LPO concert programme: 21 Oct 2022 - Canellakis conducts Beethoven (Augustin Hadelich - violin)

Where music takes you

Concert programme

Principal Conductor Edward Gardner supported by Aud Jebsen

Principal Guest Conductor Karina Canellakis

Artistic Director Elena Dubinets Chief Executive David Burke

Pieter Schoeman supported by Neil Westreich

Southbank Centre’s Royal Festival Hall

21 October 2022 |

Dome Concert Hall

22 October 2022

Canellakis conducts Beethoven

Contents

Fri 21 October

Sat 22 October

London Philharmonic Orchestra

Pieter Schoeman

stage tonight

Karina Canellakis

Hadelich

Programme notes

LPO Label

Sibelius

Violin Concerto in D minor, Op. 47 (31’)

(20’)

Beethoven

No. 3 in E flat major (Eroica) (47’)

Karina Canellakis conductor

Augustin Hadelich violin

The concert on Friday 21 October 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.

timings shown

only as a

presented by the London Philharmonic Orchestra

Brighton Dome.

recordings

Futures donors

Thank you

LPO administration

association

Conductor Emeritus Vladimir Jurowski Patron HRH The Duke of Kent KG

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Tonight’s concert on Marquee TV

We are delighted that a selection of concerts from our LPO 2022/23 Royal Festival Hall season are being filmed for broadcast on Marquee TV.

Beethoven's Symphony No. 3 is being filmed during this evening’s concert for broadcast on Saturday 12 November at 7pm. The performance 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 LPO2022. Visit marquee.tv/ LPO2022 to find out more, enjoy a free trial or subscribe.

Next concerts at the Southbank Centre’s Royal Festival Hall

VISIONS OF ENGLAND

Wednesday 26 October 2022 7.30pm

Vaughan Williams Fantasia on a Theme by Thomas Tallis

Tom Coult Violin Concerto: ‘Pleasure Garden’ (London premiere) Vaughan Williams The Lark Ascending Vaughan Williams Symphony No. 9

Andrew Manze conductor

Daniel Pioro violin

TWILIGHT IN VIENNA

Saturday 29 October 2022

7.30pm

J Strauss II Overture, Die Fledermaus Korngold Violin Concerto Korngold Märchenbilder

R Strauss Der Rosenkavalier Suite

Andrés Orozco-Estrada conductor Arabella Steinbacher violin LPO.ORG.UK

First Violins

Pieter Schoeman* Leader Chair supported by Neil Westreich Alice Ivy-Pemberton Kate Oswin

Lasma Taimina Chair supported by Irina Gofman & Mr Rodrik V. G. Cave Minn Majoe Cassi Hamilton Katalin Varnagy Chair supported by Sonja Drexler Fanny Fheodoroff Thomas Eisner Elizaveta Tyun Yang Zhang Chair supported by Eric Tomsett Alice Apreda Howell Ronald Long Gabriela Opacka

Second Violins

Tania Mazzetti Principal Chair supported by Countess Dominique Loredan Helena Smart Fiona Higham Chair supported by David & Yi Buckley Ashley Stevens Nancy Elan Nynke Hijlkema Joseph Maher Claudia Tarrant-Matthews Emma Crossley Sheila Law Harry Kerr Alison Strange

Violas

Richard Waters Principal Chair supported by Caroline, Jamie & Zander Sharp

Shiry Rashkovsky Katharine Leek Jisu Song Benedetto Pollani James Heron Laura Vallejo Toby Warr Martin Wray Charles Cross

On stage tonight

Cellos

Pei-Jee Ng Principal Chair supported by The Candide Trust Francis Bucknall Susanna Riddell Tom Roff

George Hoult

Sibylle Hentschel David Bucknall Iain Ward

Double Basses

Kevin Rundell* Principal Sebastian Pennar Co-Principal Hugh Kluger George Peniston Tom Walley Chair supported by William & Alex de Winton Charlotte Kerbegian

