LPO programme: 18 Mar 2023 - Tears and Laughter (Andrey Boreyko/Kristina Blaumane)

2022/23 concert season at the Southbank Centre’s Royal Festival Hall

A place to call home Concert programme

Principal Conductor Edward Gardner supported by Aud Jebsen

Principal Guest Conductor Karina Canellakis

Conductor Emeritus Vladimir Jurowski Patron HRH The Duke of Kent KG

Artistic Director Elena Dubinets Chief Executive David Burke

Leader Pieter Schoeman supported by Neil Westreich

Southbank Centre’s Royal Festival Hall

Saturday 18 March 2023 | 7.30pm

A place to call home

Tears and Laughter

Victoria Vita Polevá

Nova (UK premiere) (8’)

Elena Langer

The Dong with a Luminous Nose (world premiere) (20’)

Interval (20’)

Shostakovich

Symphony No. 5 in D minor (46’)

Andrey Boreyko conductor

Kristina Blaumane cello*

London Philharmonic Choir

Artistic Director: Neville Creed

*Chair supported by Bianca and Stuart Roden

Contents

2

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

Welcome LPO news

Welcome to the Southbank Centre

We’re the largest arts centre in the UK and one of the nation’s top visitor attractions, showcasing the world’s most exciting artists at our venues in the heart of London. We’re here to present great cultural experiences that bring people together, and open up the arts to everyone.

The Southbank Centre is made up of the Royal Festival Hall, Queen Elizabeth Hall, Purcell Room, Hayward Gallery, National Poetry Library and Arts Council Collection. We’re one of London’s favourite meeting spots, with lots of free events and places to relax, eat and shop next to the Thames.

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

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Drinks

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

Enjoyed tonight’s concert?

Help us to share the wonder of the LPO by making a donation today. Use the QR code to donate via the LPO website, or visit lpo.org.uk/donate. Thank you.

LPO Junior Artists 2023/24 Applications open now!

LPO Junior Artists is our free orchestral experience programme for talented young musicians from backgrounds currently under-represented in professional UK orchestras. Each year, the programme offers opportunities, advice and professional insight to eight exceptional players of orchestral instruments aged 15–19 and minimum Grade 8 standard.

Applications are open now, and close on 21 April 2023. For more details visit lpo.org.uk/juniorartists

LPO 2023/24 season

Keep an eye out for details of our 2023/24 concert season, which we’ll be announcing next month. Did you know that Friends of the LPO enjoy priority booking for all our London concerts? LPO Friends receive our new season brochure ahead of the general public, and the priority booking period for Friends will open in late April.

To find out more about LPO Friends and the other benefits on offer, including exclusive invitations to rehearsals, special events and a dedicated private bar at our London concerts, visit lpo.org.uk/friends

Coming soon on the LPO Label: Jurowski conducts Stravinsky Vol. 2

For Vladimir Jurowski fans who enjoyed the first volume of his Stravinsky series on the LPO Label last year, keep an eye out for Volume 2 (LPO-0126), coming to stores and streaming services next month. It features Stravinsky’s ballet music for The Fairy’s Kiss, alongside the movements he orchestrated from Tchaikovsky’s great fairytale ballet The Sleeping Beauty.

Pre-orders open on 14 April, and the album will be released on 28 April.

The LPO Junior Artists Programme is generously funded by the Lucille Graham Trust, the Kirby Laing Foundation, TIOC Foundation and The Victoria Wood Foundation.

