LPO concert programme: 24 Sep 2022 - Edward Gardner conducts Schoenberg's Gurrelieder

Concertprogramme 2022/23 concert season at the Southbank Centre

Where music takes you

2Contents

Saturday 24 September 2022 | 7.00pm

London Philharmonic Choir

4 London OrchestraPhilharmonic

Sung in German with English surtitles.

5 New on the LPO Label Edward Gardner

3 On stage tonight

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This concert is being recorded and broadcast live by BBC Radio 3. It will be available for 30 days on BBC Sounds.

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the

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Karen Cargill Wood-Dove David Butt Philip Waldemar

Robert Murray Klaus the Fool

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7 Tonight’s soloists London Philharmonic Choir London Symphony Chorus Programme notes Next concerts More choral highlights this season Sound Futures donors Thank you LPO administration

James Creswell Peasant Alex Jennings Speaker

Southbank Centre’s Royal Festival Hall

Principal Conductor Edward Gardner supported by Aud Jebsen Principal Guest Conductor Karina Canellakis Conductor Emeritus Vladimir Jurowski Patron HRH The Duke of Kent KG Artistic Director Elena Dubinets Chief Executive David Burke Leader Pieter Schoeman supported by Neil Westreich

There will be a 20-minute interval after Part One, at approximately 8.00pm. The concert will end at approximately This9.15pm.performance is supported by Hamish & Sophie Forsyth and Malcolm Herring with additional support from Dame Colette Bowe, Lorna & Christopher Bown and Peter & Fiona Espenhahn.

Schoenberg Gurrelieder

Concert presented by London Philharmonic Orchestra

12

Welcome

Edward Gardner conductor Generously supported by Aud Jebsen Lise Lindstrom Tove

Artistic Director: Neville Creed London Symphony Chorus

Chorus Director: Simon Halsey

Eating, drinking and shopping? Take in the views over food and drinks at the Riverside Terrace Cafe, Level 2, Royal Festival Hall. Visit our shops for products inspired by our great cultural experiences, iconic buildings and central London location.

Tonight's work, Schoenberg's Gurrelieder, is one of the most ambitious choral works of all time, written for a colossal orchestra, choir, soloists and speaker. As well as our lineup of world-class soloists and our friends from the London Philharmonic Choir, it's wonderful to have members of the London Symphony Chorus with us tonight, creating a thrilling joint choral force. We're also thrilled that British actor Alex Jennings, well-known for his work on stage and screen, brings his dramatic mastery to the role of Speaker. Excitingly, tonight also sees the premiere of a new English translation of the German text in Part 3, newly crafted for this performance by Jeremy Sams – read more from Jeremy on page 17.

Latecomers will only be admitted to the auditorium if there is a suitable break in the performance.

Welcome to the Southbank Centre

Mobiles and watches should be switched off before the performance begins.

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

Welcome to the first concert of our 2022/23 Royal Festival Hall season with Principal Conductor Edward Gardner. This season marks the Orchestra's 90th anniversary and we're celebrating in style, with something for every musical taste. Tonight is the first of eleven concerts with Edward Gardner in a season defined by his musical passions: highlights include Mendelssohn’s ‘Reformation’ Symphony, Lutosławski’s Fourth Symphony, Stravinsky’s The Rite of Spring, Mahler’s Fifth, an Elgar symphony cycle, and two more choral blockbusters with the London Philharmonic Choir – Janáček’s Glagolitic Mass and Berlioz’s Damnation of Faust.

Enjoyed tonight’s concert?

Photography is not allowed in the auditorium.

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.

2 London Philharmonic Orchestra • 24 September 2022 • Gardner conducts Schoenberg's Gurrelieder

We look forward to seeing you again soon.

Welcome to the Southbank Centre Welcome

Recording is not permitted in the auditorium without the prior consent of the Southbank Centre. The Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended.

A few points to note for your comfort and enjoyment:

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If you've always associated Schoenberg with stark modernism and atonality, we hope this evening's concert will bring to the fore a different side to his music. Composed in a lush, post-Romantic idiom, with influences of Mahler and Strauss, this tragic love triangle is filled with music of intense emotion and breathtaking beauty. Schoenberg himself once wrote that: 'my work should be judged as it enters the ears and heads of listeners, not as it is described to the eyes of readers.' We hope you, tonight's listeners, enjoy the concert.

Piccolos

Horns John Ryan* Principal Martin DuncanEliseAlexanderGarethAnnemarieHobbsFederleMollisonBoukikovCampbellFuller

Benjamin Mellefont Principal Harry MariaPennyCameron-Gomes

Mark Vines Co-Principal Oliver Johnson Joel JasonAshfordKoczur

On stage tonight

Harps

David Quiggle

Igor Yuzefovich Guest Leader Kate ChairLasmaOswinTaiminasupportedby Irina Gofman & Mr Rodrik V. G. MinnCave

Paul Beniston* Principal Anne McAneney* Tom Nielsen Tom JohnTonyWattsCrossVernon

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

Lee Tsarmaklis* Principal Chair supported by Friends of the Orchestra

Rachel Masters Principal Emma PatriziaTamaraRamsdaleYoungMeier

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First Violins

Sue Böhling* Principal Chair supported by Dr Barry Grimaldi Emily Cockbill

Oboes

TromboneContrabass

Double Basses

TubaPrincipal

Simon Estell* Principal Hugo Mak

Wagner Tubas

The LPO Neilthisnotwhosechairtheacknowledgesalsofollowingsupporterplayerispresentatconcert:Westreich

Simon Carrington* Principal Chair supported by Victoria Robey JonathanOBE Phillips

Alto Trombone David Whitehouse

Bassoons

Cor Anglais

Flutes

Bass Trombones Josh AlexanderCirtinaKelly

Andrew Barclay* Principal Chair supported by Garf & Gill

RachelDanielKimJuliaKateStanislavJamesMartinShiryBenedettoTobyKatharineSharpLeekWarrPollaniRashkovskyWrayHeronPopovdeCamposDoukakisBeckerCornfordRobson

Bass Clarinets Paul Richards* Principal James Maltby

Timpani

Violas

Kevin Rundell* Principal Sebastian Pennar Co-Principal Hugh NickieSamElenAdamLowriLauraGeorgeKlugerPenistonMurphyMorganWynterRobertsRiceDixon

