LPO programme 23 Feb 2025 Eastbourne - New World Symphony
2024/25 season at Eastbourne’s Congress Theatre
CONCERT
PROGRAMME
Redefining Healthcare Redefining Healthcare
Situated in the heart of London’s Marylebone district, OneWelbeck is one of the UK’s largest private medical facilities for outpatient diagnostics, therapies and minimally invasive surgeries. With over 300 consultants partnered across 17 specialist centres of practice, OneWelbeck delivers a better standard of treatment to our patients
Our facilities include:
Our facilities include:
9-storey facility in central London
UK’s only 3D mole mapping service
Dedicated chronic pain clinic
Dedicated sleep centre
In-house pharmacy
Cutting edge imaging machines
Principal Conductor Edward Gardner supported by Aud Jebsen
Principal Guest Conductor Karina Canellakis
Conductor Emeritus Vladimir Jurowski KBE Patron HRH The Duke of Kent KG
Artistic Director Elena Dubinets Chief Executive David Burke
Leader Pieter Schoeman supported by Neil Westreich
Congress Theatre, Eastbourne Sunday 23 February 2025 | 3.00pm
New World Symphony
Chevalier de Saint-Georges
Symphony No. 2 (11’)
Mozart
Concerto for Flute and Harp (29’)
Interval (20’)
Dvořák
Symphony No. 9 (From the New World) (40’)
Matthew Lynch conductor*
Juliette Bausor flute
Alexander Boldachev harp
*LPO Fellow Conductor 2024/25
The LPO Conducting Fellowship is generously supported by Patricia Haitink with additional support from Gini and Richard Gabbertas.
The timings shown are not precise and are given only as a guide.
Concert presented by the London Philharmonic Orchestra in association with Eastbourne Borough Council
Welcome to the Congress Theatre
Theatre Director Chris Jordan General Manager Neil Jones
We extend a warm welcome to the members of the London Philharmonic Orchestra and to the artists making their debuts with the Orchestra today – and of course to every one of you, our valued audience members.
The historic theatre in which you are now seated is unique in that it is conceived to be a perfect cube and has fantastic acoustics to enhance your experience of live music. Whether this is your first concert or you are a season regular, we hope you enjoy your experience at our venue. Please speak to a member of our staff if you have any comments you’d like to make about your visit. We thank you for continuing to support the concert series. Please sit back in your seats and enjoy your afternoon with us.
As a courtesy to others, please ensure mobile phones are switched off during the performance. Please also note that photography and recording are not allowed in the auditorium unless announced from the stage. Thank you.
The paper used for all LPO brochures and concert programmes has been sourced from responsibly managed forests, certified in accordance with the FSC (Forest Stewardship Council). It is also Carbon Balanced, meaning the carbon impact of its production is offset by the World Land Trust through the purchase and preservation of ecologically important forestry under imminent threat of clearance.
LPO news
LPO Junior Artists: Overture Day in Eastbourne
Applications are open for our next LPO Junior Artists: Overture Day in Eastbourne, which takes place on Wednesday 16 April 2025 in partnership with local education hub Create Music.
If you’re a young orchestral player aged 10–15 and Grade 3+ standard, this is your chance to join the London Philharmonic Orchestra family for a day. You’ll meet some of our musicians, play as an ensemble and find out just what it takes to be part of one of the greatest orchestras in the world – for free!
For more information, and to watch a video and hear from previous Overture Day participants, visit lpo.org.uk/overture
Our Overture Days are free of charge and open to all orchestral players of the appropriate age and standard, but priority is given to young musicians from underrepresented backgrounds and communities who may be eligible for our main LPO Junior Artists programme in the future.
LPO Junior Artists: Overture is generously funded by the Kirby Laing Foundation, TIOC Foundation and The Radcliffe Trust.
BrightSparks Schools’ Concert in Eastbourne
Thursday 12 June 2025 will see our next BrightSparks schools’ concert here at Eastbourne’s Congress Theatre! Local Key Stage 2 students (aged 7–11) will be introduced to the Orchestra through through a lively performance of Stravinsky’s Petrushka, brought to life by presenter Rachel Leach. Tickets are £3 per pupil (accompanying teachers free of charge). This includes a free INSET session and written resources for teachers.
