2023/24 concert season at Eastbourne’s Congress Theatre Concert programme
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 24 March 2024 | 3.00pm
Randall Goosby plays Mozart
Mozart
Ballet Music from Idomeneo (13’)
Mozart
Violin Concerto No. 3, K216 (24’)
Interval (20’)
Prokofiev
Romeo and Juliet (excerpts) (43’)
Gemma New conductor
Randall Goosby violin
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
Contents
2 Welcome LPO news
3 On stage today
4 London Philharmonic Orchestra
5 Leader: Pieter Schoeman
6 Gemma New
7 Randall Goosby
8 Programme notes
13 The Big Give: Double your donation
14 Thank you
16 LPO administration
Welcome to the Congress Theatre
Theatre Director Chris Jordan
Welcome to the final concert of 2024 by the London Philharmonic Orchestra here at the Congress Theatre. As always, we are pleased to welcome back the London Philharmonic Orchestra and its patrons.
This season we celebrate 60 years since the LPO gave the first ever performance at the newly-opened Congress Theatre in 1963. The Orchestra has now given over 350 concerts here in Eastbourne, performing with countless esteemed conductors and soloists, as well as introducing many exciting new artists to the stage for the first time.
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 visit or you are a season regular, we hope you enjoy your experience at our venue. We thank you for continuing to support the concert series. Please sit back in your seats and enjoy the concert and your visit here.
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.
Enjoying the concert?
Help us to share the wonder of the LPO by making a donation today. Use the QR code to donate via the LPO website, or visit lpo.org.uk/donate. Thank you.
The Big Give: Double your donation
From 19–26 March 2024, the Orchestra is taking part in The Big Give matched funding campaign: this means that until Tuesday 26 March, for every £1 that you give, we will receive £2! Your donation will help us reach more South Coast communities with the transformational power of music.
Here in Eastbourne and the surrounding areas, the LPO is working collaboratively with local organisations to build sustainable, authentic partnerships at grassroots level to create and deliver exciting musical experiences. With your help we will be able to deliver co-created, transformative music projects that connect communities, develop skills, nurture creativity and support wellbeing. These include inspiring schoolchildren at the LPO’s first schools’ concert at the Congress Theatre (see below); partnering with local organisations to support amateur musicians who have faced addiction issues and challenges such as homelessness; and performing in non-traditional venues to give easy access to LPO mini-concerts for those who might not otherwise see live classical music. Turn to page 13 to read more and find out how to donate.
BrightSparks Schools’ Concert in Eastbourne
On 9 May we’re giving our first ever BrightSparks schools’ concert here at Eastbourne’s Congress Theatre! Local Key Stage 2 students (aged 7–11) will be introduced to the Orchestra through a programme of American and America-inspired music, featuring composers Aaron Copland, Errollyn Wallen and Joan Tower. 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 at lpo.org.uk/brightsparks
BrightSparks 2023/24 is generously funded by the Rothschild Foundation with additional support from the Candide Trust, Dunard Fund, Rivers Foundation, Mr & Mrs Philip Kan, and Gill and Julian Simmonds.
2 London Philharmonic Orchestra • 24 March 2024 • Randall Goosby plays Mozart
LPO news
First Violins
Pieter Schoeman* Leader
Chair supported by Neil Westreich
Alice Ivy-Pemberton Co-Leader
Kate Oswin
Chair supported by Eric Tomsett
Minn Majoe
Yang Zhang
Cassandra Hamilton
Katalin Varnagy
Chair supported by Sonja Drexler
Martin Höhmann
Elizaveta Tyun
Nilufar Alimaksumova
Alison Strange
Alice Hall
Sylvain Vasseur
Ricky Gore
Second Violins
Tania Mazzetti Principal
Coco Inman
Emma Oldfield Co-Principal
Helena Smart
Kate Birchall
Nancy Elan
Fiona Higham
Chair supported by David & Yi
Buckley
Joseph Maher
Ashley Stevens
Sioni Williams
Nynke Hijlkema
Lyrit Milgram
Violas
Jiwon Kim Guest Principal
Martin Wray
Katharine Leek
Benedetto Pollani
Laura Vallejo
Kate De Campos
Shiry Rashkovsky
Daniel Cornford
Lucia Ortiz Sauco
Michelle Bruil
Cellos
Bozidar Vukotic Guest Principal
Ella Rundle
Nina Kiva
Helen Thomas
Sibylle Hentschel
Francis Bucknall
Iain Ward
Double Basses
Sebastian Pennar Principal
George Peniston
Elen Roberts
Emma Prince
Charlotte Kerbegian
Antonia Bakewell
Flutes
Juliette Bausor Principal
Daniel Shao
Piccolo
Stewart McIlwham* Principal
Oboes
Ian Hardwick* Principal
Eleanor Sullivan
Cor Anglais
Max Spiers
Clarinets
Thomas Watmough Principal
Chair supported by Roger Greenwood
James Maltby
Bass Clarinet
Paul Richards* Principal
Tenor Saxophone
Martin Robertson
Bassoons
Jonathan Davies* Principal
Chair supported by Sir Simon
Robey
Stuart Russell
Contrabassoon
Simon Estell* Principal
Horns
John Ryan* Principal
Martin Hobbs
Mark Vines Co-Principal
Gareth Mollison
Elise Campbell
Trumpets
Paul Beniston* Principal
Tom Nielsen Co-Principal
Anne McAneney*
Trombones
Mark Templeton* Principal
Chair supported by William & Alex
de Winton
David Whitehouse
Bass Trombone
Lyndon Meredith Principal