Surtitles

Principal Chair supported by Countess Dominique EmmaLoredan Oldfield Co-Principal Fiona Higham Chair supported by David & Yi Buckley Ashley Stevens Kate SheilaEmmaGeorginaKateJessicaSarahSioniNynkeClaudiaNancyJosephBirchallMaherElanTarrant-MatthewsHijlkemaWilliamsThornettColemanColeLeoCrossleyLaw

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RachelRichardLauraEmmanuelStefanKarenJeremyFeargusKeithCollinsMillarBrennanCornesHuttBeckettJosteBradfordHorneGledhill

3 London Philharmonic Orchestra • 24 September 2022 • Gardner conducts Schoenberg's Gurrelieder

Jonathan Burton, operated by Sophie

Juliette Bausor Principal Eilidh PedroImogenGillespieRoyceLópezCampos

Stewart McIlwham* Principal Clare KatieMartaChildsSantamariaBicknell

Tania Mazzetti

Ian Hardwick* Principal Alice JamesMundayHulme

Clarinets

Trumpets

Tenor Trombones

Percussion

Bass Trumpet Duncan Wilson

Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden Pei-Jee Ng Co-Principal Chair supported by The Candide Trust Francis Bucknall Sue Sutherley Tom ColinIainMorwennaJuliaSibylleGeorgeHelenRoffThomasHoultHentschelMornewegDelMarWardAlexander

Cellos

Contrabassoons

Celeste Catherine Edwards ConductorAssistant John Warner

Lyndon Meredith

E-flat Clarinets Thomas Watmough Principal Chair supported by Roger Greenwood Elliot Gresty

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

Second Violins

Jonathan Davies Principal Chair supported by Sir Simon EmmaDominicRobeyTylerHarding

Sharing the wonder

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.

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

London Philharmonic Orchestra

4 London Philharmonic Orchestra • 24 September 2022 • Gardner conducts Schoenberg's Gurrelieder

Our home is here 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.

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.

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 conductors

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

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Next generations

COMPLETE OPERA IN THREE ACTS conducted by EDWARDwithGARDNER

NEW ON THE LPO LABEL

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

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.

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

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.

and The Firebird; and Tippett’s complete opera

5 London Philharmonic Orchestra • 24 September 2022 • Gardner conducts Schoenberg's Gurrelieder lpo.org.uk

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

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.

2022/23 and beyond

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

tours to Berlin, Munich and Amsterdam, and appearances at the BBC Proms and Edinburgh International Festival, the orchestra looks forward to touring projects in Germany and Belgium.

6 London Philharmonic Orchestra • 24 September 2022 • Gardner conducts Schoenberg's Gurrelieder

In demand as a guest conductor, Edward will also return to the Cleveland and Chicago symphony orchestras, and conduct the Staatskapelle Berlin in its Sommerkonzert. Following the announcement of Edward’s appointment at the Norwegian Opera and Ballet, the 2022/23 season will see him conduct a new production of Verdi’s Un ballo in maschera alongside two concert performances of Berlioz’s Damnation of Faust. He will also conduct the Norwegian National Opera Orchestra in a programme of Dvořák and MusicRachmaninoff.Director of English National Opera for eight years (2007–15), Edward has an ongoing relationship with New York’s Metropolitan Opera, where he has conducted productions of The Damnation of Faust, Carmen, Don Giovanni, Der Rosenkavalier and Werther. In London he has future plans with the Royal Opera House, where he made his debut in 2019 in a new production of Káťa Kabanová and returned for Werther the following season. During the 2021/22 season Edward made his debut with Bayerische Staatsoper in a new production of Peter Grimes. Elsewhere, he has conducted at La Scala, Chicago Lyric Opera, Glyndebourne Festival Opera and Opéra National de Paris.

Edward opened the Bergen Philharmonic season with Beethoven’s Symphony No. 3 (Eroica); further symphonic highlights include works by Stravinsky, Brahms and Nielsen. Choral projects include Mahler’s Symphony No. 2 (Resurrection) and a staged performance of Wagner’s Parsifal. Following recent

Born in Gloucester in 1974, Edward was educated at the University of Cambridge and the Royal Academy of Music. He went on to become Assistant Conductor of the Hallé and Music Director of Glyndebourne Touring Opera. His many accolades include being named Royal Philharmonic Society Award Conductor of the Year (2008), an Olivier Award for Outstanding Achievement in Opera (2009) and an OBE for Services to Music in The Queen’s Birthday Honours (2012).

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This season Edward will lead the London Philharmonic Orchestra in celebrating its 90th anniversary with music originally written for the LPO, including Vaughan Williams’s Serenade to Music and Tippett’s A Child of Our Time. Other highlights this season include Lutosławski’s Fourth Symphony, Stravinsky’s The Rite of Spring, Mahler’s Fifth Symphony, an Elgar symphony cycle, Janáček’s Glagolitic Mass and Berlioz’s Damnation of Faust. He will premiere works by Mark Simpson, LPO Composer-in-Residence Brett Dean, Vijay Iyer and Agata Zubel, and will tour with the Orchestra throughout the UK and Benelux as well as undertaking an extensive tour of Germany.

A passionate supporter of young talent, Edward founded the Hallé Youth Orchestra in 2002 and regularly conducts the National Youth Orchestra of Great Britain. He has a close relationship with The Juilliard School of Music, and with the Royal Academy of Music who appointed him their inaugural Sir Charles Mackerras Conducting Chair in 2014.

Principal Conductor, London Philharmonic Orchestra

Edward Gardner

Edward Gardner became Principal Conductor of the London Philharmonic Orchestra in September 2021. He is also Chief Conductor of the Bergen Philharmonic, a position he will relinquish at the end of the 2023/24 season. From August 2024 he will undertake the Music Directorship of the Norwegian Opera and Ballet (DNO&B), having commenced the role of Artistic Advisor in February 2022.

Edward Gardner’s position at the LPO is generously supported by Aud Jebsen.

Edward opened the LPO’s 2021/22 season with an acclaimed performance of Tippett’s The Midsummer Marriage – the performance has just been released on the LPO Label (see page 5). Last month he conducted the Orchestra in Elgar’s The Dream of Gerontius at the BBC Proms with the LPC and the Hallé Choir.