Booking for schools is open now– for more information visit lpo.org.uk/brightsparks
‘We had such a great time – including the adults! The Orchestra were incredible and Rachel led the performance brilliantly. I know the children will remember this trip!’ – Teacher, Parkland Junior School
BrightSparks 2024/25 is generously funded by Candide Trust, Dunard Fund, Rivers Foundation, Gill and Julian Simmonds, Garfield Weston Foundation and Mrs Philip Kan.
First Violins
Alice Ivy-Pemberton Leader
Minn Majoe
Chair supported by Dr Alex & Maria Chan
Cassandra Hamilton
Camille Buitenhuis
Maeve Jenkinson
Daniel Pukach
Alice Apreda Howell
Kay Chappell
Alice Hall
Eleanor Bartlett
Victoria Gill
Eve Kennedy
Second Violins
Dania Alzapiedi Guest Principal
Kate Birchall
Fiona Higham
Chair supported by David & Yi Buckley
Joseph Maher
Ashley Stevens
Gabriel Bilbao
José Nuno Cabrita Matias
Nicole Stokes
Emma Martin
Ruth Funnell
Violas
Konstantin Boyarsky Guest Principal
Laura Vallejo
Martin Wray
Chair supported by David & Bettina Harden
Benedetto Pollani
Alistair Scahill
Toby Warr
Julia Kornig
Mark Gibbs
Cellos
Timothy Walden Guest Principal
Leo Melvin
Tom Roff
Iain Ward
Auriol Evans
Henry Hargreaves
On stage today
Double Basses
Neil Tarlton Guest Principal
Tom Walley
Chair supported by William & Alex de Winton
Emma Prince
Thea Sayer
Flutes
Tom Hancox Guest Principal
Camilla Marchant
Piccolo
Camilla Marchant
Oboes
Helen Barker Guest Principal
Hannah Condliffe
Cor Anglais
Sue Böhling* Principal Chair supported by Dr Barry Grimaldi
Clarinets
Thomas Watmough Principal Chair supported by Roger Greenwood
Bethany Crouch
Bassoons
Simon Estell* Principal
Emma Harding
Horns
John Ryan* Principal
Kristina Yumerska
Duncan Fuller
Gareth Mollison
Alec Ross
Trumpets
Paul Beniston* Principal
Tom Nielsen Co-Principal
Anne McAneney*
Chair supported in memory of Peter Coe
Trombones
David Whitehouse Principal
Charlotte Van Passen
Bass Trombone
Lyndon Meredith Principal
Tuba
Martin Knowles Guest Principal
Timpani
Simon Carrington* Principal
Chair supported by Victoria Robey CBE
Percussion
Karen Hutt Principal
*Professor at a London conservatoire
The LPO also acknowledges the following chair supporters whose players are not present at this concert:
Uniquely groundbreaking and exhilarating to watch and hear, the London Philharmonic Orchestra has been celebrated as one of the world’s great orchestras since Sir Thomas Beecham founded it in 1932. Our mission is to share wonder with the modern world through the power of orchestral music, which we accomplish through live performances, online, and an extensive education and community programme, cementing our position as a leading orchestra for the 21st century.
Our home is at the Southbank Centre’s Royal Festival Hall, where we’re at the beating heart of London’s cultural life. You’ll also find us at our resident venues in Brighton, Eastbourne and Saffron Walden, and on tour worldwide. In 2024 we celebrated 60 years as Resident Symphony Orchestra at Glyndebourne Festival Opera, combining the magic of opera with Glyndebourne’s glorious setting in the Sussex countryside.
Soundtrack to key moments
Everyone will have heard the Grammy-nominated London Philharmonic Orchestra, whether it’s playing the world’s National Anthems for every medal ceremony of the London 2012 Olympics and Paralympics, our iconic recording with Pavarotti that made Nessun Dorma a global football anthem, or closing the flotilla at The Queen’s Thames Diamond Jubilee Pageant. And you’ll almost certainly have heard us on the soundtracks for major films including The Lord of the Rings
Sharing the wonder worldwide
We’re one of the world’s most-streamed orchestras, with over 15 million plays of our content each month. In 2023 we were the most successful orchestra worldwide on YouTube, TikTok and Instagram, with over 1.1m followers across all platforms, and in spring 2024 we featured in a TV documentary series on Sky Arts: ‘Backstage with the London Philharmonic Orchestra’, still available to watch via Now TV. During 2024/25 we’re once again working with Marquee TV to broadcast selected live concerts to enjoy from your own living room.
