’s concerts reflected her musical versatility and her peerless rank in the world of classical music. Numerous compositions dedicated to the violinist filled her concert calendar, many programmed for the first time. At the turn of the new year, Anne-Sophie and ‘Mutter’s Virtuosi’ toured Iceland, the USA and Canada, with programmes including the Concerto in A major Op. 5 No. 2 by Joseph

The star violinist’s new album

ANNE-SOPHIE MUTTER with her Virtuosi ensemble With music by Antonio Vivaldi, J. S. Bach, Joseph Bologne, André Previn and John Williams

„Music moves us only when it tells a story.“ Anne-Sophie Mutter

“Stupendous brilliance, breathless virtuosity.” Die Presse

All editions available in the Deutsche Grammophon Shop and all stores

London Philharmonic Orchestra • 13 January 2024 • Mutter plays John Williams

Programme notes John Williams (b. 1932) Superman March (1978) John Williams Violin Concerto No. 2 (2021) UK premiere

Anne-Sophie Mutter violin 1 Prologue 2 Rounds 3 Dactyls – 4 Epilogue

John Williams’s Violin Concerto No. 2 is the result of several years of collaboration and friendship between two of the world’s most celebrated musical artists. In requesting a concerto from Williams, Anne-Sophie Mutter added to the already remarkable, stylistically varied series of works written for or dedicated to her by composers including Witold Lutosławski, Wolfgang Rihm, Krzysztof Penderecki, Henri Dutilleux and Sebastian Currier. Mutter gave the world premiere of the Concerto on 24 July 2021 with the Boston Symphony Orchestra conducted by the composer at the orchestra's summer home of Tanglewood. Tonight is the Concerto’s first UK performance. Anne-Sophie Mutter had long been aware of Williams’s deep love for her instrument, not only from his concert works for violin and orchestra – his first Violin Concerto and TreeSong – but also from the beautiful Three Pieces from Schindler’s List, derived from his Academy Awardwinning film score. With those in mind, she had asked Williams to write a new piece. The initial result was his lyrical and haunting Markings for solo violin, strings and harp, which Mutter premiered in July 2017 at

London Philharmonic Orchestra • 13 January 2024 • Mutter plays John Williams

Programme notes Tanglewood, with the Boston Symphony Orchestra under its music director, Andris Nelsons.

The Concerto is rich in stylistic variety, each movement creating a contrasting environment and cast of secondary characters. Chief among these is the harp, reprising its supporting role from Markings, Williams’s earlier piece for Mutter. (A third-movement cadenza with timpani – an oblique reference to Beethoven’s Piano Concerto No. 3? – finds the soloist engaged with a much different partner.) The orchestration is magically colourful throughout, surging at times in the powerful transitions that flow from one solo episode to the next. The wide-ranging musical narrative and the details of the solo violin part were inspired by the deeply expressive character of Mutter’s playing and its virtuosic brilliance, as well as its lyrical warmth. The Concerto’s emotional journey passes through disquiet and wonder, yearning and self-confidence, tinted with the colours of Williams’s deep affinity for a world of musical traditions and his own inimitable artistry.

The overwhelming popularity and familiarity of John Williams’s film music and his status as a Hollywood icon have tended to overshadow his impressive catalogue of concert works. One of the earliest was his first violin concerto, written in reaction to the death of his first wife, the actress Barbara Ruick. Completed by 1976, it has found its highest-profile champion in violinist Gil Shaham, who recorded the Concerto with the Boston Symphony Orchestra for Deutsche Grammophon under the composer’s direction. The lyrical and personal Concerto No. 2 created for Anne-Sophie Mutter in 2021 manifests a new emotional weight accrued over those further decades of Williams’s artistic life. Its four-movement, symphony-like shape – with the third movement, Dactyls, as scherzo – is reminiscent of Brahms’s four-movement Piano Concerto No. 2, both works going against the grain of the expected three-movement concerto form while maintaining a traditional relationship between the soloist and orchestra.