7 London Philharmonic Orchestra • 24 September 2022 • Gardner conducts Schoenberg's Gurrelieder

include title roles in Turandot (Metropolitan Opera, Royal Opera House, Wiener Staatsoper, Munich, Milan, Barcelona, Valencia) and Salome (Wiener Staatsoper, Opera Australia); Brünnhilde and Die Färberin (Hamburg), Elisabeth and Venus in Tannhäuser (Greek National Opera); Marie in Wozzeck (Theater an der Wien); Brünnhilde in Die Walküre (Naples, Palermo); and Senta in Der fliegende Holländer (San Francisco). She has performed in concert with the Orchestre National de Lyon, Deutsche Radio Philharmonie, Japan Philharmonic, Seoul Philharmonic, Swedish Radio Symphony, Rotterdam Philharmonic, San Francisco Symphony, Dallas Symphony and Bournemouth Symphony orchestras. Tonight is her debut with the London Philharmonic Orchestra.

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This season Karen will sing Mahler's Symphony No. 2 with Donald Runnicles in Berlin and with the Orchestre Symphonique de Montréal under Rafael Payare, and Mahler's Symphony No. 3 with the Deutsches Symphonie-Orchester Berlin and Robin Ticciati. She makes her role debut as Principessa in Puccini's Il trittico at Scottish Opera, and returns to Glyndebourne to sing Mère Marie in Dialogues des Carmélites. She returns to the LPO on 4 February 2023 as Marguerite in Berlioz's The Damnation of Faust, again under Edward Gardner.

Lise Lindstrom graduated with a Bachelor of Arts from San Francisco State University and a Master of Music from San Francisco Conservatory of Music.

On the opera stage, Karen most recently appeared as Brangäne in Tristan und Isolde at the 2021 Glyndebourne Festival. Other past highlights include appearances at the Royal Opera House, Covent Garden; the Metropolitan Opera, New York; and the Deutsche Oper Berlin.

American dramatic soprano Lise Lindstrom has performed at the world’s leading opera houses including the Metropolitan Opera, San Francisco Opera, Deutsche Oper Berlin, Wiener Staatsoper, Royal Opera House, Covent Garden and Teatro alla Scala. In the 2022/23 season and beyond she performs Brünnhilde in complete Ring Cycles with the Semperoper Dresden and Opera Australia, and in concert with the Dallas Symphony Orchestra; the title role in Elektra for the Royal Danish Opera; and Die Färberin in Die Frau ohne Schatten in Cologne and Dresden. Last season she sang title roles in Elektra (Dresden), Turandot (Opera Australia) and Salome (Orquesta y Coro Nacionales de España), further appearing as Brünnhilde in Leipzig (Götterdämmerung) and Copenhagen (Die Walküre), and as Die Färberin in OperaFrankfurt.highlights

Past highlights have included Beethoven's Missa Solemnis with the Philadelphia Orchestra and Lieder by Alma Mahler with the Rotterdam Philharmonic Orchestra, both conducted by former LPO Principal Guest Conductor Yannick Nézet-Séguin; Bartók's Bluebeard’s Castle with the London Symphony Orchestra and Simon Rattle; Elgar’s The Dream of Gerontius with Andrew Davis, closing the 2022 Edinburgh Festival; and The Damnation of Faust with the DSO Berlin conducted by Robin Ticciati.

LiseToveLindstrom soprano Karen Cargill Wood-Dove mezzo-soprano

Scottish mezzo-soprano Karen Cargill studied at the Royal Conservatoire of Scotland. She was the winner of the 2002 Kathleen Ferrier Award, and in 2018 was awarded an Honorary Doctorate from the Royal Conservatoire of Scotland. She is currently Patron of the National Girls’ Choir of Scotland.

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One of the most exciting tenors in Britain today, David Butt Philip is an alumnus of the Jette Parker Young Artist Programme. Recent role debuts including Florestan in Fidelio at the Royal Opera House, Covent Garden; the title role in Der Zwerg at Deutsche Oper Berlin; and Bacchus in Ariadne auf Naxos at the Edinburgh International Festival have earned him major critical and public acclaim. This season he makes his debut at the Wiener Staatsoper: first as Laca in Jenůfa, then as Stolzing in Die Meistersinger von Nürnberg, and finally as Don José in Carmen. He also debuts at the San Francisco Opera as Der Kaiser in Die Frau ohne Schatten under Donald Runnicles, and returns to the Royal Opera House as the Prince in Rusalka. On the concert platform he debuts at the Spring Festival in Tokyo, once again as LastStolzing.season

Robert Murray has performed principal roles with the Royal Opera House, Hamburg State Opera, English and Welsh National Operas, Norwegian Opera, Bergen National Opera, Beijing Music Festival, Venice Biennale, and the Edinburgh and Salzburg festivals. He works regularly in concert with such conductors as Edward Gardner, Harry Christophers, Paul McCreesh and Simon Rattle. In September 2021 he sang the role of Mark in Tippett's The Midsummer Marriage with the London Philharmonic Orchestra and Edward Gardner, which has just been released on the LPO Label (see page 5).

During the 2022/23 season Robert will make debut appearances at the Teatro alla Scala, Milan (Antonio in The Tempest) and Theater an der Wien (title role in Belshazzar), and returns to English National Opera (Essex in Gloriana) and Garsington Opera. Recent highlights include Quint and Prologue in The Turn of the Screw with Opera Glassworks (John Wilson) and Garsington Opera; a staged St John Passion at the Théatre du Châtelet; the world premiere of Gerald Barry’s Alice’s Adventures Under Ground at the Royal Opera House; his debut as Florestan in Fidelio with Irish National Opera; Schoolmaster/Mosquito/Pásek in The Cunning Little Vixen on tour with the City of Birmingham Symphony Orchestra; and Beethoven's Symphony No. 9 with the London Symphony Orchestra and Simon Rattle, also appearing in recital at the Lammermuir and Oxford Lieder festivals and at Wigmore RobertHall.

Murray is a graduate of the University of Newcastle and RCM. He was a Jette Parker Young Artist at the Royal Opera House, Covent Garden.

8 London Philharmonic Orchestra • 24 September 2022 • Gardner conducts Schoenberg's Gurrelieder

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Born and brought up in Wells in Somerset, David Butt Philip was a chorister at Peterborough Cathedral. He is a graduate of Royal Northern College of Music, the Royal Academy of Music and the National Opera Studio.