Our conductors
Our Principal Conductors have included some of the greatest historic names like Sir Adrian Boult, Bernard Haitink, Klaus Tennstedt and Kurt Masur. In 2021 Edward Gardner became our 13th Principal Conductor, and Vladimir Jurowski became Conductor Emeritus in recognition of his impact as Principal Conductor from 2007–21. Karina Canellakis is our current Principal Guest Conductor, and Tania León our Composer-in-Residence.
Next generations
We’re committed to nurturing the next generation of musicians and music-lovers: we love seeing the joy of children and families experiencing their first musical moments, and we’re passionate about inspiring schools and teachers through dedicated concerts, workshops,
resources and training. Reflecting our values of collaboration and inclusivity, our OrchLab and Open Sound Ensemble projects offer music-making opportunities for adults and young people with disabilities and special educational needs.
Today’s young instrumentalists are the orchestra members of the future, and we have a number of opportunities to support their progression. Our LPO Junior Artists programme leads the way in creating pathways into the profession for young artists from under-represented communities, and our LPO Young Composers and Foyle Future Firsts schemes support the next generation of professional musicians, bridging the transition from education to professional careers. We also recently launched the LPO Conducting Fellowship, supporting the development of two outstanding early-career conductors from backgrounds under-represented in the profession.
2024/25 season
Principal Conductor Edward Gardner leads the Orchestra in an exciting 2024/25 season, with soloists including Joyce DiDonato, Leif Ove Andsnes, Patricia Kopatchinskaja, Víkingur Ólafsson and Isabelle Faust, and works including Strauss’s Alpine Symphony, Ravel’s Daphnis and Chloe and Mahler’s Eighth Symphony. Principal Guest Conductor Karina Canellakis joins us for three concerts including Bruckner’s Fourth Symphony, Tchaikovsky’s Sixth Symphony, and Mozart with pianist Benjamin Grosvenor. We’ll also welcome back Conductor Emeritus Vladimir Jurowski, as well as guest conductors including Mark Elder, Lidiya Yankovskaya, Robin Ticciati and Kevin John Edusei.
Throughout the season we’ll explore the relationship between music and memory in our ‘Moments Remembered’ series, featuring works like Beethoven’s ‘Eroica’ Symphony, Strauss’s Metamorphosen and John Adams’s On the Transmigration of Souls. During the season there’ll be the chance to hear brand new works by composers including Freya Waley-Cohen and David Sawer, as well as performances by renowned soloists violinist Gidon Kremer, sarod player Amjad Ali Khan, soprano Renée Fleming and many more. The season also features tours to Japan, the USA, China and across Europe, as well as a calendar bursting with performances and community events in our Brighton, Eastbourne and Saffron Walden residencies.
lpo.org.uk
Alice Ivy-Pemberton Leader
Alice Ivy-Pemberton joined the London Philharmonic Orchestra as Co-Leader in February 2023.
Praised by The New York Times for her ‘sweet-toned playing’, Alice has performed as a soloist, chamber and orchestral musician to international acclaim. While growing up in New York City and studying with Nurit Pacht, Alice made a nationally televised Carnegie Hall debut aged ten, and was a finalist at the Menuhin International Competition at the age of 12.
Alice earned her Bachelors and Masters degrees at The Juilliard School under the tutelage of Itzhak Perlman and Catherine Cho as a fully-funded recipient of the Kovner Fellowship. During her studies she won Juilliard’s Violin Concerto Competition, performed extensively with the New York Philharmonic and The Philadelphia Orchestra, and led orchestras under the baton of Barbara Hannigan, Xian Zhang and Matthias Pintscher. Upon graduating in 2022 she was awarded the Polisi Prize and a Benzaquen Career Advancement Grant in recognition of ‘tremendous talent, promise, creativity, and potential to make a significant impact in the performing arts’.