Programme note © Robert Kirzinger

Interval – 20 minutes

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

London Philharmonic Orchestra • 13 January 2024 • Mutter plays John Williams

John Williams on his Violin Concerto No. 2 Composing programme notes has always been challenging for me. These descriptions always seem to try to answer the question ‘What is this music about?’ And while music has many purposes and functions, I’ve always believed that in the end, the music ought to be free to be interpreted through the prism of every listener’s own personal history, prior exposures and cultural background. One man’s sunken cathedral might be another woman’s mist at the dawning. The meaning must therefore reside, if you’ll forgive me, in the ‘ear of the beholder’.

In the beginning of the next section or movement, a quiet murmur is created by a gentle motion that I think of as being circular, hence the subtitle Rounds. At one point you will hear harmonies reminiscent of Debussy, but I ask you to reflect on another Claude … in this case Thornhill, a very early hero of mine who, it can be justly said, was the musical godfather of the Gil Evans/Miles Davis collaboration. It is also in this movement that a leitmotif or theme appears, later restated in the Epilogue. Dactyls, a borrowed word from the Greeks, which we use to describe a three-syllable effect in poetry, as well as the digit with its three bones, may serve to describe the next movement. It is our third movement, in a triple metre, and features a short cadenza for violin, harp, and timpani … yet another triad. The violin provides an aggressive virtuosity that produces a rough, waltz-like energy that is both bawdy and impertinent.

I can only think of this piece as being about AnneSophie Mutter, and the violin itself – an instrument that is the unsurpassed product of the luthier’s art. With so much great music already written for the instrument, much of it recently for Anne-Sophie herself, I wondered what further contribution I could possibly make. But I took my inspiration and energy directly from this great artist herself. We’d recently collaborated on an album of film music for which she recorded the theme from the film Cinderella Liberty, demonstrating a surprising and remarkable feeling for jazz. So, after a short introduction, I opened the Prologue of this Concerto with a quasi-improvisation, suggesting her very evident affinity for this idiom. There is also much faster music in this movement, which while writing, I recalled her flair for an infectious rhythmic swagger that is particularly her own.

The final movement is approached without a break by the violin and harp, where the two instruments reverse their relative balances in a kind of ‘sound dissolve’. In this way, they transport us to the Epilogue. It is in this final movement that the motif introduced in Rounds returns in the form of a duet for violin and harp, closing the piece with a gentle resolution in A major that might suggest both healing and renewal.

London Philharmonic Orchestra • 13 January 2024 • Mutter plays John Williams

Programme notes John Williams The Duel from The Adventures of Tintin: The Secret of the Unicorn (2011) Nice To Be Around from Cinderella Liberty (1973) Hedwig’s Theme from Harry Potter and the Philosopher’s Stone (2001) Anne-Sophie Mutter violin

In April 2019 legendary film composer John Williams conducted a studio recording entitled ‘Across the Stars’, an album of many of his beloved movie themes in stunning new adaptations written especially for his friend and collaborator Anne-Sophie Mutter. The themes they chose were written over a span of more than 40 years, collectively awarded two Oscars and nominated for nine more, and it is three of these themes that we hear this evening.

‘a Carmen Fantasy for the 21st century.’ The range of themes chosen for the project are surprisingly diverse, and include a suggestion from Williams’s friend and Mutter’s ex-husband, André Previn: the jazz-inflected ‘Nice To Be Around’ from the poignant romantic drama Cinderella Liberty. One of the more recent themes on the album, ‘The Duel’ from The Adventures of Tintin, is a complete contrast, conjuring up a vivid evocation of action-packed adventure on the high seas, packed full of Williams's trademark dynamic energy and wit.

‘There is only one John Williams,’ says Anne-Sophie Mutter. ‘What he writes is just extraordinary. Every time I go to one of his films and there is a violin or cello, I think, I’d like to play that! And now I have his wonderful translations of all these iconic themes.’ Williams adds: ‘Working with Anne-Sophie has been a pure inspiration. She has brought vibrant life to these familiar themes in new and unexpected ways, which has been a great joy for me as a composer.’