First Violins

Pieter Schoeman* Leader

Chair supported by Neil Westreich

Alice Ivy-Pemberton Co-Leader

Lasma Taimina

Chair supported by Irina Gofman & Mr Rodrik V. G. Cave

Minn Majoe

Yang Zhang

Chair supported by Eric Tomsett

Catherine Craig

Thomas Eisner

Martin Höhmann

Katalin Varnagy

Chair supported by Sonja Drexler

Alfredo Reyes Logounova

Eleanor Bartlett

Katherine Waller

Sophie Phillips

Nilufar Alimaksumova

Rasa Zukauskaite

Amanda Smith

Second Violins

Tania Mazzetti Principal

Emma Oldfield Co-Principal

Ricky Gore

Helena Smart

Claudia Tarrant-Matthews

Nynke Hijlkema

Fiona Higham

Chair supported by David & Yi Buckley

Kate Cole

Nancy Elan

Sioni Williams

Emma Crossley

Harry Kerr

Lyrit Milgram

Sheila Law

Violas

Joel Hunter Guest Principal

Martin Wray

Katharine Leek

Benedetto Pollani

Laura Vallejo

Linda Kidwell

Michelle Bruil

Julia Doukakis

On stage tonight

Alistair Scahill

James Heron

Raquel López Bolívar

Stanislav Popov

Cellos

Bozidar Vukotic Guest Principal

Ariana Kashefi

David Lale

Helen Thomas

Sibylle Hentschel

Iain Ward

Jane Lindsay

Leo Melvin

Hee Yeon Cho

Julia Morneweg

Double Basses

Kevin Rundell* Principal

Sebastian Pennar

Co-Principal

Hugh Kluger

George Peniston

Tom Walley

Chair supported by William & Alex de Winton

Laura Murphy

Charlotte Kerbegian

David Johnson

Flutes

Juliette Bausor Principal

Anna Kondrashina

Piccolo

Stewart McIlwham* Principal

Oboes

Ian Hardwick* Principal

Alice Munday

Cor Anglais

Sue Böhling* Principal

Chair supported by Dr Barry

Grimaldi

Clarinets

Benjamin Mellefont Principal

Thomas Watmough

Paul Richards*

E-flat Clarinet

Thomas Watmough Principal

Chair supported by Roger Greenwood

Bass Clarinet

Paul Richards* Principal

Bassoons

Sarah Burnett Guest Principal

Shelly Organ

Contrabassoon

Simon Estell* Principal

Horns

John Ryan* Principal

Martin Hobbs

Mark Vines Co-Principal

Gareth Mollison

Duncan Fuller

Trumpets

Paul Beniston* Principal

Anne McAneney*

David Hilton

Christoper Deacon

Piccolo Trumpet

Christoper Deacon

Trombones

Mark Templeton* Principal

Chair supported by William & Alex

de Winton

David Whitehouse

Bass Trombone

Lyndon Meredith Principal

Tuba

Lee Tsarmaklis* Principal Chair supported by Friends of the Orchestra

Timpani

Simon Carrington* Principal

Chair supported by Victoria Robey OBE

Percussion

Andrew Barclay* Principal Chair supported by Gill & Garf Collins

Tom Edwards

Keith Millar

Karen Hutt

Oliver Yates

Harp

Rachel Masters Principal

Piano/Celeste

Catherine Edwards

Surtitles

Andrew Kingsmill

* Holds a professorial appointment in London

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

Sir Simon Robey

Bianca & Stuart Roden

Caroline, Jamie & Zander Sharp

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

Sharing the wonder

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

Our conductors

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

Soundtrack to key moments

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

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

© Mark Allan

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

Next generations

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

2022/23 and beyond

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

lpo.org.uk

Pieter Schoeman Leader

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

Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and the Southbank Centre’s Royal Festival Hall. As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. His chamber music partners have included Anne-Sophie Mutter, Veronika Eberle, Patricia Kopatchinskaja, Boris Garlitsky, Jean-Guihen Queyras, Yannick Nézet-Séguin, Martin Helmchen and Julia Fischer.

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

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

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

© Benjamin Ealovega

Andrey Boreyko conductor

Last season Andrey Boreyko concluded his eighth and final season as Music Director of Artis–Naples in Florida. His inspiring leadership raised the artistic standard of the Naples Philharmonic and throughout the course of his tenure explored connections between artforms through thematic programming including pairing Ballets Russes-inspired contemporary visual artworks of Belgian artist Isabelle de Borchgrave with performances of Stravinsky’s Pulcinella and The Firebird.

2022/23 marks Andrey Boreyko’s fourth season as Music and Artistic Director of the Warsaw Philharmonic Orchestra. They celebrated the orchestra’s 120th birthday last season, touring the US, Spain and Dubai, and performing at the annual ‘Chopin & His Europe’ Festival and the International Chopin Piano Competition. Their upcoming plans together include a return to the Ludwig van Beethoven Easter Festival next month, and further tours across Spain, China and Japan.

Now in his first season as Resident Conductor of the Orchestra Sinfonica di Milano (formerly ‘La Verdi’), Andrey conducted its season-opening concert at the Teatro alla Scala in a programme featuring Brahms’s Symphony No. 2, Wagner’s Prelude from Die Meistersinger von Nürnberg and Mendelssohn’s Concerto for Two Pianos with Lucas and Arthur Jussen. He returns later this season for further subscription concerts, including monumental works such as Shostakovich’s ‘Leningrad’ Symphony No. 7, Stravinsky’s Oedipus Rex, and a performance at the Kissinger Sommer Festival.