David Butt Philip

David made debuts at the Metropolitan Opera as both Grigory in Boris Godunuv and Laertes in the US premiere of Brett Dean’s Hamlet; at Washington National Opera for a series of celebratory concerts; and at the Salzburg Festival as Boris in Káťa Kabanová. Further appearances included his role debut as Lohengrin at the Deutsche Oper Berlin, and Bacchus in Ariadne auf Naxos at the Bayerische Staatsoper. On the concert platform, he joined the Noord Nederlands Orkest and Hungarian State Opera for Mahler's Das Lied von der Erde; the Orchestre de l’Opéra de Rouen Normandie for Beethoven's Missa Solemnis; and a gala evening at Opera Holland Park.

Waldemar tenor Robert Murray Klaus the Fool tenor

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Other recent credits include the Hulu series Four Weddings and a Funeral, ITV’s Victoria and Steve McQueen’s Small Axe for the BBC. And, this year, Peter Kosminsky’s Channel 4 series The Undeclared War and Lucy Forbes’s This Is Going to Hurt on BBC.

JamesPeasantCreswell bass Alex SpeakerJennings

James Creswell is also very much in demand on the concert stage: highlights include Mozart's Requiem at the Komische Oper Berlin and in Amsterdam; King Mark in Tristan und Isolde with the Bremen Philharmonic; Brahms’s Requiem in Lisbon; Messiah at the Bergen Festival; Mahler's Symphony No. 8, Dvořák's Saint Ludmila and Schoenberg's Gurrelieder with the Hallé and Mark Elder; Bach's St Matthew Passion at the Cincinnati May Festival with James Conlon; Verdi's Requiem with Huddersfield Choral Society and Vasily Petrenko; Jesus and Bass soloist in Bach’s St John Passion with the Deutsches Symphonie-Orchester Berlin and Kent Nagano; Gurrelieder with the Bergen Philharmonic and Edward Gardner; and Tippett’s A Child of Our Time and Rocco in Fidelio at the BBC Proms. Tonight is his LPO debut.

9 London Philharmonic Orchestra • 24 September 2022 • Gardner conducts Schoenberg's Gurrelieder

Alex Jennings is an award-winning British actor best known for his impressive stage work, as well as his on-screen roles as the Duke of Windsor in Netflix’s The Crown and Prince Charles in The Queen, opposite Helen Mirren.

Over his 40-year career he has worked extensively with the Royal Shakespeare Company and the National Theatre. His work with the RSC includes a Helen Hayes Award-winning performance as Hamlet, and winning the second of his three Olivier Awards (for Best Actor) for his portrayal of Peer Gynt. For the National Theatre he has played many leading roles including Henry Higgins in My Fair Lady (Olivier Award, Best Actor in a Musical). He was also the recipient of the Olivier Award for Comedy Performance of the Year for his work as Gloumov in Too Clever By Half, a performance that also earned him Drama Magazine’s Best Actor Award and Plays and Players Actor of the Year Award. In 2019 he was nominated for BAFTA Best Supporting Actor for his work as Dr Tim Finch in Unforgotten (Series 3).

American bass James Creswell has established himself as one of the leading basses of his generation. Born in Seattle, he graduated from Yale University, and his early career included apprenticeships with Los Angeles Opera and San Francisco Opera, before moving to Germany as a soloist with the Komische Oper Berlin. This season he performs the roles of Bartolo (Le nozze di Figaro) and Il Marchese di Calatrava (La forza del destino) at Opéra National de Paris; Fafner (Das Rheingold) at English National Opera; Nourabad in a semi-staged production of Les pêcheurs de perles with Opera North; and Vodník (Rusalka) and Caronte in Monteverdi’s Orfeo at Santa Fe Opera. Previous seasons have included appearances at the Metropolitan Opera, Dutch National Opera, Teatro Real, Bilbao Opera, Teatro dell’ Opera di Roma, San Francisco Opera, Los Angeles Opera, Staatsoper Berlin, Oper Frankfurt, Theater an der Wien, ENO, Welsh National Opera, Opera North and Scottish Opera.

A well-travelled choir, it has visited numerous European countries and performed in Kuala Lumpur, Hong Kong and Australia. The Choir has appeared twice at the Touquet International Music Masters Festival and was delighted to travel to the Théâtre des Champs-Elysées, Paris, in December 2017 to perform Bach’s Christmas Oratorio with the London Philharmonic Orchestra.

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* Guest singer from the BBC Symphony Chorus

10 London Philharmonic Orchestra • 24 September 2022 • Gardner conducts Schoenberg's Gurrelieder

Supported by

Lara Carim

Founded in 1947 as the chorus for the London Philharmonic Orchestra, the London Philharmonic Choir is widely regarded as one of Britain’s finest choirs. For the last seven decades the Choir has performed under leading conductors, consistently meeting with critical acclaim and recording regularly for television and radio.

Enjoying a close relationship with the London Philharmonic Orchestra, the Choir frequently joins it for concerts in the UK and abroad. Recent highlights have included Tippett’s A Midsummer Marriage under Edward Gardner in his inaugural concert as LPO Principal Conductor; Mozart’s Requiem under Ádám Fischer; the UK premiere of James MacMillan’s Christmas Oratorio with the Choir’s President, Sir Mark Elder; Walton’s Belshazzar’s Feast with Marin Alsop; Mahler’s Symphonies Nos. 2 & 8 and Tallis’s Spem in alium with Vladimir Jurowski; Verdi’s Requiem and Brahms's German Requiem with Edward Gardner; Beethoven’s Missa Solemnis with Sir Mark Elder; and Haydn’s The Creation with Sir Roger Norrington. The Choir appears annually at the BBC Proms, and performances have included the UK premieres of Mark-Anthony Turnage’s A Relic of Memory and Goldie’s Sine Tempore in the Evolution! Prom. In recent years the Choir has also given performances of works by Beethoven, Elgar, Howells, Liszt, Orff, Vaughan Williams, Verdi and Walton.

Tenors

The Choir prides itself on achieving first-class performances from its members, who are volunteers from all walks of life.

