Principal Conductor Edward Gardner supported by Aud Jebsen
Principal Guest Conductor Karina Canellakis
Conductor Emeritus Vladimir Jurowski KBE 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 18 January 2025 | 7.30pm
Haydn Missa in tempore belli (41’)
Interval (20’)
György Kurtág Petite musique solennelle (6’)
John Adams On the Transmigration of Souls (25’)
Vladimir Jurowski conductor
Anna Devin soprano
Hanna Hipp mezzo-soprano
Rupert Charlesworth tenor
Trevor Eliot Bowes bass
London Philharmonic Choir
Artistic Director: Neville Creed
Tiffin Youth Choir
Director: James Day
Jonathan Green sound designer
Free pre-concert event 6.15–6.45pm
The Clore Ballroom, Royal Festival Hall
LPO 2024/25 Writer-in-Residence
Jeremy Eichler gives a talk on this evening’s programme. All welcome, no ticket required.
After the concert, Jeremy will also be signing copies of his awardwinning book, Time’s Echo, at the merchandise stand in the Royal Festival Hall foyer (see page 7).
Part of
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We’re delighted to announce that renowned British composer Sir George Benjamin will be the London Philharmonic Orchestra’s next Composer-in-Residence, succeeding Tania León in September 2025.
Benjamin is one of the leading figures in contemporary classical music. His works have been performed by notable conductors and orchestras worldwide, and his groundbreaking opera collaborations with playwright Martin Crimp have created modern classics like Into the Little Hill, Written on Skin, and Lessons in Love and Violence. His most recent opera, Picture a day like this, was premiered at the 2023 Aix-en-Provence Festival.
As a conductor, Benjamin has premiered numerous significant works by Wolfgang Rihm, Unsuk Chin, Tristan Murail, Gérard Grisey and György Ligeti. Now the Henry Purcell Professor of Composition at King’s College London, he has received numerous international awards, including a knighthood in 2017.
We look forward to working with him from September!
Earlier today, LPO Friends were treated to an exclusive behind-the-scenes experience, watching the Orchestra, Choir and soloists in rehearsal for tonight’s concert and enjoying a rare insight into the preparation and artistry that goes into each performance.
As well as exclusive access to a number of private rehearsals each season, LPO Friends membership puts you at the front of the queue for our Southbank Centre concert bookings, and offers invitations to other events and opportunities to meet LPO musicians throughout the year.
Membership starts from just £6 per month. Interested in finding out more? Scan the QR code or visit lpo.org.uk/support
First Violins
Pieter Schoeman* Leader
Chair supported by Neil Westreich
Vesselin Gellev Sub-Leader
Kate Oswin
Chair supported by Eric Tomsett
Lasma Taimina
Chair supported by Irina Gofman & Mr Rodrik V. G. Cave
Minn Majoe
Chair supported by Dr Alex & Maria
Chan
Martin Höhmann
Thomas Eisner
Chair supported by Ryze Power
Katalin Varnagy
Nilufar Alimaksumova
Ruth Schulten
Alison Strange
Victoria Gill
Elodie Chousmer-Howelles
Eve Kennedy
Daniel Pukach
Rebecca Dinning
Second Violins
Tania Mazzetti Principal
Chair supported by The Candide
Trust
Emma Oldfield Co-Principal
Coco Inman
Marie-Anne Mairesse
Claudia Tarrant-Matthews
Fiona Higham
Chair supported by David & Yi
Buckley
Ashley Stevens
Nancy Elan
Nynke Hijlkema
Emma Purslow
Sioni Williams
Sarah Thornett
Sheila Law
Harry Kerr
Violas
Fiona Winning
Guest Principal
Lucia Ortiz Sauco
Martin Wray
Chair supported by David & Bettina
Harden
Benedetti Pollani
Katharine Leek
Laura Vallejo
Stanislav Popov
Richard Cookson
Rachel Robson
Pamela Ferriman
Julia Doukakis
Cellos
Kristina Blaumane Principal
Chair supported by Bianca & Stuart Roden
George Hoult
Waynne Kwon
David Lale
Francis Bucknall
Leo Melvin
Tom Roff
Helen Thomas
Sibylle Hentschel
Iain Ward
Double Basses
Kevin Rundell* Principal
Hugh Kluger
George Peniston
Lowri Estell
Ben Havinden-Williams
Antonia Bakewell
Thea Sayer
Tom Morgan
Flutes
Juliette Bausor Principal
Ellie Blamires
Stewart McIlwham*
Katherine Bicknell
Piccolos
Stewart McIlwham* Principal
Katherine Bicknell
Alto Flute
Stewart McIlwham*
Bass Flute
David Cuthbert
Oboes
Ian Hardwick* Principal
Alice Munday
Sue Böhling*
Cor Anglais
Sue Böhling* Principal Chair supported by Dr Barry Grimaldi
Benjamin Mellefont* Principal
Chair supported by Sir Nigel Boardman & Prof. Lynda Gratton
Thomas Watmough
Chair supported by Roger Greenwood
Bass Clarinet
Paul Richards* Principal
Contrabass Clarinet
Alan Andrews
Bassoons
Jonathan Davies* Principal Chair supported by Sir Simon Robey
Dominic Tyler
Contrabassoon
Simon Estell* Principal
Horns
John Ryan* Principal
Annemarie Federle
Principal
Chair supported by Victoria Robey CBE
Martin Hobbs
Mark Vines Co-Principal
Gareth Mollison
Trumpets
Paul Beniston* Principal
Tom Nielsen Co-Principal
Anne McAneney*
Chair supported in memory of Peter Coe
Tony Cross
Trombones
David Whitehouse Principal
Andrew Cole
Bass Trombone
Lyndon Meredith Principal
Tubas
Lee Tsarmaklis* Principal Chair supported by William & Alex de Winton
Stuart Beard
Timpani
Simon Carrington* Principal Chair supported by Victoria Robey CBE
Percussion
Andrew Barclay* Principal Chair supported by Gill & Garf Collins
Karen Hutt Co-Principal
Feargus Brennan
Sarah Mason
Harps
Sally Pryce Guest Principal
Rachel Wick
Piano
Catherine Edwards
Celeste
Philip Moore
Keyboard
Clíodna Shanahan
Accordion
Ian Watson
Cimbalom
Edward Cervenka
Assistant Conductor
Juya Shin
*Professor at a London conservatoire
The LPO also acknowledges the following chair supporters whose players are not present: Ian Ferguson & Susan Tranter
Friends of the 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. Our mission is to share wonder with the modern world through the power of orchestral music, which we accomplish through live performances, online, and an extensive education and community programme, cementing our position as a leading orchestra for the 21st century.
Our home is at the Southbank Centre’s Royal Festival Hall, where we’re at the beating heart of London’s cultural life. You’ll also find us at our resident venues in Brighton, Eastbourne and Saffron Walden, and on tour worldwide. In 2024 we celebrated 60 years as Resident Symphony Orchestra at Glyndebourne Festival Opera, combining the magic of opera with Glyndebourne’s glorious setting in the Sussex countryside.
Everyone will have heard the Grammy-nominated London Philharmonic Orchestra, whether it’s playing the world’s National Anthems for 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’re one of the world’s most-streamed orchestras, with over 15 million plays of our content each month. In 2023 we were the most successful orchestra worldwide on YouTube, TikTok and Instagram, with over 1.1m followers across all platforms, and in spring 2024 we featured in a TV documentary series on Sky Arts: ‘Backstage with the London Philharmonic Orchestra’, still available to watch via Now TV. During 2024/25 we’re once again working with Marquee TV to broadcast selected live concerts to enjoy from your own living room.
Our Principal Conductors have included some of the greatest historic names like Sir Adrian Boult, Bernard Haitink, Klaus Tennstedt and Kurt Masur. In 2021 Edward Gardner became our 13th Principal Conductor, and 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.
We’re committed to nurturing the next generation of musicians and music-lovers: we love seeing the joy of children and families experiencing their first musical moments, and we’re passionate about inspiring schools and teachers through dedicated concerts, workshops,
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 disabilities and special educational needs.
Today’s young instrumentalists are the orchestra members of the future, and we have a number of opportunities to support their progression. Our LPO Junior Artists programme leads 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 two outstanding early-career conductors from backgrounds under-represented in the profession.
Principal Conductor Edward Gardner leads the Orchestra in an exciting 2024/25 season, with soloists including Joyce DiDonato, Leif Ove Andsnes, Patricia Kopatchinskaja, Víkingur Ólafsson and Isabelle Faust, and works including Strauss’s Alpine Symphony, Ravel’s Daphnis and Chloe and Mahler’s Eighth Symphony. Principal Guest Conductor Karina Canellakis joins us for three concerts including Bruckner’s Fourth Symphony, Tchaikovsky’s Sixth Symphony, and Mozart with pianist Benjamin Grosvenor. We’ll also welcome back Conductor Emeritus Vladimir Jurowski, as well as guest conductors including Mark Elder, Lidiya Yankovskaya, Robin Ticciati and Kevin John Edusei.
