LPO concert programme: 19 Feb 2022 - Mozart's Requiem by London Philharmonic Orchestra

2021/22 concert season at the Southbank Centre’s Royal Festival Hall

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 19 February 2022 | 7.30pm

Contents

Mozart’s Requiem

3 4

Schubert Symphony No. 8 in B minor (Unfinished) (22’) Interval (20’) Mozart Requiem, K626 (Süssmayr completion) (60’)

Ádám Fischer conductor Mariam Battistelli soprano Helen Charlston mezzo-soprano Ilker Arcayürek tenor James Newby baritone London Philharmonic Choir Artistic Director: Neville Creed

This concert is being filmed for future broadcast on Marquee TV. We would be grateful if audience noise during the performance could be kept to a minimum, and if audience members could kindly hold applause until the end of each full work. Thank you for your co-operation.

The timings shown are not precise and are given only as a guide. CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

5 6 7 9 10 12 13 17 18 20

Welcome LPO news On stage tonight London Philharmonic Orchestra Leader: Pieter Schoeman Ádám Fischer Tonight’s soloists London Philharmonic Choir Programme notes Recommended recordings Mozart Requiem: Text & translation Sound Futures donors Thank you LPO administration

London Philharmonic Orchestra • 19 February 2022 • Mozart’s Requiem

Welcome to the Southbank Centre

LPO news Tonight’s concert on Marquee TV

We hope you enjoy your visit. We have a Duty Manager available at all times. If you need any information or help, please ask a member of staff.

We are delighted that ten concerts from our 2021/22 Royal Festival Hall season are being filmed for broadcast on Marquee TV throughout the year. This evening, Mozart’s Requiem is being filmed and will be broadcast on Marquee TV on Saturday 21 May at 7pm. The broadcast will remain available to watch free of charge for 48 hours without a Marquee TV subscription. If you would like to subscribe for unlimited access to Marquee TV’s extensive range of music, opera, theatre and dance productions, you can enjoy 50% off with code LPO2021.

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If you would like to get in touch with us following your visit, please write to: Visitor Contact Team, Southbank Centre, Belvedere Road, London SE1 8XX, or email customer@southbankcentre.co.uk

New on the LPO Label: Jessye Norman sings Strauss

We look forward to seeing you again soon.

The latest release on our LPO Label is an album of works by Richard Strauss featuring the late Jessye Norman. Conducted by Klaus Tennstedt at the Royal Festival Hall in 1986, this live recording captured the extraordinary soprano in the prime of her career. It features five of Strauss’s songs and the Dance of the Seven Veils and Closing Scene from Salome, as well as the orchestral suite Le bourgeois Gentilhomme. The album is available now to stream or download, or to purchase on CD from all good retailers.

A few points to note for your comfort and enjoyment: Photography is not allowed in the auditorium. Latecomers will only be admitted to the auditorium if there is a suitable break in the performance. Recording is not permitted in the auditorium without the prior consent of the Southbank Centre. The Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended. Mobiles and watches should be switched off before the performance begins.

Open the Doors: LPO Annual Appeal 2022 We want to share the thrill and passion that we have for live music with as many people as possible. To do this, we are offering affordable tickets to those who may not otherwise attend a concert. A donation to this year’s Annual Appeal will help us to offer affordable tickets to individuals such as students, key workers, young musicians and members of our local communities. Donate online at lpo.org.uk/openthedoors, or call our Individual Giving Team on 020 7840 4212 or 020 7840 4225. Thank you.

London Philharmonic Orchestra • 19 February 2022 • Mozart’s Requiem

On stage tonight First Violins

Pieter Schoeman* Leader Chair supported by Neil Westreich

Lasma Taimina

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

Minn Majoe Martin Höhmann

Chair supported by Chris Aldren

Thomas Eisner Katalin Varnagy

Chair supported by Sonja Drexler

Catherine Craig Sophie Phillips Yang Zhang

Chair supported by Eric Tomsett

Nilufar Alimaksumova Rasa Zukauskaite Alice Hall Miranda Allen Georgina Leo

Second Violins

Tania Mazzetti Principal Chair supported by Countess Dominique Loredan

Emma Oldfield Ashley Stevens Joseph Maher Nancy Elan Kate Birchall Caroline Sharp Sioni Williams Eleonora Consta Jessica Coleman Fiona Higham

Chair supported by David & Yi Buckley

Harry Kerr

Violas

David Quiggle Principal Richard Waters Co-Principal Chair supported by Caroline, Jamie & Zander Sharp

Benedetto Pollani Laura Vallejo Martin Wray Daniel Cornford Stanislav Popov Richard Cookson Kim Becker Julia Kornig

Cellos

Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden

Pei-Jee Ng Co-Principal

Chair supported by The Candide Trust

Francis Bucknall Laura Donoghue Sue Sutherley Tom Roff Sibylle Hentschel Helen Thomas

Trumpets

Paul Beniston* Principal Anne McAneney*

Trombones

Mark Templeton* Principal Chair supported by William & Alex de Winton

David Whitehouse

Bass Trombone

Double Basses

Kevin Rundell* Principal Sebastian Pennar Co-Principal Hugh Kluger George Peniston Laura Murphy Charlotte Kerbegian

Lyndon Meredith Principal

Timpani

Nigel Thomas Guest Principal * Holds a professorial appointment in London

Flutes

Stewart McIlwham* Principal Imogen Royce

Oboes

Ian Hardwick* Principal Alice Munday

Clarinets

Benjamin Mellefont Principal Paul Richards*

Basset Horns

Benjamin Mellefont Principal Paul Richards*

Bassoons

Jonathan Davies Principal Chair supported by Sir Simon Robey

Gareth Newman

Horns

John Ryan* Principal Martin Hobbs

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Gill & Garf Collins Friends of the Orchestra Roger Greenwood Dr Barry Grimaldi Victoria Robey OBE

London Philharmonic Orchestra • 19 February 2022 • Mozart’s Requiem

London Philharmonic Orchestra

the Orchestra takes up its annual residency at Glyndebourne Festival Opera, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra.

One of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with its reputation as one of the UK’s most forward-looking ensembles. As well as its concert performances, the Orchestra also records film soundtracks, releases CDs and downloads on its own label, and reaches thousands of people every year through activities for families, schools and local communities.