Jenny Burdett

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London Philharmonic Choir

Patron HRH Princess Alexandra President Sir Mark Elder Artistic Director Neville Creed Chairman Tessa Bartley Choir Manager Bethea Hanson-Jones Accompanist Jonathan Beatty

Sopranos

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Basses

David CamAlexPeterChinPhilipEdwinJamesSimonJohannesWillJohnPaulJohnGaryChristopherDavidOliverNickBrianKevinRylanDavidStephenMarkChristopherAlanLukeIanGaryJonathanDominicPaulMyrddinMarcusStevenPeterJonathonAllenby*BirdBlamireCopeland*DanielsEdwardsFinchamFoordForrest*FreerFrostHagertyHardwick*HarveyHillierHinesHodgsonHoleyHollands*HughesJackmanJacksonKentMackayMagill*McLeod*JMedlicottDMorrisParsonsPietersPotter*QuitmannSmithTaitTanTaylorThomasWiltshire

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The partnership between the LSC and LSO, particularly under Richard Hickox in the 1980s and 1990s, and later with Sir Colin Davis, led to its large catalogue of recordings which have won nine awards, including five Grammys. Gramophone included the recordings of Berlioz’s The Damnation of Faust and Romeo and Juliet on LSO Live with Sir Colin as two of the top ten Berlioz recordings. Recent LSO Live recordings with the Chorus include Bernstein’s Wonderful Town, Berlioz’s The Damnation of Faust and Beethoven’s Christ on the Mount of Olives, all with Sir Simon Rattle.

In early 2020 the chorus undertook a major European tour of Beethoven, including Christ on the Mount of Olives, with the LSO and Sir Simon Rattle. Seven concerts were then cancelled because of the COVID pandemic but the Chorus continued to rehearse online and performed outside or in masks when restrictions allowed. Recent performances include the world premieres of Howard Goodall’s Never to Forget and Errollyn Wallen’s After Winter with Simon Halsey at the Spitalfields Festival in July 2021, Beethoven’s Symphony No. 9 with the Orchestre Philharmonique in Monte-Carlo and Aix-en-Provence with Kazuki Yamada, Julian Anderson’s Exiles (an LSC co-commission) and Haydn’s The Creation with Sir Simon Rattle, and Dallapiccola’s Il prigioniero with Sir Antonio Pappano.

President Sir Simon Rattle OM CBE Vice President Michael Tilson Thomas Patrons Simon Russell Beale CBE, Howard Goodall CBE Chorus Director Simon Halsey CBE Associate Directors Lucy Hollins, David Lawrence, Barbara Hoefling, Mariana Rosas Chorus Accompanist Benjamin Frost Chair Alice Jones LSO Choral Projects Manager Sumita Menon Vocal coaches Norbert Meyn, Anita Morrison, Rebecca Outram, Robert Rice

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11 London Philharmonic Orchestra • 24 September 2022 • Gardner conducts Schoenberg's Gurrelieder

Tenors

The London Symphony Chorus was formed in 1966 to complement the work of the London Symphony Orchestra and is renowned internationally for its concerts and recordings with the Orchestra. Their important partnership was strengthened in 2012 with the appointment of Simon Halsey as joint Chorus Director of the LSC and Choral Director for the LSO. The Chorus plays a major role in furthering the vision of LSO Sing, which also encompasses the LSO Community Choir, LSO Discovery Choirs for young people, and Singing Days at LSO St Luke’s.

Erik

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Never to Forget is an LSC commission in memory of health and social care workers who died from COVID-19 while caring for others. An initial eight-minute version was recorded online by the Chorus with LSO players and released as a video during the pandemic. Rambert choreographed and recorded a video of dance to this, and then performed the completed work with the Chorus at a national Remember Me and Never to Forget Memorial Concert at St Paul’s Cathedral in March 2022.

The LSC has worked with many leading international conductors and other major orchestras, including the Berlin Philharmonic, Vienna Philharmonic, Leipzig Gewandhaus, Los Angeles Philharmonic, New York Philharmonic, National Youth Orchestra of Great Britain and European Union Youth Orchestra. It has also toured extensively throughout Europe and visited North America, Israel, Australia and South East Asia.

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The Chorus is an independent charity run by its members. It is committed to excellence, to diversity, equity and inclusion, and the development of its members. It engages actively in the musical life of London, seeking new members and audiences, and commissioning and performing new works.

Part Two

Gurrelieder (1900–03, 1910–11)

Song of the Wood-Dove: Tauben von Gurre! (Wood-Dove)

Interval: 20 minutes

Der Hahn erhebt den Kopf zur Kraht (Chorus: Waldemar's men)

Libretto by Robert Franz Arnold (1872–1938), based on a text in Danish by Jens Peter Jacobsen (1847–85)

Programme notes

Orchestral Prelude

Sterne jubeln das Meer, es leuchtet (Tove)

Mit Toves Stimme flüstert der Wald (Waldemar)

Erwacht, König Waldemars Mannen wert! (Waldemar)

Herrgott, weisst du, was du tatest (Waldemar)

Du wunderliche Tove! (Waldemar) Orchestral Interlude

Nun sag' ich dir zum ersten Mal (Tove)

Arnold Schoenberg (1874–1951)

Du sendest mir einen Liebesblick (Tove)

Deckel des Sarges klappert und klappt (Peasant)

Gegrüsst, o König an Gurres See Strand (Chorus: Waldemar's men)

So tanzen die Engel vor Gottes Thron nicht (Waldemar)

12 London Philharmonic Orchestra • 24 September 2022 • Gardner conducts Schoenberg's Gurrelieder

Ross! Mein Ross! Was schleichst du so träg! (Waldemar)

Orchestral Prelude

Ein seltsamer Vogel ist so'n Aal (Klaus the Fool)

Herr Gänsefuss, Frau Gänsekraut (Speaker) English translation: Jeremy Sams Seht die Sonne (Chorus)

Including a new English translation of 'Herr Gänsefuss, Frau Gänsekraut', especially created for this performance by Jeremy Sams

O, wenn des Mondes Strahlen leise gleiten (Tove)

Es ist Mitternachtszeit (Waldemar)

Des Sommerwindes wilde Jagd (The Wild Hunt of the Summer Wind)

Nun dämpft die Dämm'rung jeden Ton (Waldemar)

Part One

Du strenger Richter droben (Waldemar)

Part Three

London Philharmonic Orchestra

It is an astonishing work for many reasons, not least that while its composition was begun in 1900, when

13 London Philharmonic Orchestra • 24 September 2022 • Gardner conducts Schoenberg's Gurrelieder

Edward Gardner conductor Lise Lindstrom Tove soprano Karen Cargill Wood-Dove mezzo-soprano

London Philharmonic Choir

Programme notes

The ‘songs of Gurre’ tell the tale of two lovers – King Waldemar and Tove. When their love is discovered by Waldemar’s wife, Queen Helwig, she has Tove killed, a blow from which Waldemar never recovers. He rails against God himself, accusing him of being a tyrant to allow Tove to die and thus to be separated from Waldemar. As punishment for this blasphemy, Waldemar is compelled to ride every night on a wild hunt with the ghostly figures of his dead vassals. This apparently interminable cycle, however, is broken by the return of spring. As new life blossoms throughout the world, the souls of Waldemar and Tove find release in the renewal of nature, and thus the eternal union that Tove once promised Waldemar.