Throughout the season we’ll explore the relationship between music and memory in our ‘Moments Remembered’ series, featuring works like Beethoven’s ‘Eroica’ Symphony, Strauss’s Metamorphosen and John Adams’s On the Transmigration of Souls. During the season there’ll be the chance to hear brand new works by composers including Freya Waley-Cohen and David Sawer, as well as performances by renowned soloists violinist Gidon Kremer, sarod player Amjad Ali Khan, soprano Renée Fleming and many more. The season also features tours to Japan, the USA, China and across Europe, as well as a calendar bursting with performances and community events in our Brighton, Eastbourne and Saffron Walden residencies. lpo.org.uk
Pieter Schoeman was appointed Leader of the London Philharmonic Orchestra in 2008, having previously been Co-Leader since 2002. He is also a Professor of Violin at Trinity Laban Conservatoire of Music & Dance.
Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninoff Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and the Southbank Centre’s Royal Festival Hall. As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. His chamber music partners have included Anne-Sophie Mutter, Veronika Eberle, Patricia Kopatchinskaja, Boris Garlitsky, Jean-Guihen Queyras, Yannick Nézet-Séguin, Martin Helmchen and Julia Fischer.
Pieter has performed numerous times as a soloist with the London Philharmonic Orchestra. Highlights have included an appearance as both conductor and soloist in Vivaldi’s Four Seasons at the Royal Festival Hall, the Brahms Double Concerto with Kristina Blaumane, 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.
Pieter’s chair in the LPO is generously supported by Neil Westreich.
by Jeremy Eichler, LPO Writer-in-Residence 2024/25
Is music the ultimate medium of memory?
Ever since the mythical poet Orpheus retrieved his beloved Eurydice from the underworld through the magical power of his song, music has been summoning souls, bridging time, and raising the dead. Its ability to trigger flights of memory is a phenomenon many people still experience: think, for instance, of the song that pops up on the car radio and, like Proust’s madeleine, instantly calls to mind a moment or experience that took place years or even decades earlier.
Yet as so many works presented across the London Philharmonic Orchestra’s 2024/25 season will illustrate, it is not just we who remember music. Music also remembers us. Music reflects the individuals and the societies that create it, capturing something essential about the era of its birth. When a composer in 1824 consciously or unconsciously distils worlds of thought, fantasy and emotion into a series of notes on a page, and then we hear those same notes realized in a performance two centuries later, we are hearing the past literally speaking in the present.
In this sense, music can fleetingly reorder the past, bring closer that which is distant, and confound the one-way linearity of time. In these very ways, music shares a profound affinity with memory itself. For memory by definition also challenges the pastness of the past and the objective distance of history; it also reorders time and flouts the forward march of the years. An event seared in memory from decades ago may haunt the mind with a power far greater than events that took place only yesterday. Indeed, while Mnemosyne, the Greek goddess of memory, was said to be mother of all the Muses, one daughter may stand as first among equals. Memory resonates with the cadences, the revelations, the opacities and the poignancies of music.
But what exactly can music remember? How does it do so differently to other art forms? Whose stories are being recalled? Who is doing the remembering? And toward what ends are we being asked to recollect?
Over the course of its 2024/25 season, the LPO will explore these questions through no fewer than 15 programmes, a curated gallery of sonic memory. Some will represent iconic figures at the heart of the Western musical tradition (such as Haydn, Beethoven, Schoenberg, Britten, Strauss, Shostakovich and Prokofiev). Some carry forward lesser-known but essential 20th-century voices (Mieczysław Weinberg, Boris Lyatoshynsky, Julia Perry). And some are by living composers (György Kurtág, John Adams, Freya WaleyCohen, Evan Williams, Dinuk Wijeratne), artists who ply their craft while looking both forward and back, creating memories of yesterday for the world of tomorrow.
Across this season we will find sonic bridges to the wartime past, the utopian past, the personal past, the national past, the literary past, the imagined past, the forgotten past, the obliterated past. Implicit in this journey is an awareness of memory’s complexity and contingency, beginning with Beethoven’s ‘Eroica’, a work whose original dedication to Napoleon was itself renounced with a fury that tore the composer’s manuscript paper. And the season ends with the cosmos-embracing euphoria of Mahler’s Eighth Symphony, itself a Goethe-inspired memory of earlier Enlightenment dreams, etched at the dawn of the modern world.
Along the way, many of the works treat, implicitly or explicitly, the great ruptures of the 20th century, including extraordinary sonic monuments to the Second World War and the Holocaust. We may feel we already know these epochal events through history books. But the information accumulating on library shelves provides just one mode of access. The survivor Jean Améry once went as far as bitterly attacking what he saw as his own era’s tendency to publish books about the horrors of the Holocaust in order to forget those horrors with a clean conscience, to relegate a shocking and morally unassimilable past to ‘the cold storage of history’.
Music, on the other hand, possesses a unique and often underappreciated power to burn through history’s cold storage, to release its frozen stores of meaning and emotion. Its power may originate in the visceral immediacy of sound itself: sound surrounds us, penetrates our bodies, vibrates within us. Listening to a song, the critic John Berger once wrote, ‘we find ourselves inside a message.’ But music’s potency as a medium of cultural memory also flows from its mysterious capacity to bridge intellect and emotion; its ability to short-circuit the centuries by yoking ‘then’ and ‘now’ within a single performance; and its haunting way of expressing deep yet untranslatable truths that lie beyond the province of language. Thomas Mann called this last quality the ‘spoken unspokenness’ that belongs to music alone.
Each of the season’s works can and should be experienced on its own terms, but one hopes they will also add up to something greater than the sum of their parts. Listeners, in short, are being invited to consider music not only as aesthetic entertainment or even spiritual uplift – but as a unique witness to history and carrier of memory, a window onto humanity’s hopes, dreams and cataclysms. This approach can yield dividends all its own. Indeed, to listen with an awareness of music as an echo of past time opens the possibility of hearing so much more. Here, in essence, are the sounds of culture’s memory, resonating between and behind the notes.
Jeremy Eichler is a critic and historian based at Tufts University, Massachusetts, as well as the LPO’s inaugural Writer-in-Residence. Portions of this essay were adapted from his award-winning book Time’s Echo: Music, Memory, and the Second World War, recently published in paperback (Faber, 2023).
Jeremy Eichler will be signing copies of Time’s Echo at the merchandise stand in the Royal Festival Hall foyer after tonight’s concert.
Haydn: Missa in tempore belli Oregon Bach Festival Chorus & Orchestra, Gächinger Kantorei Stuttgart, Stuttgarter Kammerorchester | Helmuth Rilling (Hänssler Classic)
John Adams: On the Transmigration of Souls Brooklyn Youth Chorus, New York Choral Artists, New York Philharmonic | Lorin Maazel (Nonesuch)
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Vladimir Jurowski became the London Philharmonic Orchestra’s Conductor Emeritus in 2021, following 14 years as Principal Conductor, during which his creative energy and artistic rigour were central to the Orchestra’s success. In August 2021 – his final official concert as LPO Principal Conductor – he received the Royal Philharmonic Society Gold Medal, one of the highest international honours in music. In February 2024 he was appointed an Honorary Knight Commander of the Most Excellent Order of the British Empire (KBE) by His Majesty King Charles III, in recognition of his services to music and the arts.
Vladimir Jurowski brought the LPO’s last season to a memorable close on 27 April 2024 with the completion of his acclaimed Wagner Ring Cycle – a semi-staged performance of Götterdämmerung. Tonight is the first of three concerts with the Orchestra this season: he returns for a programme of Prokofiev, Mussorgsky and Lyatoshynsky (2 April 2025); and Brahms, Schumann and Schubert (5 April 2025, followed by repeat performances at Saffron Hall and on tour in Spain).
In 2021 Vladimir became Music Director at the Bavarian State Opera in Munich. Since 2017 he has been Chief Conductor and Artistic Director of the Berlin Radio Symphony Orchestra. He is also Principal Artist of the Orchestra of the Age of Enlightenment, and in 2021 stepped down from his decade as Artistic Director of the Russian State Academic Symphony Orchestra to become its Honorary Conductor. He has previously held the positions of First Kapellmeister of the Komische Oper, Berlin; Principal Guest Conductor of the Teatro Comunale di Bologna; Principal Guest Conductor of the Russian National Orchestra; and Music Director of Glyndebourne Festival Opera.
Vladimir enjoys close relationships with the world’s most distinguished artistic institutions, collaborating with many of the world’s leading orchestras including the Royal Concertgebouw Orchestra, the Chamber Orchestra of Europe, the Staatskapelle Dresden, the Gewandhausorchester Leipzig, the Cleveland and Philadelphia orchestras, the New York Philharmonic and the Chicago and Boston symphony orchestras.