Flutes

Juliette Bausor Principal Stewart McIlwham*

Oboes

Ian Hardwick* Principal Alice Munday

Clarinets

Benjamin Mellefont Principal Thomas Watmough Chair supported by Roger Greenwood

Bassoons

Jonathan Davies Principal Chair supported by Sir Simon Robey Simon Estell*

Horns

Annemarie Federle Guest Principal Martin Hobbs Mark Vines Co-Principal Gareth Mollison Elise Campbell

Trumpets

Paul Beniston* Principal Holly Clark Guest Principal Anne McAneney*

Trombones

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

Bass Trombone

Lyndon Meredith Principal

Timpani

Simon Carrington* Principal Chair supported by Victoria Robey OBE

* Holds a professorial appointment in London

The LPO also acknowledges the following chair supporters whose players are not present at these concerts:

Garf & Gill Collins Friends of the Orchestra Dr Barry Grimaldi Bianca & Stuart Roden

London Philharmonic Orchestra

Uniquely groundbreaking and exhilarating to watch and hear, the London Philharmonic Orchestra has been celebrated as one of the world’s great orchestras since Sir Thomas Beecham founded it in 1932. With every performance we aim to bring wonder to the modern world and cement our position as a leading orchestra for the 21st century.

Our home is at the Southbank’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.

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Our conductors

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

Soundtrack to key moments

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

We also release live, studio and archive recordings on our own label, and are the world’s most-streamed orchestra, with over 15 million plays of our content each month. Recent releases include music by Richard Strauss under Klaus Tennstedt with legendary soprano Jessye Norman; the first volume of a Stravinsky series with Vladimir Jurowski including The Rite of Spring

© Mark Allan

Pieter Schoeman Leader

and The Firebird; and Tippett’s complete opera

The Midsummer Marriage under Edward Gardner, captured in his first concert as LPO Principal Conductor in September 2021 (see page 12).

Next generations

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

2022/23 and beyond

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

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, 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

Karina Canellakis

Principal Guest Conductor, London Philharmonic Orchestra

Internationally acclaimed for her emotionally charged performances, technical command and interpretive depth, Karina Canellakis has become one of the most in-demand conductors of her generation. She became the London Philharmonic Orchestra’s Principal Guest Conductor in September 2020, and her performances with the Orchestra in her first season led to one critic recounting the ‘explosive chemistry between this conductor and orchestra’, while another described ‘a musical partnership that looks set to be one of the most exciting and rewarding in London’. Karina is also Chief Conductor of the Netherlands Radio Philharmonic Orchestra, and Principal Guest Conductor of the Rundfunk-Sinfonieorchester Berlin (RSB).

In the 2022/23 season Karina is looking forward to exciting debuts with the New York Philharmonic, National Symphony Orchestra and Pittsburgh Symphony. After starting her season at the BBC Proms, she also returns to the Orchestre de Paris, the Boston and Dallas symphony orchestras, The Philadelphia Orchestra and the San Francisco Symphony, as well as the Bavarian Radio Symphony Orchestra.

As Principal Guest Conductor of the London Philharmonic Orchestra, she will be be joined this season by pianist Daniil Trifonov and violinist Augustin Hadelich for concertos by Prokofiev and Sibelius, as well as pouring her energy and insight into Beethoven’s ‘Eroica’ Symphony and Tchaikovsky’s Fifth. Next March she will embark on an extensive tour of Germany’s most prestigious concert halls with the Orchestra and soloist Daniil Trifonov. She also returns to Berlin for concerts in her position as Principal Guest Conductor of the RSB. Karina continues to present exciting modern pieces as well as well-known masterpieces at the Concertgebouw