In high demand as a guest conductor, Andrey’s recent and upcoming highlights include appearances with the Berlin Radio Symphony Orchestra, Vienna Radio Symphony Orchestra at the Ravello Festival, Royal Scottish National Orchestra, Prague Symphony (touring to Linz and Budapest), Polish National Radio Symphony Orchestra (world premiere of Silvestrov’s Symphony No. 8), Philharmonisches Staatsorchester Hamburg, Orchestre Philharmonique de Strasbourg and Spanish Radio Symphony Orchestra, amongst others.

An advocate for modern and lesser-known works, in 2017 Andrey championed compositions by Victoria Borisova-Ollas in an extensive concert and recording project with the Royal Stockholm Philharmonic Orchestra. With the Warsaw Philharmonic he has recorded several albums including André Tchaikowsky’s Violin Concerto and Giya Kancheli’s Libera me. Their fourth album together, released in autumn 2022, features Penderecki’s Piano Concerto and Symphony No. 2. During his tenure as Principal Guest Conductor of the Stuttgart Radio Symphony Orchestra, he recorded Arvo Pärt’s Lamentate and Silvestrov’s Symphony No. 6, both for ECM Records. He also made the premiere recording of his original version of the Suite from Lady Macbeth of Mtsensk, and recorded Shostakovich’s Symphonies Nos. 1, 4–6, 8, 9 and 15, all on Hänssler Classics. He has also recorded Tchaikovsky’s Manfred Symphony with the Düsseldorf Symphony, and Lutosławski’s Chain 2 with the Los Angeles Philharmonic for Yarling Records.

In 2014 Andrey Boreyko conducted the London Philharmonic Orchestra in the posthumous world premiere of Górecki’s Symphony No. 4 (Tansman Episodes) at the Southbank Centre’s Royal Festival Hall, subsequently released on the Nonesuch label. He went on to perform the work’s American premiere with the Los Angeles Philharmonic.

Andrey Boreyko’s previous appointments include Music Director of the Jenaer Philharmonic, the Hamburg Symphony, Bern Symphony, Düsseldorf Symphony and Winnipeg Symphony orchestras, and the Belgian National Orchestra. As a young musician he explored the music of the Medieval and Renaissance eras, and was an active member of the Soviet Union’s first two early music ensemble, Res Facta and Baroque Consort. As a student at St Petersburg Conservatory, he founded one of the USSR’s first rock groups with a focus on progressive rock. Off the podium, Andrey revels in the beauties of literature, cinema and nature.

© Michał Zagórny

Kristina Blaumane cello

which reached number 2 in the UK classical charts and received a Grammy nomination. She has also recorded for the Onyx, Quartz and BMG labels.

Kristina is a winner of many awards including the Latvian Philharmonic Young Musician of the Year, the Latvian television competition ‘Alternativa’, Carmel International Competition, Musicians Benevolent Fund and Lord Mayor’s Prize. She is a two-time laureate of the Great Music Award, the highest prize given by the Latvian State in the field of music (2005 & 2007).

Kristina Blaumane was born in Riga and graduated from the Latvian Academy of Music and the Guildhall School of Music & Drama. She has been the London Philharmonic Orchestra’s Principal Cello since 2007, and has been invited to play as a soloist, recitalist and chamber musician around the world.

Kristina has performed as soloist with the London Philharmonic Orchestra, Amsterdam Sinfonietta, Chicago Civic Orchestra, Kremerata Baltica, Britten Sinfonia, Lithuanian Chamber Orchestra, Sofia Soloists, Netherlands Wind Ensemble, Dalarna Sinfonietta, MDR Symphony Orchestra Leipzig, Lithuanian National Symphony Orchestra and Ensemble Ubertini, as well as all the main orchestras in Latvia.