An avid chamber musician, Alice has collaborated with Itzhak Perlman, Anthony Marwood, Gil Shaham and members of the Belcea, Doric, Juilliard and Brentano string quartets, and performed with the Chamber Music Society of Lincoln Center. Festival appearances include Music@Menlo, Moritzburg and Yellow Barn. Also a passionate advocate for new music and its social relevance, Alice created Drowning Monuments, a noted multimedia project on climate change that brought together five world premieres for solo violin.
Matthew Lynch conductor
British/German conductor Matthew Lynch is one of the London Philharmonic Orchestra’s two Fellow Conductors for 2024/25. As well as taking to the podium for today’s concert, he has assisted Principal Conductor Edward Gardner on several concerts this season, and will conduct the Orchestra’s FUNharmonics family concert in May, as well as schools’ concerts at the Royal Festival Hall and Eastbourne’s Congress Theatre in June.
The 2022/23 season saw Matthew make debuts with, among others, the London Symphony Orchestra, the BBC Concert Orchestra, the Ulster Orchestra and the Sydney Symphony Orchestra. Last season he returned to London’s Southbank Centre to conduct the Chineke! Orchestra and made debuts with the Philharmonia, Sinfonia Viva, the London Mozart Players and the
French chamber orchestra, Le Balcon. This season will see debuts with the Toronto Symphony, BBC Symphony and Royal Liverpool Philharmonic orchestras.
A keen advocate of contemporary music, Matthew is a regular collaborator of the composers Max Richter and Devonté Hynes, and has performed and recorded their music with ensembles internationally. In addition to symphonic and contemporary repertoire, Matthew is a regular conductor of opera, and in recent seasons has conducted new productions of La bohème, Rusalka and Don Giovanni in Dresden, and Treemonisha in London.
He also continues to play an active role in music education, working with several youth and training orchestras, including the London Schools’ Symphony Orchestra, the Southbank Sinfonia, the Chineke! Junior Orchestra, and the orchestras of the Royal Irish Academy of Music and Trinity Laban.
Matthew Lynch studied music at St Hugh’s College, Oxford and at the Hochschule für Musik, Dresden. He began his career as a flute player, playing as Principal and Sub-Principal Flute with the Chineke! Orchestra and the Mittelsächsische Philharmonie Freiberg. He was a conducting fellow of the Aspen Music Festival & School with Robert Spano, a fellow of the Dartington Festival with Sian Edwards, and has participated in the Tanglewood Conducting Seminar with Stefan Asbury.
When not conducting, Matthew likes to clear his head of music by going to the gym and negating the health effects of the gym with good food and wine.
The LPO Conducting Fellowship
The LPO Conducting Fellowship was launched in 2023 to promote diversity and inclusivity in the classical music industry by developing outstanding early-career conductors from backgrounds currently under-represented in the profession.
Guided by the LPO’s Principal Conductor, Edward Gardner, two successful applicants each season become fully immersed in the life of the LPO, working intensively with the Orchestra over a period of 6–8 non-consecutive weeks. The Fellowship includes opportunities to conduct the Orchestra in various settings including at LPO residencies, educational programmes, and ensembles of its Rising Talent programmes; opportunities to assist Principal Conductor Edward Gardner, and mentorship sessions with him; and full immersion into the life of the Orchestra, aiming to form the basis of a longer-term professional relationship. Further opportunities are tailored to the needs and interests of the Fellow Conductors.
To find out more, visit lpo.org.uk/conductingfellowship
The LPO Conducting Fellowship is generously supported by Patricia Haitink with additional support from Gini and Richard Gabbertas.
Juliette Bausor flute
Juliette Bausor joined the London Philharmonic Orchestra in July 2016 as Principal Flute, having previously held the same position with both Royal Northern Sinfonia and London Mozart Players.
Also a member of the celebrated chamber group Ensemble 360, Juliette is regularly invited to perform at major venues and festivals, including frequent Wigmore Hall and Southbank Centre appearances, and performances at the Edinburgh, Cheltenham and Aldeburgh International Festivals and the BBC Proms.
Following early recognition in competitions – including reaching the Final of BBC Young Musician of the Year and winning the Gold Medal in both the Shell LSO Competition and the Royal Over-Seas League Competition – Juliette has performed as a concerto soloist with the London Symphony Orchestra, Ulster Orchestra, Academy of St Martin in the Fields, European Union Chamber Orchestra, Royal Northern Sinfonia and London Mozart Players. In 2014 she was selected by the European Concert Hall Organisation as one of its Rising Stars, which has led to solo engagements in some of Europe’s most prestigious concert venues.