Amsterdam and TivoliVredenburg in Utrecht with the Netherlands Radio Philharmonic Orchestra, where she holds the title of Chief Conductor. After the great success of Kat’a Kabánova last season, she brings another Janáček opera, The Cunning Little Vixen, to the stage of the Concertgebouw in April 2023. On the opera stage she has also conducted critically acclaimed productions of Tchaikovsky’s Eugene Onegin; Mozart’s Don Giovanni, Die Zauberflöte and Le nozze di Figaro; David Lang’s the loser; and Peter Maxwell Davies’s The Hogboon

Since winning the Sir Georg Solti Conducting Award in 2016, Karina has become a guest conductor with leading orchestras around the world including the London Symphony Orchestra, Cleveland Orchestra, Chicago Symphony, Gewandhausorchester Leipzig, NDR Elbphilharmonie Orchestra, Orchestre Symphonique de Montréal, Munich Philharmonic, and the symphony orchestras of Melbourne, Sydney, Toronto, Cincinnati, Minnesota, Detroit and Vienna. She was the first woman to conduct the First Night of the BBC Proms in London in 2019, with the BBC Symphony Orchestra. She was also the first woman to ever conduct the Nobel Prize Concert with the Royal Stockholm Philharmonic in 2018.

Already known to many in the classical music world for her virtuoso violin playing, Karina was initially encouraged to pursue conducting by Sir Simon Rattle while she was playing regularly in the Berlin Philharmonic for two years as a member of its Orchester-Akademie. She performed for many years as a soloist, guest leader and chamber musician, spending her summers at the Marlboro Music Festival, until conducting eventually became her focus. Karina was born and raised in New York City.

©

Bothor

Augustin Hadelich

violin

Augustin Hadelich has established himself as one of the great violinists of his generation. He has performed with all the major American orchestras, and his increasingly numerous appearances in the UK, Europe and the Far East have earned him a phenomenal reputation. Critics praise his outstanding technique, the stringency and persuasiveness of his interpretations and his ravishing tone.

Highlights of Augustin’s 2022/23 season include return engagements with The Philadelphia Orchestra and the Boston Symphony, as well as the US premiere of a new violin concerto written for him by Irish composer Donnacha Dennehy, to be performed by the Oregon Symphony this autumn. He will be Artist-in-Residence with the WDR Symphony Orchestra Cologne, which includes a tour of major summer festivals including the BBC Proms. He will also make his debut with the Sydney Symphony in Australia, embark on a European tour with the Bergen Philharmonic, and perform with the symphony orchestras of Atlanta, Baltimore, Cincinnati, Pittsburgh, Seattle, Toronto and Vienna, as well as the Danish National Orchestra and the Dresden Philharmonic.

In 2015 and 2016 Augustin Hadelich performed Tchaikovsky’s Violin Concerto and Lalo’s Symphonie espagnole with the London Philharmonic Orchestra, which were later released on the LPO Label (LPO0094). He has also appeared with every major American orchestra, including the Boston Symphony, Chicago Symphony, Cleveland Orchestra, Los Angeles Philharmonic, New York Philharmonic, Philadelphia Orchestra, San Francisco Symphony, L’Orchestre Symphonique de Montréal, and the Symphony Orchestra of São Paulo (OSESP) in Brazil, among

many others. Beyond the Americas, he has created an impressive presence on multiple continents. Recent appearances in the UK and Europe include the Berlin Philharmonic, Bavarian Radio Orchestra, Leipzig Gewandhaus Orchestra, NDR Elbphilharmonie Orchester, Royal Concertgebouw Orchestra, Salzburg Mozarteumorchester, Orchestre National de France, Warsaw Philharmonic, aned the radio orchestras of Berlin, Finland, Frankfurt, Saarbrücken, Stuttgart, and Cologne, as well as numerous recitals. Beyond Europe, he has also performed with the Hong Kong Philharmonic, Seoul Philharmonic, Singapore Symphony, NHK Symphony Tokyo, and the New Zealand Symphony Orchestra.

Augustin Hadelich is the winner of a 2016 Grammy Award – Best Classical Instrumental Solo – for his recording of Dutilleux’s Violin Concerto, L’Arbre des songes, with the Seattle Symphony under Ludovic Morlot (Seattle Symphony Media). A Warner Classics Artist, his most recent release is ‘Recuerdos’, a Spanish-themed album featuring works by Sarasate, Tarrega, Prokofiev and Britten with the WDR Orchestra Cologne and Cristian Măcelaru. Writing about his Grammy-nominated 2021 release of Bach’s Sonatas and Partitas, the Süddeutsche Zeitung boldly stated: ‘Augustin Hadelich is one of the most exciting violinists in the world. This album is a total success.’ Other CDs for Warner Classics include Paganini’s 24 Caprices (2018); the Brahms and Ligeti Violin Concertos with the Norwegian Radio Orchestra under Miguel Harth-Bedoya (2019); and the Grammy-nominated ‘Bohemian Tales’, which includes the Dvořák Violin Concerto with the Bavarian Radio Orchestra conducted by Jakub Hrůša (2020).

Born in Italy, the son of German parents, Augustin Hadelich is now an American citizen. He is a graduate of The Juilliard School, where he studied with Joel Smirnoff. Winner of the Gold Medal at the 2006 International Violin Competition of Indianapolis, other distinctions include an Avery Fisher Career Grant (2009); a Borletti-Buitoni Trust Fellowship (2011); the Warner Music Prize (2015); a Grammy Award (2016); an honorary doctorate from the University of Exeter; and Musical America’s Instrumentalist of the Year (2018).

Augustin Hadelich is on the violin faculty of the Yale School of Music at Yale University. He plays the ‘Leduc, ex-Szeryng’ violin by Giuseppe Guarneri del Gesù of 1744, generously loaned by a patron through the Tarisio Trust.

© Suxiao Yang

Programme notes

Jean Sibelius

Violin Concerto in D minor, Op. 47

Augustin Hadelich violin

Allegro moderato

di molto

ma non tanto

‘I dreamt I was twelve years old, and a virtuoso violinist’, Jean Sibelius told his diary, wistfully, in 1915. It was a boyhood dream that had once looked like becoming a reality – in November 1890 he had auditioned for the violin section of the Vienna Philharmonic Orchestra. ‘Not at all bad’ noted the audition panel, before rejecting him because of his nerves. No wonder, then, that when he finally began to write a violin concerto of his own, the strain showed. ‘I’ve got some marvellous ideas for a violin concerto’ he told his wife Aïno, and he worked at the Concerto in Helsinki between September 1902 and September 1903.

But it didn’t go smoothly, and though he managed to wrestle the Concerto into shape, his confidence wavered even before it was premiered by a local violin teacher, Viktor Nováček, in Helsinki on 8 February 1904. Nováček struggled with the solo part; and the local critic Karl Flodin slated the new Concerto as ‘boring’. Sibelius immediately withdrew it, and devoted the summer of 1905 to a complete revision, cutting, trimming and re-shaping the Concerto into the work we know today. It was premiered in its final form in Berlin in October 1905, by Karel Haliř, leader of the Berlin Philharmonic. Richard Strauss was the conductor. Within two decades Sibelius’s Violin Concerto had entered the repertoire as one of the handful of concertos that every serious virtuoso simply has to tackle.

But it’s possible to see why those first listeners were so surprised. No concerto has quite the same mixture of fiery passion and glacial coolness; virtuosic display and

elemental strength. Moments of nature-poetry alternate with gruff grandeur; yet the whole adds up to one of the most satisfying and gripping emotional journeys in 20th-century music. Take that first movement – it sweeps from its haunting, pianissimo opening (originally inspired by church bells in Italy, but utterly transformed into a desolate and profoundly northern cry of nature) through moments of luscious sentimentality (the violin swooning in double-stopped thirds and sixths) to stirring, storm-blown orchestral climaxes. Despite all the drama, and one of the most fiendishly difficult solo parts in any violin concerto, it feels inevitable; even natural. On one of the sketches for this movement, Sibelius actually drew a sunrise – with the slurs over the notes transformed into wheeling seagulls:

Cambridge Companion to Sibelius

Cambridge University Press. Reproduced with permission of The Licensor through PLSclear

Programme notes

Keening pairs of woodwinds and quiet drumrolls open the Adagio coolly, making the violin’s deep, richly expressive melody seem all the more of a contrast. The movement unfurls into a lyrical and warmly romantic interlude. Some listeners have heard it –like Sibelius’s Second Symphony – as a reflection of his recent travels in the warm climate of Italy. The finale, though, comes as a release: a dance, though it’s anything but lightweight. In 1935 the British critic Donald Tovey dubbed it a ‘polonaise for polar bears’,

and every writer on the Concerto since has borrowed his phrase. Perhaps the violin’s glittering gymnastics make the climate of this movement too warm for polar bears – but there’s a definite chill in the gales that rise through the Concerto’s closing pages. If Sibelius is drawing a line under his own dreams of becoming a violinist, he does so with one of the simplest and most decisive endings even he ever wrote.

Programme note © Richard Bratby

Interval – 20 minutes

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

Recommended recordings of tonight’s works by Laurie Watt

Sibelius: Violin Concerto Jascha Heifetz | London Philharmonic Orchestra Thomas Beecham (RCA) or Ida Haendel | CBSO | Simon Rattle (Testament)

Beethoven: Symphony No. 3 (Eroica) London Philharmonic Orchestra | Vladimir Jurowski (LPO Label LPO-0096: see page 12) or London Philharmonic Orchestra | Kurt Masur (LPO Label LPO-0112: see page 12) or London Philharmonic Orchestra | Klaus Tennstedt (Warner)

Tune In: new issue out now

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Programme notes

Ludwig van Beethoven

Symphony No. 3 in E flat major (Eroica)

Allegro con brio

assai

Trio

andante

If Beethoven’s first two symphonies hinted at the revolutionary character of their creator, the third unleashed it in a veritable torrent. It was the turn of the 19th century, and Beethoven found himself inspired by acts of heroism throughout Europe. One young leader in particular caught his eye –Napoleon Bonaparte, who Beethoven saw as a force for good; a social revolutionary who would lift the burden of the oppressed.

It was more the ideal of social heroism that fired Beethoven’s imagination in forging the ‘Eroica’ Symphony, rather than any one individual – which made the composer’s eventual removal of Napoleon’s name from the head of the score a pretty incidental act (Napoleon declared himself Emperor in 1804, which didn’t chime with Beethoven’s libertarian stance). Persistence, endurance and fortitude may be features Beethoven associated with such an ideal, and they’re all evident here – not least in the Symphony’s length: it’s almost twice that of any by Mozart or Haydn, the most significant symphonists who preceded Beethoven.

The colossal opening movement is prefaced by two orchestral jabs (apparently added as an afterthought by Beethoven), after which the main theme launches – a motif that seems to embody persistence as it rocks back and forth through the notes of a major-key arpeggio. As the movement continues, this main theme gains momentum and variance (and is joined by five others), while Beethoven interrupts the discourse on two standout occasions: firstly with a set of lurching,

Presto

gatecrashing low discords and secondly with the ‘false’ heralding of the return of the main theme by a horn. Both dumbfounded critics, musicians and audiences at the work’s Vienna premiere in April 1805.

Beethoven’s second movement is a huge funeral march complete with double fugue which metamorphoses into celebration. A lament for Napoleon, or General Abercrombie – another of Beethoven’s heroic icons?

It’s impossible to say. The offhand remark at the time of Napoleon’s actual death recorded by Anton Schindler, in which Beethoven allegedly claimed to have ‘written the music for that sad event some 17 years ago’, is both tenuous and unreliable.

In the following Scherzo you can sense an explosion lurking from the opening notes, and it soon arrives –as insistent and heroic as the Symphony’s opening, rallied by the hunting calls of the three horns in a gesture that seems to pine towards the Classical spirit of Mozart and Haydn. Beethoven’s last movement actually comes in shorter than the first and second, but puts a definitive full-stop on the work nonetheless. It’s based on a little dance tune that had been proving a personal motto for the composer for some years, and which creeps in wittily after the opening cascade and is then subjected to musical variations. Along the way the theme gains sobriety, introspection and emotional gravitas, and eventually wraps up the Symphony with inspiring heroism.

Beethoven’s ‘Eroica’ Symphony on the LPO Label

Beethoven: Symphony No. 3 Overture, Fidelio

Vladimir Jurowski conductor London Philharmonic Orchestra LPO-0096

Recorded live at the Southbank Centre’s Royal Festival Hall on 22 January 2014

Beethoven: Symphony No. 3 Symphony No. 5

Kurt Masur conductor London Philharmonic Orchestra LPO-0112

Recorded live at the Southbank Centre’s Royal Festival Hall on 24 & 27 November 2004

Available from all good outlets, and available to download or stream online via Spotify, Apple Music, Idagio and others.

NEW LPO LABEL RELEASE

TIPPETT

THE MIDSUMMER MARRIAGE

COMPLETE OPERA IN THREE ACTS

conducted by EDWARD GARDNER with

ROBERT MURRAY, RACHEL NICHOLLS, ASHLEY RICHES, JENNIFER FRANCE, TOBY SPENCE, CLAIRE BARNETT-JONES, SUSAN BICKLEY, JOSHUA BLOOM LONDON PHILHARMONIC CHOIR, ENGLISH NATIONAL OPERA CHORUS

Recorded live in concert at the Southbank Centre’s Royal Festival Hall, 25 September 2021

AVAILABLE NOW TO DOWNLOAD, STREAM, OR AS A 3-CD BOX SET

LPO Label releases are available on CD from all good outlets, and to download or stream via Spotify, Apple Music, Idagio and others.

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Will Gold Ray Harsant

Mr Peter Imhof

The Jackman Family

Mr David MacFarlane

Dame Jane Newell DBE

Mr Stephen Olton

Mari Payne

Mr David Peters

Ms Edwina Pitman

Mr & Mrs Graham & Jean Pugh

Mr Giles Quarme

Mr Kenneth Shaw

Mr Brian Smith

Ms Rika Suzuki

Tony & Hilary Vines

Dr June Wakefield

Mr John Weekes

Mr C D Yates

Hon. Benefactor

Elliott Bernerd

Hon. Life Members

Alfonso Aijón

Kenneth Goode

Carol Colburn Grigor CBE

Pehr G Gyllenhammar

Robert Hill

Victoria Robey OBE

Mrs Jackie Rosenfeld OBE

Timothy Walker CBE AM Laurence Watt

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.

Thomas Beecham Group Members

David & Yi Buckley

Gill & Garf Collins

William & Alex de Winton Sonja Drexler

The Friends of the LPO Irina Gofman

Roger Greenwood

Dr Barry Grimaldi

Mr & Mrs Philip Kan John & Angela Kessler

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

Corporate Donor Barclays

LPO Corporate Circle

Principal Berenberg Bloomberg Carter-Ruck

French Chamber of Commerce

Tutti

Lazard Walpole

Trialist

Sciteb

Preferred Partners

Gusbourne Estate Jeroboams

Lindt & Sprüngli Ltd

OneWelbeck Steinway

In-kind Sponsor

Google Inc

Thank you

Trusts and Foundations

ABO Trust

BlueSpark Foundation

The Boltini Trust

Borrows Charitable Trust

The Candide Trust Cockayne – Grants for the Arts

The London Community Foundation

The D’Oyly Carte Charitable Trust Dunard Fund

Ernst von Siemens Music Foundation

Foyle Foundation Garrick Charitable Trust John Horniman’s Children’s Trust John Thaw Foundation Institute Adam Mickiewicz Kirby Laing Foundation

