LPO programme: 16 Apr 2023 Eastbourne - Imaginary Landscapes (Chloé van Soeterstède/Tai Murray)

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

Congress Theatre, Eastbourne

Sunday 16 April 2023 | 3.00pm

Imaginary Landscapes

Mendelssohn

Hebrides Overture (10’)

Dvořák

Violin Concerto in A minor (31’)

Interval (20’)

Brahms

Symphony No. 3 in F major (33’)

Chloé van Soeterstède conductor

Tai Murray violin

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

Contents

3

6

Welcome to the Congress Theatre

Theatre Director Chris Jordan

Welcome to this afternoon’s performance – the final concert in the London Philharmonic Orchestra’s 2022/23 season at the Congress Theatre. 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.

Details of the LPO’s 2023/24 season will be announced soon. Keep an eye out for the new season brochure and at lpo.org.uk/eastsussex. You can also find out what’s coming up by signing up for our ‘Stay in touch’ newsletter via the eastbournetheatres.co.uk homepage.

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 unless announced from the stage. Thank you.

LPO Junior Artists – Overture Day

Fancy playing alongside LPO musicians and members of our Junior Artists and Foyle Future Firsts schemes? If you’re between 10 and 14 years old and play an orchestral instrument at Grade 3+ standard, this is your chance to join the London Philharmonic Orchestra family for a day. You’ll meet some of our musicians, play as an ensemble and find out just what it takes to be part of one of the greatest orchestras in the world –for free!

This summer we’re bringing Overture to Eastbourne for the very first time. The Overture Day will take place at Ratton School, Eastbourne BN21 2XL on Tuesday 25 July 2023, and we’re excited to be working in partnership with Create Music, the music hub lead for Brighton and East Sussex. For our Overture Days, applications are prioritised from young people from backgrounds currently under-represented in professional UK orchestras. Applications for 25 July will open soon, so keep an eye out at lpo.org.uk/overture

New on the LPO Label: Jurowski conducts Stravinsky Vol. 2

Following rave reviews for the first volume of Vladimir Jurowski’s Stravinsky series on the LPO Label last year, we’re thrilled to release the next volume later this month.

‘Jurowski conducts Stravinsky Vol. 2’ (LPO-0026) is available to pre-order now, and will be in stores and on streaming services from 28 April. It features Stravinsky’s ballet music for The Fairy’s Kiss, alongside the movements he orchestrated from Tchaikovsky’s fairytale ballet The Sleeping Beauty

Click on the QR code to pre-order now or find out more.

‘The early evolution of Stravinsky from fledgling to Firebird feels like the most natural thing in the world ... The instinct and intellect of this most inquisitive and searching of conductors makes all the right connections.’

Gramophone on ‘Jurowski conducts Stravinsky Vol. 1’ (Editor’s Choice, September 2022)

First Violins

Alice Ivy-Pemberton Leader

Lasma Taimina

Chair supported by Irina Gofman & Mr Rodrik

V. G. Cave

Minn Majoe

Catherine Craig

Ronald Long

Elizaveta Tyun

Katherine Waller

Amanda Smith

Nilufar Alimaksumova

Maria Fiore Mazzarini

Maeve Jenkinson

Eleanor Bartlett

Second Violins

June Lee Guest Principal

Kate Birchall

Fiona Higham

Chair supported by David & Yi Buckley

Ashley Stevens

Sioni Williams

Sheila Law

Emma Purslow

Alison Strange

Jessica Coleman

Caroline Heard

Violas

Jon Thorne Guest Principal

Martin Wray

Katharine Leek

Benedetto Pollani

Toby Warr

Linda Kidwell

Stanislav Popov

Alistair Scahill

Cellos

Kate Gould Guest Principal

Francis Bucknall

Susanna Riddell

Helen Thomas

Laura Donoghue

Jane Lindsay

On stage today

Double Basses

Kevin Rundell* Principal

Sebastian Pennar Co-Principal

Hugh Kluger

George Peniston

Flutes

Stewart McIlwham* Principal

Camilla Marchant

Oboes

Ian Hardwick* Principal

Hannah Condliffe

Clarinets

Benjamin Mellefont Principal

Thomas Watmough

Chair supported by Roger Greenwood

Paul Richards*

Bassoons

John McDougall Guest Principal

Emma Harding

Contrabassoon

Simon Estell* Principal

Horns

John Ryan* Principal

Martin Hobbs

Mark Vines Co-Principal

Gareth Mollison

Oliver Johnson

Trumpets

Paul Beniston* Principal

Anne McAneney*

Trombones

Mark Templeton* Principal

Chair supported by William & Alex de Winton

David Whitehouse

Bass Trombone

Lyndon Meredith Principal

Timpani

Simon Carrington* Principal

Chair supported by Victoria Robey OBE

* Holds a professorial appointment in London

The LPO also acknowledges the following chair supporters whose players are not present at this concert:

Gill & Garf Collins

Sonja Drexler

Friends of the Orchestra

Dr Barry Grimaldi

Sir Simon Robey

Bianca & Stuart Roden

Caroline, Jamie & Zander Sharp

Eric Tomsett

Neil Westreich

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 here in Eastbourne, in Brighton, and in 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

We’re always at the forefront of technology, finding new ways to share our music globally. 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’ll be working once again 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.