Tuba
Lee Tsarmaklis* Principal
Timpani
Jeremy Cornes Guest Principal
Percussion
Andrew Barclay* Principal
Chair supported by Gill & Garf Collins
Karen Hutt
Chair supported by Mr B C Fairhall
Tom Edwards
Feargus Brennan
Richard Horne
Harp
Sue Blair Guest Principal
Piano/Celeste
Philip Moore
*Professor at a London conservatoire
The LPO also acknowledges the following chair supporters whose players are not present at this concert:
Sir Nigel Boardman & Prof. Lynda Gratton
Friends of the Orchestra
Irina Gofman & Mr Rodrik V. G. Cave
Dr Barry Grimaldi
Ryze Power
Victoria Robey CBE
Bianca & Stuart Roden
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• 24 March 2024 • Randall Goosby plays Mozart
London Philharmonic Orchestra
On stage today
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 Centre’s Royal Festival Hall, where we’re at the beating heart of London’s cultural life. You’ll also find us at our resident venues in Brighton, Eastbourne and Saffron Walden, and on tour throughout the UK and internationally, performing to sell-out audiences worldwide. Each summer we’re resident at Glyndebourne Festival Opera, combining the magic of opera with Glyndebourne’s glorious setting in the Sussex countryside.
Sharing the wonder
You’ll find us online, on streaming platforms, on social media and through our broadcast partnership with Marquee TV. During the pandemic period we launched ‘LPOnline’: over 100 videos of performances, insights and introductions to playlists, which led to us being named runner-up in the Digital Classical Music Awards 2020. During 2023/24 we’re once again working with Marquee TV to broadcast selected live concerts, so you can share or relive the wonder from your own living room.
Our conductors
Our Principal Conductors have included some of the greatest historic names like Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. In 2021 Edward Gardner became our 13th Principal Conductor, taking the Orchestra into its tenth decade. Vladimir Jurowski became Conductor Emeritus in recognition of his impact as Principal Conductor from 2007–21. Karina Canellakis is our current Principal Guest Conductor and Tania León 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 one of the world’s moststreamed orchestras, with over 15 million plays of our content each month.
4 London Philharmonic Orchestra • 24 March 2024 • Randall Goosby plays
Mozart
© Mark Allan
Next generations
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.
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 also recently launched the LPO Conducting Fellowship, supporting the development of outstanding early-career conductors from backgrounds currently under-represented in the profession.
Looking forward
The centrepiece of our 2023/24 season is our spring 2024 festival The Music in You. Reflecting our adventurous spirit, the festival embraces all kinds of expression – dance, music theatre, and audience participation. We’ll collaborate with artists from across the creative spectrum, and give premieres by composers including Tania León, Julian Joseph, Daniel Kidane, Victoria Vita Polevá, Luís Tinoco and John Williams.
Rising stars making their debuts with us in 2023/24 include conductors Tianyi Lu, Oksana Lyniv, Jonathon Heyward and Natalia Ponomarchuk, accordionist João Barradas and organist Anna Lapwood. We also present the long-awaited conclusion of Conductor Emeritus Vladimir Jurowski’s Wagner Ring Cycle, Götterdämmerung, and, as well as our titled conductors Edward Gardner and Karina Canellakis, we welcome back classical stars including Anne-Sophie Mutter, Robin Ticciati, Christian Tetzlaff and Danielle de Niese.
Pieter Schoeman Leader
Pieter Schoeman was appointed Leader of the London Philharmonic Orchestra in 2008, having previously been Co-Leader since 2002. He is also a Professor of Violin at Trinity Laban Conservatoire of Music & Dance.
Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and the Southbank Centre’s Royal Festival Hall. As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. His chamber music partners have included Anne-Sophie Mutter, Veronika Eberle, Patricia Kopatchinskaja, Boris Garlitsky, Jean-Guihen Queyras, Yannick Nézet-Séguin, Martin Helmchen and Julia Fischer.
Pieter has performed numerous times as a soloist with the London Philharmonic Orchestra. Highlights have included an appearance as both conductor and soloist in Vivaldi’s Four Seasons at the Royal Festival Hall, the Brahms Double Concerto with Kristina Blaumane, Florence Price’s Violin Concerto No. 2, 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.
5 London Philharmonic Orchestra • 24 March 2024 • Randall Goosby plays Mozart
lpo.org.uk
© Benjamin Ealovega
Gemma New conductor
Sought-after for her insightful interpretations and dynamic presence, New Zealand-born Gemma New is Artistic Advisor and Principal Conductor of the New Zealand Symphony Orchestra, and Music Director of Canada’s Hamilton Philharmonic Orchestra. Hailed by the St. Louis Post-Dispatch as ‘a rising star in the musical firmament’, she is the recipient of the prestigious 2021 Sir George Solti Conducting Award. Earlier this week (Friday 22 March) she made her debut with the London Philharmonic Orchestra, at London’s Royal Festival Hall alongside today’s soloist, Randall Goosby.