The London Philharmonic Orchestra has recorded many blockbuster film scores, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 100 releases available on CD and to download. Recent highlights include Shostakovich’s Symphony No. 11 and Mahler’s Symphony No. 8 under Vladimir Jurowski; a commemorative box set of historic recordings with former Principal Conductor Sir Adrian Boult; and works by Richard Strauss under Klaus Tennstedt, featuring soprano Jessye Norman.

The Orchestra was founded by Sir Thomas Beecham in 1932, and has since been headed by many great conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. In September 2021 Edward Gardner became the Orchestra’s Principal Conductor, succeeding Vladimir Jurowski, who became Conductor Emeritus in recognition of his transformative impact on the Orchestra as Principal Conductor from 2007–21. Karina Canellakis is the Orchestra’s current Principal Guest Conductor and Brett Dean is the Orchestra’s current Composer-in-Residence.

In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Music Award for Ensemble.

The Orchestra is resident at the Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. It also enjoys flourishing residencies in Brighton, Eastbourne and Saffron Walden, and performs regularly around the UK. Each summer

London Philharmonic Orchestra • 19 February 2022 • Mozart’s Requiem

Pieter Schoeman

The London Philharmonic Orchestra is committed to inspiring the next generation of musicians, and recently celebrated the 30th anniversary of its Education and Community department, whose work over three decades has introduced so many people of all ages to orchestral music and created opportunities for people of all backgrounds to fulfil their creative potential. Its dynamic and wide-ranging programme provides first musical experiences for children and families; offers creative projects and professional development opportunities for schools and teachers; inspires talented teenage instrumentalists to progress their skills; and develops the next generation of professional musicians. The Orchestra’s work at the forefront of digital technology has enabled it to reach millions of people worldwide. Over the pandemic period the LPO further developed its relationship with UK and international audiences through its ‘LPOnline’ digital content: over 100 videos of performances, insights, and introductions to playlists, which collectively received over 3 million views worldwide and led to the LPO being named runner-up in the Digital Classical Music Awards 2020. From Autumn 2020 the Orchestra was delighted to be able to return to its Southbank Centre home to perform a season of concerts filmed live and streamed free of charge via Marquee TV.

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 London’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, JeanGuihen Queyras, Yannick Nézet-Séguin and Martin Helmchen.

September 2021 saw the opening of a new live concert season at the Royal Festival Hall, featuring many of the world’s leading musicians including Sheku KannehMason, Klaus Mäkelä, Renée Fleming, Bryn Terfel and this season’s Artist-in-Residence, Julia Fischer. The Orchestra is delighted to be continuing to offer digital streams to selected concerts throughout the season through its ongoing partnership with Intersection and Marquee TV.

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.

lpo.org.uk

Pieter has appeared as Guest Leader with the BBC, Barcelona, Bordeaux, Lyon and Baltimore symphony orchestras, and the Rotterdam and BBC Philharmonic orchestras. Pieter’s chair in the LPO is generously supported by Neil Westreich.

London Philharmonic Orchestra • 19 February 2022 • Mozart’s Requiem

Ádám Fischer conductor

Fischer also embarked on a completely new path in 2006, when he founded the Wagner Days in Budapest: together with Gábor Zoboki, architect of the Palace of Arts, he realised his idea of performing Wagner’s work in a concert hall in which the entire hall is included in an allround artistic experience. The Budapest Wagner Days, under Ádám Fischer’s artistic leadership, have established themselves as a world-class Wagner opera festival dubbed the ‘Bayreuth on the Danube’ by The New York Times. As Principal Conductor of the Düsseldorf Symphony Orchestra, in 2015 Ádám Fischer embarked on a Haydn/Mahler cycle, which was received with international enthusiasm. In addition to excellent reviews in the media, his Mahler recordings with the orchestra received the 2019 BBC Music Magazine Award and the 2019 Opus Klassik Award for best orchestral recordings of the year.

Born in Budapest, Ádám Fischer is one of the leading conductors of our time. In 1987 he founded the Österreichisch-Ungarische Haydn Philharmonie with musicians from his two home countries, Austria and Hungary, and at the same time, the Haydn Festival in Eisenstadt as an international centre for the performance of Haydn’s music.

Ádám Fischer regularly uses his platform to share important messages about humanity and democracy. The Human Rights Award of the Tonhalle Düsseldorf, which he has presented every year since 2016, is testimony to this. For his commitment he has received the renowned Wolf Prize from the Wolf Foundation in Jerusalem, and a Gold Medal in the Arts from the Kennedy Center, Washington. He has been a member of the Helsinki Committee for Human Rights for more than 20 years.

Whether in Bayreuth, at the Metropolitan Opera or at the Teatro alla Scala in Milan; whether with the Vienna or Berlin Philharmonic, the Orchestra of the Age of Enlightenment or at the Salzburg Festival, Ádám Fischer is recognised by audiences and musicians alike as a mediator between music and the outside world. He acquired his profound understanding of the opera world by taking the classic career path from répétiteur (Graz) to General Music Director (Freiburg, Kassel, Mannheim and Budapest). His international breakthrough came in 1978 when he took over the baton from Karl Böhm, conducting Beethoven’s Fidelio at the Bavarian Staatsoper. Since then he has been a guarantor of thrilling evenings at leading opera houses all over the world. His closest links are with the Vienna Staatsoper, where he was appointed Honorary Member in 2017.

As well as his regular activities with the Düsseldorf Symphony Orchestra, the Danish Chamber Orchestra and the Budapest Wagner Days, highlights of Fischer’s 2021/22 season include Mozart’s Così fan tutte at the Maggio Musicale Fiorentino, opera engagements at the Hamburg Staatsoper, and a concert version of Wagner’s Parsifal with the Danish National Symphony Orchestra, as well as concerts with the Berlin Philharmonic, the Vienna Symphony (among others at the Musikverein and the Hamburg Elbphilharmonie), and with the Orchestra of the Age of Enlightenment at the Royal Festival Hall.

When he became Chief Conductor of the Danish Chamber Orchestra in 1998, Fischer found the ideal partner for his innovative ideas. Together, over many years of collaboration, they have been able to develop their very own individual style. With award-winning recordings of all Mozart’s symphonies and complete Beethoven works, Fischer ventured into new territory in terms of musical interpretation, to enthusiastic international acclaim.

Ádám Fischer is an Honorary Member of the Musikverein für Steiermark in Graz. He holds the honorary Austrian title of Professor and has received the Order of Dannebrog from the Queen of Denmark. He lives with his family in Hamburg, Berlin and Budapest.

London Philharmonic Orchestra • 19 February 2022 • Mozart’s Requiem

Helen Charlston

Mariam Battistelli

mezzo-soprano

soprano

Award-winning Italian soprano Mariam Battistelli was born in Ethiopia. Her performing breakthrough came when she performed as Il Paggio in Rigoletto under Zubin Mehta in Mantua, alongside Plácido Domingo and Ruggero Raimondi.

Acclaimed for her musical interpretation, presence and ‘warmly distinctive tone’ (The Telegraph), Helen Charlston is quickly cementing herself as a key performer in the next generation of British singers. Tonight is her debut with the London Philharmonic Orchestra.

During her studies at the Centre Perfeccionament Plácido Domingo (Palau de les Arts Opera Studio) in Valencia, Mariam made debuts in many roles including Juditha in Vivaldi’s Juditha Triumphans, conducted by Federico Maria Sardelli and directed by Davide Livermore. She also sang the role of Euridice in the world premiere of The Opera! at the Royal Opera House Muscat.

Helen won first prize in the 2018 Handel Singing Competition, and was a finalist in the Hurn Court Opera Competition and the Grange Festival International Singing Competition. She was a ‘Rising Star’ of the Orchestra of the Age of Enlightenment from 2017–19 and a 2018 City Music Foundation Artist. In 2021 she joined Le Jardin des Voix Academy with Les Arts Florissants, and the BBC Radio 3 New Generation Artists scheme, and was winner of the Ferrier Loveday Song Prize in the 2021 Kathleen Ferrier Awards.

First Prize winner at the International Ottavio Ziino Singing Competition in Rome, Mariam Battistelli has also won major prizes at the International Maria Callas Competition Verona and the International Franca Mattiucci Competition. Following these triumphs, in 2018 she was invited to join the Vienna State Opera, where she remained a member of the company until summer 2020 and where she debuted many important roles such as Musetta in La bohéme, Gretel in Humperdinck’s Hänsel und Gretel and Pamina in Die Zauberflöte; she also worked with outstanding conductors including Christian Thielemann, Ádám Fischer and Speranza Scappucci.

Recent and upcoming concert highlights include Handel’s Messiah with BBC NOW and the Royal Liverpool Philharmonic Orchestra; Bach’s Christmas Oratorio with Casa da Música; Judas Maccabaeus with the RIAS Kammerchor; her debut at the Palau de la Música in Barcelona for Bach’s St Matthew Passion with the Gabrieli Consort and Players; a worldwide tour of Handel’s Messiah with the Seattle Symphony, the Western Australian Symphony Orchestra and the Adelaide Symphony Orchestra; and solo recitals at Wigmore Hall, Cheltenham Music Festival, Leeds Lieder, York Early Music Festival, London Handel Festival, Händel-festspiele Halle, Korčula Baroque Festival, Leicester International Music Festival and Fitzrovia Festival.

Mariam Battistelli recently sang Norina in Don Pasquale for Glyndebourne Touring Opera, and will appear at this summer’s Glyndebourne Festival as Musetta in La bohème. Tonight is her debut with the London Philharmonic Orchestra.

London Philharmonic Orchestra • 19 February 2022 • Mozart’s Requiem

James Newby

Ilker Arcayürek

baritone

tenor

Born in Istanbul and raised in Vienna, Ilker Arcayürek has emerged as one of the most exciting and versatile tenors of recent years. He was a finalist in the 2015 BBC Cardiff Singer of the World and is a former BBC Radio 3 New Generation Artist. In 2017 Champs Hill Records released his first solo album, Der Einsame, featuring Schubert songs with Simon Lepper. His latest recording with Simon, titled Path of Life for Prospero Classical, has recently been nominated for two Opus Klassik Awards.

James Newby is a former BBC New Generation Artist and Rising Star with the Orchestra of the Age of Enlightenment. He was nominated by the Barbican Hall for the European Concert Hall Organisation Rising Star scheme, and will be presented by them in recitals throughout Europe in the 2022/23 season. A recipient of the Richard Tauber Prize at the 2015 Wigmore Hall/Kohn International Song Competition, James has since enjoyed a close relationship with the Hall: a 2022 highlight is performing Die schöne Müllerin with Simon Lepper.

Ilker was a member of the studio of Zürich Opera (2009–13), and the ensembles of the Stadttheater Klagenfurt (2013–15) and Staatstheater Nürnberg (2015–18). This season he will make his Canadian Opera Company debut as Tamino in Die Zauberflöte and will appear with Opera Vlaanderen, performing the roles of Ariel and Pater Ecstaticus in Schumann’s Szenen aus Goethes Faust.

The release of James’s debut solo CD I wonder as I wander on BIS Records in 2020 with pianist Joseph Middleton was the winner of the Diapason d’Or Découverte, and was described by Gramophone as ‘a performance that sets the tone, announcing Newby as an impressive artist’. In 2019 James joined the Ensemble of the Staatsoper Hannover, where in 2021 he garnered particular praise for his performance of Eddy in Mark-Anthony Turnage’s Greek. Other important role debuts in Hannover include Guglielmo in Così fan tutte and the title role in Eugene Onegin.

Recent concert highlights have included Britten’s Serenade with the Amsterdam Sinfonietta; Bach’s St Matthew Passion at the Palau in Barcelona under Simon Halsey with soloists from the Berlin Philharmonic; Mozart’s Requiem at the Vienna Konzerthaus and with the Antwerp Symphony; and Beethoven’s Symphony No. 9 with the Vienna Radio Symphony Orchestra under Marin Alsop. Future engagements include a return to the Bavarian Radio Symphony Orchestra under Philippe Jordan, Schumman’s Das Paradies und die Peri with the Symphonischer Chor Hamburg at the Elbphilharmonie, Haydn’s Creation with the WDR Köln, and Mozart’s Mass in C with the Rundfunk-Sinfonieorchester Berlin, as well as concerts with Orchestre des Champs-Élysées and Collegium Vocale Ghent. Tonight is his LPO debut.

In concert James has sung Berlioz with the BBC Symphony Orchestra, Handel with Britten Sinfonia and other Baroque repertoire with conductors David Bates, Jonathan Cohen and John Butt. As welll as tonight’s London Philharmonic Orchestra debut, other 2022 concert highlights include Bach’s St Matthew Passion arias with BBC NOW and Harry Bicket. James studies with Robert Dean.

London Philharmonic Orchestra • 19 February 2022 • Mozart’s Requiem

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 under Edward Gardner in his inaugural concert as LPO Principal Conductor; the UK premiere of James MacMillan’s Christmas Oratorio with the Choir’s President, Sir Mark Elder; Walton’s Belshazzar’s Feast with Marin Alsop; Mahler’s Symphonies Nos. 2 & 8 and Tallis’s Spem in alium with Vladimir Jurowski; Verdi’s Requiem with Edward Gardner; 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. The Choir would like to wish its Artistic Director, Neville Creed, a very happy birthday today. Supported by

Sopranos

Altos

Pippa Alderson Annette Argent Chris Banks Tessa Bartley Hilary Bates Sarah Bindon Vicki Brammall Laura Buntine Coco Burch Emma Butler Carole Cameron Olivia Carter Francesca Clayton Eleanor Cooley Sally Cottam Orlen Crawford Jenni Cresswell Sarah Davies Sarah DeaneCutler Jessica Dixon Lucy Doig Kathryn Flood Ella Frost Alison Gabriel Rachel Gibbon Sofia GonzalesMorales Rosie Grigalis Lily Guenault Jane Hanson Rebecca Harries Sally Harrison Mary Beth Jones Barbara Kilpatrick Joy Lee Clare Lovett Martha MacBean Janey Maxwell Meg McClure Elizabeth Ortiz Linda Park Alexandra Poncia Priya Radhakrishnan Danielle ReeceGreenhalgh Josselyn Ryder Emma Secher Victoria Smith Katie Stuffelbeam Rachel Topham Lizzie Williams Sze Ying Chan

Deirdre Ashton Phye Bell Alison Biedron Sally Brien Jenny Burdett Andrei Caracoti May Chan Noel Chow Pat Dixon Carmel Edmonds Pauline Finney Bethea HansonJones Lexi Harvey Kitty Howse Joanna James Judy Jones Rebecca Kintoff Lisa MacDonald Laetitia Malan Ian Maxwell Emma Millard Nicola Mooney Caroline Morris Sophie Morrison Anna Mulroney Rachel Murray Kathryn O’Leary Amy Reddington Sheila Rowland Carolyn Saunders Angela Schmitz Rima Sereikiene Annette Strzedulla Muriel Swijghuisen Reigersberg Erica Tomlinson Jocelyn Tsang Susi Underwood Jenny Watson

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London Philharmonic Orchestra • 19 February 2022 • Mozart’s Requiem

Programme notes Franz Schubert 1797–1828

Symphony No. 8 in B minor (Unfinished), D759 1822 1 Allegro moderato 2 Andante con moto Those tremors build to a climax before, suddenly, Schubert changes mood entirely, with a second subject that lilts and beguiles. One of Schubert’s friends said that the composer ‘had, so to speak, a double nature’ and that split personality plays out in the dualities of this stirring opening movement. Ultimately, however, it is the music of the ominous introduction that caps the narrative with a coda anticipating Tchaikovsky’s fateful symphonies, as much as recalling those by Beethoven. There are hints of such dark dramas in the ensuing Andante, though here reverent peace and understanding are its prevailing qualities. There is poignancy too, but coming after the rumbles and nervous agitation of the Allegro, this Andante never fails to soothe, granting the Symphony, unlike its composer, peace at last.

Schubert began and left incomplete his ‘Unfinished’ Symphony in October 1822. He was to live for another six years after the work’s inception, during which time he wrote his ‘Great’ C major symphony, proving that he clearly had no intention of returning to this unique B minor work. Many theories abound as to why this was the case. Certainly, towards the end of 1822, Schubert became very ill, having contracted the venereal disease that eventually killed him. Perhaps this ruminating work holds some clue to those troubled times – B minor often denotes despair in the composer’s Lieder. Maybe, for that reason, Schubert wanted to move on or perhaps he felt that the Scherzo begun as the Symphony’s third movement was not going to be satisfactory and that his symphonic project would have to continue in another form. Whatever the reasons, this partial picture offers both musical glories and a poignant portrait of the composer himself, whose life was also cut short, at the age of 31.

Programme note © Gavin Plumley

The Symphony follows ‘Classical’ principles, with a sonata-form structure followed by a slow movement. But if the model comes from the 18th century, the musical mood is unmistakably Romantic. Shadowy cellos and basses introduce the agitated Allegro, underpinned by an obsessive pizzicato motif, to which the oboe and clarinet add a longing melody. Although this is the primary thematic focus of the exposition, it cannot allay the nervousness that accompanies it.

Interval – 20 minutes An announcement will be made five minutes before the end of the interval.

London Philharmonic Orchestra • 19 February 2022 • Mozart’s Requiem

Programme notes Wolfgang Amadeus Mozart 1756–91

Requiem, K626 1791 Completed by Franz Xaver Süssmayr (1766–1803) and others Mariam Battistelli soprano Helen Charlston mezzo-soprano Ilker Arcayürek tenor James Newby baritone London Philharmonic Choir Requiem aeternam – Kyrie – Dies irae – Tuba mirum – Rex tremendae – Recordare – Confutatis – Lacrimosa – Domine Jesu – Hostias – Sanctus – Benedictus – Agnus Dei – Lux aeterna The text and translation begin on page 13. facts appear to be relatively simple. The messenger was an envoy from one Count Walsegg von Stuppach, a wealthy amateur who was in the habit of commissioning pieces of music, having them performed at his house, and jokingly maintaining that they were his own. After Mozart’s death, his widow Constanze needed money fast, and looked to her husband’s pupils to help her fulfil Walsegg’s order. In the end the bulk of the necessary completion work fell to one of them, Franz Süssmayr.

The last few months of Mozart’s life were astonishingly busy. Between August and November 1791 he premiered the operas La clemenza di Tito and The Magic Flute, produced a Clarinet Concerto for his friend Anton Stadler and composed a cantata for his masonic lodge. It is little wonder, then, that he was sluggish in his fulfilment of a commission received back in July for a Requiem Mass. The unusual circumstances of the commission may also have had something to do with it; apparently he had received it via a ‘messenger in black’ who refused to reveal the identity of the man who had sent him, only that he was a gentleman prepared to pay well for music to commemorate the loss of a loved one. Mozart did not begin the work until October, by which time he was already ill with what was probably an untimely concurrence of several long-suffered chronic conditions, all aggravated by exhaustion. On 20 November he took to his bed, and in the early hours of 5 December died, with the Requiem still unfinished. Much myth has grown up around these events, but the

Mozart’s manuscript shows us that the only movement of the piece he himself composed in full (in the sense of writing it out in full score) was the Requiem aeternam. The other movements up to and including the Hostias were composed in outline, often just the vocal parts, with the more mechanical job of orchestration left for later. This task Süssmayr undertook (although some of it had already been begun by two other Mozart pupils), before going on to compose his own Sanctus, Benedictus and Agnus Dei, complete the Lacrimosa

London Philharmonic Orchestra • 19 February 2022 • Mozart’s Requiem

Programme notes (of which Mozart had only written the first eight bars), and finally take the traditional course of recasting music from the opening as the concluding Lux aeterna.