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 Edward Gardner, captured in his first concert as

© Mark Allan

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’re committed to offering them opportunities to progress. 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.

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.

Alice Ivy-Pemberton Leader

lpo.org.uk

Alice Ivy-Pemberton joined the London Philharmonic Orchestra as Co-Leader in February 2023.

Praised by The New York Times for her ‘sweet-toned playing’, Alice has performed as a soloist, chamber and orchestral musician to international acclaim. While growing up in New York City and studying with Nurit Pacht, Alice made a nationally televised Carnegie Hall debut aged ten, and was a finalist at the Menuhin International Competition at the age of 12.

Alice earned her Bachelors and Masters degrees at The Juilliard School under the tutelage of Itzhak Perlman and Catherine Cho as a fully-funded recipient of the Kovner Fellowship. During her studies she won Juilliard’s Violin Concerto Competition, performed extensively with the New York Philharmonic and The Philadelphia Orchestra, and led orchestras under the baton of Barbara Hannigan, Xian Zhang and Matthias Pintscher. Upon graduating in 2022 she was awarded the Polisi Prize and a Benzaquen Career Advancement Grant in recognition of ‘tremendous talent, promise, creativity, and potential to make a significant impact in the performing arts’.

An avid chamber musician, Alice has collaborated with Itzhak Perlman, Anthony Marwood, Gil Shaham and members of the Belcea, Doric, Juilliard and Brentano string quartets, and performed with the Chamber Music Society of Lincoln Center. Festival appearances include Music@Menlo, Moritzburg and Yellow Barn. Also a passionate advocate for new music and its social relevance, Alice created Drowning Monuments, a noted multimedia project on climate change that brought together five world premieres for solo violin.

Chloé van Soeterstède conductor

awarded the Bärenreiter Prize for the best interpretation of a contemporary work, as well as Third Prize overall.

In 2012 Chloé founded the Arch Sinfonia, a chamber orchestra based in London, which has been applauded for its vibrant and boundless energy, its wide range of repertoire and its initiatives to build bridges between artists and audience. She also loves to work with young musicians, and as such works regularly with specialist music schools and conservatoires across the UK.

Chloé van Soeterstède is attracting the attention of orchestras across the globe for her intuitive, sensitive, expressive music-making and her commanding and positive presence on the podium. She is praised repeatedly for her attention to detail, her energy and enthusiasm, and efficiency in rehearsal. In recent seasons she has made many debuts across Europe and North America, receiving many re-invitations, and in upcoming seasons she looks forward to further debuts in the UK, Scandinavia, Germany, Switzerland, the US, New Zealand and Australia. In January 2022 she joined the Orchestre d’Auvergne’s artistic team as Artist-inResidence, alongside its Associate Conductors Enrico Onofri and Christian Zacharias, and Chief Conductor Thomas Zehetmair.

Today’s concert is Chloé van Soeterstède’s debut with the London Philharmonic Orchestra. This season she also makes debuts with the Scottish Chamber, Finnish Radio Symphony, Geneva Chamber and Nordic Chamber orchestras, amongst others, and returns to the Royal Philharmonic, Bournemouth Symphony and Gävle Symphony orchestras, the Orquesta Sinfónica de Castilla y Léon, and the GiOrquesta for a production with La Fura dels Baus at the Portaferrada Festival.

Chloé van Soeterstède conducts a wide range of repertoire from Mozart, Beethoven and Mendelssohn through to Tchaikovsky, Ravel and Prokofiev. In 2019 she conducted the world premiere of Benjamin Attahir’s Syrian Voices in France, and she regularly programmes works by contemporary composers such as Jessie Montgomery, Roxanna Panufnik, Annamaria Kowalsky, Katarine Leyman and Anna Meredith. At the 2019 Deutscher Diringentenpreis in Cologne she was

Chloé van Soeterstède was born in 1988 in France. After studying viola in Paris and then at the Royal Academy of Music, she studied conducting at the Royal Northern College of Music (2015–17) with Clark Rundell and Mark Heron, where she was awarded the Kennedy scholarship and was also supported by the Derek Hill Foundation. She was appointed the Taki Alsop Fellow 2019–21 by Marin Alsop, and was a Dudamel Fellow with the LA Philharmonic in the 2021/22 season.