In summer 2023 Gemma made her debuts at the BBC Proms (with the BBC Scottish Symphony Orchestra) and the Mostly Mozart Festival at Lincoln Center, and returned to the Hollywood Bowl with the Los Angeles Philharmonic. She also appeared at Chicago’s Grant Park Music Festival, Oregon Bach Festival, Interlochen Center for the Arts, Festival de la Chaise-Dieu with the Orchestre National de Lyon, and Opera Theatre of St. Louis, where she led a production of Carlisle Floyd’s opera Susannah.
During the 2023/24 season Gemma makes debuts with the Chicago Symphony Orchestra, Los Angeles Philharmonic, Vancouver Symphony and Orchestre National de France. North American returns include the Atlanta Symphony, the Seattle Symphony and the Orchestre symphonique de Montréal. In Europe she makes her debut with the Bamberg Symphony, as well as conducting the Malmö Symphony Orchestra, Orquesta Sinfónica de Barcelona y Nacional de Cataluña, Orquesta Nacional de España, Orchestre de l’Opéra de Rouen-Normandie, Orchestre National Bordeaux Aquitaine and Staatsorchester Hannover.
As Music Director of the Hamilton Philharmonic, Gemma New has been committed to deepening the artistic level of the orchestra and expanding its reach into the community. She launched the orchestra’s first ‘Intimate and Immersive’ concert series, celebrating music by Canadian composers in a visually vibrant setting. From Handel’s Messiah, to Mahler’s Symphony No. 5, to Iman Habibi’s Jeder Baum spricht, under her leadership the HPO has embraced a programming style that builds a trust and excitement with audiences. Highlights have included collaborations with Canada’s leading soloists such as James Ehnes, Timothy Chooi, Janina Fialkowska and Stewart Goodyear.
For four seasons, Gemma New held the title of Principal Guest Conductor with the Dallas Symphony Orchestra. In her final season she led the orchestra in three programmes including Holst’s The Planets and Stravinsky’s The Rite of Spring. A proponent of new music, her programmes also featured works by Angélica Negrón, and the world premiere of Katherine Balch’s Cello Concerto.
Gemma New served for four seasons as Resident Conductor of the St. Louis Symphony Orchestra. In her final season she led the orchestra’s 2019/20 season opening concerts, and conducted a concert broadcast live with Chris Thile on the nationally syndicated variety show Live From Here. A former Dudamel Conducting Fellow with the Los Angeles Philharmonic, Gemma previously served as Associate Conductor of the New Jersey Symphony. In 2018 she was a Conducting Fellow at Tanglewood Music Center, where she led the world premiere of Michael Gandolfi’s In America. She was awarded Solti Foundation Career Assistance Awards in 2017, 2019 and 2020, before receiving the 2021 Sir Georg Solti Conducting Award.
Committed to new music, Gemma New made her Carnegie Hall debut in 2013 with works by John Adams and Andrew Norman. In 2010 she founded the Lunar Ensemble, a nine-member contemporary music ensemble that premiered 30 works over six seasons. She has conducted works by Thomas Adès, Anna Clyne, Steve Mackey, Aaron Jay Kernis, and many others.
Gemma New holds a Master of Music degree in orchestral conducting from the Peabody Institute in Baltimore, where she studied with Gustav Meier and Markand Thakar. She graduated with honours from the University of Canterbury in New Zealand with a Bachelor of Music in violin performance.
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London Philharmonic Orchestra
24 March 2024 • Randall Goosby plays Mozart
© Roy Cox
Randall Goosby violin
‘For me, personally, music has been a way to inspire others’ – Randall Goosby’s own words sum up perfectly his commitment to being an artist who makes a difference. Signed exclusively to Decca Classics in 2020 at the age of 24, the American violinist is acclaimed for the sensitivity and intensity of his musicianship alongside his determination to make music more inclusive and accessible, as well as bringing the music of under-represented composers to light. His most recent LPO engagement was in November 2022, when he performed Bruch’s Violin Concerto No. 1 at the Royal Festival Hall and Brighton Dome under Alpesh Chauhan. In October 2024 he will join the Orchestra and Principal Conductor Edward Gardner on a major tour of the US, performing in cities across California, Michigan and New York.
During the 2023/24 season Randall Goosby is Artist-inResidence at London’s Southbank Centre. As well as performing Mozart with the LPO and conductor Gemma New, he will also present recital and chamber concerts there. Other highlights this season include debuts with the Boston Symphony Orchestra under Andris Nelsons, Washington’s National Symphony Orchestra under Thomas Wilkins, the Pittsburgh Symphony Orchestra under Manfred Honeck, and the Seattle and St Louis symphony orchestras, both under Christian Reif. European debuts include a tour with the Rotterdam Philharmonic Orchestra under Yannick Nézet-Séguin, and performances with the Danish National Radio Symphony Orchestra under Jukka-Pekka Saraste, the Oslo Philharmonic Orchestra under Ryan Bancroft, and the Lahti Symphony Orchestra under Dalia Stasevska.