The Marchus Trust

The Radcliffe Trust Rivers Foundation Rothschild Foundation

RVW Trust Scops Arts Trust Sir William Boremans' Foundation

The John S Cohen Foundation

The Stanley Picker Trust

The Thriplow Charitable Trust

The Vaughan Williams Charitable Trust

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

Jon Carter

Jay Goffman

Alexandra Jupin

Natalie Pray

Damien Vanderwilt

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

Veronika Borovik-Khilchevskaya Marie-Laure Favre Gilly de Varennes de Bueil

Aline Foriel-Destezet

Irina Gofman

Countess Dominique Loredan

Olivia Ma

George Ramishvili

Jay Stein

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 KC Diana & Allan Morgenthau Charitable Trust Dr Karen Morton Mr Roger Phillimore Ruth Rattenbury

The Reed Foundation

The Rind Foundation Sir Bernard Rix David Ross & Line Forestier (Canada)

Carolina & Martin Schwab

Dr Brian Smith Lady Valerie Solti

Mr & Mrs G Stein

Dr Peter Stephenson Miss Anne Stoddart

TFS Loans Limited Marina Vaizey Jenny Watson Guy & Utti Whittaker

Pritchard Donors

Ralph & Elizabeth Aldwinckle Mrs Arlene Beare

Mr Patrick & Mrs Joan Benner Mr Conrad Blakey Dr Anthony Buckland Paul Collins Alastair Crawford

Mr Derek B. Gray Mr Roger Greenwood

The HA.SH Foundation Darren & Jennifer Holmes Honeymead Arts Trust

Mr Geoffrey Kirkham

Drs Frank & Gek Lim Peter Mace

Mr & Mrs David Malpas

Dr David McGibney

Michael & Patricia McLaren-Turner

Mr & Mrs Andrew Neill

Mr Christopher Querée

The Rosalyn & Nicholas Springer Charitable Trust

Timothy Walker CBE AM Christopher Williams Peter Wilson Smith Mr Anthony Yolland

and all other donors who wish to remain anonymous

London Philharmonic Orchestra 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

Simon Burke

Simon Callow CBE

Desmond Cecil CMG

Sir Alan Collins KCVO CMG Andrew Davenport Guillaume Descottes

Cameron Doley

Christopher Fraser OBE 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

Fabio Sarlo Glyndebourne and Projects Manager Maddy Clarke Tours Manager

Alison Jones Concerts and Recordings Co-ordinator

Robert Winup Concerts and Tours Assistant Matthew Freeman Recordings Consultant Andrew Chenery Orchestra Personnel Manager

Sarah Thomas Martin Sargeson Librarians

Laura Kitson Stage and Operations Manager

Stephen O’Flaherty Deputy Operations Manager

Freddie Jackson Deputy Stage 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

Hannah Foakes Rebecca Parslow Education and Community Project Managers

Lowri Davies 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

Mairi Warren Marketing Manager

Rachel Williams Publications Manager

Harrie Mayhew

Website Manager

Gavin Miller Sales and Ticketing Manager

Ruth Haines

Press and PR Manager

Sophie Harvey Digital and Residencies Marketing Manager

Greg Felton Digital Creative

Alicia Hartley

Marketing Assistant

Archives Philip Stuart Discographer

Gillian Pole

Recordings Archive

Professional Services

Charles Russell Speechlys Solicitors

Crowe Clark Whitehill LLP Auditors

Dr Barry Grimaldi

Honorary Doctor

Mr Chris Aldren

Honorary ENT Surgeon

Mr Simon Owen-Johnstone Hon. Orthopaedic Surgeon

London Philharmonic Orchestra

89 Albert Embankment

London SE1 7TP

Tel: 020 7840 4200

Box Office: 020 7840 4242

Email: admin@lpo.org.uk lpo.org.uk

Cover illustration

Simon Pemberton/Heart 2022/23 season identity

JMG Studio

Printer John Good Ltd