David Butt Philip Waldemar tenor Robert Murray Klaus the Fool tenor James Creswell Peasant bass

Alex Jennings Speaker

In 1900, Schoenberg began a song cycle for soprano, tenor and piano, intending to enter it for a composing competition. A year later, he found he had composed a massive cantata for five soloists, a speaker, three male choruses of four parts each, an eight-part mixed chorus, and an orchestra of about 150. The poems that had inspired such a vast work were drawn from a collection by the Danish poet Jens Peter Jacobsen (1847–85), itself based upon medieval legends. Both the text, and Schoenberg’s response to it, reflect the powerful influence of Wagnerism at the fin-de-siècle to which few young composers, writers and artists were immune. Indeed, Schoenberg’s friend Alexander Zemlinsky had begun setting part of the same text in 1899.

London Symphony Chorus

The 12th-century Gurre Castle, associated with the legend of King Waldemar as told in Jacobsen's poems

Part One of Gurrelieder consists of nine songs, sung alternately by Waldemar and Tove, seamlessly joined by orchestral transitions. They fall into clear pairs, with each character giving their account of successive stages in the unfolding narrative. The first two songs depict the landscape and atmosphere, as evening turns into a moonlit night. Waldemar is riding out to the castle of Gurre, where Tove awaits him. Songs 3 and 4 depict his journey and arrival, an ecstatic moment reflected in the whole of nature.

dusk, leading into an intense love duet at midnight, passes through the nocturnal hunt of the ghostly riders and ends at dawn with the promise of new life on the arrival of the summer wind, a year and a day later. For all the medieval origins of the text, this blurring of the world of nature and the erotic is typical of the artistic concerns of the fin-de-siècle

Programme notes

Schoenberg’s musical language was still essentially late-Romantic, it was not completed until 1911, by which time he had written some of his key atonal works in a more modernist idiom. In January 1910, it was performed with the orchestral parts in a six-handed piano reduction by Webern. The fully orchestrated version was premiered in Vienna on 23 February 1913, conducted by Franz Schreker. Schoenberg was dismissive of its positive reception, stung by the fact that his earlier style was enthusiastically acclaimed while his more recent works were rejected.

But it is undoubtedly Wagner whose voice is most readily heard behind Schoenberg’s in this work. Like Wagner’s Ring, Schoenberg’s Gurrelieder traces the downfall of the mighty, reflected in the allencompassing cycle of nature. Like Tristan und Isolde, it charts a yearning for the loss of individual identity in the ecstatic union of two lovers. Waldemar and Tove know that only in death will their desire, forged out of their separateness in life, finally be reconciled and find resolution. The beginning of the piece takes place at

Over a decade earlier, when he began the work, it had little chance of any performance. Indeed, like the tonepoem Pelleas und Melisande, which interrupted his work on Gurrelieder in 1903, it was an extremely ambitious project for an almost unknown composer still in his twenties, with virtually no formal instruction. Apart from the limited success of a String Quartet from 1897 and some songs performed to little acclaim in 1900, Schoenberg had no professional performances to his name, and yet Gurrelieder shows complete mastery of the techniques of musical narrative and tone-painting of Wagner and Strauss.

14 London Philharmonic Orchestra • 24 September 2022 • Gardner conducts Schoenberg's Gurrelieder

Perhaps it was Gustav Mahler who provided Schoenberg with a model. Gurrelieder finds some parallels in Mahler’s youthful cantata Das klagende Lied, completed in 1880 at the age of just 20. Mahler revised the work several times before it was finally premiered in Vienna, conducted by himself, on 17 February 1901. Alban Berg was at the concert and wrote to Schoenberg (then in Berlin) describing it as ‘a magnificent work’. The comparison is a useful one for other reasons. Both composers were wrestling with a hybrid musical form, caught between the idea of operatic and theatrical music on the one hand, and instrumental, symphonic music on the other. Gurrelieder is certainly hard to locate in terms of genre; Part One seems to work like an orchestral song-cycle, whereas Part Three often seems more like opera.

Part One

Songs 5 and 6 express the lovers’ meeting and their declaration of love. Songs 7 and 8 are preceded by a darker tone of foreboding (heard in a brooding cello figure); the midnight hour is eerily signalled by twelve repeated tones in the double basses. Waldemar anticipates with horror that, at some point in the future, they will inevitably be parted, concluding in despair that ‘Our time is over’. But Tove answers in a radiant tone, assuring Waldemar that death will not be an end but merely a threshold to an eternity together. The final song is Waldemar’s response – ‘Du wunderliche Tove!’

Programme notes

Part Three

An orchestral interlude leads to the ‘Song of the WoodDove’ (mezzo-soprano), which narrates the aftermath of what we have just witnessed. With mounting grief, the Wood-Dove describes Tove’s death and burial, and Waldemar’s utter distraction. Only at the conclusion of her account does she tell us how Tove died on the orders of Waldemar’s jealous Queen. ‘Helwig’s falcon it was, who cruelly tore apart Gurre’s dove.’ In the very brief Part Two, Waldemar not only curses God but threatens to storm heaven itself if the souls of himself and Tove are kept apart. It was wrong, he cries to God, to take Tove’s life and thus rob him of the one thing he cherished. As he does so, the orchestral music is full of thematic echoes of the earlier love songs, like an obsessive presence in his mind.

Waldemar’s curse, and subsequent punishment, is a turning point in the work. It separates the lush romanticism of Part One (the love of Tove and Waldemar) and the grotesque but thrilling ride of death in Part Three. Perhaps not coincidentally, it was also the point at which Schoenberg broke off the initial period of composition in 1903. By the time he resumed work in 1910, his compositional style had changed dramatically. In works like Erwartung and the Five Pieces for Orchestra Op. 16, written in 1909, Schoenberg had fully explored an atonal, expressionistic musical language that sounds worlds apart from Part One of Gurrelieder. His skill in binding together the earlier and later material is remarkable, but his task was undoubtedly helped by the peculiar nature of the story itself.