Spring 2023 saw the release of Randall Goosby’s debut concerto album for Decca Classics, recorded with Yannick Nézet-Séguin and The Philadelphia Orchestra and featuring concertos by Max Bruch and Florence Price. Gramophone Magazine observed: ‘There’s an honesty and modesty … This playing isn’t dressed to impress, but to express.’ His first album for Decca, entitled Roots, is a celebration of African-American music which explores its evolution from the spiritual through to present-day compositions. Collaborating with pianist Zhu Wang, Goosby curated an album paying homage to the pioneering artists that paved the way for him and other artists of colour. It features three worldpremiere recordings of music by African-American composer Florence Price, works by William Grant Still and Coleridge-Taylor Perkinson, and a newly commissioned piece by acclaimed double bassist Xavier Foley.
Randall Goosby is deeply passionate about inspiring and serving others through education, social engagement and outreach activities. He has enjoyed working with non-profit organisations such as the Opportunity Music Project and Concerts in Motion in New York City, as well as participating in community engagement programmes for schools, hospitals and assisted living facilities across the US.
Randall won First Prize in the 2018 Young Concert Artists International Auditions. In 2019 he was named the inaugural Robey Artist by Young Classical Artists Trust in partnership with Music Masters in London, and in 2020 he became an Ambassador for Music Masters, a role that sees him mentoring and inspiring students in schools around the UK. In 2010 he won First Prize in the Sphinx Concerto Competition, and he is also a recipient of Sphinx’s Isaac Stern Award, a career advancement grant from the Bagby Foundation, and a 2022 Avery Fisher Career Grant. An active chamber musician, he has spent his summers studying at the Perlman Music Program, the Verbier Festival Academy and the Mozarteum Summer Academy, among others.
Randall made his debut with the Jacksonville Symphony aged nine, and with the New York Philharmonic in a Young People’s Concert at Lincoln Center aged 13. A former student of Itzhak Perlman and Catherine Cho, he received his Bachelor’s, Master’s and Artist Diploma degrees from The Juilliard School. He is an alumni of the Perlman Music Program and studied previously with Philippe Quint. He plays the Antonio Stradivarius, Cremona, ‘ex-Strauss’ 1708, on generous loan from the Samsung Foundation of Culture.
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London Philharmonic Orchestra
March 2024 • Randall Goosby plays Mozart
© Kaupo Kikkas
Wolfgang Amadeus Mozart 1756–91
Ballet Music from Idomeneo 1781
Chaconne Pas Seul
Mozart’s opera Idomeneo, re di Creta (Idomeneo, King of Crete) – usually referred to simply as Idomeneo –represented a significant milestone in the 24-year-old composer’s operatic career. Premiered in Munich in 1781, it was the composer’s first major opera seria, a genre characterised by its serious themes and elaborate vocal writing.
The opera’s libretto, adapted by Giambattista Varesco from a French play of 1705, draws inspiration from Greek mythology and tells the story of King Idomeneo of Crete, who faces a moral dilemma after making a solemn vow to Neptune. Following a tempest at sea, Idomeneo promises, in exchange for his safety to sacrifice the first person he sees upon reaching land. To his dismay, the first person he encounters is his own son, Idamante. The opera explores themes of duty, sacrific and redemption, all set against the backdrop of ancient Greek tragedy.
Idomeneo borrows elements of the French ‘tragédie lyrique’ style of Lully and Rameau, a form that also included dance. Mozart initially wanted to incorporate a dance scene at the end of each of the opera’s acts, but in the end opted for a large-scale dance section at the end of the work to serve as the climax of the performance, and it is in this ballet section that the ‘Chaconne’ and ‘Pas Seul’ appear. A chaconne is a stately dance-form, usually in triple metre. Mozart’s basic chaconne theme is borrowed from Gluck’s Iphigénie en Aulide of 1774, perhaps as homage to that great senior figure, and its music is majestic and solemn. The Chaconne leads into the ‘Pas seul’ (‘solo dance’), which at the opera’s premiere was danced by the Munich balletmaster, Jean-Pierre Le Grand”, who was the main choreographer for the opera’s premiere.
8 London Philharmonic Orchestra • 24 March 2024 • Randall Goosby plays Mozart
notes
Programme
Tenor Anton Raaff as Idomeneo at the opera’s Munich premiere, 29 January 1781
Wolfgang Amadeus Mozart 1756–91
Violin Concerto No. 3 in G major, K216 1775
Randall Goosby violin
1 Allegro
2 Adagio
3 Rondeau. Allegro
Although we picture Mozart as a man of travel, he was tied to the Salzburg court. Both Mozart and his father were employees of the city’s Prince Archbishop. The pomp and wealth of their employment suited many facets of their characters, but it was not always conducive to a happy life. By the time Mozart composed this Violin Concerto in September 1775, he was at the end of his tether. He constantly provided new music for the liturgy, but his mind was on other things. His father encouraged him to explore new sources of income, and local Salzburg dignitaries provided the commissions. Mozart most wanted to write opera, but contemporary concertos and piano sonatas provided diversity from the pompous religiosity at court.
