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
Contents
Fri 21 October
Sat 22 October
London Philharmonic Orchestra
Pieter Schoeman
stage tonight
Karina Canellakis
Hadelich
Programme notes
LPO Label
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
We hope you enjoy the performance and your visit to Brighton Dome. For your comfort and safety, please note the following: thank you for your co-operation.
Latecomers may not be admitted until a suitable break in the performance. Some performances may contain no suitable breaks.
Smoking Brighton Dome is a no-smoking venue.
Interval drinks may be ordered in advance at the bar to avoid queues.
Photography is not allowed in the auditorium.
Recording is not allowed in the auditorium.
Mobiles and watches should be switched off before entering the auditorium.
The concert at Brighton Dome on 22 October 2022 is presented by the London Philharmonic Orchestra in association with Brighton Dome.
Brighton Dome gratefully acknowledges the support of Brighton & Hove City Council and Arts Council England.
This month the LPO celebrates its 90th anniversary, and we’re thrilled that Great British Bake Off 2021 semi-finalist Jürgen Krauss has baked us a cake! Jürgen is a keen trombonist and music lover, and regularly attends our concerts here in his home city of Brighton. His creation will be presented during tonight’s concert at Brighton Dome. It has five lines made out of dark ganache running through it, imitating a musical stave. The raspberry flavour pays tribute to our pink logo and the outside is decorated with various instruments. Huge thanks to Jürgen for helping us celebrate our birthday!
Brighton Dome is managed by Brighton Dome & Brighton Festival, which also runs the annual threeweek Brighton Festival in May. brightondome.org | brightonfestival.org
Jürgen will also be making an appearance in an upcoming episode of our behind-the-scenes podcast, LPO Offstage. He’ll be talking with host YolanDa Brown, fellow LPO supporters and members of the Orchestra about the LPO’s relationship with its fans, as well as chatting about our Brighton residency and what it means to the Orchestra’s players and our audiences here on the south coast. Subscribe now to make sure you don’t miss it! LPO Offstage is available for free on all the main podcast platforms and at lpo.org.uk/podcast
Saturday 5 November 2022, 7.30pm
Brahms Hungarian Dances Nos. 1, 5 and 6
Bruch Violin Concerto No. 1
Brahms Symphony No. 3
Alpesh Chauhan conductor
Randall Goosby violin
Saturday 11 February 2023, 7.30pm
Tchaikovsky Romeo and Juliet
Tchaikovsky Rococo Variations
Tchaikovsky Symphony No. 5
Gergely Madaras conductor
Zlatomir Fung cello*
* LPO Alexandra Jupin Award recipient: an annual award
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
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
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
Pei-Jee Ng Principal Chair supported by The Candide Trust Francis Bucknall Susanna Riddell Tom Roff
George Hoult
Sibylle Hentschel David Bucknall Iain Ward
Kevin Rundell* Principal Sebastian Pennar Co-Principal Hugh Kluger George Peniston Tom Walley Chair supported by William & Alex de Winton Charlotte Kerbegian
Juliette Bausor Principal Stewart McIlwham*
Ian Hardwick* Principal Alice Munday
Benjamin Mellefont Principal Thomas Watmough Chair supported by Roger Greenwood
Jonathan Davies Principal Chair supported by Sir Simon Robey Simon Estell*
Annemarie Federle Guest Principal Martin Hobbs Mark Vines Co-Principal Gareth Mollison Elise Campbell
Paul Beniston* Principal Holly Clark Guest Principal Anne McAneney*
Mark Templeton* Principal Chair supported by William & Alex de Winton David Whitehouse
Lyndon Meredith Principal
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
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.
We’re always at the forefront of technology, finding new ways to share our music globally. You’ll find us online, on streaming platforms, on social media and through our broadcast partnership with Marquee TV. During the pandemic period we launched ‘LPOnline’: over 100 videos of performances, insights and introductions to playlists, which led to us being named runner-up in the Digital Classical Music Awards 2020. During 2022/23 we’ll be working once again with Marquee TV to broadcast selected live concerts, so you can share or relive the wonder from your own living room.
Our 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.
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
The Midsummer Marriage under Edward Gardner, captured in his first concert as LPO Principal Conductor in September 2021 (see page 12).
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.
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.
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.
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.
‘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:
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 BratbyAn announcement will be made five minutes before the end of the interval.
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)
Hot off the press is the Autumn/ Winter edition of our twiceyearly LPO magazine, Tune In Scan the QR code or visit issuu.com/londonphilharmonic to read it online, or call 020 7840 4200 to request a copy in the post.
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,
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: 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.
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
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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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.
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
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
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
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
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
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
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
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
Julian Simmonds
Barry Smith
Martin Southgate
Chris Viney
Laurence Watt Elizabeth Winter
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