Jeremy Sams

The Wild Hunt of Part Three depicts a rather ghoulish riding out of Waldemar and his dead vassals, raised from the grave each night. It opens with a reference back to the start of the seventh song in Part One, Waldemar’s anticipation of the lovers’ parting in death. Schoenberg unleashes the massive power of his orchestra here, with an overpowering use of the brass section to capture the jangling of armour and horses as the vassals assemble. What follows has the character of Mahler’s most austere march movements, the

‘Schoenberg is working through Wagner, via Mahler, to the sounds and skills that will define his musical future, and that of the rest of the century.’

macabre world of his equally ghostly military songs ‘Der Tamboursg’sell’ and ‘Revelge’. The more fragmentary modernist style suits the subject-matter well in the narration of this supernatural scene by a terrified farmer.

('You wondrous Tove!') – in which the lovers’ desire gives way to a profound peace.

15 London Philharmonic Orchestra • 24 September 2022 • Gardner conducts Schoenberg's Gurrelieder

Three male choirs take the role of the vassals. Schoenberg’s most obvious model is Wagner’s spectral chorus of sailors in Der fliegende Holländer. Indeed, the parallel is an important one, because just as the crew of the Dutchman’s ship is compelled to sail endlessly around the world until their captain finds salvation in love, so too will Waldemar’s vassals not rest until he recovers Tove. Schoenberg’s use of three choirs, each divided into four parts, allows him to construct dense and powerfully dramatic music. Also riding with the vassals is Klaus the Fool, the King’s jester, who speaks in riddles. In some ways, his chattering provides some relief from the horror of the Wild Hunt; in other ways, it merely adds to the sense of madness. The Fool’s apparent nonsense acts as a kind of sidestep, a strategy that exacerbates the sense that the emotional burden here is too great to be properly expressed. Klaus recalls some of the simpletons in Mahler’s use of the folk poetry of Das knaben Wunderhorn, but it also anticipates another fool, the prescient Idiot who appears in the first tavern scene of Berg’s Wozzeck

Waldemar pleads with God not to separate him from Tove, threatening that if his soul goes to Hell while hers goes to Heaven, his passion would give him the strength to storm heaven itself. With the coming of dawn, the ghostly ride comes to an end and the

Part Two

The Melodrama opens mysteriously, like a sort of detuned version of the opening of Mahler’s First Symphony, with bare octaves high in the woodwind, revealing a rich tapestry of scurrying figures. The Speaker’s descriptions of the renewal of nature are wonderfully detailed and Schoenberg’s music seems to pick up on the sense of the internal working of nature – the rustling and microscopic activity of growth rather than with some grand outpouring of emotion. A rich web of musical reminiscences offer fragmentary glimpses of the more substantial forms of Part One, as Waldemar searches to regain what he has lost. Similarly, the rich orchestral tone of Part One gives way to more transparent textures as accompaniment to the Itspeaker.makes

Critics have often been divided by Gurrelieder

‘I hope that one day there might be a sunrise [to my music] such as is depicted in the final chorus of my Gurrelieder. There might come the promise of a new day of sunlight in music such as I would like to offer to the world.’

The Wild Hunt of the Summer Wind

Arnold Schoenberg, 1937

Programme notes

While some regret that he did not continue to write in this late-Romantic style, others have dismissed the

work as a peripheral example of Romantic excess before Schoenberg showed his real modernist credentials. But another way of hearing it suggests that such an either/or choice is a false one. Schoenberg’s music as a whole underlines that what we call Romantic and modern are like two sides of the same coin. All his music is located on the axis between two musical worlds, at the threshold where one turns into the other. What defined that historical moment around 1900, and what the First World War was to make palpable to everyone, was a catastrophic sense of loss, followed by a yearning to recover what was lost. The story of Waldemar and Tove is an allegory of just that story – the story of the modern, reflected in a single work.

vassals return to their graves. In their last chorus, longing to sleep in peace, they briefly anticipate a return of life before the music descends into a dark abyss.

This nadir acts as a foil to what follows: 'The Wild Hunt of the Summer Wind'. Schoenberg marks it as a 'Melodrama', narrated by a speaker which, in some ways, anticipates a kind of film music with voiceover. Except, that is, that the speaker’s part is notated musically, using the technique of Sprechstimme that Schoenberg brought to fruition in his Pierrot Lunaire of 1912. This involves the singer/speaker shaping each line notated with musical pitches, but in a voice that lies somewhere between singing and speaking.

16 London Philharmonic Orchestra • 24 September 2022 • Gardner conducts Schoenberg's Gurrelieder

for an astonishing inversion of the earlier music, something like a photographic negative relates to the full colour image. Though the speaker’s words are allusive, it is clear that Tove and Waldemar are reunited in this burgeoning of new life ushered in with the summer wind. There are echoes of their love music as the wind bears them upwards into the canopy of budding leaves. Schoenberg’s central theme of transfiguration finds a key statement here, as the individual figures of Tove and Waldemar find their union in the renewal of the whole of nature. A final affirmative chorus (crucially, a mixed chorus this time), like a secular version of the end of Mahler’s 'Resurrection' Symphony, hails the dawn.

Jeremy Sams is a British theatre director, lyricist and translator of plays and opera libretti, as well as a composer, orchestrator and musical director.

Schoenberg deploy (indeed, invent) this technique for this particular section? Plainly, he wanted the words to be heard – and, more vitally, understood – in a new and different way. It's to highlight this that Edward Gardner decided to render it in a different language – ours – so that it hits the ear more directly. And that’s what I’ve attempted. It’s been a real challenge, though, because it’s not only written in very precise pitches and rhythms, but also because it’s rigorously rhymed. Also the poetry, even when translated and clarified, is deliberately obscure and expressionist. It’s about the effect (partly refreshing, partly catastrophic) of the winds of summer. It’s a very precise depiction of the inherent instability of nature – all about the necessity of destruction and rebirth – what must be torn down and blown away so new things can bloom and grow.’

17 London Philharmonic Orchestra • 24 September 2022 • Gardner conducts Schoenberg's Gurrelieder

Jeremy Sams introduces his new English translation of Gurrelieder 's Part Three Melodrama, especially commissioned for this performance

Programme

Schoenberg: Gurrelieder Bergen Philharmonic Orchestra & Choirs Edward Gardner conductor (Chandos CHAN 5172)

TunenotesIn:new

A new text for Gurrelieder

‘

Recommended recording of tonight’s work

issue out now

‘Whyrhythms.did

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.

Gurrelieder is an astonishing piece. And, above all, a transitional one. Schoenberg is working through Wagner, via Mahler, to the sounds and skills that will define his musical future, and that of the rest of the century. It's in the penultimate section that he uses, for the first time, Sprechstimme, aka Sprechgesang (his trailblazing Pierrot Lunaire, written two years later, uses only this technique), in which the boundaries between song and speech are blurred. The words are basically spoken, but spoken on precisely proscribed pitches and

by Laurie Watt

Listen on

Sat 26 Nov 2022 | Tippett’s A Child of Our Time Edward Gardner conducts the epic oratorio joined by Nadine Benjamin, Sarah Connolly, Kenneth Tarver and Roderick Williams. Sun 22 Jan 2023 | Tan Dun’s Buddha Passion Tan Dun himself conducts the UK premiere, featuring Sen Guo, Huiling Zhu, Kang Wang and Shenyang. Sat 4 Feb 2023 | Berlioz’s The Damnation of Faust Berlioz’s choral-orchestral spectacular, with Edward Gardner, Karen Cargill, David Junghoon Kim, Christopher Purves and Jonathan Lemalu. Sat 18 Mar 2023 | Elena Langer world premiere Andrey Boreyko conducts Langer's brand new work The Dong with a Luminous Nose, alongside Shostakovich's Symphony No. 5. Sat 6 May 2023 | Janáček’s Glagolitic Mass Edward Gardner closes the season with Sara Jakubiak, Madeleine Shaw, Toby Spence and Matthew Rose. HIGHLIGHTSCHORAL this season with the London Philharmonic Choir lpo.org.uk

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21 London Philharmonic Orchestra • 24 September 2022 • Gardner conducts Schoenberg's Gurrelieder

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22 London Philharmonic Orchestra • 24 September 2022 • Gardner conducts Schoenberg's Gurrelieder

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In memory of Brenda Lyndoe InCasbonmemory of Ann Marguerite SallyCollinsGroves MBE

Mr & Mrs John C Tucker

Mr Joshua Coger

Mr Evgeny Chichvarkin

Mr Martin ChristopherFodderFraser OBE

Dame Jane Newell DBE

Bronze Patrons

Mr Gavin Graham Lord & Lady Hall

Filippo Poli

Thank you

Drs Frank & Gek Lim

Dr Simona Cicero & Mr Mario

Natasha Tsukanova Co-Chair Martin Höhmann Co-Chair Mrs Irina Andreeva (Russia) Steven M. Berzin (USA)

Corporate Donor Barclays

In-kind Sponsor

The Boltini Trust

Veronika Borovik-Khilchevskaya (Cyprus) Marie-Laure Favre Gilly de Varennes de Bueil (France) Aline Foriel-Destezet (France) Irina Gofman (Russia) Countess Dominique Loredan (Italy) Olivia Ma (Greater China Area) George Ramishvili (Georgia) Jay Stein (USA)

Gill & Garf Collins

Thank you

FrenchCarter-RuckBloombergBerenbergChamber of Commerce

Cockayne – Grants for the Arts

Sciteb

TheTheTheTheTheTheTheSirScopsRVWRothschildFoundationFoundationTrustArtsTrustWilliamBoremans'FoundationJohnSCohenFoundationStanleyPickerTrustThriplowCharitableTrustVaughanWilliamsCharitableTrustVictoriaWoodFoundationVineyFamilyBarbaraWhatmoreCharitableTrust

The Radcliffe Trust Rivers

Jon Carter Jay

Board of the American Friends of the LPO

ABO BlueSparkTrust Foundation

WalpoleLazard

Simon Freakley Chairman

LPO International Board of Governors

Thomas Beecham Group Members

Hon. Director

The Marchus Trust

William & Alex de Winton

and all others who wish to remain anonymous.

The London Community

Trusts and Foundations

Tutti

Jenifer L. Keiser, CPA, EisnerAmper LLP

Trialist

The Candide Trust

TheFoundationD’OylyCarte Charitable Trust Dunard Fund

Preferred Partners

Gusbourne Estate

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

LPO Corporate Circle Principal

Google Inc

CatherineElizabethDamienNatalieAlexandraGoffmanJupinPrayVanderwiltWinterHøgel

Sonja Drexler

GuyNeilEricJulianCaroline,BiancaVictoriaSirCountessJohnMrDrRogerGofmanGreenwoodBarryGrimaldi&MrsPhilipKan&AngelaKesslerDominiqueLoredanSimonRobeyRobeyOBE&StuartRodenJamie&ZanderSharp&GillSimmondsTomsettWestreich&UttiWhittaker

David & Yi Buckley

LindtJeroboams&Sprüngli Ltd

23 London Philharmonic Orchestra • 24 September 2022 • Gardner conducts Schoenberg's Gurrelieder

Ernst von Siemens Music GarrickFoyleFoundationFoundationCharitable Trust

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:

SteinwayOneWelbeck

Borrows Charitable Trust

The Friends of the LPO Irina

Alicia Hartley Marketing Assistant

Chief Executive Chantelle Vircavs PA to the Executive Concert Management

Charles Russell Speechlys Solicitors

David Burke

Dr Catherine C. Høgel Chair Lord Hall of Birkenhead CBE Vice-Chair

Crowe Clark Whitehill LLP Auditors

Elena Dubinets Artistic Director

Kate

*Player-Director Advisory Council

Chairman of the American Friends of the London Philharmonic Orchestra)

Website Manager

Graham Wood Concerts and Recordings Manager

Martin Höhmann Chairman Christopher Aldren Dr Manon Antoniazzi

Stephen O’Flaherty Deputy Operations Manager

Maddy Clarke Tours Manager

Felix Lo Orchestra and Auditions Manager

Hannah RebeccaFoakesParslow

Anna Quillin Trusts and Foundations Manager

Rachel Williams Publications Manager

Roger SirDesmondSimonSimonYolanDaHelenRichardBarronBrassBrocklebankBrownBurkeCallowCBECecilCMGAlanCollinsKCVO

Roanna Gibson Concerts and Planning Director

General Administration

Talia Lash

Siân Jenkins Corporate Relations Manager

Mairi Warren Marketing Manager

Robert Winup Concerts and Tours Assistant

Digital and Residencies Marketing Manager