All of Mozart’s extant violin concertos date from his Salzburg youth. A proficient string player, Mozart was able to show off his skills both as a composer and an instrumentalist. His solo violin parts are clearly conceived within the texture, providing flourishes while still directing the orchestra. By the time he reached Vienna, Mozart shifted his attention to keyboard concertos but, like these Salzburg works, they were also written for primarily financial purposes.
Despite the monetary impetus, this Concerto bursts with life. It depicts a young man released from the shackles of his employer. Broad chords pose a question, requiring an answer. Rather than repeating the phrase, Mozart’s response spirals off with breathless energy, contradicting the equal phrases of the initial statement.
9 London Philharmonic Orchestra • 24 March 2024 • Randall Goosby plays Mozart Programme notes
He continues to channel that independent spirit as harmonic pace and cadence points belie expectation. Ducking and diving around more formulaic harmonies, Mozart maintains a cheeky presence through the opening movement’s chromatic passing notes and clipped acciaccaturas.
Although the central Adagio is more reserved – with Mozart requesting the use of mutes – the pert tenor of the first movement continues. The flute commentary after each solo violin statement reassures us of a happy mood. That sentiment is further confirmed in the opening of the rustic finale. Its equal four-bar phrases restore propriety, though Mozart refuses to suppress his natural wit, as the solo violin breaks free. But
however humorous those first statements, Mozart surprises with a modulation into the relative minor. Rather than being a brief tonal enclave, it remains fixed, casting its melancholic shadow. The violin cadenza is likewise formed within the minor key, disturbing a pervasively happy mood. Even as the Rondo theme breaks through once more, Mozart’s harmonic ambitions have not been sated and the music suddenly stops before switching into G minor and a new metre and tempo. That too is short-lived and Mozart returns to G major and, eventually, the opening rondo. Cheeky to the last, the work ends with a pert woodwind cadence.
Programme note © Gavin Plumley
Interval – 20 minutes
An announcement will be made five minutes before the end of the interval.
Vladimir
Jonathan Davies bassoon
Ian Hardwick oboe
John Ryan horn
Thomas Watmough clarinet
10 London Philharmonic Orchestra • 24 March 2024 • Randall Goosby plays Mozart
Programme notes
MOZART WIND CONCERTOS ON THE LPO LABEL
No. 2 in D major
Concertante in E flat major Bassoon Concerto in B flat major
Concerto
Sinfonia
London
Orchestra
Jurowski conductor
Philharmonic
Featuring LPO Principals: Juliette Bausor flute
Scan to listen now All LPO Label recordings are available on CD from all good outlets, and to download or stream via Apple Music Classical, Spotify, Idagio and others.
LPO–0114
Programme notes
Sergei Prokofiev
1891–1953
Romeo and Juliet (excerpts)
1935 Montagues and Capulets
Juliet the Young Girl
Madrigal Minuet Masks
Romeo and Juliet
The Death of Tybalt
Romeo and Juliet Before Parting
Romeo at Juliet’s Tomb
From 1933 onwards, after 15 years in the West, Sergei Prokofiev started to return more and more frequently to Moscow. Genuinely idealistic about his new life, in 1934 he wrote of his creative aims in the Soviet newspaper Izvestiya: ‘Soviet music must be melodious; moreover the melody must be simple and comprehensible […] not an old-fashioned simplicity, but a new simplicity.’ So when the radical theatre director Sergei Radlov suggested a collaboration on a ballet version of Romeo and Juliet, Prokofiev saw it as chance to show the ‘new simplicity’ in action. The Bolshoi Theatre gave him the use of a country house at Polenovo, and between July and September 1935 Prokofiev wrote the entire score. Then the political realities began to bite. The Bolshoi declared the ballet ‘undanceable’ and the ballet was premiered instead in Brno, Czechoslovakia in December 1938. It was 11 January 1940 before it was finally staged in Russia, at Leningrad’s Kirov Theatre. Even then, there were difficulties. The choreographer, Leonid Lavrovsky, imposed a political message on the story: ‘the conflict between the outmoded beliefs of the Middle Ages, and the progressive ideals of the Renaissance’. Meanwhile, the dancers were in revolt. A joke ran round the Kirov:
London Philharmonic Orchestra • 24 March 2024 • Randall Goosby plays Mozart 11
© Boosey & Hawkes
‘For never was a story of more woe / Than Prokofiev’s music for Romeo’.
Yet the performance was a success. Galina Ulanova danced Juliet in that Kirov production, and one night, at a post-show party, she invited Prokofiev to join her in a foxtrot. ‘He seemed always to be hearing some rhythm of his own’, she recalled. ‘But as the dance gradually gathered momentum, I started to feel confident and free. At last I caught my partner’s unusual and utterly marvellous rhythm.’ Romeo and Juliet’s ‘unusual and utterly marvellous rhythm’ has now entered the repertoire of every major ballet company in the world.
In 1936, when no theatrical performance seemed likely, Prokofiev selected 15 of the ballet’s 52 numbers and turned them into two concert suites – a third followed in 1946. This sequence utilises movements from the first two suites.
Montagues and Capulets: A huge, slowly building discord depicts the moment in the story when the Prince commands the Montagues and Capulets to keep the peace. This leads directly into a menacing, slowmotion dance for the two rival families.
Juliet the Young Girl: The 14-year-old Juliet portrayed as a trim, vivacious scherzo; tender interludes for flutes, saxophone and yearning strings portray her budding emotions.
Madrigal: A quiet moment at the Capulets’ ball – Juliet takes the dance floor, as a masked Romeo sees her for the first time, to increasingly fervent music.
Minuet: The surroundings are palatial, but as the guests arrive to the sound of a courtly minuet, the welcome is distinctly heavy-handed.
Masks: Romeo, Benvolio and Mercutio enter the Capulets’ ball in disguise. Their music is poised and cautious, gradually increasing in confidence.
Romeo and Juliet: Morning in Juliet’s bedroom, a lyrical, sunlit love scene.
The Death of Tybalt: Racing strings and clattering xylophone depict the swordfight between Tybalt and Mercutio. Mercutio is killed, and the music turns to a savage march as Romeo moves in to avenge his friend. The brass shriek warnings over slashing chords.
Romeo and Juliet Before Parting: The score’s final love duet, tender, fragile and – as befits the two lovers’ fate –torn by ominous and anguished premonitions.
Romeo at Juliet’s Tomb: Romeo witnesses Juliet’s funeral, and an anguished lament for strings becomes the music of the procession itself.
Programme note © Richard Bratby
We’d love to hear from you
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!
LPO 2024/25 season
Dates and programmes for next season’s LPO Eastbourne concerts will be announced in early June.
To make sure you receive updates, sign up to our mailing list at lpo.org.uk/eastsussex or scan the QR code below.
12 London Philharmonic Orchestra • 24 March 2024 • Randall Goosby plays Mozart
Programme notes
DONATE NOW TO THE LPO’S BIG GIVE CAMPAIGN AND MAKE DOUBLE THE DIFFERENCE
Help us reach more people with the transformational power of music.
We are delighted to be working collaboratively with local organisations on the South Coast of England to share the wonder of music with more people. Our new initiatives will deliver exciting and authentic musical experiences at grassroots level, reaching those who might not otherwise experience orchestral music.
Support us to:
Inspire young minds and future music lovers
We are performing the LPO’s first-ever schools’ concert at the Congress Theatre, Eastbourne.
Support wellbeing
We are partnering with organisations that support amateur musicians who have faced challenges such as addiction and homelessness to deliver musical workshops with LPO players.
Enhance accessibility
We are performing mini-concerts in non-traditional venues such as shopping and community centres to remove barriers and make our music more accessible to a wider community of people who might not have the opportunity to experience it otherwise.
Donate today and double your impact
For every £1 that you give between 19–26 March, the Orchestra will receive £2! Your donation will help deliver co-created, transformative music projects that connect communities, develop skills, nurture creativity and support wellbeing.
Together we can make more musical moments and memories.
Scan the QR code to donate now, or visit shorturl.at/rxBN8
Please note that for donations to be matched, they must be given via The Big Give website between 19–26 March 2024. The LPO is grateful for this matched funding from Arts for Impact.
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Thank you
We are extremely grateful to all donors who have given generously to the LPO over the past year. Your generosity helps maintain the breadth and depth of the LPO’s activities, as well as supporting the Orchestra both on and off the concert platform.
Artistic Director’s Circle
The American Friends of the London Philharmonic Orchestra
Anonymous donors
Mrs Aline Foriel-Destezet
Aud Jebsen
In memory of Mrs Rita Reay
Sir Simon & Lady Robey CBE
Orchestra Circle
William & Alex de Winton
Edward Gardner & Sara Övinge
Patricia Haitink
Catherine Høgel & Ben Mardle
Mr & Mrs Philip Kan
Neil Westreich
Principal Associates
An anonymous donor
Richard Buxton
Gill & Garf Collins
In memory of Brenda Lyndoe
Casbon
In memory of Ann Marguerite Collins
Irina Gofman & Mr Rodrik V. G. Cave
George Ramishvili
The Tsukanov Family
Mr Florian Wunderlich
Associates
Mrs Irina Andreeva
In memory of Len & Edna Beech
Steven M. Berzin
Sir Nigel Boardman & Prof. Lynda Gratton
The Candide Trust
John & Sam Dawson
HSH Dr Donatus, Prince of Hohenzollern
Stuart & Bianca Roden
In memory of Hazel Amy Smith
Gold Patrons
David & Yi Buckley
In memory of Allner Mavis Channing
Sonja Drexler
Peter & Fiona Espenhahn
Mr B C Fairhall
Hamish & Sophie Forsyth
Virginia Gabbertas MBE
Jenny & Duncan Goldie-Scot
Mr Roger Greenwood
Malcolm Herring
Julian & Gill Simmonds
Eric Tomsett
The Viney Family
Guy & Utti Whittaker
Silver Patrons
Dame Colette Bowe
David Burke & Valerie Graham
Clive & Helena Butler
Cameron & Kathryn Doley
Ulrike & Benno Engelmann
Dmitry & Ekaterina Gursky
The Jeniffer & Jonathan Harris
Charitable Trust
John & Angela Kessler
Mrs Elena & Mr Oleg Kolobova
Mrs Elizabeth Meshkvicheva
Mikhail Noskov & Vasilina
Bindley
Tom & Phillis Sharpe
Mr Joe Topley & Ms Tracey Countryman
Andrew & Rosemary Tusa
Jenny Watson CBE
Laurence Watt
Bronze Patrons
Anonymous donors
Chris Aldren
Michael Allen
Mrs A Beare
Mr Anthony Blaiklock
Lorna & Christopher Bown
Mr Bernard Bradbury
Simon Burke & Rupert King
Desmond & Ruth Cecil
Mr John H Cook
Deborah Dolce
Ms Elena Dubinets
David Ellen
Cristina & Malcolm Fallen
Christopher Fraser OBE
Mr Daniel Goldstein
David & Jane Gosman
Mr Gavin Graham
Lord & Lady Hall
Mrs Dorothy Hambleton
Iain & Alicia Hasnip
Eugene & Allison Hayes
J Douglas Home
Molly Jackson
Mrs Farrah Jamal
Mr & Mrs Jan
Mr & Mrs Ralph Kanza
Mr Peter King
Jamie & Julia Korner
Rose & Dudley Leigh
Wg. Cdr. & Mrs M T Liddiard OBE
JP RAF
Drs Frank & Gek Lim
Mr & Mrs Makharinsky
Mr Gordon McNair
Andrew T Mills
Denis & Yulia Nagy
Andrew Neill
Jamie Njoku-Goodwin
Peter & Lucy Noble
Oliver & Josie Ogg
Mr Stephen Olton
Simon & Lucy Owen-Johnstone
Andrew & Cindy Peck
Mr Roger Phillimore
Mr Michael Posen
Saskia Roberts
John Romeo
Priscylla Shaw
Mr & Mrs John C Tucker
Mr & Mrs John & Susi Underwood
Karina Varivoda
Grenville & Krysia Williams
Joanna Williams
Principal Supporters
Anonymous donors
Ralph & Elizabeth Aldwinckle
Mr John D Barnard
Roger & Clare Barron
Dr Anthony Buckland
Dr Simona Cicero & Mr Mario Altieri
Mr Alistair Corbett
Guy Davies
David Devons
Igor & Lyuba Galkin
Prof. Erol & Mrs Deniz Gelenbe
In memory of Enid Gofton
Alexander Greaves
Prof. Emeritus John Gruzelier
Michael & Christine Henry
Mrs Maureen Hooft-Graafland
Bruce & Joanna Jenkyn-Jones
Per Jonsson
Mr Ian Kapur
Ms Elena Lojevsky
Dr Peter Mace
Pippa Mistry-Norman
Miss Rebecca Murray
Mrs Terry Neale
John Nickson & Simon Rew
Mr James Pickford
Filippo Poli
Mr Robert Ross
Martin & Cheryl Southgate
Mr & Mrs G Stein
Mr Rodney Whittaker
Christopher Williams
Supporters
Anonymous donors
Mr Francesco Andronio
Julian & Annette Armstrong
Mr Philip Bathard-Smith
Emily Benn
Mr Julien Chilcott-Monk
Alison Clarke & Leo Pilkington
Mr Peter Coe
Mr Joshua Coger
Miss Tessa Cowie
Caroline Cox-Johnson
Mr Simon Edelsten
Will Gold
Mr Stephen Goldring
Mr & Mrs Graham & Jean Pugh
In memory of Derek Gray
Mr Geordie Greig
Mr Peter Imhof
The Jackman Family
Mr David MacFarlane
Paul & Suzanne McKeown
Nick Merrifield
Simon & Fiona Mortimore
Dame Jane Newell DBE
Mr David Peters
Nicky Small
Mr Brian Smith
Mr Michael Timinis
Mr & Mrs Anthony Trahar
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
Kenneth Goode
Carol Colburn Grigor CBE
Pehr G Gyllenhammar
Robert Hill
Keith Millar
Victoria Robey CBE
Mrs Jackie Rosenfeld OBE
Timothy Walker CBE AM
Laurence Watt
14
• 24 March 2024 • Randall Goosby plays Mozart
London Philharmonic Orchestra
Thomas Beecham Group Members
David & Yi Buckley
Gill & Garf Collins
William & Alex de Winton
Sonja Drexler
Mr B C Fairhall
The Friends of the LPO
Roger Greenwood
Dr Barry Grimaldi
Mr & Mrs Philip Kan
John & Angela Kessler
Sir Simon Robey
Victoria Robey CBE
Bianca & Stuart Roden
Caroline, Jamie & Zander Sharp
Julian & Gill Simmonds
Eric Tomsett
Neil Westreich
Guy & Utti Whittaker
Corporate Donor
Barclays
LPO Corporate Circle
Principal
Bloomberg
Carter-Ruck Solicitors
French Chamber of Commerce
Ryze Power
Tutti
German-British Chamber of Industry & Commerce
Lazard
Natixis Corporate Investment Banking
Walpole
Preferred Partners
Jeroboams
Lindt & Sprüngli Ltd
Neal’s Yard
OneWelbeck
Sipsmith
Steinway
In-kind Sponsor
Google Inc
Thank you
Trusts and Foundations
ABO Trust
The Barbara Whatmore Charitable Trust
BlueSpark Foundation
The Boltini Trust
Borrows Charitable Trust
Cockayne – Grants for the Arts
The London Community Foundation
Dunard Fund
Ernst von Siemens Music Foundation
Foyle Foundation
Garrick Charitable Trust
The Golsoncott Foundation
Idlewild Trust
Institute Adam Mickiewicz
John Coates Charitable Trust
John Horniman’s Children’s Trust
John Thaw Foundation
Kirby Laing Foundation
The Kurt Weill Foundation for Music
The Lennox Hannay Charitable Trust
Lord and Lady Lurgan Trust
Lucille Graham Trust
The Marchus Trust
PRS Foundation
The R K Charitable Trust
The Radcliffe Trust
Rivers Foundation
Rothschild Foundation
Scops Arts Trust
TIOC Foundation
The Thriplow Charitable Trust
Vaughan Williams Foundation
The Victoria Wood Foundation
The Viney Family
and all others who wish to remain anonymous.
Board of the American Friends of the LPO
We are grateful to the Board of the American Friends of the London Philharmonic Orchestra, who assist with fundraising for our activities in the United States of America:
Simon Freakley Chairman
Kara Boyle
Jon Carter
Jay Goffman
Alexandra Jupin
Natalie Pray MBE
Damien Vanderwilt
Marc Wassermann
Elizabeth Winter
Catherine Høgel Hon. Director
Jenifer L. Keiser, CPA, EisnerAmper LLP
LPO International Board of Governors
Natasha Tsukanova Co-Chair
Martin Höhmann Co-Chair
Mrs Irina Andreeva
Steven M. Berzin
Shashank Bhagat
HSH Dr Donatus, Prince of Hohenzollern
Aline Foriel-Destezet
Irina Gofman
Olivia Ma
George Ramishvili
Sophie Schÿler-Thierry
Florian Wunderlich
15
Philharmonic Orchestra • 24 March 2024 • Randall Goosby plays Mozart
London
London Philharmonic Orchestra • 24 March 2024 •
London Philharmonic Orchestra Administration
Board of Directors
Dr Catherine C. Høgel Chair
Nigel Boardman Vice-Chair
Martin Höhmann* President
Mark Vines* Vice-President
Emily Benn
Kate Birchall*
David Burke
Michelle Crowe Hernandez
Deborah Dolce
Elena Dubinets
Tanya Joseph
Hugh Kluger*
Katherine Leek*
Minn Majoe*
Tania Mazzetti*
Jamie Njoku-Goodwin
Neil Westreich
Simon Freakley (Ex officio –Chairman of the American Friends of the LPO)
*Player-Director
Advisory Council
Roger Barron Chairman
Christopher Aldren
Richard Brass
Helen Brocklebank
YolanDa Brown OBE
David Buckley
Simon Burke
Simon Callow CBE
Desmond Cecil CMG
Sir Alan Collins KCVO CMG
Andrew Davenport
Guillaume Descottes
Cameron Doley
Lena Fankhauser
Christopher Fraser OBE
Jenny Goldie-Scot
Jonathan Harris CBE FRICS
Marianna Hay MBE
Nicholas Hely-Hutchinson DL
Amanda Hill
Dr Catherine C. Høgel
Martin Höhmann
Rehmet Kassim-Lakha
Jamie Korner
Geoff Mann
Andrew Neill
Nadya Powell
Sir Bernard Rix
Victoria Robey CBE
Baroness Shackleton
Thomas Sharpe KC
Julian Simmonds
Barry Smith
Martin Southgate
Chris Viney
Laurence Watt
Elizabeth Winter
New Generation Board
Ellie Ajao
Emily Burton
Peter De Souza
Vivek Haria
Rianna Henriques
Connor Huss
Pasha Orleans-Foli
Priya Radhakrishnan
Zerlina Vulliamy
General Administration
Elena Dubinets
Artistic Director
David Burke Chief Executive
Chantelle Vircavs
PA to the Executive and Employee Relations Manager
Concert Management
Roanna Gibson
Concerts and Planning Director
Graham Wood
Concerts and Recordings Manager
Maddy Clarke Tours Manager
Madeleine Ridout
Glyndebourne and Projects 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
Benjamin Wakley
Assistant 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
Lowri Davies
Eleanor Jones
Education and Community Project Managers
Hannah Smith
Education and Community Co-ordinator
Claudia Clarkson Regional Partnerships Manager
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 Co-ordinators
Nick Jackman
Campaigns and Projects Director
Kirstin Peltonen Development Associate
Marketing
Kath Trout
Marketing and Communications Director
Sophie Harvey Marketing Manager
Rachel Williams
Publications Manager
Gavin Miller
Sales and Ticketing Manager
Ruth Haines
Press and PR Manager
Hayley Kim
Residencies and Projects Marketing Manager
Greg Felton
Digital Creative
Alicia Hartley
Digital and Marketing Co-ordinator
Isobel Jones
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
Selman Hoşgör
2023/24 season identity
JMG Studio
Printer John Good Ltd
16
Goosby plays Mozart
Randall