As a chamber musician Kristina has worked in partnership with such renowned artists as Isaac Stern, Gidon Kremer, Yo Yo Ma, Yuri Bashmet, Leif Ove Andsnes, Janine Jansen, Julian Rachlin, Dmitry Sitkovetsky, Bruno Giuranna, Misha Maisky, Nikolaj Znaider, Tatyana Grindenko, Oleg Maisenberg, Michael Collins, Isabelle van Keulen and Alina Ibragimova, among others, and has performed at festivals such as Gstaad, Lockenhaus, Salzburg, Verbier, Basel, Jerusalem, Utrecht, Spitalfields, Cheltenham, Aldeburgh, Homecoming, Crescendo and Amsterdam Cello Biennale. She is a member of Trio Palladio and the Wigmore Soloists ensemble.

Kristina is a keen promoter of new music. She has given a number of world premieres and several works are dedicated to her, among them cello concertos by Dobrinka Tabakova, Kristaps Pētersons, Pēteris Plakidis and Artem Vassiliev. Kristina appears as a soloist on the ECM debut disc of composer Dobrinka Tabakova,

Kristina’s chair in the LPO is generously supported by Bianca & Stuart Roden.

© Benjamin Ealovega

London Philharmonic Choir

Patron HRH Princess Alexandra President Sir Mark Elder Artistic Director Neville Creed Chairman Tessa Bartley Choir Manager Bethea Hanson-Jones Accompanist Jonathan Beatty

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 highlights have included Tippett’s A Midsummer Marriage and A Child of Our Time, Schoenberg’s Gurrelieder and Berlioz’s Damnation of Faust under LPO Principal Conductor Edward Gardner; the UK premieres of James MacMillan’s Christmas Oratorio with the Choir’s President, Sir Mark Elder, and Tan Dun’s Buddha Passion; Walton’s Belshazzar’s Feast with Marin Alsop; Mahler’s Symphonies Nos. 2 & 8 and Tallis’s Spem in alium with Vladimir Jurowski; Beethoven’s Missa Solemnis with Sir Mark Elder; and Haydn’s The Creation with Sir Roger Norrington.

The Choir appears annually at the BBC Proms, and performances have included the UK premieres of Mark-Anthony Turnage’s A Relic of Memory and Goldie’s Sine Tempore in the Evolution! Prom. In recent years the Choir has also given performances of works by Beethoven, Elgar, Howells, Liszt, Orff, Vaughan Williams, Verdi and Walton.

A well-travelled choir, it has visited numerous European countries and performed in Kuala Lumpur, Hong Kong and Australia. The Choir has appeared twice at the Touquet International Music Masters Festival and 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 achieving first-class performances from its members, who are volunteers from all walks of life.

Supported by

Sopranos

Annette Argent

Chris Banks

Tessa Bartley

Amy Brewster

Laura Buntine

Charlotte Cantrell

Grace Chau

Paula Chessell

Francesca Clayton

Jenni Cresswell

Megan Cunnington

Issy Davies

Sarah Deane-Cutler

Aimee Desmond

Ella Frost

Rachel Gibbon

Sofia Gonzales-Morales

Rosie Grigalis

Lily Guenault

Jane Hanson

Sasha Holland

Mary Beth Jones

Ashley Jordan

Joy Lee

Clare Lovett

Ilona Lynch

Janey Maxwell

Harriet Murray

Danielle Reece-Greenhalgh

Courtney Reed

Emma Secher

Holly Shannon

Victoria Smith

Sze Ying Chan

Altos

Susannah Bellingham

Alison Biedron

Jenny Burdett

Andrei Caracoti

Noel Chow

Pat Dixon

Andrea Easey

Pauline Finney

Iolla Grace

Judy Jones

Julia King

Andrea Lane

Laetitia Malan

Ian Maxwell

Nicola Mooney

Anna Mulroney

Elizabeth Reynard

Angela Schmitz

Rima Sereikiene

Annette Strzedulla

Muriel Swijghuisen

Reigersberg

Catherine Travers

Tenors

Kevin Cheng

Jonathan Cooke

Robert Geary

Alan Glover

James Hopper

Stuart McDermott

Simon Pickup

Daisy Rushton

Tony Valsamidis

Robert Venn

Mikolaj Walczak

Toby Wilson

Basses

Martyn Atkins

Jonathon Bird

Peter Blamire

Nathan Chu

Marcus Daniels

Matthew Duncan

Myrddin Edwards

Dominic Felts

Dominic Foord

Ian Frost

Angel Gensen

Mark Hillier

David Hodgson

Rylan Holey

James Holt

Nick Jackman

Nigel Ledgerwood

John D Morris

Johannes Pieters

Philip Tait

Alex Thomas

Dominic Veall

Geoff Walker

Programme notes

Victoria Vita Polevá born 1962

Nova 2022 (UK premiere)

The Art of Instrumentation, and the Kronos Quartet for Walking on Waters in 2013. In 2009, her Ode to Joy was heard at a concert to commemorate the 20th anniversary of the fall of the Berlin Wall.