In 2016 Juliette was invited to perform at the Spannungen Chamber Music Festival in Heimbach, alongside acclaimed chamber musicians including Lars Vogt (piano), Jana Boušková (harp) and Kian Soltani (cello). Juliette has also collaborated with many other leading chamber musicians, including Thomas Zehetmair (violin), Alasdair Beatson and Llyr Williams (piano), Kate Royal (soprano), Anneleen Lenaerts, Xavier de Maistre and Catrin Finch (harp), as well as the Coull, Elias, Badke, Carducci and Edinburgh string quartets, amongst others.
Alexander Boldachev harp
Alexander Boldachev is a Swiss-Russian harpist and composer. He is an exclusive artist of the Italian harpmaker Salvi Harps, initiator of the World Harp Day, and founder of the Zurich Harp Festival. He is also a laureate of over a dozen prestigious international competitions, including composing competitions, and has been recognised with awards including ‘Britain’s Brilliant Prodigies’, the Aoyama Music Award in Kyoto, the Prix Walo television award in Switzerland, and Pro Europa in Austria, presented by Heinz Fischer for remarkable achievements in the field of culture. Alexander is also a Fellow of the international foundations Vontobel in Switzerland and Banque Populaire in France, and the Russian Spivakov and Temirkanov Foundations for the development of young musicians, as well as the Rotary Club and the Houses of Music that supported him early in his career.
An educator at heart, Alexander is a guest professor at London’s Royal Academy of Music, Milan Conservatoire, Zakhar Bron School of Music in Zurich, and the University of California, Los Angeles. He has given workshops and masterclasses at more than 40 institutions including The Juilliard School, the Liszt Academy and the Manhattan School of Music, inspiring countless students. He has also appeared at festivals including Burning Man, Musical Olympus, Mozart+, Davos and Gstaad in Switzerland, and the Sergey Kuryokhin International Festival, as well as performing at Burberry, D&G, Fendi and Bvlgari fashion shows.
Grateful thanks to Salvi Music London for generously supplying the Salvi ‘Diana’ Concert Grand Harp for today’s event.
The eventful life of the composer, violinist, swordsman and sometime military commander Joseph Bologne, Chevalier de Saint-Georges, was so effortlessly romantic as to form the basis both for a four-volume novel in 1840 and a film, Chevalier, in 2023. Born in Guadeloupe to a plantation-owner and a black slave called Nanon, he was brought up by his wealthy father in Paris and from an early age showed exceptional sporting prowess. But although it was as a champion fencer that he first came to public notice in France, he had also studied music and dancing to a high degree, and by the early 1770s was appearing as a violin soloist with one of Paris’s leading orchestras, the Concert des Amateurs, quickly rising to become its leader and director. He later tried his hand at opera, although his ambitions in this direction seem to have been partly thwarted by racist objections from others in the business, and his later career, spread between France and England, consisted of a swashbuckling patchwork of musical performances, fencing exhibitions, and a project to contribute an army of black soldiers to the French Revolution ill-fated enough to lead to periods of imprisonment and vagabondage.
Saint-Georges’s surviving orchestral output is almost entirely built around his performances with the Amateurs during the 1770s: 14 violin concertos and eight works in the hybrid, half-symphony half-concerto genre popular in Paris and known as symphonieconcertante, show that his principal intention was to continue pleasing the public who had recognised in him a virtuosic and expressive performer. (The word ‘amateurs’, by the way, does not signify lack of musical
quality, only that the orchestra included talented gentlemen dilletantes alongside the professionals.)
The last of his orchestral publications was a pair of short symphonies issued in 1779 as his Op. 11 and clearly identified on the titlepage as ‘exécutés aux Concert de Mrs les Amateurs’. Both are in the threemovement format favoured at that time in France, No. 2 opening with a spirited Allegro presto in sonata form with a flicker of minor-key drama in the central section, moving on to a delicate and tenderly song-like Andante and concluding with a galloping A-B-A form finale that again flirts with the minor key. If the Symphony as a whole thus has an air of theatrical excitement, we need not be surprised that in 1780 Saint-Georges re-used it as the overture for his comic opera L’amant anonyme.