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.

It is a situation that has left some listeners admitting to a feeling of discomfort when listening to the Requiem. Süssmayr was a moderately talented composer, perhaps working in a hurry on a task which (ironically) he must have thought would bring him little notice. Yet Constanze recalled that Mozart left him a number of verbal instructions concerning the completion of the Requiem, perhaps even of how to proceed in the missing movements. How much of the work, then, is Mozart’s and how much his? We will never know, and the immediate result is that the piece has been treated to much editorial ‘revision’, ‘improvement’, ‘correction’ and even ‘recomposition’ down the years. Tonight’s performance makes use of Süssmayr’s original completion.

Recommended recordings of tonight’s works by Laurie Watt Schubert: Symphony No. 8 (Unfinished) Kurt Masur | London Philharmonic Orchestra (LPO Label LPO-0029: see below)

The truth is, of course, that Mozart’s Requiem has made its way in the world perfectly well for over 200 years in what is in considerable part Süssmayr’s completion, and that in any case it is its immediately recognisable Mozartian qualities that have enabled it to speak to listeners with such power and force. For all that the composer had once written to his father that death ‘holds nothing terrifying for me’, there are many moments in his music when the opposite seems to be true, when the grave is glimpsed with evident fear and horror, and nowhere is this more the case than in the Requiem. But if there is a palpable sense of dread in movements such as the Dies irae or the Confutatis, there is consolation, too, in the Recordare and the Hostias. And in the opening Requiem aeternam with its sepulchral basset horns and bassoons and its noble soprano solo, heaven and the tomb are surely viewed in close proximity.

Mozart: Requiem Charles Mackerras | Scottish Chamber Orchestra & soloists (Linn Records) or John Butt | Dunedin Consort & soloists (Linn Records)

Schubert’s Symphony No. 8 on the LPO Label Schubert Symphony No. 8 (Unfinished) Janáček Glagolitic Mass

The Requiem did eventually find its way to Walsegg, who had it performed in December 1793 amid no more than a half-hearted pretence that it was his work. In the meantime, parts of it had been heard only five days after Mozart’s death, at a memorial service organised by his friends at St Michael’s Parish Church in Vienna. He deserved nothing less.

Kurt Masur conductor LPO-0029 | £9.99 All LPO Label releases are available on CD from all good retailers, and to download or stream via Spotify, Apple Music, Idagio and others.

Programme note © Lindsay Kemp

London Philharmonic Orchestra • 19 February 2022 • Mozart’s Requiem

Mozart: Requiem text & translation Requiem Aeternam Chorus

Requiem aeternam dona eis, Domine; et lux perpetua luceat eis.

Eternal rest grant them, O Lord; and let perpetual light shine upon them.

Soprano Te decet hymnus, Deus, in Sion, et tibi reddetur votum in Jerusalem.

A hymn, O God, becometh Thee in Sion; and a vow shall be paid to Thee in Jerusalem.

Chorus

Exaudi orationem meam; ad te omnis caro veniet. Requiem aeternam etc.

Hear my prayer; all flesh shall come to Thee. Eternal rest, etc.

Kyrie eleison, Christe eleison, Kyrie eleison.

Lord, have mercy, Christ, have mercy, Lord, have mercy.

Kyrie Chorus

Dies Irae Chorus

Day of wrath, that day will dissolve the world in ashes, as David and the Sibyl prophesied. How great a terror there will be when the Judge shall come to try all things truly! The day of wrath etc.

Dies irae, dies illa, Solvet saeclum in favilla, Teste David cum Sibylla. Quantus tremor est futurus, Quando Judex est venturus, Cuncta stricte discussurus! Dies irae etc.

Tuba Mirum Baritone Tuba mirum spargens sonum Per sepulchra regionum, Coget omnes ante thronum.

The trumpet, spreading wondrous sound through the tombs of every land, will gather all before the throne.

Tenor

Mors stupebit et natura, Cum resurget creatura, Judicanti responsura.

Death and nature shall be astonished when creation rises again to answer to the Judge.

Liber scriptus proferetur, In quo totum continetur, Unde mundus judicetur.

A book shall be brought forth containing everything for which the world shall be judged. And so, when the Judge sits whatever is hidden shall be revealed, nothing shall remain unavenged.

Mezzo- Judex ergo cum sedebit, soprano Quidquid latet apparebit: Nil inultum remanebit.

London Philharmonic Orchestra • 19 February 2022 • Mozart’s Requiem

Mozart: Requiem text & translation Soprano Quid sum miser tunc dicturus? Quem patronum rogaturus, Cum vix justus sit securus?

What shall I, wretch, say? Whom shall I ask to plead for me, when even the righteous aren’t safe?

Quartet Cum vix justus sit securus?

When even the righteous aren’t safe?

Rex Tremendae Chorus

Rex tremendae majestatis, Qui salvandos salvas gratis, Salva me, fons pietatis.

O King of dread majesty, who freely saved the redeemed, save me, O fountain of goodness.

Recordare Quartet Recordare, Jesu pie, Quod sum causa tuae viae: Ne me perdas illa die.

Recall, merciful Jesus. That I was the reason for Thy journey: do not destroy me on that day.

Quaerens me, sedisti Iassus; Redemisti crucem passus; Tantus labor non sit cassus.

Seeking me, Thou didst sit down weary, didst suffer the Cross to redeem me; let not such great pains have been in vain.

Juste Judex ultionis, Donum fac remissionis Ante diem rationis.

Just Judge of vengeance, give me the gift of redemption before the day of reckoning.

Ingemisco tamquam reus: Culpa rubet vultus meus: Supplicanti parce, Deus.

I groan as one accused, and my face blushes with guilt; spare a supplicant, O God.

Qui Mariam absolvisti, Et latronem exaudisti, Mihi quoque spem dedisti.

Thou who didst absolve Mary Magdalene and heard the prayer of the thief, has given hope to me also.

Preces meae non sunt dignae; Sed tu bonus fac benigne, Ne perenni cremer igne.

My prayers are not worthy, but, in Thy goodness, show mercy, lest I burn in everlasting fire.

Inter oves locum praesta, Et ab haedis me sequestra, Statuens in parte dextra.

Grant me a place among the sheep, and separate me from the goats, setting me at Thy right hand.

London Philharmonic Orchestra • 19 February 2022 • Mozart’s Requiem

Mozart: Requiem text & translation Confutatis Chorus

When the damned are confounded and consigned to fierce flames, call me with the blessed. Kneeling, a suppliant, I pray; my heart contrite as ashes: take Thou my ending into Thy care.

Confutatis maledictis Flammis acribus addictis, Voca me cum benedictis. Oro supplex et acclinis, Cor contritum quasi cinis, Gere curam mei finis.

Lacrimosa Chorus

That day is one of weeping when from the ashes will rise the guilty man, to be judged. Spare this one, O God, merciful Lord Jesus. Grant them rest. Amen

Lacrimosa dies illa, Qua resurget ex favilla Judicandus homo reus. Huic ergo parce, Deus: Pie Jesu Domine: Dona eis requiem. Amen.

Domine Jesu Chorus

O Lord Jesus Christ, King of Glory, deliver the souls of the faithful departed from the pains of hell and from the deep pit; deliver them from the mouth of the lion, that hell may not swallow them up, and they fall not into darkness;

Domine Jesu Christi, Rex gloriae, libera animas omnium fidelium defunctorum de poenis inferni et de profundo lacu; Iibera eas de ore leonis: ne absorbeat eas tartarus, ne cadant in obscurum;

Quartet sed signifer sanctus Michael repraesentet eas in lucem sanctam;

but may the holy standard-bearer Michael bring them into the holy light;

Chorus

which Thou didst promise of old to Abraham and his seed.

quam olim Abrahae promisisti et semini ejus.

Hostias Chorus

Hostias et preces tibi, Domine, laudis offerimus. Tu suscipe pro animabus illis quarum hodie memoriam facimus. Hostias et preces tibi, Domine, etc. Fac eas, Domine, de morte transire ad vitam. Quam olim Abrahae promisisti et semini ejus.

We offer unto Thee, O Lord, sacrifices and prayers of praise: do Thou receive them on behalf of those souls whom we commemorate this day. We offer unto Thee, O Lord, etc. Grant them, O Lord, to pass from death to life. which Thou didst promise of old to Abraham and his seed.

London Philharmonic Orchestra • 19 February 2022 • Mozart’s Requiem

Mozart: Requiem text & translation Sanctus Chorus

Holy, holy, holy, Lord God of Sabaoth. Heaven and earth are full of Thy glory. Hosanna in the highest.

Sanctus, sanctus, sanctus, Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Hosanna in excelsis.

Benedictus Quartet Benedictus qui venit in nomine Domine.

Blessed is he that cometh in the name of the Lord.

Chorus

Hosanna in the highest.

Hosanna in excelsis.

Agnus Dei Chorus

O Lamb of God, that takest away the sins of the world; grant them rest. O Lamb of God, that takest away the sins of the world; grant them eternal rest.

Agnus Dei qui tollis peccata mundi: dona eis requiem. Agnus Dei qui tollis peccata mundi: dona eis requiem sempiternam.

Lux Aeterna Soprano Lux aeterna luceat eis, Domine, cum sanctis tuis in aeternum, quia pius es.

Let everlasting light shine upon them, O Lord, with Thy saints for ever: for Thou art merciful.

Chorus

Let everlasting light shine upon them, O Lord, with Thy saints for ever: for Thou art merciful. Grant them eternal rest, O Lord, let everlasting light shine upon them, with Thy saints for ever: for Thou art merciful.

Lux aeterna luceat eis, Domine, cum sanctis tuis in aeternum, quia pius es. Requiem aeternam dona eis, Domine; et lux perpetua luceat eis. Cum sanctis tuis in aeternum: quia pius es.

London Philharmonic Orchestra • 19 February 2022 • Mozart’s Requiem

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

Masur Circle Arts Council England Dunard Fund Victoria Robey OBE 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 QC Diana & Allan Morgenthau Charitable Trust Dr Karen Morton Mr Roger Phillimore Ruth Rattenbury The Reed Foundation The Rind Foundation Sir Bernard Rix

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

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

London Philharmonic Orchestra • 19 February 2022 • Mozart’s Requiem

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

Artistic Director’s Circle Anonymous donors Mrs Aline Foriel-Destezet Mrs Christina Lang Assael In memory of Mrs Rita Reay Sir Simon & Lady Robey OBE

Orchestra Circle

The Candide Trust William & Alex de Winton Aud Jebsen Mr & Mrs Philip Kan Neil Westreich The American Friends of the London Philharmonic Orchestra

Principal Associates

An anonymous donor Richard Buxton Gill & Garf Collins In memory of Brenda Lyndoe Casbon In memory of Ann Marguerite Collins Hamish & Sophie Forsyth The Tsukanov Family

Associates

Anonymous donors Mrs Irina Andreeva In memory of Len & Edna Beech Steven M. Berzin Ms Veronika BorovikKhilchevskaya Irina Gofman & Mr Rodrik V. G. Cave The Lambert Family Charitable Trust Countess Dominique Loredan Mr & Mrs Makharinsky George Ramishvili Stuart & Bianca Roden Julian & Gill Simmonds In memory of Hazel Amy Smith Deanie & Jay Stein

Gold Patrons

An anonymous donor Chris Aldren David & Yi Buckley David Burke & Valerie Graham David & Elizabeth Challen In memory of Allner Mavis Channing Sonja Drexler The Vernon Ellis Foundation Peter & Fiona Espenhahn Marie-Laure Favre-Gilly de Varennes de Beuill Mr Roger Greenwood Malcolm Herring

John & Angela Kessler Dame Theresa Sackler Scott & Kathleen Simpson Eric Tomsett Andrew & Rosemary Tusa The Viney Family Guy & Utti Whittaker

Silver Patrons

Mrs A Beare The Rt Hon. The Lord Burns GCB Bruno De Kegel Jan & Leni Du Plessis Ulrike & Benno Engelmann Simon & Meg Freakley Pehr G Gyllenhammar The Jeniffer & Jonathan Harris Charitable Trust Catherine Høgel & Ben Mardle Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Sofiya Machulskaya Mrs Elizabeth Meshkvicheva The Metherell Family Andrew Neill Peter & Lucy Noble Marianne Parsons Tom & Phillis Sharpe Laurence Watt Grenville & Krysia Williams

Geoff & Meg Mann Harriet & Michael Maunsell Marianne Parsons Dr Wiebke Pekrull Mr Gerald Pettit Mr Roger Phillimore Gillian Pole Mr Michael Posen Mr Christopher Querée Sir Bernard Rix Mr Robert Ross Priscylla Shaw Patrick & Belinda Snowball Charlotte Stevenson Mr Robert Swannell Joe Topley Tony & Hilary Vines Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Marina Vaizey Jenny Watson CBE Mr John Weekes Christopher Williams

Andrew T Mills Simon & Fiona Mortimore Mrs Terry Neale John Nickson & Simon Rew Mr James Pickford Michael & Carolyn Portillo Mr David Russell Colin Senneck & the Hartley and District LPO Group Mr John Shinton Nigel Silby Mr Brian Smith Martin & Cheryl Southgate Mr & Mrs G Stein Dr Peter Stephenson Mr Ian Tegner Dr June Wakefield Howard & Sheelagh Watson Joanna Williams Roger Woodhouse Mr John Wright

Principal Supporters

Anonymous donors Ralph & Elizabeth Aldwinckle Alexander & Rachel Antelme Julian & Annette Armstrong Lindsay Badenoch Mr Mark Bagshaw & Mr Ian Walker Mr John Barnard Mr John D Barnard Damaris, Richard & Friends Mr David Barrett Diana Barrett Mr Simon Baynham Harvey Bengen Nick & Rebecca Beresford Mr Paul Bland Mr Keith Bolderson Mr Andrew Botterill Julian & Margaret Bowden & Mr Paul Michel Richard & Jo Brass Mr & Mrs Shaun Brown Mr Alan C Butler Lady Cecilia Cadbury Mrs Marilyn Casford Alison Clarke & Leo Pilkington J Clay Mr Joshua Coger Mr Martin Compton Mr Martin Connelly Mr Stephen Connock Miss Tessa Cowie Mr David Davies Mr Roderick Davies Mr David Devons Anthony & Jo Diamond Miss Sylvia Dowle Patricia Dreyfus Mr Andrew Dyke

Anonymous donors Dr R M Aickin Mr Mark Astaire Sir John Baker Tessa Bartley Mr Geoffrey Bateman Mrs Julia Beine Mr Anthony Boswood Dr Anthony Buckland Dr Carlos Carreno Mr Julien Chilcott-Monk Mr & Mrs Stewart Cohen David & Liz Conway Mr Alistair Corbett Andrew Davenport Mr Simon Douglas Mr B C Fairhall Mr Richard Fernyhough Mrs Janet Flynn Mrs Ash Frisby Jason George Mr Stephen Goldring Mr Daniel Goldstein Mr Milton Grundy Prof. Emeritus John Gruzelier Nerissa Guest & David Foreman Michael & Christine Henry Mark & Sarah Holford Ivan Hurry Per Jonsson Alexandra Jupin & John Bean Mr Ian Kapur Ms Kim J Koch Richard & Briony Linsell Paul & Brigitta Lock Mr Peter Mace Nicholas & Lindsay Merriman

Bronze Patrons

Anonymous donors Michael Allen Dr Manon Antoniazzi Julian & Annette Armstrong Roger & Clare Barron Mr Philip Bathard-Smith Sir Peter Bazalgette Mikhail Noskov & Vasilina Bindley Mr Bernard Bradbury Sally Bridgeland In memory of Julie Bromley Desmond & Ruth Cecil Mr John H Cook Howard & Veronika Covington John & Sam Dawson Cameron & Kathryn Doley David Ellen Christopher Fraser OBE Virginia Gabbertas MBE David & Jane Gosman Mr Gavin Graham Mrs Dorothy Hambleton J Douglas Home The Jackman Family Mr & Mrs Ralph Kanza Jamie & Julia Korner Rose & Dudley Leigh Drs Frank & Gek Lim Nicholas & Felicity Lyons

Supporters

London Philharmonic Orchestra • 19 February 2022 • Mozart’s Requiem

Thank you

Mr Declan Eardly Mrs Maureen Erskine Mr Peter Faulk Mr Joe Field Ms Chrisine Louise Fluker Mr Kevin Fogarty Mr Richard France Mr Bernard Freudenthal Mrs Adele Friedland & Friends Will Gold Mrs Alison Goulter Mr Andrew Gunn Mr K Haines Mr Martin Hale Roger Hampson Mr Graham Hart Mr & Mrs Nevile Henderson The Jackman Family Martin Kettle Mr Justin Kitson Ms Yvonne Lock Mrs Sally Manning Belinda Miles Dr Joe Mooney Christopher & Diane Morcom Dame Jane Newell DBE Oliver & Josie Ogg Mr Stephen Olton Mr David Peters Nadya Powell Ms Caroline Priday Mr Richard Rolls Mr Richard Rowland Mr & Mrs Alan Senior Tom Sharpe Mr Kenneth Shaw Ruth Silvestre Barry & Gillian Smith Mr David Southern Ms Mary Stacey Mr Simon Starr Mrs Margaret Thompson Philip & Katie Thonemann Mr Owen Toller Mrs Rose Tremain Ms Mary Stacey Ms Caroline Tate Mr Peter Thierfeldt Dr Ann Turrall Michael & Katie Urmston Dr June Wakefield Mr Dominic Wallis Mrs C Willaims Joanna Williams Mr Kevin Willmering Mr David Woodhead

Hon. Life Members

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:

Alfonso Aijón Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Mrs Jackie Rosenfeld OBE Laurence Watt

Simon Freakley Chairman Jay Goffman Alexandra Jupin William A. Kerr Kristina McPhee Natalie Pray Damien Vanderwilt Elizabeth Winter Victoria Robey OBE Hon. Director Jenifer L. Keiser, CPA, EisnerAmper LLP

LPO International Board of Governors

Natasha Tsukanova Chair Martin Höhmann Co-Chair Mrs Irina Andreeva (Russia) Steven M. Berzin (USA) Veronika Borovik-Khilchevskaya (Cyprus) Marie-Laure Favre Gilly de Varennes de Bueil (France) Aline Foriel-Destezet (France) Irina Gofman (Russia) Countess Dominique Loredan (Italy) Olivia Ma (Greater China Area) Olga Makharinsky (Russia) George Ramishvili (Georgia) Victoria Robey OBE (USA) Jay Stein (USA)

Corporate Donors

Barclays CHANEL Fund for Women in the Arts and Culture Pictet Bank

LPO Corporate Circle Leader freuds Sunshine

Thomas Beecham Group Members

Principal Berenberg Bloomberg Carter-Ruck French Chamber of Commerce

Chris Aldren David & Yi Buckley Gill & Garf Collins William & Alex de Winton Sonja Drexler The Friends of the LPO Irina Gofman Roger Greenwood Dr Barry Grimaldi Mr & Mrs Philip Kan John & Angela Kessler Countess Dominique Loredan Sir Simon Robey Victoria Robey OBE Bianca & Stuart Roden Caroline, Jamie & Zander Sharp Julian & Gill Simmonds Eric Tomsett Neil Westreich Guy & Utti Whittaker

Tutti Lazard Russo-British Chamber of Commerce Walpole

Trialist Allianz Musical Insurance Sciteb

Preferred Partners Gusbourne Estate Lidl Lindt & Sprüngli Ltd OneWelbeck Steinway

Hon. Benefactor Elliott Bernerd

In-kind Sponsor Google Inc

Trusts and Foundations The Boltini Trust Borrows Charitable Trust Boshier-Hinton Foundation The Candide Trust Cockayne – Grants for the Arts The London Community Foundation The David Solomons Charitable Trust The D’Oyly Carte Charitable Trust Dunard Fund Ernst von Siemens Music Foundation The Fidelio Charitable Trust Foyle Foundation Garrick Charitable Trust The Leche Trust Lucille Graham Trust John Horniman’s Children’s Trust John Thaw Foundation The Idlewild Trust Kirby Laing Foundation The Marchus Trust Adam Mickiewicz Institute PRS Foundation The Radcliffe Trust Rivers Foundation The R K Charitable Trust Romanian Cultural Institute Rothschild Foundation RVW Trust Schroder Charity Trust Serge Rachmaninoff Foundation Sir William Boreman’s Foundation Souter Charitable Trust The Stanley Picker Trust The Thomas Deane Trust The Thriplow Charitable Trust The Vaughan Williams Charitable Trust The Victoria Wood Foundation The Viney Family The Barbara Whatmore Charitable Trust The William Alwyn Foundation

and all others who wish to remain anonymous. The LPO would also like to acknowledge all those who have made donations to the Play On Appeal and who have supported the Orchestra during the COVID-19 pandemic.

London Philharmonic Orchestra • 19 February 2022 • Mozart’s Requiem

London Philharmonic Orchestra Administration Board of Directors Victoria Robey OBE Chairman Martin Höhmann* President Dr Catherine C. Høgel Vice-Chairman Mark Vines* Vice-President Kate Birchall* David Buckley David Burke Bruno De Kegel Deborah Dolce Tanya Joseph Hugh Kluger* Al MacCuish Tania Mazzetti* Stewart McIlwham* Jamie Njoku-Goodwin Andrew Tusa Neil Westreich Simon Freakley (Ex officio – Chairman of the American Friends of the London Philharmonic Orchestra) *Player-Director

Advisory Council Martin Höhmann Chairman Christopher Aldren Dr Manon Antoniazzi Roger Barron Richard Brass Helen Brocklebank YolanDa Brown Simon Callow CBE Desmond Cecil CMG Sir Alan Collins KCVO CMG Andrew Davenport Guillaume Descottes Cameron Doley Christopher Fraser OBE Lord Hall of Birkenhead CBE Jonathan Harris CBE FRICS Marianna Hay MBE Amanda Hill Rehmet Kassim-Lakha Jamie Korner Geoff Mann Clive Marks OBE FCA Stewart McIlwham Andrew Neill Nadya Powell Sir Bernard Rix Victoria Robey OBE Baroness Shackleton Thomas Sharpe QC Julian Simmonds Barry Smith

Finance

Martin Southgate Chris Viney Laurence Watt Elizabeth Winter

Frances Slack Finance Director Dayse Guilherme Finance Manager

General Administration

Jean-Paul Ramotar Finance and IT Officer

Elena Dubinets Artistic Director David Burke Chief Executive Chantelle Vircavs PA to the Executive

Education and Community Talia Lash Interim Education and Community Director

Concert Management

Rebecca Parslow Education and Community Project Manager

Roanna Gibson Concerts Director Graham Wood Concerts and Recordings Manager

Hannah Foakes Tilly Gugenheim Education and Community Project Co-ordinators

Fabio Sarlo Glyndebourne and Projects Manager

Development

Grace Ko Tours Manager

Laura Willis Development Director

Alison Jones Concerts and Recordings Co-ordinator

Scott Tucker Development Events Manager

Christina Perrin Concerts and Tours Assistant Matthew Freeman Recordings Consultant Andrew Chenery Orchestra Personnel Manager

Marketing Kath Trout Marketing and Communications Director Mairi Warren Marketing Manager Rachel Williams Publications Manager

Greg Felton Digital Creative Kiera Lockard Marketing Assistant

Archives Philip Stuart Discographer Gillian Pole Recordings Archive

Professional Services Charles Russell Speechlys Solicitors Crowe Clark Whitehill LLP Auditors Dr Barry Grimaldi Honorary Doctor

Mr Simon Owen-Johnstone Hon. Orthopaedic Surgeon

Kirstin Peltonen Development Associate

Felix Lo Orchestra and Auditions Manager

Sophie Harvey Digital and Residencies Marketing Manager

Rosie Morden Individual Giving Manager

Nick Jackman Campaigns and Projects Director

Freddie Jackson Assistant Stage Manager

Ruth Knight Press and PR Manager

Mr Chris Aldren Honorary ENT Surgeon

Priya Radhakrishnan Georgia Wiltshire Development Assistants

Laura Kitson Stephen O’Flaherty Stage Managers

Gavin Miller Sales and Ticketing Manager

Stef Woodford Corporate Relations Manager

Anna Quillin Trusts and Foundations Manager

Sarah Thomas Martin Sargeson Librarians

Harrie Mayhew Website Manager

London Philharmonic Orchestra 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Box Office: 020 7840 4242 Email: admin@lpo.org.uk lpo.org.uk Cover photo James Wicks 2021/22 season identity JMG Studio Printer John Good Ltd