Ukrainian composer Victoria Vita Polevá was born in 1962 in Kyiv to a family of musicians – her grandfather was a renowned singer and her father a composer. She studied composition with Ivan Karabyts and Levko Kolodub at the Kyiv Conservatory, where she herself later taught from 1990–2005.

In her early works, including the ballet Gagaku, Transforma for symphony orchestra, Anthem for chamber orchestra, and others, Polevá adopted avantgarde and polystylistic aesthetics. From the late 1990s she became increasingly drawn to spiritual themes and simplicity, and developed a style identified by European critics as ‘sacred minimalism’ and compared to the works of Arvo Pärt, Giya Kancheli and Henryk Górecki.

Polevá was Composer-in-Residence at the Menhir Chamber Music Festival (Switzerland) in 2006, at the Lockenhaus Chamber Music Festival (Austria) in 2011, and at the Festival of Contemporary Music ‘Darwin Vargas’ (Chile) in 2013. Her works have been commissioned by numerous exponents of new music, including violinist Gidon Kremer for his 2005 concertcycle Sempre Primavera and his 2010 recording project

Nova received its world premiere in October 2022 at the opening of the 16th International Henryk Wieniawski Violin Competition in in Poznań, Poland, performed by the Warsaw Philharmonic Orchestra under its musical director, tonight’s conductor Andrey Boreyko. Victoria Vita Polevá writes: ‘I consider Nova to be martial music in a patriotic sense – not music of war or aggression, but truly martial music. We have all been affected by the enormous spiritual upsurge that we are experiencing. The individual hardworking Ukrainian is now merged into a new and powerful whole, a new spiritual body. And Mother-Ukraine is similarly drawn together through aural experiences: the heroic calls of Carpathian signalling horns, the howl of air-raid sirens, the drumbeat of machine gun bursts.

‘Why does an English musical theme appear in the middle of this work? In part, this comes from my own musical intuition, but that is not the sole reason. King George VI maintained the spirits of the English people during World War II, and we can draw a parallel with the actions of the Ukrainian president, who truly became the leader of his country during the time of war. This is about a person who overcomes his own uncertainty and is transformed into the spiritual leader of an entire nation. And, of course, Jeremiah Clarke’s “Trumpet Voluntary” is the ideal image of a regal victory, regardless of nationality.’

Programme notes

Elena Langer born 1974

The Dong with a Luminous Nose

a setting of the poem by Edward Lear for chorus, cello solo and orchestra world premiere

Kristina Blaumane cello

London Philharmonic Choir

Elena Langer is a prolific composer of colourful, dramatic and often humorous music, familiar to audiences across Europe and America through pieces operatic, vocal and orchestral. Her 2016 hit for Welsh National Opera, Figaro Gets a Divorce, was described by Rupert Christiansen in The Daily Telegraph as ‘that rare thing: a modern opera that exerts an immediate emotional impact’. Her WNO follow-up, the 2018 vaudeville Rhondda Rips It Up!, was wildly popular with audiences across the UK, The Times describing it as ‘bursting with irreverent joy’.

Elena Langer studied at the Moscow Tchaikovsky Conservatoire and at the Royal Academy of Music in London. Her works have been performed at Zurich Opera, Carnegie Hall, the Grand Theatre in Geneva, Opera National du Rhin in Strasbourg, Welsh National Opera, Shakespeare’s Globe, Hong Kong Academy of Arts, the Linbury Theatre Covent Garden, Tokyo Theatre and Boston Symphony Hall. Landscape with Three People, a CD of Elena’s vocal and chamber pieces, was released by Harmonia Mundi in 2016. Richard Morrison in The Times wrote: ‘She can do sardonic astringency but also evoke surreal otherworldliness or romantic yearning. It all depends on her chosen texts to which she responds in meticulous detail.’ Landscape with Three People was recently performed at the Oxford Lieder Festival.

The orchestral suite created from Figaro Gets a Divorce was premiered by Maxim Emelyanychev with the Seattle Symphony Orchestra in 2020; subsequently, Anna Rakitina conducted it with the Boston Symphony and with the Yomiuri Nippon Symphony Orchestra. There have been further performances by Gergely Madaras

© Anastasia Tikhonova

Programme notes

and the BBC Scottish Symphony Orchestra, and Sir Mark Elder with the Hallé Orchestra. In August 2023 the suite will be performed by The Cleveland Orchestra under Nicholas McGegan.

The oboist Nick Daniel premiered Elena’s Gluhwein Concerto with the Deutsche Kammerakademie Neuss am Rhein in 2022, and a new song cycle, Love & Endings for soprano, oboe and harpsichord, will be performed by Nick, Anna Dennis and Mahan Esfahani at Aldeburgh next month. Elena is currently working on a new one-act comic opera, The Three Fat Women of Antibes, based on the story by William Somerset Maugham.

Tonight’s new work, The Dong With a Luminous Nose was co-commissioned by the London Philharmonic Orchestra and Boston Symphony Orchestra. On the work’s genesis, the composer recalls: ‘I had a “eureka!” moment sitting on a bench on Hampstead Heath when this poem by Edward Lear suddenly came into my head, and I realised it might make a perfect piece for chorus and orchestra. The poem has everything music wants: a love story, songs and dances, pipes, animals and fantastical landscapes, as well as longing, hope and light. People often think of Lear purely as a writer of “nonsense verse”, but for me he is much more interesting than that, an unhappy Romantic. I love his poetry, limericks, drawings and his whole aesthetic, and I find it helps to process sad, surreal things in the world around me.

‘The Dong falls in love with a green-haired, blue-handed Jumbly Girl who arrives by sea in a sieve. After a short period of happiness she suddenly vanishes away over

the sea again, abandoning the poor Dong, who out of sadness (or madness) attaches a great lamp to his nose, to wander around forever seeking his lost love.

‘The piece I have written doesn’t fit into any genre – it is a cross between a cello concerto, an opera for chorus, and a symphonic poem. The chorus tells the story and plays different roles: the Dong himself, the Jumblies, and the narrator observing the events. The virtuoso cello solo also plays various roles; in a way it might be the soul of the Dong. The Jumbly Girl has no voice in the poem, but perhaps the cello represents both her and the Dong. Sometimes the cello competes with the orchestra, or has a dialogue with the chorus. I wrote the cello part for Kristina Blaumane, the LPO’s Principal Cello, and a friend for many years.

‘Edward Lear’s language is unique. He makes words up, and makes existing words sound like he made them up. I wanted to mirror that with instrumental colours in the orchestral music, using their normal timbres in unusual combinations (eg flexatone and sliding strings, templeblocks and contrabassoon).

‘The shape of the piece follows the poem except for a few short purely orchestral “commentaries”. Harmonically too, the music follows the emotional contour of the poem: it becomes more dissonant and chromatic after the Jumbly Girl disappears and the Dong loses his senses. Only at the end does the music becomes pure and diatonic again.’

Elena Langer, 2023

Interval – 20 minutes

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

Programme notes

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So many words have been spilled on the subject of what this most popular of Shostakovich’s 15 symphonies signifies, that it has become hard to focus on what it undoubtedly is. One of the most well-known incidents in Shostakovich’s long relationship with the Soviet regime is that the Fifth, as the first major work to appear after his Stalin-inspired castigation in Pravda in 1936 for the ‘chaos instead of music’ of the opera Lady Macbeth of Mtsensk, was cast as ‘a Soviet artist’s response to just criticism’, and that its successful premiere in Leningrad in November 1937 reinstated its composer in the authorities’ favour. That was enough for some critics in the West – who could have had little true appreciation of the physically perilous and artistically damaging situation in which Shostakovich found himself – to denigrate it as a concession to political pressure, and ever since the work has to a certain extent had to battle against the stigmas both of that and of being more tonal, more lyrical and more traditional in style than some of Shostakovich’s earlier works had suggested might be his true direction.

But this is no craven subjection to the wishes of political masters. Shostakovich could surely have devised an explicitly socalist realist choral-and-orchestral programme-symphony for that purpose, yet this is a powerful abstract work, with all the ambiguities of meaning that can imply, even in its seemingly bombastic finale. Whether the Fifth is, as the composer once declared, about ‘the sufferings of mankind and an allaffirming optimism’, or if, as he said on a later occasion, ‘it’s as if someone were beating you with a stick and saying “Your business is rejoicing, your business is

Programme notes

rejoicing”, and you rise, shakily, and go off muttering “Our business is rejoicing, our business is rejoicing”’, the evidence of one’s ears is that this is a great and characteristic work by a master of the powerful expressive symphonic tradition that reached back through Mahler to Beethoven. Indeed, those two composers were potent inspirations for Shostakovich in his predicament, and musical echoes of both can clearly be heard: but more importantly, in conceptual terms he drew from Mahler the irony and ambiguity, the ‘laughter through tears’ that enabled him to seem to say one thing while at the same time mean another, and from Beethoven came the artistic heroism that not only survives adversity but emerges from it audibly strengthened and enriched.

The opening of the Symphony is stark and ominous, and the sense of disquiet continues even after the angular first-theme material has given way to a more lyrically soothing high-lying second theme gently with chugging accompaniment. It is an atmosphere of unease that proves to be justified by the arrival of the central development section, a battleground of thematic fragments led off by the piano and culminating in a brutalistic march and a searing, climactic unison restatement of the first theme. The music winds down again after this, regaining its composure and even a brief hint of warmth, but ending nevertheless in a mood of icy bleakness.

The second movement is a scherzo of thoroughly Mahlerian inspiration, a Ländler which lurches from grotesque in its ponderous outer sections, to burlesque in the teasing violin solo of the central part. If there is humour here, it is of a singularly fragile kind. The slow third movement also has Mahlerian overtones, this time in the rich emotionalism of its melodic material (though there are reminders of Tchaikovsky too in this), its skilfully restrained scoring (there are no brass instruments), and powerful climax. Shostakovich acknowledged it as the expressive heart of this symphony, but it is also perhaps the finest single movement he had produced up to that time.

The finale has sometimes been seen as out of keeping with the rest of the Symphony, frenzied at the beginning, relenting slightly in the middle and then whipping itself up into what seems like triumphalism at the end. Shostakovich answered such criticisms by saying that its fundamental purpose was ‘to answer all the questions posed in the first movements’, but no-one could doubt that there is more than just a musical resolution here, however hard it may be to pin down. And sure enough, Shostakovich embedded in this finale melodic material from one of his songs, Vozrozhdeniye (‘Rebirth’), describing how crass overdaubings on a master-painting eventually flake off to reveal the strength and beauty of the original. In this way, and in the sheer quality of the magnificent Symphony, Shostakovich ensured his own artistic survival.

On the LPO Label

Programme note © Lindsay Kemp

‘The

Recorded live at the Southbank Centre’s Royal Festival Hall, 31 Jan– 3 Feb 2004.

Next LPO concerts at the Southbank Centre’s Royal Festival Hall

A HOUSE OF CALL

Saturday 25 March 2023 | 7.30pm

Heiner Goebbels A House of Call (UK premiere)

Vimbayi Kaziboni conductor

Performed with kind permission of Ensemble Modern

HEROES AND HEROINES

Friday 31 March 2023 | 7.30pm

Tania León Stride (UK premiere)

Mendelssohn Piano Concerto No. 1

Sibelius Symphony No. 2*

Dima Slobodeniouk conductor

Beatrice Rana piano

* Please note change of work from originally advertised

WAR AND PEACE

Wednesday 19 April 2023 | 7.30pm

Ustvolskaya Symphonic Poem No. 1

Hindemith Violin Concerto

Prokofiev Symphony No. 6

Vladimir Jurowski conductor

Gil Shaham violin

6.00pm | Free pre-concert event

Royal Festival Hall

LPO Showcase: Crisis Creates

Members of Crisis – all adults who have experienced homelessness – perform original music they have devised with LPO musicians and a workshop leader during a week-long creative project.

Free and unticketed – all welcome

LPO.ORG.UK

Vimbayi Kaziboni

Written and directed by Bill Barclay

Tuesday 21 March 2023

7.30pm

St Martin-in-the-Fields

The Chevalier tells the fascinating life of Joseph Bologne –an 18th-century Black composer, virtuoso violinist and friend of Mozart and Marie Antoinette – more commonly known as the Chevalier de Saint-Georges.

Generously supported by Victoria Robey OBE

Matthew Kofi Waldren conductor

Braimah Kanneh-Mason violin

Chukwudi Iwuji Joseph Bologne

Merritt Janson Marie Antoinette

David Joseph Mozart

Bill Barclay Choderlos de Laclos

London Philharmonic Orchestra and friends

Tickets: £10–£35 (Booking fee: £2.75)

St Martin in the Fields Box Office 020 7766 1100 (Mon–Sat 10.00am–5.00pm) smitf.org

Celebrating 90 years & counting

We cherish our heritage and are committed to keeping the next 90 years exciting, dynamic and inclusive. Donate now, as we continue to make history in the present by offering life-enriching musical experiences for everyone, investing in the next generation of talent, commissioning masterworks of the future and reaching more communities around the UK, especially in Brighton and Eastbourne.

Sound Futures donors

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

Masur Circle

Arts Council England

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Victoria Robey OBE

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Solti Patrons

Ageas

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Management Consulting AG

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Goodman

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Charitable Trust

Mr James R.D. Korner

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Ladanyi-Czernin

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Charitable Trust

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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

Thank you

We are extremely grateful to all donors who have given generously to the LPO over the past year. Your generosity helps maintain the breadth and depth of the LPO’s activities, as well as supporting the Orchestra both on and off the concert platform.

Artistic Director’s Circle

Anonymous donors

Mrs Aline Foriel-Destezet

Aud Jebsen

In memory of Mrs Rita Reay

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Orchestra Circle

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Patricia Haitink

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TIOC Foundation

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The American Friends of the London Philharmonic Orchestra

Principal Associates

Richard Buxton

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In memory of Brenda Lyndoe

Casbon

In memory of Ann Marguerite

Collins

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Associates

Mrs Irina Andreeva

In memory of Len & Edna Beech

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Cave

The Lambert Family Charitable

Trust

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In memory of Hazel Amy Smith

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Gold Patrons

An anonymous donor

Chris Aldren

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In memory of Allner Mavis

Channing

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Charitable Trust

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Anonymous donors

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Moldavsky

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JP RAF

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Countryman

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Principal Supporters

Anonymous donors

Dr Manon Antoniazzi

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Altieri

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Christopher Williams

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Supporters

Anonymous donors

Ralph & Elizabeth Aldwinckle

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Mrs Julia Beine

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Tony & Hilary Vines

Dr June Wakefield

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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

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The Friends of the LPO

Irina Gofman

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Victoria Robey OBE

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Corporate Donor

Barclays

LPO Corporate Circle

Principal

Bloomberg

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Tutti

Lazard

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Banking

Sciteb Ltd

Walpole

Preferred Partners

Gusbourne Estate

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In-kind Sponsor

Google Inc

Thank you

Trusts and Foundations

ABO Trust

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Cockayne – Grants for the Arts

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Foyle Foundation

Garrick Charitable Trust

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Institute Adam Mickiewicz

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Lord and Lady Lurgan Trust

Lucille Graham Trust

The Marchus Trust

PRS Foundation

The Radcliffe Trust

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Scops Arts Trust

Sir William Boremans’ Foundation

The John S Cohen Foundation

The Stanley Picker Trust

The Thriplow Charitable Trust

TIOC Foundation

Vaughan Williams Foundation

The Victoria Wood Foundation

The Viney Family

The Barbara Whatmore Charitable Trust

and all others who wish to remain anonymous.

Board of the American Friends of the LPO

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

Simon Freakley Chairman

Kara Boyle

Jon Carter

Jay Goffman

Alexandra Jupin

Natalie Pray

Damien Vanderwilt

Marc Wasserman

Elizabeth Winter

Catherine Høgel Hon. Director

Jenifer L. Keiser, CPA, EisnerAmper LLP

LPO International Board of Governors

Natasha Tsukanova Co-Chair

Martin Höhmann Co-Chair

Mrs Irina Andreeva

Steven M. Berzin

Shashank Bhagat

Veronika Borovik-Khilchevskaya

Marie-Laure Favre Gilly de Varennes de Bueil

Aline Foriel-Destezet

Irina Gofman

Countess Dominique Loredan

Olivia Ma

George Ramishvili

Sophie Schÿler-Thierry

Jay Stein

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

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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

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Greg Felton

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Hayley Kim

Marketing Co-ordinator

Alicia Hartley

Marketing Assistant Archives

Philip Stuart Discographer

Gillian Pole

Recordings Archive

Professional Services

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Auditors

Dr Barry Grimaldi

Honorary Doctor

Mr Chris Aldren

Honorary ENT Surgeon

Mr Simon Owen-Johnstone

Hon. Orthopaedic Surgeon

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2022/23 season identity

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