About four minutes into the first movement of Mozart’s Flute and Harp Concerto – just after Mozart has twice presented his elegant, bustling series of main themes, and is now getting down to the business of developing them – the music turns dark, and the orchestra slides away downwards. It’s as if Mozart is directing our ears towards the ground – where sure enough, over the next few moments we repeatedly hear the flute, at the very bottom of its register, playing deep, sustained notes while the harp continues its music-box dance up above.
That passage isn’t just an intriguing musical technicality – it’s the Concerto’s whole raison d’être. Mozart had come to Paris in March 1778 convinced that he’d make his fortune; after all, the Parisians had lionized him back in the 1760s. But as he soon found out, nothing in Paris was as stale as the last decade’s fashion. Mozart quickly realised that he’d need to adapt to modern Parisian tastes if he was even to pay his bills. If that meant accepting commissions from a wealthy amateur flautist, the Comte de Guines, and his ‘magnifique’ harpist
daughter, so be it. And if the Concerto had to give Monsieur Le Comte a chance to show off the distinctive low notes on his expensive new flute, Mozart was happy to oblige.
The Concerto is written in the French taste – statelier, more sentimental, and more foursquare than we expect from Mozart. But he was writing for amateurs, after all, even if the Comte did ‘play the flute matchlessly’. The Concerto is designed to challenge without embarrassing them. Mozart knew that the sparkling, featherweight texture of the two solo instruments would do the rest. And Guines was suitably charmed; two months later, Mozart was his daughter’s private composition teacher. But he’d conveniently ‘forgotten’ to pay for the Concerto. ‘He must have thought: this is a young fellow and a stupid German besides’, fumed Mozart. He left Paris in September – as far as we know, unpaid.
An announcement will be made five minutes before the end of the interval.
Programme notes
Antonín Dvořák
1841–1904
Symphony No. 9 in E minor (From the New World) 1893
1
Adagio – Allegro molto
In June 1891, Antonín Dvořák was approached by Jeannette Thurber, a wealthy American patron of the arts, with an offer he could hardly refuse. Thurber planned to set up a new music conservatory in New York, and she wanted him to serve as its director. A year later, encouraged both by the position’s generous salary and the chance to discover ‘real American music’, Dvořák and his family arrived in America to begin three of the most productive years of his life. As soon as he arrived, he became an instant celebrity and a commission from the New York Philharmonic for a new symphony came just three months later. Although he was busy with his duties at the conservatory, Dvořák was bursting with ideas for new music and accepted the commission with relish. His sketchbooks show that he began work on the new symphony in January 1893 and completed it barely five months later.
Although he was often homesick, Dvořák was fascinated by his new environment, taking every opportunity to discover and absorb the local culture, and actively seeking out the ‘real American music’ he had moved to America to find. Ragtime was hugely popular in the bars and dancehalls of New York during this time, but it left little impression on Dvořák, who instead became infatuated by the Negro spirituals that were brought to his attention by one of his pupils at the conservatory. ‘I am now satisfied that the future music of this country must be founded upon what are called the Negro melodies’, he later declared. ‘This must be the real foundation of any serious and original school of composition to be developed in the United States.’
Programme notes
His Symphony No. 9, to which Dvořák gave the subtitle ‘From the New World’, was inspired in part by this new preoccupation, although he was at pains to point out that the work is not an exercise in ethnography, as some of his critics claimed. ‘It is merely the spirit of Negro and Indian melodies which I have tried to reproduce in my new symphony’, he wrote. ‘I have not actually used any of the melodies.’ Aside from a theme that bears a strong resemblance to the traditional spiritual ‘Swing low, sweet chariot’ in the Symphony’s first movement, there are no ‘authentic’ Negro melodies to be found. Instead, the Symphony gets its sense of ‘otherness’ from its use of pentatonic melodies, the song-like simplicity of many of its themes, and the pastoral pictorialism that arches across its four movements – features that are no more indigenous to American folk music than they are to many other folk cultures around the world. Rather than hearing it as a musical invocation of his time in America, Dvořák’s ‘New World’ Symphony is better understood as a gift to a country he had grown to love, and a fond
letter home to the one he missed so dearly. As he wrote in a letter in 1893, ‘I should never have written these works “just so” if I hadn’t seen America.’