A committed operatic conductor, Vladimir’s recent highlights include his semi-staged Wagner Ring Cycle with the LPO at the Royal Festival Hall; the Munich premiere of Weinberg’s The Passenger; new productions of Così fan tutte, Prokofiev’s War and Peace, Der Rosenkavalier, Shostakovich’s The Nose and Penderecki’s Die Teufel von Loudun at the Bavarian State Opera; Die Frau ohne Schatten in Berlin and Bucharest with the Berlin Radio Symphony Orchestra; Henze’s The Bassarids and Schoenberg’s Moses und Aron at the Komische Oper Berlin; his acclaimed debut at the Salzburg Festival with Wozzeck; and his first return to Glyndebourne as a guest conductor, for the world premiere of Brett Dean’s Hamlet with the LPO. Previous productions at Glyndebourne – many with the LPO – have included Die Zauberflöte, La Cenerentola, Otello, Macbeth, Falstaff, Tristan und Isolde, Die Meistersinger von Nürnberg, Don Giovanni, The Rake’s Progress, The Cunning Little Vixen, Ariadne auf Naxos and Eötvös’s Love and Other Demons.
Highlights of the 2024/25 season include new productions of Wagner’s Das Rheingold and Mozart’s Don Giovanni at the Bavarian State Opera, and return visits to the Royal Concertgebouw and Vienna Symphony orchestras.
The final instalment of Vladimir Jurowski’s highlypraised three-volume Stravinsky series with the Orchestra was released in 2024 on the LPO Label, featuring works including Pulcinella, Requiem Canticles and Symphony in C. During his tenure as Principal Conductor the LPO released numerous acclaimed recordings with Jurowski on its own label, including the complete symphonies of Brahms and Tchaikovsky; Mahler’s Symphonies Nos. 1, 2, 4 & 8; and many others. In 2017 the Orchestra released a 7-CD box set of Jurowski’s LPO recordings in celebration of his 10th anniversary as Principal Conductor.
Irish soprano Anna Devin is widely admired for her ‘vocal control, artistry and musico-dramatic intelligence’ (Opera News), and has gained recognition across the world for her interpretations of Baroque and Classical repertoire, in particular of Handel’s heroines.
Anna’s 2024/25 season comprises a full calendar of concerts. As well as tonight’s debut with the London Philharmonic Orchestra, she will sing Handel’s Messiah in Benjamin Appl’s conducting debut with the Royal Liverpool Philharmonic Orchestra. Anna continues her affinity for the Baroque with a new programme with the Academy of Ancient Music under Bojan Čičić in London and Cambridge. She also sings Vaughan Williams’s Dona Nobis Pacem with the Bournemouth Symphony Orchestra under David Hill; Haydn’s Creation at the National Concert Hall, Dublin, under Peter Whelan; and Bach’s Mass in B minor with the Oxford Philharmonic Orchestra under Marios Papadopoulos. On the opera stage, Anna joins Irish National Opera to sing Héro in Berlioz’s Beatrice and Benedict conducted by Ryan McAdams.
Anna Devin’s recordings include La bohème for Signum with Irish National Opera; Handel’s Arminio and Faramondo for Accent from the International Händel Festspiele Gottingen; ‘Mozart in London’, Il Re Pastore and Mitridate, Re di Ponto with Classical Opera for Signum Classics; and ‘Arias for Benucci’ with Arcangelo for Hyperion.
Anna is an alumna of the Royal Opera House’s Jette Parker Young Artists Programme, the Royal Irish Academy of Music, the Guildhall School of Music & Drama, and the National Opera Studio.
Hanna Hipp’s ardent and impassioned singing makes her a favourite for the lyric mezzo repertoire around the world. Recent roles include a critically acclaimed portrayal of Offred in Poul Ruders’s The Handmaid’s Tale at the Royal Danish Theatre under Jessica Cottis; Der Komponist in Ariadne auf Naxos at both Glyndebourne Festival Opera (under Cornelius Meister) and Opera North (under Antony Hermus); and Dorabella in Così fan tutte at Seattle Opera (Paul Daniel), English National Opera (Kerem Hasan) and New Zealand Opera (Natalie Murray Beale). Hanna made her LPO debut in 2019 as Rossweisse in Wagner’s Die Walküre under Vladimir Jurowski at the Royal Festival Hall.
Hanna Hipp sang her first Varvara (Káťa Kabanová) for Scottish Opera, and the title role in Offenbach’s Fantasio and her first Octavian (Der Rosenkavalier), both for Garsington Opera. International debuts include at Teatro Real Madrid as Frances, Countess of Essex in Britten’s Gloriana under Ivor Bolton; at Dutch National Opera as Ein Page in Salome under Daniele Gatti; and both Isolier (Le comte Ory) and Beatrice (Beatrice and Benedict) for Seattle Opera.
Concert highlights include Mahler’s Symphony No. 3 (Royal Philharmonic Orchestra/Vasily Petrenko) and Brahms’s Alto Rhapsody (Bournemouth Symphony Orchestra/David Hill). Hanna has a particular affinity with Berlioz’s Les nuits d’été, having sung the work with the BBC Symphony Orchestra, Orchestre de Chambre de Paris, City of Birmingham Symphony Orchestra and Oulu Symphony Orchestra. Beethoven’s Symphony No. 9 has brought debuts with the Philharmonia, Oslo Philharmonic and Hamburg Symphony orchestras, and most recently with the Vienna Konzerthausorchester and the Orchestre de la Suisse Romande.
Praised for his ‘stunning technique and musicality’ (Planet Hugill), British tenor Rupert Charlesworth enjoys a busy career on the operatic stage and the concert platform. He made his LPO concert debut in March 2024, when he stepped in at short notice as soloist in Mozart’s Mass in C minor under Edward Gardner at the Royal Festival Hall.
This season Rupert sings the role of Sellem in Stravinsky’s The Rake’s Progress for the Opéra National de Paris under Susanna Mälkki; the tenor soloist in a staged Messiah by Damiano Michieletto (under George Petrou); and two roles at the 2025 Glyndebourne Festival: the Witch of Endor in Handel’s Saul (under Jonathan Cohen) and Don Basilio in Mariame Clément’s new production of Mozart’s Le nozze di Figaro (under Riccardo Minasi). He also returns to English National Opera to sing Lord Darnley in concert performances of Thea Musgrave’s Mary, Queen of Scots, conducted by Joana Carneiro. Future seasons will see Rupert return to the Royal Opera House, Opéra National de Paris and Glyndebourne Festival, and make his house debut at the Teatro Real, Madrid.
Past seasons have seen Rupert perform on many of the world’s main stages, including Oronte in Alcina for the Opéra National de Paris and the Royal Opera House; Tanzmeister in Ariadne auf Naxos, Lysander in A Midsummer Night’s Dream and Damon in Acis and Galatea, all for the Aix-en-Provence Festival; Sellem in The Rake’s Progress for the Glyndebourne Festival, with the LPO under Robin Ticciati; Bob Boles in Peter Grimes for the Opéra de Lyon; Prinz in The Love of Three Oranges and Jonathan in Saul for the Komische Oper Berlin, and Tamino in Die Zauberflöte and Narraboth in Salome for the Hannover State Opera.
Lyric bass Trevor Eliot Bowes was born in Victoria, Canada, and studied at the University of Toronto, the Banff Centre for the Arts, and the Royal Scottish Academy of Music & Drama. He is a former Britten Pears Young Artist and an alumnus of Barbara Hannigan’s Equilibrium Young Artists programme.
This season Trevor performs the roles of Polifemo in Handel’s Aci, Galatea e Polifemo (Early Music Society of the Islands); Bartolo in The Marriage of Figaro (The Mozartists); Antonio in The Marriage of Figaro (English National Opera); and Basilio in The Barber of Seville (Longborough Festival Opera). Among his recent highlights are Alidoro in La Cenerentola (Nevill Holt Opera); Polifemo in Aci, Galatea e Polifemo (Orchestra of the Age of Enlightenment/Valletta Baroque Festival); Seneca in The Coronation of Poppea, Father Trulove in The Rake’s Progress and Colline in La bohème (English Touring Opera); Odin in Gavin Higgins’s The Monstrous Child (Royal Ballet and Opera); and Father Trulove in The Rake’s Progress (Munich Philharmonic).
In concert, Trevor has performed Mozart’s Requiem (Sir Andrew Davis/Toronto Symphony Orchestra); Handel’s Messiah (London Handel Festival); Vaughan Williams’s Fantasia on Christmas Carols (Martyn Brabbins/English National Opera); Bach’s Cantata BWV71 (Toronto International Bach Festival); the Thief in Grieg’s Peer Gynt (Royal Scottish National Orchestra); and Mendelssohn’s Elijah, Vaughan Williams’s Hodie and Handel’s Messiah in cities across Canada. He has made several appearances at the Aldeburgh Festival in The Rake’s Progress (Martyn Brabbins), King Arthur (Laurence Cummings) and The Fairy Queen (Harry Bicket). This is his debut with the London Philharmonic Orchestra.
Patron HRH Princess Alexandra President Sir Mark Elder
Artistic Director Neville Creed Associate Chorus Director Victoria Longdon Accompanist Jonathan Beatty Chair Tessa Bartley Choir Manager Natasha Sofla
Founded in 1947 as the chorus for the London Philharmonic Orchestra, the London Philharmonic Choir is widely regarded as one of Britain’s finest choirs. For the last seven decades the Choir has performed under leading conductors, consistently meeting with critical acclaim and recording regularly for television and radio.
Enjoying a close relationship with the London Philharmonic Orchestra, the Choir frequently joins it for concerts in the UK and abroad. Recent concerts with LPO Principal Conductor Edward Gardner have included Rachmaninoff’s The Bells, Mahler’s Symphony No. 2, Tippett’s The Midsummer Marriage and A Child of Our Time, Janáček’s Glagolitic Mass, Schoenberg’s Gurrelieder, Berlioz’s Damnation of Faust, Haydn’s Creation and Mozart’s Mass in C minor. Other highlights have included Shostakovich’s Symphony No. 13 with Andrey Boreyko; Mahler’s Symphony No. 3 with Robin Ticciati; the UK premieres of James MacMillan’s Christmas Oratorio with the Choir’s President, Sir Mark Elder, and Tan Dun’s Buddha Passion; Wagner’s Götterdämmerung, Mahler’s Symphonies Nos. 2 & 8 and Tallis’s Spem in alium with Vladimir Jurowski; and Beethoven’s Missa Solemnis with Sir Mark Elder.
The Choir appears annually at the BBC Proms, and performances have included works by John Luther Adams, Beethoven, Busoni, Elgar, Ligeti, Orff, Vaughan Williams and Verdi, not forgetting the greatly enjoyable Doctor Who Proms. Last year for the first time, the Choir took part in the ‘Films in Concert’ series at the Royal Albert Hall, performing the score for Amadeus.
A well-travelled choir, it has visited several European countries as well as further afield. The Choir was delighted to travel to the Théâtre des Champs-Elysées, Paris, in December 2017 to perform Bach’s Christmas Oratorio with the London Philharmonic Orchestra.
The Choir prides itself on its inclusive culture, achieving first-class performances from its members, who are volunteers from all walks of life.
Supported by
Annette Argent
Chris Banks
Hilary Bates
Holly Beckmyer
Kathryn Clark
Jenni Cresswell
Megan Cunnington
Sarah DeaneCutler
Jessica Dixon
Ferdia Fitzsimons
Grace Gammell
Rachel Gibbon
Lily Guenault
Jane Hanson
Olivia Haslam
Sasha Holland
Mary Beth Jones
Ashley Jordan
Erin Kendrick
Joy Lee
Sarah Leffler
Clare Lovett
Ilona Lynch
Martha MacBean
Janey Maxwell
Amanda May
Meg McClure
Sally Morgan
Harriet Murray
Linda Park
Marie Power
Danielle ReeceGreenhalgh
Danielle Roman
Emma Secher
Holly Shannon
Tania Stanier
Katie Stuffelbeam
Susan Thomas Beatrice Tinsley
Nadia TraynorHerenda
Sarah Walker
Sze Ying Chan
Alison Biedron
Sally Brien
Jenny Burdett
Andrei Caracoti
Lara Carim
Noel Chow
Pat Dixon
Andrea Easey
Sarah Finkemeyer
Bethea HansonJones
Grace Hewett
Mia Hobson
Kitty Howse
Matilda Hubble
Rosheen Iyer
Judy Jones
Julia King
Andrea Lane
Ethel Livermore
Ruien Ma
Laetitia Malan
Ian Maxwell
Kristen Mooy-Lee
Anna Mulroney
Rachel Murray
Nicola Prior
Willa Russell
Rima Sereikiene
Natasha Sofla
Annette Strzedulla
Muriel Swijghuisen
Reigersberg
Catherine Travers
Susi Underwood
Jenny Watson
Tim Appleby
Alexander Best
Andrew Chavez
Kline
Kevin Cheng
Robert Geary
Alan Glover
Philippe Gosset
Stephen Hodges
James Hopper
Patrick Hughes
Alex Marshall
Daisy Rushton
Christopher Stuart
Don Tallon
Tony Valsamidis
Mikolaj Walczak
Emre Yavuz
Nathan Chu
Marcus Daniels
Myrddin Edwards
Ian Fletcher
Gary Freer
Luke Hagerty
Alan Hardwick
Christopher
Harvey
David Hodgson
Rylan Holey
Nigel Ledgerwood
John Luff
John D Morris
John G Morris
Will Parsons
John Salmon
Geoff Walker
Alex WaltonKeeffe
Sam Watson lpc.org.uk
This summer, Neville Creed, Artistic Director of the London Philharmonic Choir, will retire after 30 remarkable years at the helm of this outstanding ensemble. His Choir colleagues pay heartfelt tribute to his extraordinary leadership and reflect on the enduring legacy he leaves behind.
It’s 1994: the Channel Tunnel connects Britain and France for the first time since the Ice Age; Jeff Bezos founds Amazon from his garage; Friends is aired for the first time; Oasis release their debut album Definitely Maybe, and Neville Creed is appointed Chorus Director for the London Philharmonic Choir. A seminal year indeed. What is particularly remarkable about all the events listed above is the growth, success and sheer longevity of them: all have endured and flourished over the last three decades, and Neville’s tenure as Chorus Director (and later, Artistic Director) is no different.
Little did the LPC know back in 1994 that Neville’s artistic leadership would guide them through 30 years of remarkable music-making, crafting performances that have transformed them into one of the UK’s foremost symphony choirs, and leaving a lasting mark on the British choral tradition with concerts that resonate in the memories of audiences and Choir members alike.
Neville’s skill is in his ability to draw out high-quality musicianship, week in, week out, from hundreds of amateur singers from all walks of life. However, it is his talent in preparing the Choir for myriad styles of conductors that truly sets him apart. There is a big difference between knowing a piece of music well, and being able to respond to a conductor’s style of working quickly and with musicality, and this is something that Neville prepares the Choir for meticulously, for each and every concert, and in particular for each of the three Principal Conductors of the LPO with whom Neville has worked during his tenure, producing many notable and standout performances.
Under Kurt Masur: Britten’s War Requiem on 8 May 2005 – a moving call for peace on the 60th anniversary of the end of the Second World War in Europe, with Neville both preparing the Choir and conducting the chamber orchestra. Under Vladimir Jurowski for the Choir’s 60th birthday in May 2007: a performance of Mozart’s Requiem in the Queen Elizabeth Hall, with Neville again both preparing the Choir and conducting the concert’s first half, of a cappella Bruckner motets; for the Choir’s 70th birthday in 2017: a logistically and vocally complex performance of Tallis’s Spem in alium segueing directly into Mahler’s Eighth Symphony. For Edward Gardner’s first concert as Principal Conductor, Neville steered the Choir back from the lengthy Covid absence to rise to the challenge of Tippett’s The Midsummer Marriage, the recording of which later won a Gramophone Award.
Indeed, Neville has never shied away from demanding excellence from the Choir when preparing for challenging and ambitious works, and his tenacity and guidance have produced many other memorable
and impressive performances such as Mark-Anthony Turnage’s A Relic of Memory at the 2006 BBC Proms; Magnus Lindberg’s Triumph to Exist, written in Swedish for 16 voice parts; and Ligeti’s Requiem at the 2023 BBC Proms.
The LPC exists to make music to a professional standard, and Neville has been instrumental in achieving this over the last 30 years; raising the standard of musicianship and quality of the Choir through his dedication and ambition. However, it is not just his musical ability and commitment that will leave a lasting impression on the members. Neville’s impact goes beyond music alone. From his nicknames of ‘Nevsky’ (following performances of Prokofiev’s Alexander Nevsky with Jurowski in 2003, and simply ‘Nev’, coined by Sir Neville Marriner (‘I’ll be Snev, you be Nev...’) and reincarnated when we worked with the London International Gospel Choir and their director Naveen Arles (‘Nev and Nav’), to his fail-safe chorusmaster uniform of a trusty red jumper, boat shoes and a suitably battered satchel, Neville has helped to foster an atmosphere of real warmth and community within the Choir. Many of the members describe LPC rehearsals as a respite from the demands of daily life, a place where friendships flourish, and where their love for choral music finds a joyful outlet. Celebrating birthdays and weddings, hosting post-rehearsal and concert gatherings, and taking part in overseas tours – the LPC family culture is as much a part of Neville’s legacy as the music itself.
The legacy of Neville Creed is deeply etched into the LPC’s history. Under his direction, the Choir has not only survived the changing tides of the choral world, but has thrived, marking its 75th anniversary in 2022 and looking towards future milestones with optimism and pride. The LPC thanks Neville for all that he has done, and looks forward to his continuing connection with the Choir as Chorus Director Emeritus.
Saturday 26 April 2025, 7.30pm
Mahler Symphony No. 8 (semi-staged)
Edward Gardner conductor
Sarah Wegener soprano
Emma Bell soprano
Jennifer France soprano
Christine Rice mezzo-soprano
Jennifer Johnston mezzo-soprano
Andreas Schager tenor
Tomasz Konieczny bass-baritone
Derek Welton bass-baritone
London Philharmonic Choir
London Symphony Chorus
Tiffin Boys’ Choir
Since their foundation in 1957, the Tiffin Choirs have worked extensively with the world’s greatest conductors, performed for the world’s finest musical institutions, and recorded with the world’s leading musical ensembles. Tonight, the choir comprises singers from Tiffin School, the Tiffin Children’s Chorus, and children from local schools.
The Tiffin Choirs are renowned for the breadth of their work, which spans symphonic, opera, choral and film music. This has recently included singing at the BBC Proms; and with the Royal Opera, Covent Garden, English National Opera, Opera Holland Park, and the London Philharmonic, London Symphony, Philharmonia and Royal Philharmonic orchestras. The choir regularly records at Abbey Road Studios and performs at the Royal Albert Hall, the Royal Festival Hall and the Barbican.
Recent symphonic and opera highlights include a televised performance of Britten’s War Requiem from the BBC Proms with the London Symphony Orchestra under Sir Antonio Pappano; several performances of Mahler’s Symphonies Nos. 3 and 8 with the RPO and Vasily Petrenko and the LSO under Michael Tilson Thomas; Tchaikovsky’s The Queen of Spades at the Royal Opera; La bohème with English National Opera; Music With Changing Parts with the Philip Glass Ensemble; and Nielsen’s Springtime in Funen with the BBC Symphony Orchestra under Andrew Litton.
The choir has recorded most of the orchestral repertoire that includes children’s choirs, with notable releases including Mahler’s Symphony No. 8 under Klaus Tennstedt (EMI), which was nominated for a Grammy Award; an album with the Gabrieli Consort and Paul McCreesh; Handel’s Samson with the Dunedin Consort and John Butt; and an appearance on Madonna’s 2019 album, Madame X.
The choir’s 60th anniversary concert in 2017 was broadcast on Classic FM, and in 2023 Tiffin became the first state school choir to broadcast Choral Evensong on BBC Radio 3. The choir recorded for the soundtrack for The Hobbit and music for the BBC comedy drama Fleabag, appeared on set in the films Philomena and Batman, and performed in Titanic Live with James Horner.
Earlier this week the choir performed in Mahler’s Third Symphony with Gustavo Dudamel and the Simón Bolívar Symphony Orchestra at the Barbican. Future engagements include a BBC Radio 3 Choral Evensong broadcast, Berlioz’s Te Deum at the Royal Albert Hall, and a return to the London Philharmonic Orchestra for Mahler’s Symphony No. 8 under Edward Gardner to close the LPO Royal Festival Hall season on 26 April 2025.
Mariane Ashwell
Manish Bal
Sumei Bao-Smith
Emily Barton
Sophia Berry Thornton
Edward Brown
Emily Cagdogan
Ethan Caldwell
Lizzie Clark
Yasmin Diab
Joseph Erdelyi
Adrianna Forbes-Dorant
Rebecca Fox
Rhea Gupta
Jude Harrington
Ludivine Hobson
Serena Howard
Amelie Huntley
Constantin Iosub
Lucy Jarvis
Lillian Lian
Isabella Montague
Rowan Norbury
Olivia Nugent
Leela Pankhania
Amara Patel
Rafi Prasadam-Halls
Ava Renton
Ellie Roberts
Ella Serrano
Chloe Tan
Elinor Thomas
Emily Thomas
Celeste Upton
Lottie Vitaloni
Alice Wheeler Ruzicka
Kate Wilson
Aisha Yilmaz
Joseph Haydn
1732–1809
1796
Anna Devin soprano
Hanna Hipp mezzo-soprano
Rupert Charlesworth tenor
Trevor Eliot Bowes bass
London Philharmonic Choir
Kyrie
Gloria
Credo
Sanctus
Benedictus
Agnus Dei
The world in which Joseph Haydn was born and brought up must have seemed secure. As a chorister at Vienna’s St Stephen’s Cathedral, he was at the focal point of the age-old, apparently indestructible ‘Holy Roman Empire’. Later, as Kapellmeister at the court of Prince Nikolaus Esterházy, he was protected, encouraged and isolated from the more subversive elements in the wider European intellectual culture.
Then came the French Revolution (1789), the execution of Louis XVI (1793), and the rise to power of the revolutionary Generalissimo Napoleon Bonaparte (1795), followed by a series of wars in which Belgium was annexed, the Dutch Republic defeated and humiliating peace treaties imposed on Spain and Prussia. Nothing was safe or predictable any more. In 1796, Austria itself was drawn into the war.
Outmanoeuvred, and outgunned by Napoleon’s troops, the Austrian army soon found itself on the back foot, and invasion seemed a real possibility. In August 1796, the Austrian Government issued a proclamation calling for general mobilisation. Everyone was at war now, and there must be no talk of peace ‘until the enemy is firmly back in his old boundaries’. (A fond hope, as it turned out.) It was towards the end of that year that Haydn composed his Missa in tempore belli – ‘Mass in Time of War’. One of his relatively few duties at that time was to compose a mass every year for the name day of Prince Nikolaus’s wife, Princess Maria – the day, that is, on which the saint after whom she was named was honoured. Although the Mass had its premiere in Vienna in December 1796, where it was well received, the big event was the performance in honour of the Princess, and of the birth of the Blessed Virgin Mary, on 8 September 1797.
Given the worrying instability of the times, Haydn could have chosen to affirm the splendour and reassuring stability of the old Habsburg order, as Mozart had done in the idyllically rococo masses he wrote for Archbishop Colloredo during his early years in Salzburg. To listeners today, Haydn’s Missa in tempore belli may seem to do that, at least to some extent. But if we can imagine hearing it with late 18th-century Austrian ears, it might make a very different impression. Over the years, Haydn had evolved a style of writing liturgical music which partly echoed the drama and fertile instability he had developed so magnificently in his symphonies. His later masses, especially this one and the later ‘Nelson’ Mass (1798, apparently composed in response to Napoleon’s defeat by Nelson at the sea-battle of Aboukir Bay), balance awareness of frightening times with, ultimately, a sense of God’s unshakeable and benevolent providence.
There may, however, be a lingering sense that it was a close-run thing. Haydn’s own deeply-held faith would surely have been tested at this time, which no doubt explains the intensely expressive treatment of the words addressed directly to Christ: in the Gloria, ‘Suspice deprecationem nostram’ (‘Hear our prayer’),
and in the concluding Agnus Dei, ‘Dona nobis pacem’ (‘Grant us peace’) – the concept outlawed by the Government in everyday conversation was apparently still expressible in music.
The most obvious way in which the Missa in tempore belli holds a mirror up to its troubling times is by its use of the drums, which at times recalls the pictorialism of Haydn’s recent ‘Military’ Symphony (No. 100, 1794).
In fact in German, the Mass is also nicknamed ‘Paukenmesse’ - ‘Timpani Mass’. They make their presence felt right from the beginning, gently accompanying the winds and the choir at first, then thundering out fortissimo (still an extreme marking in Haydn’s day) only moments later. Kyrie movements are usually slow and solemn, but this soon speeds up, and the drama increases with it. Two resolute Allegros frame an intensely expressive Adagio in the Gloria, and a similar three-part structure then unfolds in the Credo, only now the slow middle section is more troubled, and firmly in the dark minor key.
But it is after the Sanctus and Benedictus that the timpani really come into their own, and we can sense just how much the threat of invasion left its mark on Haydn’s musical consciousness. The Agnus Dei’s opening choral supplication is followed by hushed, ominous drum rhythms, distant at first, but growing in strength threateningly, before subsiding again as the chorus delivers its broken entreaty: ‘Dona … nobis … pacem.’ Haydn could hardly leave his audience without hope. The prayer for peace then erupts into a joyous Allegro con spirito, trumpets and drums now clearly signifying victory for the home troops, with God’s help of course. Is there a moment of doubt, just a little later? Hushed chromatic harmonies suggest that there is –but then the Government’s injunction is remembered, the tempo notches up again, and victory is signalled again. It would in fact be nearly two decades before Napoleon was finally defeated, but the congregations in Vienna and Eisenstadt weren’t to know that. Missa in tempore belli clearly told them what they needed to hear.
Programme note © Stephen Johnson
An announcement will be made five minutes before the end of the interval.
Kyrie eleison.
Christe eleison.
Kyrie eleison.
Gloria in excelsis Deo
Et in terra pax hominibus bonae voluntatis.
Laudamus te, benedicimus te, adoramus te, glorificamus te.
Gratias agimus tibi propter magnam gloriam tuam. Domine Deus, Rex coelestis, Deus Pater omnipotens.
Domine Fili unigenite, Jesu Christe, Domine Deus, Agnus Dei, Filius Patris,
Qui tollis peccata mundi, miserere nobis.
Qui tollis peccata mundi, suscipe deprecationem nostram.
Qui sedes ad dexteram Patris, miserere nobis.
Quoniam tu solus sanctus, tu solus Dominus, tu solus
Altissimus, Jesu Christe.
Cum Sancto Spiritu, in gloria Dei Patris, Amen.
Credo in unum Deum.
Patrem omnipotentem, factorem coeli et terrae, visibilium omnium et invisibilium.
Et in unum Dominum Jesum Christum, Filium Dei unigenitum.
Et ex patre natum ante omnia saecula.
Deum de Deo, lumen et lumine, Deum verum de Deo vero. Genitum, non factum, consubstantialem Patri: per quem omnia facta sunt.
Qui propter nos homines, et propter nostram salutem descendit de coelis.
Et incarnatus est de Spiritu Sancto ex Maria Virgine et homo factus est.
Crucifixus etiam pro nobis, sub Pontio Pilato, passus et sepultus est.
Et resurrexit tertia die, secundum scripturas.
Et ascendit in coelum: sedet ad dexteram Patris,
Et iterum venturus est cum gloria, judicare vivos et mortuos, cujus regni non erit fi nis.
Et in Spiritum Sanctum, Dominum, et vivificantem qui ex Patre Filioque procedit.
Qui cum Patre et Filio simul adoratur et conglorificatur qui locutus est per Prophetas.
Lord have mercy. Christ have mercy. Lord have mercy.
Glory to God in the highest
And on earth peace to men of good will.
We praise you, we bless you, we adore you, we glorify you.
We give you thanks for your great glory, Lord God, heavenly King, God the Father almighty. Lord, only-begotten Son, Jesus Christ, Lord God, Lamb of God, Son of the Father, You take away the sins of the world, have mercy on us. You take away the sins of the world, receive our prayer.
You sit at the right hand of the Father, have mercy on us. For you alone are holy, you alone are the Lord, you alone are the Most High, Jesus Christ, With the Holy Spirit, in the glory of God the Father. Amen.
I believe in one God.
The Father almighty, maker of heaven and earth, of all things visible and invisible.
And in one Lord Jesus Christ, the only-begotten Son of God, Born of the Father before all worlds.
God from God, light from light, true God from true God. Begotten, not made, of one being with the Father through whom all things were made.
For us men and for our salvation he came down from heaven.
And took flesh by the Holy Spirit from the Virgin Mary, and became man.
He was crucified also for us; under Pontius Pilate he suffered and was buried.
And he rose again on the third day, according to the scriptures.
And ascended into heaven; and sits at the right hand of the Father.
He will come again in glory to judge the living and the dead, and his kingdom will have no end.
And I believe in the Holy Spirit, the Lord and giver of life, who proceeds from the Father and the Son; who with the Father and the Son is adored and glorified, who has spoken through the prophets.
Et unam sanctam catholicam et apostolicam Ecclesiam. Confiteor unum baptisma in remissionem peccatorum. Et exspecto resurrectionem mortuorum, Et vitam venturi saeculi, Amen.
Sanctus, sanctus, sanctus, Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Osanna in excelsis.
Benedictus qui venit in nomine Domini. Osanna in excelsis.
Agnus Dei qui tollis peccata mundi, miserere nobis. Dona nobis pacem.
And in one holy, catholic and apostolic Church. I confess one baptism for the remission of sins. And I look forward to the resurrection of the dead, and the life of the world to come, Amen.
Holy, holy, holy Lord God of power. Heaven and earth are full of your glory. Osanna in the highest.
Blessed is he who comes in the name of the Lord. Osanna in the highest.
Lamb of God, who takes away the sins of the world, have mercy upon us. Grant us peace.
In 2015, the nearly 90 year-old Hungarian composer György Kurtág was commissioned by the Lucerne Festival to compose a work in honour of French composer and conductor Pierre Boulez’s 90th birthday that same year. Though Kurtág was honoured to be asked to pay tribute to the musical avant garde’s leading spokesman and provocateur, there must have been a feeling of poignancy too. Here were two men apparently both near the ends of their long lives (Boulez died the following year, though Kurtág, at 98, is still with us) –eventful and highly productive lives, certainly, but the shadow of mortality was now deep and inescapable.
The title, ‘Little solemn music’, evokes Rossini’s Petite messe solennelle (‘Little solemn mass’), and there is an unmistakably liturgical aspect to this restrained but powerful ‘little’ piece, reminiscent of Stravinsky’s ‘austere ritual’, Symphonies of Wind Instruments (composed in memory of Debussy), and of Boulez’s own Rituel in Memoriam Bruno Maderna. Kurtág’s style and thought have been compared to those of Samuel Beckett, whose one-act play Endgame formed the text of Kurtág’s only opera, Fin de partie (2018). Beckett’s work has been described as ‘despairing’ and ‘nihilistic’, but Beckett insisted that the desire to create flew in the face of despair, and his work also contains elements of ritual. Why perform these rites if there is nothing to perform them for? Petite musique solennelle seems to ask that question, and to leave us with at least food for thought.
1947
London Philharmonic Choir
Tiffin Youth Choir
Jonathan Green sound designer
John Adams’s deeply moving work – written in commemoration of the attacks on New York City’s World Trade Center on 11 September 2001 – begins quietly, with the sound of footsteps on pavement, the low rumble of a truck, a distant siren. Soon we hear victims’ names recited, and a voice intoning the word ‘missing’ again and again. With these spare textures, the composer invites his listeners to enter a work conceived as a memory space.
It was almost a work not written at all. When Adams was asked, just four months after the attacks, to turn a still-smouldering national trauma into meaningful art, it had seemed a nearly impossible assignment. He had witnessed the rank politicisation of the tragedy towards partisan ends – a task he wanted no part of – and he feared creating a work that might be either an artistic embarrassment, or worse still, an ethical violation of the victims’ sacred memory. But as he later wrote in his memoir, Hallelujah Junction, Adams ultimately convinced himself that ‘a serious artist ought to be able to rise to the occasion and fulfil a need for a public statement.’ He approached the project, however, from the perspective of carrying out a civic duty rather than foregrounding, as he wrote, ‘the [composer’s] usual selfcentred, auteur concerns of his own personal individualism’.
It is surely this motivation that makes On the Transmigration of Souls feel different from other Adams works: the music’s goal is not to entertain, but rather to create an environment for reflection and remembrance. It is as if we have entered a memorial chapel within a vast cathedral. Within that chapel, Adams stakes out what amounts to an ethical position through his
documentary approach to choosing texts for his chorus. Rather than turning to poetry, with its aesthetic distance and its risk of false consolation, he assembled his text from small fragments, humble shards gathered from the wreckage of the tragedy itself. Many of the words we hear the chorus sing were in fact taken directly from the missing-persons posters, those heartbreaking homemade flyers posted all over lower Manhattan in the days following the attack, in which family members, hoping against hope, listed identifying characteristics of their loved ones. ‘Height: 5’11. Eye color: hazel. Hair color: brown. Please call ... ’; ‘A little mole on his left cheek’; ‘We love you, Louie. Come home.’ Other texts come from the obituaries of victims published in the New York Times. Chillingly, another line comes directly from one of the victims, an American Airlines flight attendant on one of the hijacked planes: ‘I see water and buildings …’.
Adams resourcefully deploys the orchestra, chorus and pre-recorded sound, and arranges his materials to form an immersive memoryscape, one that nonetheless leaves enough room for a listener’s own subjectivity, reflections on loss, or perhaps their own personal memories from the day itself.
Hearing this work performed today, over two decades after the tragedy, will necessarily be a different experience from listening in the cultural moment of its birth. Composers may aspire to timelessness, but musical memorials in particular are timestamped by their own proximity to the event being remembered,
becoming at once art and artifact. And this reciprocal pairing may in fact be the source of their secret strength. The original raw emotion generated by a tragedy may fade or calcify over time, as the event itself is placed in what the survivor Jean Améry once called ‘the cold storage of history’. But an effective musical memorial can burn through that cold storage, allowing for a visceral sense of felt contact with another era’s hopes, dreams and catastrophes.
As Adams’s work develops, its instrumental textures grow more layered and emphatic, but the work nonetheless retains its air of humility and restraint. At one point, a solo trumpet gesture evokes the ghost of Charles Ives’s philosophical work The Unanswered Question, and Adams’s work too, by design, leaves the questions of the day unresolved. There are no facile replies, no false redemption – only the sounds of a shattered city, the names of the dead, and a chorus of human voices grappling with unfathomable loss.
Programme note © Jeremy Eichler
Jeremy Eichler is the author of Time’s Echo: Music, Memory, and the Second World War (Faber, 2023).
A critic and historian based at Tufts University, Massachusetts, he also serves this season as the LPO’s inaugural Writer-in-Residence.
Jeremy will be signing copies of Time’s Echo at the merchandise stand in the Royal Festival Hall foyer after tonight’s concert.
Except where noted, phrases come from missing persons posters photographed by Barbara Haws, archivist for the New York Philharmonic.
1 ‘Missing…’
2 ‘Remember me. Please don’t ever forget me.’
3 ‘It was a beautiful day.’
4 ‘Missing: Jennifer de Jesus’
5 ‘Missing: Manuel Damotta’
6 ‘I see water and buildings …’ (Quoted in numerous sources … last words of flight attendant on AA #11)
7. ‘We will miss you. We all love you. I’ll miss you, my brother.’
8 ‘Jeff was my uncle’
9 ‘You will never be forgotten.’
10 ‘Looking for Isaias Rivera.’
11. ‘Windows on the World’
Continued overleaf
12. ‘She looks so full of life in that picture’
13. ‘It feels like yesterday that I saw your beautiful face …’
14. ‘I loved him from the start.’
15. ‘You will never be forgotten.’
16. ‘I miss his gentleness, his intelligence, his loyalty, his love.’
17. ‘Shalom’
18. ‘Remember’
19. The daughter says: ‘He was the apple of my father’s eye.’ (NY Times ‘Portraits in Grief’)
20. The father says: ‘I am so full of grief. My heart is absolutely shattered.’ (NY Times ‘Portraits in Grief’)
21. The young man says: ‘… he was tall, extremely good-looking, and girls never talked to me when he was around.’ (NY Times ‘Portraits in Grief’)
22. The sister says: ‘She had a voice like an angel, and she shared it with everyone, in good times or bad.’ (NY Times ‘Portraits in Grief’)
23. The mother says: ‘He used to call me every day. I’m just waiting.’
24. The lover says: ‘Tomorrow will be three months, yet it feels like yesterday since I saw your beautiful face, saying, “Love you to the moon and back, forever.’’’ (NY Times ‘Portraits in Grief’)
25. The man’s wife says: ‘I loved him from the start ... I wanted to dig him out. I know just where he is.’ (NY Times ‘Portraits in Grief’)
26. ‘Louis Anthony Williams. One World Trade Center. Port Authority, 66th Floor.’ ‘We love you, Louis. Come home.’
27. ‘Charlie Murphy. Cantor Fitzgerald. 105th Floor. Tower One North. Weight: 180 pounds. Height: 5’11’.
Eye color: hazel. Hair color: brown. Date of birth: July 9, 1963. Please call … “We love you, Chick.’’’
28. ‘My sister.’
29. ‘My brother.’
30. ‘My daughter.’
31. ‘My son.’
32. ‘Best friend to many …’
33. ‘I love you.’
John Florio. Christina Flannery. Lucy Fishman. Richard Fitzsimmons. David Fodor. Sal A. Fiumefreddo. Carl Flickinger. Eileen Flecha. Jane S. Beatty. Manuel Da Mota. Maurice Barry. James Patrick. Berger Marilyn C. Bautista. Jacquelyn P. Sanchez. Kenneth W. Basnicki. Lt. Michael Fodor. Guy Barzvi. Oliver Bennett. Eric Bennett. Charlie Murphy. Jeffrey Coombs. Domingo Benilda. Manette Marie Beckles. Paul James Battaglia. Thomas J. Fisher. Alysia Basmajian. Ivan Luis Carpo Bautista. Kalyan K. Sarkar. John Bergin. Mario Santoro. Herman Sandler. Maurice Barry. Michael Beekman. Andre Fletcher. Bryan Craig. Bennett Inna Basina. Jasper Baxter. Lt. Steven J. Bates. John Santore. Denise Benedetto. Joseph W. Flounders. Jennifer de Jesus. Donna Bernaerts-Kearns. Karleton Fyfe. Gregroy Salzedo. John Fabian. Kevin D. Marlo. Michael LaForte. David Fontana. Nicholas C. Lassman. Paul Rizza. Donald A. Foreman. Juan Garcia. Alisha Caren Levine. Frederick Gabler. Betsy Martinez. Giann F. Gamboa. Peter J. Ganci. Brian E. Martineau. Grace Galante. James Martello. David S. Barry. Dominick J. Berardi. Alexis Leduc. Brian Magee. Christopher Larrabee. Daniel Maher. Denis Lavelle. Edward J. Lehman. Elena Ledesma. Eugene Lazar. Gary E. Lasko. Hamidou S. Larry. James Leahy. Juanita Lee. Janine LaVerde. Jeffrey Latouche. John D. Levi. John Adam Larson. John J. Lennon. Jorge Luis Leon.
Compiled by John Adams. Copyright © 2002 by John Adams
Wednesday 22 January 2025 | 7.30pm
Queen Elizabeth Hall
Perry Requiem for Orchestra
Evan Williams Dead White Man Music (Concerto for Harpsichord and Chamber Ensemble)
Vivaldi The Four Seasons
Richard Egarr conductor/continuo
Olga Pashchenko harpsichord
Alice Ivy-Pemberton violin
9.45pm | Post-concert performance
Queen Elizabeth Hall Foyer
LPO Co-Leader Alice Ivy-Pemberton showcases the versatility of the violin and the art of ‘fiddling’. Free to concert ticketholders (£10 for others).ya
Saturday 25 January 2025 | 7.30pm
Royal Festival Hall
Reena Esmail RE|Member
Amjad Ali Khan Samaagam (Concerto for Sarod)
AR Rahman Selections from film soundtracks including Slumdog Millionaire, Bombay and others
Lidiya Yankovskaya conductor
Amjad Ali Khan sarod virtuoso
Amaan Ali Bangash sarod
Ayaan Ali Bangash sarod
Tanmoy Bose tabla
Natasha Agarwal soprano
As musicians of this incredible Orchestra, we dedicate ourselves to making exceptional music and sharing it with as many people as we can – people like you.
As individuals we bring our passion, energy and enthusiasm to every single performance, so that as a collective we can inspire and entertain.
Now, more than ever, our sector relies upon the generosity of its supporters. If, like us, you believe in the value and power of music, or you have enjoyed the work that we do, please consider making a donation to support us and help ensure a music-filled tomorrow for all. Donations to the Orchestra help us to showcase amazing music and they are vital in enabling us to nurture and develop the next generation of music-makers and music-lovers.
Donate online at lpo.org.uk/playerappeal, scan the QR code, or call the LPO Individual Giving Team on 020 7840 4212 or 020 7840 4225.
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
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
The American Friends of the London Philharmonic Orchestra
William & Alex de Winton
Catherine Høgel & Ben Mardle
Aud Jebsen
In memory of Mrs Rita Reay
Sir Simon & Lady Robey CBE
Orchestra Circle
Mr & Mrs Philip Kan
Neil Westreich
Principal Associates
An anonymous donor
Mrs Irina Andreeva
Steven M. Berzin
Richard Buxton
Gill & Garf Collins
In memory of Brenda Lyndoe Casbon
In memory of Ann Marguerite
Collins
Irina Gofman & Mr Rodrik V. G.
Cave
Patricia Haitink
George Ramishvili
In memory of Kenneth Shaw
The Tsukanov Family
Mr Florian Wunderlich
Associates
In memory of Len & Edna Beech
Sir Nigel Boardman & Prof. Lynda Gratton
The Candide Trust
Stuart & Bianca Roden
In memory of Hazel Amy Smith
Gold Patrons
An anonymous donor
David & Yi Buckley
Dr Alex & Maria Chan
In memory of Allner Mavis
Channing
In memory of Peter Coe
Michelle Crowe Hernandez
Gini Gabbertas
Jenny & Duncan Goldie-Scot
Mr Roger Greenwood
Malcolm Herring
Julian & Gill Simmonds
Mr Brian Smith
Mr Jay Stein
Eric Tomsett
The Viney Family
Guy & Utti Whittaker
Silver Patrons
David Burke & Valerie Graham
Clive & Helena Butler
John & Sam Dawson
Ulrike & Benno Engelmann
Fiona Espenhahn in memory of Peter
Luke Gardiner
Prof. Erol & Mrs Deniz Gelenbe
The Jeniffer & Jonathan Harris
Charitable Trust
Iain & Alicia Hasnip
John & Angela Kessler
Mrs Elizabeth Meshkvicheva
Dr Irene Rosner David
Tom & Phillis Sharpe
Jenny Watson CBE
Laurence Watt
Bronze Patrons
Anonymous donors
Chris Aldren
Michael Allen
Alexander & Rachel Antelme
Annie Berglof
Nicholas Berwin
Lorna & Christopher Bown
Mr Bernard Bradbury
Richard & Jo Brass
Desmond & Ruth Cecil
Mr John H Cook
Emmanuelle & Thierry d’Argent
Mrs Elizabeth Davies
Guy Davies
Cameron & Kathryn Doley
Ms Elena Dubinets
David Ellen
Cristina & Malcolm Fallen
Mr Daniel Goldstein
David & Jane Gosman
Mr Gavin Graham
Mrs Dorothy Hambleton
Eugene & Allison Hayes
J Douglas Home
Mr & Mrs Jan
Mr & Mrs Ralph Kanza
Mrs Elena Kolobova & Mr Oleg
Kolobov
Rose & Dudley Leigh
Wg. Cdr. M T Liddiard OBE JP
RAF
Drs Frank & Gek Lim
Andrew T Mills
Mr & Mrs Andrew Neill
John Nickson & Simon Rew
Peter Noble & L Vella
Mikhail Noskov & Vasilina Bindley
Simon & Lucy Owen-Johnstone
Andrew & Cindy Peck
Mr Roger Phillimore
Mr Michael Posen
Marie Power
Sir Bernard Rix
Baroness Shackleton
Tim Slorick
Sir Jim Smith
Mrs Maria Toneva
Mr Joe Topley & Ms Tracey
Countryman
Mr & Mrs John C Tucker
Andrew & Rosemary Tusa
Galina Umanskaia
Mr & Mrs John & Susi
Underwood
The Viney Family
Mr Rodney Whittaker
Grenville & Krysia Williams
Joanna Williams
Anonymous donors
Julian & Annette Armstrong
Chris Banks
Mr John D Barnard
Roger & Clare Barron
Mrs A Beare
Chris Benson
Peter & Adrienne Breen
Dr Anthony Buckland
Mr Julien Chilcott-Monk
David & Liz Conway
Mr Alistair Corbett
David Devons
Deborah Dolce
In memory of Enid Gofton
Prof Emeritus John Gruzelier
Mrs Farrah Jamal
Bruce & Joanna Jenkyn-Jones
Per Jonsson
Tanya Joseph
Mr Ian Kapur
Jozef & Helen Kotz
Mr Peter Mace
Peter Mainprice
Miss Rebecca Murray
Mrs Terry Neale
Mr Stephen Olton
Mr James Pickford
Neil & Karen Reynolds
Mr Robert Ross
Kseniia Rubina
Mr Andrea Santacroce & Olivia
Veillet-Lavallée
Penny Segal
Priscylla Shaw
Michael Smith
Mr & Mrs G Stein
Dr Peter Stephenson
Ben Valentin KC
Sophie Walker
Christopher Williams
Liz Winter
Elena Y Zeng
Supporters
Anonymous donors
Ralph & Elizabeth Aldwinckle
Robert & Sarah Auerbach
Dr Simona Cicero & Mr Mario Altieri
Alison Clarke & Leo Pilkington
Sarah Connor
Miss Tessa Cowie
Andrew Davenport
Stephen Denby
Mr Simon Edelsten
Steve & Cristina Goldring
In memory of Derek Gray
Nick Hely-Hutchinson
The Jackman Family
Molly Jackson
Jan Leigh & Jan Rynkiewicz
Mr David MacFarlane
Simon Moore
Simon & Fiona Mortimore
Dana Mosevicz
Dame Jane Newell DBE
Diana G Oosterveld
Mr David Peters
Mr & Mrs Graham & Jean Pugh
Clarence Tan
Tony & Hilary Vines
Dr June Wakefield
Mr John Weekes
Mr Roger Woodhouse
Mr C D Yates
Hon. Benefactor
Elliott Bernerd
Hon. Life Members
Alfonso Aijón
Carol Colburn Grigor CBE
Pehr G Gyllenhammar
Robert Hill
Keith Millar
Victoria Robey CBE
Mrs Jackie Rosenfeld OBE
Cornelia Schmid
Timothy Walker CBE AM
Laurence Watt
Group
Sir Nigel Boardman & Prof. Lynda Gratton
David & Yi Buckley
In memory of Peter Coe
Dr Alex & Maria Chan
Garf & Gill Collins
William & Alex de Winton
The Friends of the LPO
Irina Gofman & Mr Rodrik V. G.
Cave
Mr Roger Greenwood
Barry Grimaldi
David & Bettina Harden
Mr & Mrs Philip Kan
Mr & Mrs John Kessler
Sir Simon Robey
Victoria Robey OBE
Stuart & Bianca Roden
Julian & Gill Simmonds
Eric Tomsett
Neil Westreich
Guy & Utti Whittaker
Principal
Bloomberg
Carter-Ruck Solicitors
French Chamber of Commerce
Natixis Corporate & Investment
Banking
Ryze Power
Tutti
German-British Chamber of Industry & Commerce
Lazard
Walpole
Preferred Partners
Jeroboams
Lindt & Sprüngli Ltd
Mayer Brown
Neal’s Yard Remedies
OneWelbeck
Sipsmith
Steinway & Sons
Google Inc
ABO Trust
Art Mentor Foundation Lucerne
BlueSpark Foundation
The Boltini Trust
Candide Trust
Cockayne Grants for the Arts in London
Dunard Fund
Ernst von Siemens Music Foundation
Foyle Foundation
Garfield Weston Foundation
Garrick Charitable Trust
The Golsoncott Foundation
Jerwood Foundation
John Coates Charitable Trust
John Horniman’s Children’s Trust
John Thaw Foundation
Idlewild Trust
Institute Adam Mickiewicz
Kirby Laing Foundation
The John S Cohen Foundation
The Lennox Hannay Charitable Trust
Kurt Weill Foundation
Lord and Lady Lurgan Trust
Lucille Graham Trust
The Marchus Trust
Maria Bjӧrnson Memorial Fund
The 29th May 1961 Charitable Trust
PRS Foundation
The R K Charitable Trust
The Radcliffe Trust
Rivers Foundation
Rothschild Foundation
Scops Arts Trust
Sir William Boreman’s Foundation
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.
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:
Hannah Young Chair
Kara Boyle
Jon Carter
Jay Goffman
Alexandra Jupin
Natalie Pray MBE
Damien Vanderwilt
Marc Wassermann
Elizabeth Winter
Catherine Høgel Hon. Director
Natasha Tsukanova Chair
Mrs Irina Andreeva
Steven M. Berzin
Shashank Bhagat
Irina Gofman
Olivia Ma
George Ramishvili
Florian Wunderlich
Dr Catherine C. Høgel Chair
Nigel Boardman Vice-Chair
Mark Vines* President
Kate Birchall* Vice-President
Emily Benn
David Buckley
David Burke
Michelle Crowe Hernandez
Deborah Dolce
Elena Dubinets
Simon Estell*
Tanya Joseph
Katherine Leek*
Minn Majoe*
Tania Mazzetti*
Jamie Njoku-Goodwin
Neil Westreich
David Whitehouse*
*Player-Director
Advisory Council
Roger Barron Chairman
Christopher Aldren
Kate Birchall
Richard Brass
Helen Brocklebank
YolanDa Brown OBE
David Burke
Simon Burke
Simon Callow CBE
Desmond Cecil CMG
Jane Coulson
Andrew Davenport
Guillaume Descottes
Cameron Doley
Elena Dubinets
Lena Fankhauser
Christopher Fraser OBE
Jenny Goldie-Scot
Jonathan Harris CBE FRICS
Nicholas Hely-Hutchinson DL
Dr Catherine C. Høgel
Martin Höhmann
Jamie Korner
Andrew Neill
Nadya Powell
Sir Bernard Rix
Victoria Robey CBE
Baroness Shackleton
Thomas Sharpe KC
Julian Simmonds
Daisuke Tsuchiya
Mark Vines
Chris Viney
Laurence Watt
Elizabeth Winter
New Generation Board
Ellie Ajao
Peter De Souza
Vivek Haria
Rianna Henriques
Pasha Orleans-Foli
Zerlina Vulliamy
General Administration
Elena Dubinets
Artistic Director
David Burke
Chief Executive
Ineza Grabowska
PA to the Executive & Office Manager
Concert Management
Roanna Gibson
Concerts & Planning Director
Graham Wood
Concerts & Recordings Manager
Maddy Clarke Tours Manager
Madeleine Ridout
Glyndebourne & Projects Manager
Alison Jones
Concerts & Artists Co-ordinator
Dora Kmezić
Concerts & Recordings Co-ordinator
Tom Cameron
Concerts & Tours Assistant
Matthew Freeman
Recordings Consultant
Andrew Chenery
Orchestra Personnel Manager
Helen Phipps
Orchestra & Auditions Manager
Sarah Thomas
Martin Sargeson Librarians
Laura Kitson
Stage & Operations Manager
Stephen O’Flaherty
Deputy Operations Manager
Benjamin Wakley
Deputy Stage Manager
Finance
Frances Slack
Finance Director
Dayse Guilherme Finance Manager
Jean-Paul Ramotar
IT Manager & Finance Officer
Education & Community
Talia Lash
Education & Community Director
Lowri Davies
Eleanor Jones
Education & Community Project Managers
Hannah Smith
Education & Community Co-ordinator
Claudia Clarkson
Regional Partnerships Manager
Development
Laura Willis
Development Director (maternity leave)
Olivia Highlander Development Director (maternity cover)
Rosie Morden
Senior Development Manager
Owen Mortimer
Corporate Relations Manager
Anna Quillin
Trusts & Foundations Manager
Eleanor Conroy
Development Events Manager
Al Levin
Development Co-ordinator
Holly Eagles Development Assistant
Nick Jackman
Campaigns & Projects Director
Kirstin Peltonen
Development Associate
Marketing & Communications
Kath Trout
Marketing & Communications Director
Sophie Lonergan
Senior Marketing Manager
Georgie Blyth
Press & PR Manager
Josh Clark
Data, Insights & CRM Manager
Greg Felton
Digital Creative
Alicia Hartley
Digital & Marketing Manager
Gavin Miller
Sales & Ticketing Manager
Rachel Williams
Publications Manager
Isobel Jones
Marketing 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
Printer John Good Ltd
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