‘I am more than a fan’, Mutter said after the recording sessions for ‘Across the Stars’. ‘I am a great admirer of John Williams’s music, including his classical scores. I’m learning a great deal about colours, about musical expressivity, through the way he orchestrates. For me, it’s an incredible adventure of finding the right tone, the right subtlety.’

Alongside Mutter as a soloist, for the album Williams assembled an extraordinary group of musicians with whom he has worked over the years to form the 70-piece Recording Arts Orchestra of Los Angeles. They recorded ‘Across the Stars’ over five days at the historic Sony Pictures Scoring Stage, where many great film soundtracks of the past were recorded, including The Wizard of Oz, Gone with the Wind, Singin’ In The Rain, Lawrence of Arabia, E.T., and many more. Williams explains that for this project he revisited themes from many of his existing scores, and completely transformed them: ‘Presented on the violin, they become a different emotional experience.’ One example is his newly arranged version of ‘Hedwig’s Theme’ from the Harry Potter films, which he and Mutter describe as ‘Harry Potter meets Paginini’ or

London Philharmonic Orchestra • 13 January 2024 • Mutter plays John Williams

Programme notes Leonard Bernstein 1918–90

Symphonic Suite from On the Waterfront 1955

The 1954 American crime drama On the Waterfront, starring Marlon Brando, is set amid the union violence and corruption of dockers working on the New Jersey waterfront. The film, directed by Elia Kazan and written by Budd Schulberg, was ranked the eighth greatest movie of all time by the American Film Institute, and was Leonard Bernstein’s only foray into the world of Hollywood film scoring. Al Ravenna/Wikimedia Commons

Bernstein found the collaborative nature of film scoring frustrating artisticall, having been hired primarily because of his big name and the resulting promotional value. His score, which now stands at number 22 on the American Film Institute’s list of top American film scores, failed to win an Oscar, losing to Dimitri Tiomkin’s music for The High and the Mighty. Even after its release, the film’s creators worried that Bernstein’s music upstaged the dialogue. Kazan commented that it ‘put the picture on the level of almost operatic melodrama here and there.’ In his autobiography, The Joy of Music, Bernstein wrote:

Leonard Bernstein at work

‘I thought [the film] a masterpiece of direction; and Marlon Brando seemed to me to be giving the greatest performance I had ever seen him give … I was swept by my enthusiasm into accepting the commission to write the score, although I had resisted all such offers on the grounds that it is a musically unsatisfactory experience for a composer to write a score whose chief merit ought to be its unobtrusiveness.’

a loss to the picture, while a bar of music completely obliterated by speech is only a bar of music lost, and not necessarily a loss to the picture. Over and over again I repeated this little maxim to myself … ‘Sometimes there would be a general decision to cut an entire piece of music out of the picture because it seemed to “generalise” the emotional quality of a scene, whereas the director wished the scene to be “particularised.” Sometimes the music would be turned off completely for seconds to allow a line to stand forth stark and bare – and then be turned on again. Sometimes the music, which had been planned as a composition with a beginning, middle and end, would be silenced seven bars before the end. And so the composer sits by, protesting as he can, but ultimately accepting, be it with a heavy heart, the inevitable loss of a good part of the score.

In a 1954 New York Times article, while working on the score, Bernstein elaborated on the experience further: ‘I had become so involved in each detail of the score that it seemed to me perhaps the most important part of the picture. I had to keep reminding myself that it really is the least important part, that a spoken line covered by music is a lost line, and by that much

London Philharmonic Orchestra • 13 January 2024 • Mutter plays John Williams

Programme notes Everyone tries to comfort him. “You can always use it in a suite.” Cold comfort. It is good for the picture, he repeats numbly to himself: it is good for the picture.’ All of that unused music did, indeed, find new life a year later in the Symphonic Suite from On the Waterfront. Bernstein biographer Humphrey Burton has compared the way motifs develop throughout the single-movement work to the thematic transformation of the tone-poems of Franz Liszt. The Suite opens as the film opens – not with the customary, voluptuous splash of Hollywood sonic glitter which Kazan sought, but with a lonely, lamenting statement in the solo horn. This noble ‘Dignity Theme’ is followed by music that evokes the dark violence of the hellish Hoboken slums and, in contrast, the shimmering light of the Love Theme. This Love Theme is first heard as a quietly tentative statement in the flute. It begins with the same upwardreaching minor seventh we hear in West Side Story’s ‘Somewhere’. As the theme reaches its soaring climax, listen to the way it opens into a series of modulations, each bringing a vibrant, new orchestral voice (or combination of voices) to the forefront. At its highest point, the melodic line becomes a passionately mournful lamentation in the horns and strings – a combination reminiscent of the music of Ernest Bloch and other 20th-century Jewish composers. Original poster for the film, 1954

In the final bars of the Suite, the Love Theme and the Dignity Theme combine. A concluding falling half-step motif, heard throughout the score, seems to foreshadow the upward-resolving tritone of West Side Story’s ‘Maria’. And as with West Side Story, On the Waterfront moves, ultimately, from darkness to transcendence.

We’d love to hear from you We hope you enjoyed tonight’s concert. Could you spare a few moments to complete a short survey about your experience this evening? Your feedback is invaluable to us and will help to shape our future plans.

Programme note © Timothy Judd, thelistenersclub.com

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Next LPO concerts at the Southbank Centre FAMILY TIES – THE SCHUMANNS AND THE MENDELSSOHNS Friday 19 January 2024 | 7.30pm Queen Elizabeth Hall (please note venue)

Fanny Mendelssohn Overture in C major Clara Schumann Piano Concerto Robert Schumann Introduction and Concert Allegro Felix Mendelssohn Symphony No. 3 (Scottish) Natalia Ponomarchuk conductor Alexander Melnikov piano

SYMPHONIE FANTASTIQUE Wednesday 24 January 2024 | 7.30pm Royal Festival Hall Tchaikovsky Piano Concerto No. 1 Berlioz Symphonie fantastique Ryan Bancroft conductor Inon Barnatan piano

BEETHOVEN’S SEVENTH Saturday 27 January 2024 | 7.30pm Royal Festival Hall Wagner Overture, The Flying Dutchman Mozart Piano Concerto No. 20, K466 Beethoven Symphony No. 7 Anja Bihlmaier conductor Martin James Bartlett piano

LPO.ORG.UK

@ ST JOHN’S CHURCH, WATERLOO WEDNESDAY 17 JANUARY 2024, 6.30PM

songbirdsongs BY JOHN LUTHER ADAMS

JOIN US FOR 40 MINUTES OF PEACEFUL REFLECTION, AND EXPERIENCE JOHN LUTHER ADAMS’S UNIQUE MUSICAL WORLD OF SPACE, STILLNESS AND ELEMENTAL FORCES. Generously supported by TIOC Foundation

WEDNESDAY 7 FEBRUARY 2024, 6.30PM

Jazz Roots, Soul Branches RE-IMAGINED CLASSICS AND UNIQUE CHAMBER ARRANGEMENTS, FROM GEORGE GERSHWIN TO DUKE ELLINGTON, STEVIE WONDER & CHAKA KHAN

TICKETS FROM £12 LPO.ORG.UK

London Philharmonic Orchestra • 13 January 2024 • Mutter plays John Williams

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

Masur Circle Arts Council England Dunard Fund Victoria Robey CBE Emmanuel & Barrie Roman The Underwood Trust

Welser-Möst Circle William & Alex de Winton John Ireland Charitable Trust The Tsukanov Family Foundation Neil Westreich

Tennstedt Circle Valentina & Dmitry Aksenov Richard Buxton The Candide Trust Michael & Elena Kroupeev Kirby Laing Foundation Mr & Mrs Makharinsky Alexey & Anastasia Reznikovich Sir Simon Robey Bianca & Stuart Roden Simon & Vero Turner The late Mr K Twyman

Solti Patrons Ageas John & Manon Antoniazzi Gabor Beyer, through BTO Management Consulting AG Jon Claydon Mrs Mina Goodman & Miss Suzanne Goodman Roddy & April Gow The Jeniffer & Jonathan Harris Charitable Trust Mr James R.D. Korner Christoph Ladanyi & Dr Sophia Ladanyi-Czernin Robert Markwick & Kasia Robinski The Maurice Marks Charitable Trust

Mr Paris Natar The Rothschild Foundation Tom & Phillis Sharpe The Viney Family

Haitink Patrons Mark & Elizabeth Adams Dr Christopher Aldren Mrs Pauline Baumgartner Lady Jane Berrill Mr Frederick Brittenden David & Yi Yao Buckley Mr Clive Butler Gill & Garf Collins Mr John H Cook Mr Alistair Corbett Bruno De Kegel Georgy Djaparidze David Ellen Christopher Fraser OBE David & Victoria Graham Fuller Goldman Sachs International Mr Gavin Graham Moya Greene Mrs Dorothy Hambleton Tony & Susie Hayes Malcolm Herring Catherine Høgel & Ben Mardle Mrs Philip Kan Rehmet Kassim-Lakha de Morixe Rose & Dudley Leigh Lady Roslyn Marion Lyons Miss Jeanette Martin Duncan Matthews KC Diana & Allan Morgenthau Charitable Trust Dr Karen Morton Mr Roger Phillimore Ruth Rattenbury The Reed Foundation The Rind Foundation Sir Bernard Rix David Ross & Line Forestier (Canada)

Carolina & Martin Schwab Dr Brian Smith Lady Valerie Solti Mr & Mrs G Stein Dr Peter Stephenson Miss Anne Stoddart TFS Loans Limited Marina Vaizey Jenny Watson Guy & Utti Whittaker

Pritchard Donors Ralph & Elizabeth Aldwinckle Mrs Arlene Beare Mr Patrick & Mrs Joan Benner Mr Conrad Blakey Dr Anthony Buckland Paul Collins Alastair Crawford Mr Derek B. Gray Mr Roger Greenwood The HA.SH Foundation Darren & Jennifer Holmes Honeymead Arts Trust Mr Geoffrey Kirkham Drs Frank & Gek Lim Peter Mace Mr & Mrs David Malpas Dr David McGibney Michael & Patricia McLaren-Turner Mr & Mrs Andrew Neill Mr Christopher Querée The Rosalyn & Nicholas Springer Charitable Trust Timothy Walker CBE AM Christopher Williams Peter Wilson Smith Mr Anthony Yolland and all other donors who wish to remain anonymous

London Philharmonic Orchestra • 13 January 2024 • Mutter plays John Williams

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

The American Friends of the London Philharmonic Orchestra Anonymous donors Mrs Aline Foriel-Destezet Aud Jebsen In memory of Mrs Rita Reay Sir Simon & Lady Robey CBE

Orchestra Circle

William & Alex de Winton Edward Gardner & Sara Övinge Patricia Haitink Catherine Høgel & Ben Mardle Mr & Mrs Philip Kan Neil Westreich

Principal Associates

Richard Buxton Gill & Garf Collins In memory of Brenda Lyndoe Casbon In memory of Ann Marguerite Collins Irina Gofman & Mr Rodrik V. G. Cave George Ramishvili The Tsukanov Family Mr Florian Wunderlich

Associates

Mrs Irina Andreeva In memory of Len & Edna Beech Steven M. Berzin The Candide Trust John & Sam Dawson HSH Dr Donatus, Prince of Hohenzollern Stuart & Bianca Roden In memory of Hazel Amy Smith

Gold Patrons

Iain & Alicia Hasnip Eugene & Allison Hayes J Douglas Home Molly Jackson Mrs Farrah Jamal Mr & Mrs Jan Mr & Mrs Ralph Kanza Mr Peter King Jamie & Julia Korner Rose & Dudley Leigh Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Drs Frank & Gek Lim Mr & Mrs Makharinsky Mr Gordon McNair Andrew T Mills Denis & Yulia Nagy Andrew Neill Jamie Njoku-Goodwin Peter & Lucy Noble Oliver & Josie Ogg Mr Stephen Olton Simon & Lucy Owen-Johnstone Mr Roger Phillimore Mr Michael Posen Saskia Roberts John Romeo Priscylla Shaw Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Karina Varivoda Grenville & Krysia Williams Joanna Williams

David & Yi Buckley In memory of Allner Mavis Channing Sonja Drexler Peter & Fiona Espenhahn Mr B C Fairhall Hamish & Sophie Forsyth Virginia Gabbertas MBE Mr Roger Greenwood Malcolm Herring Julian & Gill Simmonds Eric Tomsett The Viney Family Guy & Utti Whittaker

Silver Patrons

Dame Colette Bowe David Burke & Valerie Graham Cameron & Kathryn Doley Ulrike & Benno Engelmann Dmitry & Ekaterina Gursky The Jeniffer & Jonathan Harris Charitable Trust John & Angela Kessler Mrs Elena & Mr Oleg Kolobov Mrs Elizabeth Meshkvicheva Mikhail Noskov & Vasilina Bindley Tom & Phillis Sharpe Mr Joe Topley & Ms Tracey Countryman Andrew & Rosemary Tusa Jenny Watson CBE Laurence Watt

Principal Supporters

Anonymous donors Ralph & Elizabeth Aldwinckle Mr John D Barnard Roger & Clare Barron Dr Anthony Buckland Dr Simona Cicero & Mr Mario Altieri Mr Alistair Corbett Guy Davies David Devons Igor & Lyuba Galkin Prof. Erol & Mrs Deniz Gelenbe In memory of Enid Gofton Alexander Greaves Prof. Emeritus John Gruzelier Michael & Christine Henry Mrs Maureen Hooft-Graafland Per Jonsson Mr Ian Kapur Ms Elena Lojevsky Pippa Mistry-Norman Mrs Terry Neale

Bronze Patrons

Anonymous donors Chris Aldren Michael Allen Mrs A Beare Mr Anthony Blaiklock Lorna & Christopher Bown Mr Bernard Bradbury Simon Burke & Rupert King Desmond & Ruth Cecil Mr John H Cook Deborah Dolce Ms Elena Dubinets David Ellen Christopher Fraser OBE Mr Daniel Goldstein David & Jane Gosman Mr Gavin Graham Lord & Lady Hall Mrs Dorothy Hambleton

John Nickson & Simon Rew Mr James Pickford Filippo Poli Mr Robert Ross Martin & Cheryl Southgate Mr & Mrs G Stein Christopher Williams

Supporters

Anonymous donors Mr Francesco Andronio Julian & Annette Armstrong Mr Philip Bathard-Smith Emily Benn Mr Julien Chilcott-Monk Alison Clarke & Leo Pilkington Mr Peter Coe Mr Joshua Coger Miss Tessa Cowie Caroline Cox-Johnson Mr Simon Edelsten Will Gold Mr Stephen Goldring Mr & Mrs Graham & Jean Pugh Mr Geordie Greig Mr Peter Imhof The Jackman Family Mr David MacFarlane Paul & Suzanne McKeown Nick Merrifield Dame Jane Newell DBE Mr David Peters Nicky Small Mr Brian Smith Mr Michael Timinis Mr & Mrs Anthony Trahar Tony & Hilary Vines Mr John Weekes Mr Roger Woodhouse Mr C D Yates

Hon. Benefactor Elliott Bernerd

Hon. Life Members Alfonso Aijón Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Keith Millar Victoria Robey CBE Mrs Jackie Rosenfeld OBE Timothy Walker CBE AM Laurence Watt

London Philharmonic Orchestra • 13 January 2024 • Mutter plays John Williams

Thank you

Thomas Beecham Group Members

Trusts and Foundations

German-British Chamber of Industry & Commerce Lazard Natixis Corporate Investment Banking Sciteb Ltd Walpole

ABO Trust The Barbara Whatmore Charitable Trust BlueSpark Foundation The Boltini Trust Borrows Charitable Trust Cockayne – Grants for the Arts The London Community Foundation Dunard Fund Ernst von Siemens Music Foundation Foyle Foundation Garrick Charitable Trust The Golsoncott Foundation Idlewild Trust Institute Adam Mickiewicz John Coates Charitable Trust John Horniman’s Children’s Trust John Thaw Foundation Kirby Laing Foundation The Kurt Weill Foundation for Music The Lennox Hannay Charitable Trust Lord and Lady Lurgan Trust Lucille Graham Trust The Marchus Trust PRS Foundation The R K Charitable Trust The Radcliffe Trust Rivers Foundation Rothschild Foundation Scops Arts Trust TIOC Foundation The Thriplow Charitable Trust Vaughan Williams Foundation The Victoria Wood Foundation The Viney Family

Preferred Partners

and all others who wish to remain anonymous.

David & Yi Buckley Gill & Garf Collins William & Alex de Winton Sonja Drexler Mr B C Fairhall The Friends of the LPO Roger Greenwood Dr Barry Grimaldi Mr & Mrs Philip Kan John & Angela Kessler Sir Simon Robey Victoria Robey CBE 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 Solicitors French Chamber of Commerce

Tutti

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 Wassermann 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 HSH Dr Donatus, Prince of Hohenzollern Aline Foriel-Destezet Irina Gofman Olivia Ma George Ramishvili Sophie Schÿler-Thierry Florian Wunderlich

Jeroboams Lindt & Sprüngli Ltd Neal’s Yard OneWelbeck Sipsmith Steinway

In-kind Sponsor Google Inc

London Philharmonic Orchestra • 13 January 2024 • Mutter plays John Williams

London Philharmonic Orchestra Administration Board of Directors

General Administration

Dr Catherine C. Høgel Chair Martin Höhmann* President Mark Vines* Vice-President Emily Benn Kate Birchall* David Burke Deborah Dolce Elena Dubinets Tanya Joseph Hugh Kluger* Katherine Leek* 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

Elena Dubinets Artistic Director

Advisory Council Roger Barron Chairman Christopher Aldren Richard Brass Helen Brocklebank YolanDa Brown OBE David Buckley 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 Dr Catherine C. Høgel Martin Höhmann Rehmet Kassim-Lakha Jamie Korner Geoff Mann Andrew Neill Nadya Powell Sir Bernard Rix Victoria Robey CBE Baroness Shackleton Thomas Sharpe KC Julian Simmonds Barry Smith Martin Southgate Chris Viney Laurence Watt Elizabeth Winter

Education and Community Talia Lash Education and Community Director

David Burke Chief Executive Chantelle Vircavs PA to the Executive and Employee Relations Manager

Lowri Davies Hannah Foakes Education and Community Project Managers

Concert Management

Hannah Smith Education and Community Co-ordinator

Roanna Gibson Concerts and Planning Director

Claudia Clarkson Regional Partnerships Manager

Graham Wood Concerts and Recordings Manager Maddy Clarke Tours Manager

Development Laura Willis Development Director

Madeleine Ridout Glyndebourne and Projects Manager

Rosie Morden Individual Giving Manager

Alison Jones Concerts and Recordings Co-ordinator

Siân Jenkins Corporate Relations Manager Anna Quillin Trusts and Foundations Manager

Robert Winup Concerts and Tours Assistant Matthew Freeman Recordings Consultant

Katurah Morrish Development Events Manager

Andrew Chenery Orchestra Personnel Manager

Eleanor Conroy Al Levin Development Co-ordinators

Sarah Thomas Martin Sargeson Librarians Laura Kitson Stage and Operations Manager

Nick Jackman Campaigns and Projects Director

Stephen O’Flaherty Deputy Operations Manager

Kirstin Peltonen Development Associate

Benjamin Wakley Assistant Stage Manager

Marketing

Felix Lo Orchestra and Auditions Manager

Kath Trout Marketing and Communications Director

Finance

Sophie Harvey Marketing Manager

Frances Slack Finance Director

Rachel Williams Publications Manager

Dayse Guilherme Finance Manager

Gavin Miller Sales and Ticketing Manager

Jean-Paul Ramotar Finance and IT Officer

Ruth Haines Press and PR Manager Hayley Kim Residencies and Projects Marketing Manager

Greg Felton Digital Creative Alicia Hartley Digital and Marketing Co-ordinator Isobel Jones 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 Selman Hoşgör 2023/24 season identity JMG Studio Printer John Good Ltd