We hope you enjoy today’s concert. Could you spare a few moments afterwards to complete a short survey about your experience? Your feedback is invaluable to us and will help to shape our future plans. Just scan the QR code to begin the survey. Thank you!
A brand new podcast from the LPO
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Next concerts at the Congress Theatre
‘There’s something magical about watching classical music shed its traditional constraints while maintaining its sublime power. Sunday’s performance at Eastbourne’s Congress Theatre proved that the LPO continues to be one of our most vital cultural institutions, bringing fresh energy to beloved classics.’
GScene (LPO Congress Theatre concert review, October 2024)
Beethoven & Brahms
Sunday 9 March 2025 | 3.00pm
R Schumann Overture, Genoveva
Beethoven Violin Concerto Brahms Symphony No. 4
Adam Hickox conductor
Hyeyoon Park violin
Jan Lisiecki plays Beethoven
Sunday 13 April 2025 | 3.00pm
Beethoven Piano Concerto No. 5 (Emperor)
Sibelius Symphony No. 2
Tarmo Peltokoski conductor
Jan Lisiecki piano
Tickets from £16 eastbournetheatres.co.uk
Ticket Office: 01323 412000
BrightSparks Schools’ Concert
Returning to Eastbourne this summer!
Thursday 12 June 2025, 1.00pm Congress Theatre, Eastbourne
We’re excited about bringing our popular BrightSparks schools’ concerts back to Eastbourne this June!
This daytime performance is an opportunity for Key Stage 2 children to experience the thrill of hearing a full orchestra.
Tickets £3 per pupil (accompanying teachers free of charge).
This includes a free INSET session and written resources for teachers.
Booking for schools is open now – for more information visit lpo.org.uk/brightsparks
Thank you
As a registered charity, we are extremely grateful to all our supporters who have given generously to the LPO over the past year to help maintain the breadth and depth of the LPO’s activities, as well as supporting the Orchestra both on and off the concert platform.
Artistic Director’s Circle
Anonymous donors
The American Friends of the London Philharmonic Orchestra
William & Alex de Winton
Catherine Høgel & Ben Mardle
Aud Jebsen
In memory of Mrs Rita Reay
Sir Simon & Lady Robey CBE
Orchestra Circle
Mr & Mrs Philip Kan
Neil Westreich
Principal Associates
An anonymous donor
Mrs Irina Andreeva
Steven M. Berzin
Richard Buxton
Gill & Garf Collins
In memory of Brenda Lyndoe Casbon
In memory of Ann Marguerite Collins
Irina Gofman & Mr Rodrik V. G. Cave
Patricia Haitink
George Ramishvili
In memory of Kenneth Shaw
The Tsukanov Family
Mr Florian Wunderlich
Associates
In memory of Len & Edna Beech
Sir Nigel Boardman & Prof. Lynda Gratton
The Candide Trust
Stuart & Bianca Roden
In memory of Hazel Amy Smith
Gold Patrons
An anonymous donor
David & Yi Buckley
Dr Alex & Maria Chan
In memory of Allner Mavis Channing
In memory of Peter Coe
Michelle Crowe Hernandez
Gini Gabbertas
Jenny & Duncan Goldie-Scot
Mr Roger Greenwood
Malcolm Herring
Julian & Gill Simmonds
Mr Brian Smith
Mr Jay Stein
Eric Tomsett
The Viney Family
Guy & Utti Whittaker
Silver Patrons
David Burke & Valerie Graham
Clive & Helena Butler
John & Sam Dawson
Ulrike & Benno Engelmann
Fiona Espenhahn in memory of Peter
Luke Gardiner
Prof. Erol & Mrs Deniz Gelenbe
The Jeniffer & Jonathan Harris
Charitable Trust
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Jenny Watson CBE
Laurence Watt
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Anonymous donors
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Kolobov