© Olivia Da Costa

Tai Murray violin

Tai Murray’s critically-acclaimed debut recording for Harmonia Mundi of Ysaÿe’s six sonatas for solo violin was released in 2012. Her second recording, ‘20th Century – The American Scene’ with pianist Ashley Wass, was released by the Berlin-based label eaSonus in 2013, and her third disc, ‘American Journey’, featuring Bernstein’s Serenade, by the French label Mirare in 2014.

Tai Murray plays a violin by Tommaso Balestrieri Fecit Mantua ca. 1765, on generous loan from a private collection.

Described as ‘superb’ by The New York Times, American violinist Tai Murray has established herself as the musical voice of a generation. ‘Technically flawless … vivacious and scintillating … It is without doubt that Murray’s style of playing is more mature than that of many seasoned players.’ (Muso Magazine)

Appreciated for her elegance and effortless ability, Tai creates a special bond with listeners through her personal phrasing and subtle sweetness. Her programming reveals musical intelligence, and her sound, sophisticated bowing and choice of vibrato remind us of her musical background and influences, principally Yuval Yaron (a student of Gingold and Heifetz) and Franco Gulli. Winner of an Avery Fisher Career Grant in 2004, Tai Murray was a BBC New Generation Artist from 2008–10. As a chamber musician, she was a member of Lincoln Center’s Chamber Music Society from 2004–06.

Tai has performed as guest soloist on stages worldwide, with leading ensembles such as the Indianapolis Symphony Orchestra, Royal Liverpool Symphony Orchestra, and all of the BBC symphony orchestras. Today’s concert is her debut with the London Philharmonic Orchestra. Tai is also a dedicated advocate of contemporary works written for the violin: among others, she gave the world premiere of Malcolm Hayes’s Violin Concerto at the 2016 BBC Proms, with the BBC National Orchestra of Wales conducted by Thomas Søndergård

As a recitalist, Tai Murray has visited many of the world’s capitals, appearing in Berlin, Chicago, Hamburg, London, Madrid, Paris, Washington D.C. and New York’s Carnegie Hall, among many others.

© Gaby Merz

Programme notes

Felix Mendelssohn

1809–47

Hebrides Overture

1830

In 1829, the 20-year-old Felix Mendelssohn made his first visit to Britain. He was awestruck by London: ‘the grandest and most complicated monster on the face of the earth’, he wrote to his family, back in Berlin. Then, with his older friend Karl Klingemann, he set off for Scotland. Edinburgh delighted his romantic imagination: ‘Few of my Switzerland reminiscences can compare to this; everything looks so stern and robust, half enveloped in haze or smoke or fog’. The idea of composing a ‘Scottish’ Symphony was born around this time. On the other hand, a visit to the world-famous novelist Sir Walter Scott at his home at Abbotsford was something of an anticlimax: ‘We drove eighty miles and lost a day for the sake of at best one half-hour of superficial conversation’.

Then, in August, came the encounter that yielded the richest musical results. Klingemann and Mendelssohn made the long, difficult land-sea journey to the Hebridean islands. Mendelssohn was overwhelmed by the dramatic coastal scenery, especially the island of Staffa, with its huge sea cave, framed by vast basaltic columns – according to legend the abode of the legendary hero Fingal. ‘In order to make you understand how extraordinarily the Hebrides affected me’, he wrote home, ‘the following came to my mind there’. And in the letter, underneath those words, is a sketch for what is unmistakably the opening of the Hebrides Overture, with its short but pregnant repeated motif for violas, cellos and bassoon. From this grew one of the greatest of all romantic tone-poems.

Broadly speaking, Mendelssohn keeps to the outlines of classical ‘sonata form’: two contrasting themes, both recapitulated after a powerful central ‘development’ section. But what is most impressive about the Overture is its sustained imaginative flight. One moment huge open vistas are evoked, the next we are offered musical ‘close-ups’ of waves dashing against rocks or scudding storm clouds; and always in the background is the swell of the sea, rising to a thrilling final climax before fading

mysteriously at the end. ‘The best I have to tell you’, Mendelssohn wrote after that enthralling sea voyage, ‘is described exactly in the music’. And nearly two centuries later, the Hebrides Overture tells that story as vividly as ever.

Courtesy of the Royal College of Music, London

Programme notes

Antonín Dvořák

1841–1904

Violin Concerto in A minor, Op. 53

1894–95

Tai Murray violin

1 Allegro ma non troppo –

2 Adagio ma non troppo

3 Finale: Allegro giocoso ma non troppo

Antonín Dvořák’s great Cello Concerto is one of the most widely loved and admired string concertos in the repertoire. But its enduring success has tended to overshadow his other works in concerto form. In the case of the relatively early Piano Concerto (1876), that’s no great loss. Dvořák himself appears to have concluded that it was largely a failure, and few have disagreed with him. But the Violin Concerto of 1879–80 is another matter entirely. Full of catchy tunes and glorious long melodies, it has a warmly romantic atmosphere of its own. And although Dvořák doesn’t overdo the folk colouring, the finale in particular has an unmistakable and delicious Czech accent.

Dvořák wrote his Violin Concerto for the Hungarian virtuoso Joseph Joachim, who apart from being one of the outstanding concert soloists of his age was also a fine composer and a folk music enthusiast. It was for Joachim that Dvořák’s friend and champion Johannes Brahms had written his great Violin Concerto in 1878. In the case of the Brahms Concerto, Joachim had made several helpful suggestions to the composer, not just about the violin writing, but also about orchestration and even some of the details of the composition, some (though not all) of which Brahms accepted. Dvořák duly sent off his own score to Joachim with a request that he run a critical eye over his efforts. Dvořák had to wait two years until Joachim sent back his recommendations –all of which he seems to have been happy to accept. Yet, strangely, Joachim never played Dvořák’s Violin Concerto – quite why we can only guess – and the

Courtesy of the Royal College of Music, London

Programme notes

premiere was eventually given in 1883 by the Czech violinist František Ondříček in Prague.

Perhaps the problem for Joachim, and for one or two more self-conscious star violinists today, is that the Dvořák is not an especially ‘showy’ concerto. It’s certainly difficult to play, but for listeners it tends to be the soulful or dancing melodic element that remains in the memory rather than any virtuoso fireworks. The first movement begins arrestingly, with a stern orchestral theme. But this movement is more songful than dramatic, and its true heart is the glorious long melody, introduced by the soloist supported by the oboe, that flows in seamlessly about halfway through the movement. There is no extended solo cadenza: just when it seems that the violin is setting off on an earcatching monologue, woodwind join in and lead smoothly into the slow movement, which begins with another seductive long melody. This extended lyrical meditation eventually brings the Concerto to its first full close. Then the finale begins with a tribute to a Czech national dance, the ‘furiant’. The furiant’s most striking feature is its rhythm, which keeps veering between ONE-two-three TWO-two-three and ONE-two TWOtwo THREE-two – the kind of rhythmic writing that literally keeps dancers (and violinists) on their toes. But for the listener at least this is joyous music, not least in its exciting close.

Interval – 20 minutes

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

Programme notes

Johannes Brahms

1833–97

Symphony No. 3 in F major, Op. 90

1883

1 Allegro con brio

2 Andante

3 Poco Allegretto

4 Allegro

Brahms’s Third Symphony is in many ways the subtlest, certainly the least ‘epic’ of his symphonic works. Notice the way that all four movements conclude quietly – it’s hard to think of a symphony composed before this one totally avoids demonstrative endings. Sometimes –especially in the middle two movements – the style and expression are closer to chamber music: there are intimate dialogues between solo woodwind instruments, while the beautiful long horn solo in the third movement, with its delicate string accompaniment, is closer in style to the gloriously romantic Horn Trio of 1865 than to anything in the other three symphonies.

Beyond that, the older Brahms’s habitual mask of ‘classical objectivity’ slips more often here than in any of his other big orchestral works. The Third Symphony begins with the wind instruments outlining a rising three-note motif which dominates the first movement and returns to wind up the argument at the end of the finale: all very intellectually rigorous, one might say –typical Brahms. Un-typically, however, Brahms indicated that this motif had a specific meaning: the three notes, F–A–F, ‘spelt’ a motto in German, Frei aber froh –‘Free but happy’ – an expression of proud defiance, perhaps, by famously lifelong bachelor. But listen to the way Brahms flattens the second note of the opening motif, A, and adds a questioning dissonance underneath. The word aber (‘but’) is therefore emphasised – a note of doubt.

Immediately after this ‘motto’ comes a magnificent downward plunging violin theme. Its opening phrase is

a direct quotation from another Third Symphony: that of the young Brahms’s mentor, encourager and in many ways surrogate father, Robert Schumann. Schumann’s final descent into madness and attempted suicide in 1854 was a profound shock for Brahms. Most of Brahms’s first movement is carried along by a strong, buoyant forward current; but just before the return of the first themes the tempo slows markedly and Brahms quotes one of his own choral works, Begräbnisgesang, ‘Funeral Song’, composed not long after Schumann’s death – listen out for heavy descending scales in the bass, lugubriously scored. Suddenly the opening F–A–F motif returns with full force. It’s as though Brahms pays momentary tribute to his beloved, and still profoundly missed friend, but then rallies himself. Schumann may be no more, but his spirit lives on in Brahms himself –as Schumann himself prophesied.

The middle two movements are much gentler, and scored for reduced forces (no trumpets, drums or contrabassoon). The opening woodwind melody of the Andante, with its answering phrases on low strings, is like a pastoral hymn, but the more searching second theme (clarinet, bassoon with rich supporting string chords) leads into more troubled regions. Pastoral imagery is also suggested in the following Poco Allegretto. The rustling string figures accompaniment the gorgeous cello melody may evoke rustling foliage. The idea of a prevailing forest setting is confirmed when the opening melody is taken up at length by the horn –for German-speaking composers the horn is the romantic woodland instrument. Continued overleaf

Programme notes

The finale brings the stormiest, most driven music in the whole Symphony, though the darkly purposeful opening is momentarily interrupted by a kind of brief reverie (woodwind against more rustling strings), followed by a sombre hymn-like figure, pianissimo – more ‘funeral’ music? From this an impassioned, striving Allegro springs to life. One may be led to expect a noisily triumphant, or perhaps tragic conclusion. But at the end it is the element of reverie (again woodwind and rustling strings) that prevails, leading – with superb emotional logic – to a quite return of the Symphony’s original ‘motto’ and ‘Schumann’ themes. No triumph, no tragedy, the music seems to say – just peaceful acceptance.

Programme notes © Stephen Johnson

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Brahms’s Symphony No. 3 on the LPO Label

Brahms Symphony No. 3

Brahms Symphony No. 4

Vladimir Jurowski conductor

London Philharmonic Orchestra

LPO-0075

Recorded live at the Southbank Centre’s Royal Festival Hall on 27 October 2010 (No. 3) and 28 May 2011 (No. 4)

Andrew Clark, Financial Times, 24 January 2014

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‘The London Philharmonic Orchestra’s strings combine passion and poise, the woodwinds are exquisite, and Jurowski accepts the music as a lyrical outpouring ... the LPO’s principal conductor marries the best of tradition with the best of modern practice.’

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Prof Emeritus John Gruzelier

Mark & Sarah Holford

Mrs Maureen Hooft-Graafland

Per Jonsson

Mr Ian Kapur

Ms Kim J Koch

Ms Elena Lojevsky

Mrs Terry Neale

John Nickson & Simon Rew

Oliver & Josie Ogg

Ms Olga Ovenden

Mr James Pickford

Filippo Poli

Sir Bernard Rix

Mr Robert Ross

Priscylla Shaw

Martin & Cheryl Southgate

Mr & Mrs G Stein

Dr Peter Stephenson

Joanna Williams

Christopher Williams

Ms Elena Ziskind

Supporters

Anonymous donors

Ralph & Elizabeth Aldwinckle

Mr & Mrs Robert Auerbach

Mrs Julia Beine

Harvey Bengen

Miss YolanDa Brown OBE

Miss Yousun Chae

Mr Julien Chilcott-Monk

Alison Clarke & Leo Pilkington

Mr Joshua Coger

Miss Tessa Cowie

Mr David Devons

Patricia Dreyfus

Mr Martin Fodder

Christopher Fraser OBE

Will Gold

Ray Harsant

Mr Peter Imhof

The Jackman Family

Mr David MacFarlane

Dame Jane Newell DBE

Mr Stephen Olton

Mari Payne

Mr David Peters

Ms Edwina Pitman

Mr & Mrs Graham & Jean Pugh

Mr Giles Quarme

Mr Kenneth Shaw

Mr Brian Smith

Ms Rika Suzuki

Tony & Hilary Vines

Dr June Wakefield

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

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

Sciteb Ltd

Walpole

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 Coates Charitable Trust

John Horniman’s Children’s Trust

John Thaw Foundation

Institute Adam Mickiewicz

Kirby Laing Foundation

Lord and Lady Lurgan Trust

Lucille Graham Trust

The Marchus Trust

PRS Foundation

The Radcliffe Trust

Rivers Foundation

Rothschild Foundation

Scops Arts Trust

Sir William Boremans’ Foundation

The John S Cohen Foundation

The R K Charitable Trust

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 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

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

Florian Wunderlich

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

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

Digital Co-ordinator

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