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Countryman
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Anonymous donors
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Mr Alistair Corbett
David Devons
Deborah Dolce
In memory of Enid Gofton
Prof Emeritus John Gruzelier
Mrs Farrah Jamal
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Per Jonsson
Tanya Joseph
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Miss Rebecca Murray
Mrs Terry Neale
Mr Stephen Olton
Mr James Pickford
Neil & Karen Reynolds
Mr Robert Ross
Kseniia Rubina
Mr Andrea Santacroce & Olivia
Veillet-Lavallée
Penny Segal
Priscylla Shaw
Michael Smith
Erika Song
Mr & Mrs G Stein
Dr Peter Stephenson
Ben Valentin KC
Sophie Walker
Christopher Williams
Liz Winter
Elena Y Zeng
Supporters
Anonymous donors
Ralph & Elizabeth Aldwinckle
Robert & Sarah Auerbach
Dr Simona Cicero & Mr Mario Altieri
Alison Clarke & Leo Pilkington
Sarah Connor
Miss Tessa Cowie
Andrew Davenport
Stephen Denby
Mr Simon Edelsten
Steve & Cristina Goldring
In memory of Derek Gray
Nick Hely-Hutchinson
The Jackman Family
Molly Jackson
Jan Leigh & Jan Rynkiewicz
Mr David MacFarlane
Simon Moore
Simon & Fiona Mortimore
Dana Mosevicz
Dame Jane Newell DBE
Diana G Oosterveld
Mr David Peters
Mr & Mrs Graham & Jean Pugh
Clarence Tan
Tony & Hilary Vines
Dr June Wakefield
Mr John Weekes
Mr Roger Woodhouse
Mr C D Yates
Hon. Benefactor
Elliott Bernerd
Hon. Life Members
Alfonso Aijón
Carol Colburn Grigor CBE
Pehr G Gyllenhammar
Robert Hill
Keith Millar
Victoria Robey CBE
Mrs Jackie Rosenfeld OBE
Cornelia Schmid
Timothy Walker CBE AM
Laurence Watt
Thomas Beecham
Group
Members
Sir Nigel Boardman & Prof. Lynda Gratton
David & Yi Buckley
In memory of Peter Coe
Dr Alex & Maria Chan
Garf & Gill Collins
William & Alex de Winton
The Friends of the LPO
Irina Gofman & Mr Rodrik V. G.
Cave
Mr Roger Greenwood
Barry Grimaldi
David & Bettina Harden
Mr & Mrs Philip Kan
Mr & Mrs John Kessler
Sir Simon Robey
Victoria Robey OBE
Stuart & Bianca Roden
Julian & Gill Simmonds
Eric Tomsett
Neil Westreich
Guy & Utti Whittaker
LPO Corporate Circle
Principal
Bloomberg
Carter-Ruck Solicitors
French Chamber of Commerce
Natixis Corporate & Investment
Banking
Ryze Power
Tutti
German-British Chamber of Industry & Commerce
Lazard
Walpole
Preferred Partners
Jeroboams
Lindt & Sprüngli Ltd
Mayer Brown
Neal’s Yard Remedies
OneWelbeck
Sipsmith
Steinway & Sons
In-kind Sponsor
Google Inc
Thank you
Trusts and Foundations
ABO Trust
Art Mentor Foundation Lucerne
BlueSpark Foundation
The Boltini Trust
Candide Trust
Cockayne Grants for the Arts in London
Dunard Fund
Ernst von Siemens Music Foundation
Foyle Foundation
Garfield Weston Foundation
Garrick Charitable Trust
The Golsoncott Foundation
Jerwood Foundation
John Coates Charitable Trust
John Horniman’s Children’s Trust
John Thaw Foundation
Idlewild Trust
Institute Adam Mickiewicz
Kirby Laing Foundation
The John S Cohen Foundation
The Lennox Hannay Charitable Trust
Kurt Weill Foundation
Lord and Lady Lurgan Trust
Lucille Graham Trust
The Marchus Trust
Maria Bjӧrnson Memorial Fund
The 29th May 1961 Charitable Trust
PRS Foundation
The R K Charitable Trust
The Radcliffe Trust
Rivers Foundation
Rothschild Foundation
Scops Arts Trust
Sir William Boreman’s Foundation
TIOC Foundation
Vaughan Williams Foundation
The Victoria Wood Foundation
The Viney Family
The Barbara Whatmore Charitable Trust
and all others who wish to remain anonymous.
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:
