LPO programme: 25 Feb 2023 - From Paris with Love (Bertrand de Billy/Danielle de Niese)

2022/23 concert season at the Southbank Centre

Where music takes you

Concert programme

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

Southbank Centre’s Royal Festival Hall

Saturday 25 February 2023 | 7.30pm

From Paris with Love

Ravel

Pavane pour une infante défunte (6’)

Chausson

Poème de l’amour et de la mer (27’)

Interval (20’)

Franck

Symphony in D minor (41’)

Bertrand de Billy conductor

Danielle de Niese soprano

Generously supported by Mrs Aline Foriel-Destezet

This concert is dedicated to the memory of Andrew Thurgood.

The timings shown are not precise and are given only as a guide. Concert presented by the London Philharmonic Orchestra

Welcome LPO news

Welcome to the Southbank Centre

We’re the largest arts centre in the UK and one of the nation’s top visitor attractions, showcasing the world’s most exciting artists at our venues in the heart of London. We’re here to present great cultural experiences that bring people together, and open up the arts to everyone.

The Southbank Centre is made up of the Royal Festival Hall, Queen Elizabeth Hall, Purcell Room, Hayward Gallery, National Poetry Library and Arts Council Collection. We’re one of London’s favourite meeting spots, with lots of free events and places to relax, eat and shop next to the Thames.

We hope you enjoy your visit. If you need any information or help, please ask a member of staff. You can also write to us at Southbank Centre, Belvedere Road, London SE1 8XX, or email hello@southbankcentre.co.uk

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Drinks

You are welcome to bring drinks from the venue’s bars and cafés into the Royal Festival Hall to enjoy during tonight’s concert. Please be considerate to fellow audience members by keeping noise during the concert to a minimum, and please take your glasses with you for recycling afterwards. Thank you.

Spring tours

After tonight’s concert, the Orchestra and its truck head off to Spain, where they will give three concerts in Madrid and Zaragoza with Principal Conductor Edward Gardner and pianist Leif Ove Andsnes, before returning to perform their programme of Grieg, Rachmaninoff and George Benjamin here at the Royal Festival Hall on Saturday 4 March (see page 15).

Later in March we’re off on tour once again, visiting Germany for six concerts across the country with Principal Guest Conductor Karina Canellakis and soloists Daniil Trifonov (piano) and Sol Gabetta (cello). Follow all our tour adventures on Twitter and Instagram!

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LPO Young Composers –Applications open for 2023/24

Applications for the LPO Young Composers 2023/24 programme are now open! Mentored by the LPO’s Composer-in-Residence –currently Brett Dean, to be succeeded by Tania León in September 2023 – the Young Composers spend a season with the LPO, each creating a new chamber orchestra work that is performed by Foyle Future First musicians and LPO players in a public showcase concert at the Southbank Centre’s Queen Elizabeth Hall.

Applications are open to currently unpublished composers aged over 18 and not in full-time education, who are composing at postgraduate level or beyond, or an equivalent standard.

The deadline to apply is Friday 10 March

To find out more, visit lpo.org.uk/youngcomposers

First Violins

Alice Ivy-Pemberton Leader

Kate Oswin

Lasma Taimina

Chair supported by Irina Gofman & Mr Rodrik V. G. Cave

Minn Majoe

Catherine Craig

Thomas Eisner

Katalin Varnagy

Chair supported by Sonja Drexler

Alfredo Reyes Logounova

Yang Zhang

Chair supported by Eric Tomsett

Eleanor Bartlett

Joseph Devalle

Ronald Long

Sophie Phillips

Katherine Waller

Nilufar Alimaksumova

Alice Hall

Second Violins

Tania Mazzetti Principal

Young June Lee

Nancy Elan

Kate Birchall

Nynke Hijlkema

Fiona Higham

Chair supported by David & Yi Buckley

Joseph Maher

Sioni Williams

Ashley Stevens

Eleonora Consta

Claudia Tarrant-Matthews

Sheila Law

Anna Harpham

Jamie Hutchinson

On stage tonight

Violas

Richard Waters Principal

Chair supported by Caroline, Jamie & Zander Sharp

Martin Wray

Benedetto Pollani

Raquel López Bolívar

Laura Vallejo

Michelle Bruil

Kate De Campos

Toby Warr

James Heron

Daniel Cornford

Julia Doukakis

Rachel Robson

Cellos

Steffan Morris Guest Principal

David Lale

Francis Bucknall

Sue Sutherley

Susanna Riddell

Helen Thomas

George Hoult

Laura Donoghue

Iain Ward

Double Basses

Kevin Rundell* Principal

Hugh Kluger

George Peniston

Laura Murphy

Charlotte Kerbegian

David Johnson

Elen Roberts

Adam Wynter

Flutes

Fiona Kelly Guest Principal

Stewart McIlwham*

Oboes

Ian Hardwick* Principal

Alice Munday

Cor Anglais

Sue Böhling* Principal

Chair supported by Dr Barry Grimaldi

Clarinets

Benjamin Mellefont Principal

Thomas Watmough Chair supported by Roger

Greenwood

Bass Clarinet

Paul Richards* Principal

Bassoons

Jonathan Davies Principal

Chair supported by Sir Simon Robey

Dominic Tyler

Horns

John Ryan* Principal

Annemarie Federle Principal

Martin Hobbs

Mark Vines Co-Principal

Gareth Mollison

Trumpets

Paul Beniston* Principal

Tom Nielsen

Guest Principal

Anne McAneney*

Cornets

Tom Nielsen

David Hilton

Trombones

Mark Templeton* Principal

Chair supported by William & Alex de Winton

Andrew Cole

Bass Trombone

Lyndon Meredith Principal

Tuba

Lee Tsarmaklis* Principal Chair supported by Friends of the Orchestra

Timpani

Simon Carrington* Principal

Chair supported by Victoria Robey OBE

Harp

Rachel Masters Principal

* Holds a professorial appointment in London

The LPO also acknowledges the following chair supporters whose players are not present at this concert:

David & Yi Buckley • Gill & Garf Collins • Bianca & Stuart Roden • Neil Westreich

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 here 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 2022/23 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 Brett Dean our Composer-in-Residence, to be succeeded by Tania León in September 2023.

Soundtrack to key moments

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

We also release live, studio and archive recordings on our own label, and are the world’s most-streamed orchestra, with over 15 million plays of our content each month. Recent releases include the first volume of a Stravinsky series with Vladimir Jurowski; Tippett’s complete opera The Midsummer Marriage under

© Mark Allan

Alice Ivy-Pemberton Leader

Edward Gardner, captured in his first concert as LPO Principal Conductor in September 2021; and James MacMillan’s Christmas Oratorio, recorded at the work’s UK premiere performance in December 2021.

Next generations

We’re committed to inspiring the next generation of musicians and music-lovers: there’s nothing we love more than seeing the joy of children and families enjoying their first musical moments, and we’re passionate about equipping schools and teachers through schools’ concerts, resources and training. Reflecting our values of collaboration and inclusivity, our OrchLab and Open Sound Ensemble projects offer music-making opportunities for adults and young people with special educational needs and disabilities. Today’s young instrumentalists are the orchestral members of the future, so we have a number of opportunities to support their progression. 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 have also recently launched the LPO Conducting Fellowship, supporting the development of two outstanding early-career conductors from backgrounds currently under-represented in the profession.

2022/23 and beyond

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

lpo.org.uk

Alice Ivy-Pemberton joined the London Philharmonic Orchestra as Co-Leader in February 2023.

Praised by The New York Times for her ‘sweet-toned playing’, Alice has performed as a soloist, chamber and orchestral musician to international acclaim. While growing up in New York City and studying with Nurit Pacht, Alice made a nationally televised Carnegie Hall debut aged ten, and was a finalist at the Menuhin International Competition at the age of 12.

Alice earned her Bachelors and Masters degrees at The Juilliard School under the tutelage of Itzhak Perlman and Catherine Cho as a fully-funded recipient of the Kovner Fellowship. During her studies she won Juilliard’s Violin Concerto Competition, performed extensively with the New York Philharmonic and The Philadelphia Orchestra, and led orchestras under the baton of Barbara Hannigan, Xian Zhang and Matthias Pintscher. Upon graduating in 2022 she was awarded the Polisi Prize and a Benzaquen Career Advancement Grant in recognition of ‘tremendous talent, promise, creativity, and potential to make a significant impact in the performing arts’.

An avid chamber musician, Alice has collaborated with Itzhak Perlman, Anthony Marwood, Gil Shaham and members of the Belcea, Doric, Juilliard and Brentano string quartets, and performed with the Chamber Music Society of Lincoln Center. Festival appearances include Music@Menlo, Moritzburg and Yellow Barn. Also a passionate advocate for new music and its social relevance, Alice created Drowning Monuments, a noted multimedia project on climate change that brought together five world premieres for solo violin.

Bertrand de Billy conductor

Alongside his celebrated career as an operatic conductor, Bertrand de Billy regularly appears on the concert stage worldwide, conducting a wide repertoire from Bach to world premieres. He has led such distinguished orchestras as The Cleveland Orchestra, the Bavarian Radio Symphony Orchestra, the Staatskapelle Dresden, the Orchestre de Paris and the Vienna Symphony, as well as the Museumsorchester Frankfurt, Hamburg Philharmonic, RSB Berlin, Konzerthaus Orchestra Berlin, Dresden Philharmonic, Bamberg Symphony, Royal Danish Orchestra, Orchestre Suisse Romande, NHK Symphony Orchestra, Tokyo Philharmonic Orchestra, Tokyo Metropolitan Symphony Orchestra, and many more.

Bertrand de Billy’s ongoing relationships with the Vienna State Opera and New York’s Metropolitan Opera form the core of his 2022/23 season. In Vienna he conducts productions of Die Zauberflöte, La bohème, Manon and Dialogue des Carmélites, the latter of which he will also conduct in New York. On the concert podium he continues his role as Principal Guest Conductor of the Iceland Symphony Orchestra, where he will continue his focus on Brahms. As a guest, he will conduct orchestras including the Vienna Symphony, Antwerp Symphony, Malmö Symphony, Hamburg Philharmonic, Copenhagen Philharmonic and Royal Danish orchestras, and the Royal Symphony Orchestra of Seville.

In the 2021/22 season Bertrand de Billy led the Vienna State Opera’s revivals of Otello, Faust, Die Fledermaus and The Flying Dutchman, which he also conducted at the Bavarian State Opera. That season he conducted Don Giovanni at the Opéra de Paris and the San Francisco Opera, while concert engagements led him to the Iceland Symphony to launch his tenure as Principal Guest Conductor, as well as to the Orchestre National de France, Orchestre de Chambre de Lausanne and Orchestre Suisse Romande. Bertrand de Billy’s last appearance with the LPO was in January 2020, when he conducted Fauré’s Requiem alongside works by Poulenc at the Southbank Centre’s Royal Festival Hall.

Early in his career, guest engagements took Bertrand de Billy to the state operas of Vienna, Berlin, Hamburg and Munich, as well as to such renowned venues as the Royal Opera House, Covent Garden, the Grand Théâtre de la Monnaie, the Opéra National de Paris, and the opera houses of Washington and Los Angeles.

Bertrand de Billy was born in Paris, where he studied music and performed as an orchestral member before taking up conducting. From 1993–95 he was First Kapellmeister and Deputy Music Director of the Anhaltisches Theater in Dessau, and from 1996–98 he held the same position at the Vienna Volksoper. He was subsequently Music Director at the Gran Teatre del Liceu in Barcelona from 1999–2004, and Music Director of the Vienna Radio Symphony Orchestra from 2002–10. From 2013–15 he served as Principal Guest Conductor of the Oper Frankfurt and the Frankfurter Opern- und Museumsorchester; from 2013–16 Principal Guest Conductor of the Orchestre de Chambre de Lausanne; and from 2014–18 the same position with the Dresden Philharmonic.

Numerous CD and DVD recordings document Bertrand de Billy’s achievements, and he has received many prestigious awards in France and Austria.

© Marco Borggreve

Danielle de Niese

soprano

Born in Australia to parents of Sri Lankan and Dutch heritage, Danielle became, at the age of 18, the youngest ever singer to enter the Metropolitan Opera’s prestigious Lindemann Young Artist Development Program. A year later she made her Metropolitan Opera debut, under James Levine, as Barbarina in Mozart’s Le nozze di Figaro. On the strength of her performance she went on to make major debuts at the Opéra National de Paris, Saito Kinen Festival, Opera National de Lyon and Netherlands Opera. In 2005 she made her Glyndebourne Festival debut as Cleopatra in David McVicar’s production of Handel’s Giulio Cesare, and was catapulted to international fame. She has since reprised the role in the 2009 Glyndebourne revival, and in 2013 at the Metropolitan Opera, always to critical praise.

Danielle de Niese has been hailed as ‘opera’s coolest soprano’ by New York Times Magazine. A multi-faceted artist, she has gained wide recognition for her superb stagecraft, assured singing, and ability to communicate on every level. She regularly appears on the world’s most prestigious opera and concert stages and is a prolific recording artist, TV personality and philanthropist.

Engagements in the 2022/23 season include returns to the Royal Opera House as Musetta in La bohème and to English National Opera as Clara in It’s a Wonderful Life and Blanche in ENO’s first ever production of Poulenc’s Dialogues des Carmelites, which will be directed by Barrie Kosky. Appearances on the concert stage include Stravinsky’s Perséphone with the Boston Symphony Orchestra.

Recent highlights include a feature film of Poulenc’s one-woman opera La voix humaine with Antonio Pappano and the Royal Opera House Orchestra, which premiered in spring 2022 on BBC Two alongside international cinematic release; her critically-acclaimed debut at the Edinburgh International Festival with the highly-anticipated Rodgers and Hammerstein musical A Grand Night of Singing; Ciboulette in Offenbach’s In the Market for Love with Glyndebourne as part of its ‘outdoor opera’ series; a triumphant return to Los Angeles Opera to sing the title role in the world premiere of Matthew Aucoin’s opera Eurydice; and a hugely acclaimed debut on the stage of Teatro alla Scala in Milan, with her signature role of Cleopatra in Robert Carsen’s new production of Giulio Cesare.

A prolific recording artist, Danielle de Niese’s debut recording for Decca, Handel Arias, was awarded the prestigious Orphée d’Or and the much-coveted ECHO Klassik award, as well as earning her a Classical BRIT Award nomination for Female Artist of the Year. This was followed by The Mozart Album, Diva, and Beauty of the Baroque.

A TV and media personality, Danielle de Niese won an Emmy at the age of 16 as host of a weekly art showcase for teenagers at a Los Angeles local television studio. Her many TV appearances received widespread attention, whilst her BBC documentaries such as Diva Diaries, The Birth of an Opera and the most recent and highly praised Unsung Heroines attest to her extraordinary passion for the art form she represents, and her tireless commitment to bringing new audiences to it.

Offstage, Danielle de Niese is passionate about music education, an advocate for children’s rights, and has been named by Marie Claire magazine in its influential list of ‘Women on Top’. She is an Ambassador for HRH The Prince of Wales’s Foundation for Children and the Arts, a patron of Pegasus Opera, Future Talent and the Whitley Fund for Nature, and an Artist Member of the Mannes Board of Governors. For the past six years she has also served as an official Ambassador of Voice for the International Rescue Committee.

© Chris Dunlop/Decca

Programme notes

Maurice Ravel

1875–1937

Pavane pour une infante défunte 1902/10

‘Don’t forget that it’s a pavane for a dead infanta, not a dead pavane for an infanta.’ Ravel’s warning to performers not to take his famous miniature too slowly is backed up by a further remark that ‘it’s not a funeral lament for an infanta who’s just died, but conjures up a pavane the little princess might have danced, once upon a time, at the Spanish court’. A reserved but genuine emotional presence, a decent waft of musical nostalgia and an affinity with children – these are classic Ravel traits, immaculately exhibited as early in his composing career as 1899, when he was 24 and still a student of Gabriel Fauré at the Paris Conservatoire.

Ravel wrote the Pavane as a piano piece, and it was premiered as such in 1902. Success was immediate, giving it a lasting prominence in his output that would later irritate him in the light of what he considered to be its youthful failings, which included in his view an over-reliance on the style of Chabrier. No doubt those interpretative misunderstandings irked him too; he later said he had chosen the title for the pure sound of it, and one wonders how the piece might have fared had he simply called it ‘Pavane’, as he did in other evocations of 17th- and 18th-century dances such as the earlier Menuet antique or much later suite Le tombeau de Couperin.

Whatever the case, he did not mind making an orchestral transcription of the Pavane in 1910, and it is chiefly in this version that it has become so well-loved. The orchestra is a small one, but handled with typical skill and delicacy by Ravel, each exquisite colouring being used both tellingly and sparingly, from the main melody’s wistful presentation by a solo horn over plucked strings at the beginning to its full-orchestral, harp-glinted apotheosis at the end.

Programme notes

Ernest Chausson

1855–99

Poème de l’amour et de la mer

1882–92

Danielle de Niese soprano

1 La Fleur des eaux (The Flower of the Waters) Interlude

2 La Mort de l’amour (The Death of Love)

The texts and translations are over the page.

For many music-lovers Ernest Chausson is a known name but not a familiar figure. His output was not large –his best-known works are the Poème for violin and orchestra and the singular Concerto for violin, piano and string quartet – yet it encompasses songs, music for the stage, orchestral scores and chamber works. He was an amateur composer in the sense that a prosperous family background meant he did not need to make a living from music, but he was serious-minded and purposeful, and set himself high artistic standards. And although he did not take up full-time musical study until after he had qualified as a lawyer, an education and upbringing that had already brought him into contact with leading Parisian artists, writers and musicians did much to enrich and refine his artistic personality.

Having decided against the legal profession, Chausson began his formal musical studies at the Paris Conservatoire at the age of 24 in the instrumentation classes of Jules Massenet (who thought him ‘an exceptional person and a true artist’), but he probably gained more of use to him by attending César Franck’s classes as an unenrolled listener. Though his early works owed much to the elegance and charm of Massenet, it was Franck’s rich harmonic language and formal coherence that would have a deeper and more lasting effect on his music. Another firm influence, as it was for many French composers towards the end of the 19th century, was Wagner; Chausson travelled to

Germany several times in the early 1880s to hear his operas, even going to Bayreuth to see Parsifal on his honeymoon.

Poème de l’amour et de la mer (‘Poem of Love and the Sea’) was premiered in 1893, but was the result of more than ten years’ work. It bears the Wagnerian impress strongly in terms of harmony and orchestration, as well as that of Franck in its cyclical use of thematic material. Berlioz’s orchestral songs may also play a part in its make-up. Yet it is a highly individual piece, maybe a unique one for its time. Should we think of it as a songcycle or a cantata? A tone-poem perhaps? Best not to try, and instead let its rich expressiveness and astutely managed dramatic flow speak.

The words are from a collection of poems of the same name by Chausson’s friend Maurice Bouchor, which Chausson reshaped and rearranged to create a basic narrative: in the first section, ‘The Flower of the Waters’, we see a love kindled among the spring lilacs, but revealed even before the central orchestral episode to be dead, experienced only through memory. The second vocal section, ‘The Death of Love’, follows a similar emotional trajectory, as joyful, sunlit recollections give way to the rustle of dead autumn leaves. To all this the sea provides an emotional backdrop, its cruel, implacable beauty caught superbly by Chausson’s richly fluid orchestral writing.

Chausson: Poème de l’amour et de la mer

Texts & translations

1 La Fleur des eaux The Flower of the Waters

L’air est plein d’une odeur exquise de lilas, Qui, fleurissant du haut des murs jusques en bas, Embaument les cheveux des femmes. La mer au grand soleil va toute s’embraser, Et sur le sable fin qu’elles viennent baiser Roulent d’éblouissantes lames.

Ô ciel qui de ses yeux doit porter la couleur, Brise qui va chanter dans les lilas en fleur Pour en sortir tout embaumée, Ruisseaux, qui mouillerez sa robe, ô verts sentiers, Vous qui tressaillirez sous ses chers petits pieds, Faites-moi voir ma bien aimée!

Et mon cœur s’est levé par ce matin d’été; Car une belle enfant était sur le rivage, Laissant errer sur moi des yeux pleins de clarté, Et qui me souriait d’un air tendre et sauvage.

Toi que transfiguraient la Jeunesse et l’Amour, Tu m’apparus alors comme l’âme des choses; Mon cœur vola vers toi, tu le pris sans retour, Et du ciel entr’ouvert pleuvaient sur nous des roses.

Quel son lamentable et sauvage

Va sonner l’heure de l’adieu!

La mer roule sur le rivage, Moqueuse, et se souciant peu Que ce soit l’heure de l’adieu.

Des oiseaux passent, l’aile ouverte, Sur l’abîme presque joyeux; Au grand soleil la mer est verte, Et je saigne, silencieux, En regardant briller les cieux.

Je saigne en regardant ma vie Qui va s’éloigner sur les flots; Mon âme unique m’est ravie Et la sombre clameur des flots Couvre le bruit de mes sanglots.

Qui sait si cette mer cruelle La ramènera vers mon cœur?

Mes regards sont fixés sur elle; La mer chante, et le vent moqueur Raille l’angoisse de mon cœur.

The air is filled with an exquisite scent of lilac, Which, blossoming on the walls from top to bottom, Perfumes women’s hair.

The sea in the bright sunlight is all ablaze, And on the fine sand which they come to kiss Roll dazzling waves.

O sky that must be the colour of her eyes, Breeze that sings amid the blossoming lilac To emerge all fragrant, Streams that will moisten her dress, O green paths, You that will quiver beneath her dear little feet, Show me my beloved!

And my heart leapt on that summer morning; For a lovely girl was on the shore, Casting over me eyes full of brightness, And smiling at me, tenderly yet shyly.

You who were transfigured by Youth and Love, You appeared to me then like the soul of all things; My heart flew to you; you took it, never to be returned, And from the parted heavens roses poured down on us.

What a lamentable, fierce sound Will be heard at the hour of farewell! The sea breaks on the shore Mockingly, and little caring That this is the hour of farewell.

Birds fly past, their wings spread, Over the almost joyous abyss; In the bright sunlight the sea is green, And my heart bleeds in silence

As I gaze at the sparkling skies.

My heart bleeds as I watch my life Floating away on the billows; My one soul is torn from me, And the dismal roar of the billows Covers the sound of my sobs.

Who knows if this cruel sea

Will bring her back to my heart? My gaze is fixed on it; The sea sings, and the mocking wind Taunts the anguish of my heart.

Chausson: Poème de l’amour et de la mer

Texts & translations

2 La Mort de l’amour The Death of Love

Bientôt l’île bleue et joyeuse

Parmi les rocs m’apparaîtra; L’île sur l’eau silencieuse

Comme un nénuphar flottera. À travers la mer d’améthyste

Doucement glisse le bateau, Et je serai joyeux et triste

De tant me souvenir, bientôt!

Le vent roulait les feuilles mortes; Mes pensées roulaient comme des feuilles mortes, Dans la nuit.

Jamais si doucement au ciel noir n’avaient lui

Les mille roses d’or d’où tombent les rosées!

Une danse effrayante, et les feuilles froissées, Et qui rendaient un son métallique, valsaient, Semblaient gémir sous les étoiles, et disaient L’inexprimable horreur des amours trépassés.

Les grands hêtres d’argent que la lune baisait Étaient des spectres: moi, tout mon sang se glaçait

En voyant mon aimée étrangement sourire. Comme des fronts de morts nos fronts avaient pâli, Et, muet, me penchant vers elle, je pus lire Ce mot fatal écrit dans ses grands yeux: l’oubli.

Le temps des lilas et le temps des roses Ne reviendra plus à ce printemps-ci; Le temps des lilas et le temps des roses

Est passé, le temps des œillets aussi.

Le vent a changé, les cieux sont moroses, Et nous n’irons plus courir, et cueillir

Les lilas en fleur et les belles roses; Le printemps est triste et ne peut fleurir. Oh! joyeux et doux printemps de l’année, Qui vins, l’an passé, nous ensoleiller, Notre fleur d’amour est si bien fanée, Las ! que ton baiser ne peut l’éveiller!

Et toi, que fais-tu? Pas de fleurs écloses, Point de gai soleil ni d’ombrages frais; Le temps des lilas et le temps des roses Avec notre amour est mort à jamais.

Maurice Bouchor (1855–1929)

Soon the blue and joyful island

Will appear to me amid the rocks; The island will float on the silent waters

Like a water lily. Across the sea of amethyst

Gently glides the boat, And soon I will be both happy and sad To remember so much!

The wind stirred the dead leaves; My thoughts stirred like the dead leaves in the night.

Never had the myriad golden roses whence falls the dew Gleamed so gently in the dark sky!

A terrifying dance, and the crumpled leaves, Rustling with a metallic sound, flew all about, Seemed to groan beneath the stars, and spoke Of the unutterable horror of love that has passed away.

The tall silver beeches, kissed by the moon, Were spectres: all my blood chilled within me

To see my loved one smile so strangely.

Like the brows of the dead our brows had grown pale, And, mutely leaning towards her, I could read That fatal word written in her large eyes: oblivion.

The time of lilacs and the time of roses

Will return no more this spring; The time of lilacs and the time of roses

Is past, and the time of carnations too.

The wind has changed, the skies are sullen, And we will run no more to gather

The flowering lilac and the lovely roses; The spring is sad and cannot blossom.

O sweet and joyful springtime of the year

That came last year to bathe us in sunshine, Our flower of love is so far faded, Alas, that your kiss cannot awaken it!

And what are you doing now? No flowers in bloom, No cheerful sunlight nor cool shade; The time of lilacs and the time of roses

With our love has died for ever.

Interval – 20 minutes

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

Programme notes

César Franck 1822–90

Symphony in D minor 1886–88

1 Lento – Allegro non troppo

2 Allegretto

3 Allegro non troppo

various Parisian churches, ending up at Sainte-Clotilde from 1853. Some successes in the 1860s led to his appointment as professor of organ at the Paris Conservatoire at the age of 50, and from then his reputation grew quickly. He became a respected teacher of composition – effected mainly through his organ improvisation classes – and composed with increasing assurance and confidence.

Franck’s background as an organist, plus the fact that he was not part of the Parisian mainstream which centred on the Opéra, meant that his creative activities were focused largely on orchestral and chamber music at a time when such ‘Germanic’ genres were not greatly regarded in France. His development of them in works such as his one and only Symphony, the Variations symphoniques for piano and orchestra, the Piano Quintet, String Quartet and Violin Sonata, as well as the legacy he handed to pupils such D’Indy, Chausson, Vierne and Dukas, formed his greatest contribution to French music.

If César Franck was not exactly a late starter as a musician – entry into the conservatoire in his hometown of Liège came at the age of eight – he certainly arrived late to the condition of important composer. His father’s campaign to build a profile for him as a child piano virtuoso having proved a failure, his career was set back for over two decades, during which he composed mainly undistinguished cantatas, oratorios and other sacred vocal pieces, and worked as an organist at

The Symphony was almost the last of these works, composed between 1886 and 1888, and premiered at the Concerts du Conservatoire in February 1889. It was not particularly well received at first: the composer Charles Gounod cruelly characterised it as ‘the affirmation of incompetence pushed to dogmatic lengths’ (but then, Parisian musicians and critics have often seemed to revel in spectacular rudeness to each other). Perhaps there was a feeling that Franck was trying to write a more conventionally Germanic symphony à la Brahms or Dvořák, in which case we could indeed say he had failed. But despite surface appearances, Franck was coming from a different

Programme notes

direction. This was in any case a time when ‘classical’ tightness of form was yielding in importance to thematic distinctiveness and quality; Franck’s music often has a freewheeling quality that doubtless has roots in organ improvisation. But he was also a master – perhaps the master – of cyclical form, the process of creating unity by constantly redeveloping thematic ideas to show them in changing aspects across the course of a piece, and indeed across the separate movements of a multimovement work. He had showed an interest in it even as a young man, but perhaps gathered its full potential from the thematic transformations put into practice by Liszt, almost as if they were characters in a drama, in his tone-poems of the 1840s and ‘50s, and subsequently adopted in the Leitmotifs of Wagner’s operas.

So it is that the dark, sombre opening of Franck’s Symphony contains thematic seeds that will recur at key points later in the work, including the three-note figure that emerges with Wagnerian portentousness at the very beginning, and so closely resembles the theme Beethoven put at the heart of his last string quartet, where he associated it with the question ‘must it be?’. (One would think that Franck cannot have been unaware of this connection, though it is interesting that the composer Robin Holloway recently said that he had at first failed to notice his own quotation of the same motif in own of his own pieces.) More themes soon follow on, but it is the initial one that reappears, re-energised, in the dramatic faster section that follows, where more themes also appear. This slow-fast progression is repeated exactly before the music sails on into sunnier uplands where more new themes emerge, blossoming into a bright and broadly syncopated major-key melody. From here the music expires, reducing to fragments of this last theme interrupted by strange pauses. The central development section makes rugged contrapuntal use of the themes we have already heard, and the moment of recapitulation comes with a fortissimo statement by full orchestra of the opening three-note cell.

The second movement is neither slow nor fast, neither quite a scherzo nor wholly a minuet. There are hints of Schumannesque poetry here and there among its gentle melodies, but it is the rhythm set up by harp and pizzicato strings before the solo cor anglais introduces the benign main tune that seems to be the guiding force here. Together with the music’s elusive sense of continuous variation, it brings to the movement a faint but pleasant reminiscence of the ‘pilgrim marches’ of Mendelssohn’s ‘Italian’ Symphony and Berlioz’s Harold in Italy

The finale is where Franck’s longer-range cyclic relationships come into play, and they are not hard to spot. After the movement has opened with a catchy and cheerfully syncopated melody and at least three further thematic cells have made their entrance, we hear again the cor anglais theme from the second movement. Later on it rises again on full orchestra, and as the movement runs towards it conclusion themes from the first movement begin to pile in too. Coming as thick as they do, they could sound chaotic, but Franck’s handling of them is so shrewdly judged that none sounds surplus to requirement, and all contribute to a conclusion that is both convincing and satisfying.

Programme notes © Lindsay Kemp

Recommended recordings of tonight’s works

by Laurie Watt

Ravel: Pavane pour une infante défunte John Wilson | Sinfonia of London (Chandos)

Chausson: Poème de l’amour et de la mer Véronique Gens | Orchestre National de Lille Alexandre Bloch (Alpha) or Jessye Norman | Orchestre Philharmonique de Monte-Carlo | Armin Jordan (Apex)

Franck: Symphony in D minor Orchestre Philharmonique de Radio France Mikko Franck (Alpha)

Enjoyed tonight’s concert?

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In memory of Andrew Thurgood

1962–2022

Tonight’s concert is dedicated to the memory of violinist Andrew Thurgood, who died on 1 June 2022. Andrew was a member of the LPO Second Violin section for 21 years until he left the Orchestra in 2012 in order to devote more time to his children following the death of his wife.

A much-loved colleague and friend to many, Andrew continues to be much missed. His LPO Second Violin colleague, Kate Birchall, reflects:

‘Andrew was incredibly warm, friendly and welcoming to anyone who came to work with the LPO. As a colleague he was unfailingly kind and patient, though he didn’t suffer fools gladly, particularly the conducting variety! His innate musicality and facility on the violin made him a joy to sit with in the section. He championed contemporary music and, after leaving the LPO, he enjoyed the creative challenge of arranging and composing for his chamber music ensemble, Reza. A consummate musician and a mentor to so many, he will be sorely missed by all in the profession.’

We warmly welcome Andrew’s sons Dan and Jeremy to the concert this evening.

Tuesday 21 March 2023 7.30pm St Martin-in-the-Fields

The Chevalier tells the fascinating life of Joseph Bologne – an 18th-century Black composer, virtuoso violinist and friend of Mozart and Marie Antoinette – more commonly known as the Chevalier de Saint-Georges.

Matthew Kofi Waldren conductor

Braimah Kanneh-Mason violin

Chukwudi Iwuji Joseph Bologne

Merritt Janson Marie Antoinette

David Joseph Mozart

Bill Barclay Choderlos de Laclos

London Philharmonic Orchestra and friends

Generously supported by Victoria Robey OBE

Tickets: £10–£35

Booking fee: £2.75 St Martin in the Fields Box Office 020 7766 1100 (Mon–Sat 10.00am–5.00pm) smitf.org

Written and directed by Bill Barclay

Next LPO concerts at the Southbank Centre’s Royal Festival Hall

GARDNER CONDUCTS RACHMANINOFF

Saturday 4 March 2023 | 7.30pm

George Benjamin Sudden Time

Grieg Piano Concerto

Rachmaninoff Symphonic Dances

Edward Gardner conductor

Leif Ove Andsnes piano

Generously supported by PRS Foundation’s Resonate programme

TCHAIKOVSKY’S FIFTH

Wednesday 15 March 2023 | 7.30pm

Beethoven Coriolan Overture

Prokofiev Piano Concerto No. 3

Tchaikovsky Symphony No. 5

Karina Canellakis conductor

Daniil Trifonov piano

Generously supported by Victoria Robey OBE

TEARS AND LAUGHTER

Saturday 18 March 2023 | 7.30pm

Victoria Vita Polevá Nova (UK premiere)

Elena Langer The Dong with a Luminous Nose (world premiere)

Shostakovich Symphony No. 5

Andrey Boreyko conductor

Kristina Blaumane cello*

London Philharmonic Choir

*Chair supported by Bianca and Stuart Roden

Karina Canellakis © Mark Allan

Celebrating 90 years & counting

We cherish our heritage and are committed to keeping the next 90 years exciting, dynamic and inclusive. Donate now, as we continue to make history in the present by offering life-enriching musical experiences for everyone, investing in the next generation of talent, commissioning masterworks of the future and reaching more communities around the UK, especially in Brighton and Eastbourne.

Sound Futures donors

We are grateful to the following donors for their generous contributions to our Sound Futures campaign. Thanks to their support, we successfully raised £1 million by 30 April 2015 which has now been matched pound for pound by Arts Council England through a Catalyst Endowment grant. This has enabled us to create a £2 million endowment fund supporting special artistic projects, creative programming and education work with key venue partners including our Southbank Centre home. Supporters listed below donated £500 or over. For a full list of those who have given to this campaign please visit lpo.org.uk/soundfutures

Masur Circle

Arts Council England

Dunard Fund

Victoria Robey OBE

Emmanuel & Barrie Roman

The Underwood Trust

Welser-Möst Circle

William & Alex de Winton

John Ireland Charitable Trust

The Tsukanov Family Foundation

Neil Westreich

Tennstedt Circle

Valentina & Dmitry Aksenov

Richard Buxton

The Candide Trust

Michael & Elena Kroupeev

Kirby Laing Foundation

Mr & Mrs Makharinsky

Alexey & Anastasia Reznikovich

Sir Simon Robey

Bianca & Stuart Roden

Simon & Vero Turner

The late Mr K Twyman

Solti Patrons

Ageas

John & Manon Antoniazzi

Gabor Beyer, through BTO

Management Consulting AG

Jon Claydon

Mrs Mina Goodman & Miss Suzanne

Goodman

Roddy & April Gow

The Jeniffer & Jonathan Harris

Charitable Trust

Mr James R.D. Korner

Christoph Ladanyi & Dr Sophia

Ladanyi-Czernin

Robert Markwick & Kasia Robinski

The Maurice Marks Charitable Trust

Mr Paris Natar

The Rothschild Foundation

Tom & Phillis Sharpe

The Viney Family

Haitink Patrons

Mark & Elizabeth Adams

Dr Christopher Aldren

Mrs Pauline Baumgartner

Lady Jane Berrill

Mr Frederick Brittenden

David & Yi Yao Buckley

Mr Clive Butler

Gill & Garf Collins

Mr John H Cook

Mr Alistair Corbett

Bruno De Kegel

Georgy Djaparidze

David Ellen

Christopher Fraser OBE

David & Victoria Graham Fuller

Goldman Sachs International

Mr Gavin Graham

Moya Greene

Mrs Dorothy Hambleton

Tony & Susie Hayes

Malcolm Herring

Catherine Høgel & Ben Mardle

Mrs Philip Kan

Rehmet Kassim-Lakha de Morixe

Rose & Dudley Leigh

Lady Roslyn Marion Lyons

Miss Jeanette Martin

Duncan Matthews KC

Diana & Allan Morgenthau

Charitable Trust

Dr Karen Morton

Mr Roger Phillimore

Ruth Rattenbury

The Reed Foundation

The Rind Foundation

Sir Bernard Rix

David Ross & Line Forestier (Canada)

Carolina & Martin Schwab

Dr Brian Smith

Lady Valerie Solti

Mr & Mrs G Stein

Dr Peter Stephenson

Miss Anne Stoddart

TFS Loans Limited

Marina Vaizey

Jenny Watson

Guy & Utti Whittaker

Pritchard Donors

Ralph & Elizabeth Aldwinckle

Mrs Arlene Beare

Mr Patrick & Mrs Joan Benner

Mr Conrad Blakey

Dr Anthony Buckland

Paul Collins

Alastair Crawford

Mr Derek B. Gray

Mr Roger Greenwood

The HA.SH Foundation

Darren & Jennifer Holmes

Honeymead Arts Trust

Mr Geoffrey Kirkham

Drs Frank & Gek Lim

Peter Mace

Mr & Mrs David Malpas

Dr David McGibney

Michael & Patricia McLaren-Turner

Mr & Mrs Andrew Neill

Mr Christopher Querée

The Rosalyn & Nicholas Springer

Charitable Trust

Timothy Walker CBE AM

Christopher Williams

Peter Wilson Smith

Mr Anthony Yolland

and all other donors who wish to remain anonymous

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

Anonymous donors

Mrs Aline Foriel-Destezet

Aud Jebsen

In memory of Mrs Rita Reay

Sir Simon & Lady Robey OBE

Orchestra Circle

William & Alex de Winton

Patricia Haitink

Mr & Mrs Philip Kan

Neil Westreich

The American Friends of the London Philharmonic Orchestra

Principal Associates

Richard Buxton

Gill & Garf Collins

In memory of Brenda Lyndoe

Casbon

In memory of Ann Marguerite

Collins

Sally Groves MBE

George Ramishvili

Associates

Mrs Irina Andreeva

In memory of Len & Edna Beech

Steven M. Berzin

Ms Veronika BorovikKhilchevskaya

The Candide Trust

Irina Gofman & Mr Rodrik V. G.

Cave

The Lambert Family Charitable

Trust

Stuart & Bianca Roden

In memory of Hazel Amy Smith

The Tsukanov Family

The Viney Family

Gold Patrons

An anonymous donor

Chris Aldren

David & Yi Buckley

In memory of Allner Mavis

Channing

Sonja Drexler

Jan & Leni Du Plessis

The Vernon Ellis Foundation

Peter & Fiona Espenhahn

Hamish & Sophie Forsyth

Mr Roger Greenwood

Malcolm Herring

John & Angela Kessler

Julian & Gill Simmonds

Eric Tomsett

Andrew & Rosemary Tusa

Guy & Utti Whittaker

Mr Florian Wunderlich

Silver Patrons

Dame Colette Bowe

David Burke & Valerie Graham

John & Sam Dawson

Bruno De Kegel

Ulrike & Benno Engelmann

Virginia Gabbertas MBE

Dmitry & Ekaterina Gursky

The Jeniffer & Jonathan Harris

Charitable Trust

Catherine Høgel & Ben Mardle

Sir George Iacobescu

Jamie & Julia Korner

Mr & Mrs Makharinsky

Mr Nikita Mishin

Andrew Neill

Tom & Phillis Sharpe

Mr & Mrs John & Susi Underwood

Laurence Watt

Bronze Patrons

Anonymous donors

Michael Allen

Mr Mark Astaire

Nicholas & Christine Beale

Mikhail Noskov & Vasilina Bindley

Mr Anthony Blaiklock

Lorna & Christopher Bown

Mr Bernard Bradbury

Simon Burke & Rupert King

Desmond & Ruth Cecil

Mr Evgeny Chichvarkin

Mr John H Cook

Georgy Djaparidze

Deborah Dolce

Cameron & Kathryn Doley

Mariana Eidelkind & Gene

Moldavsky

David Ellen

Ben Fairhall

Mr Richard & Helen Gillingwater

Mr Daniel Goldstein

David & Jane Gosman

Mr Gavin Graham

Lord & Lady Hall

Mrs Dorothy Hambleton

Martin & Katherine Hattrell

Michael & Christine Henry

Mr Steve Holliday

J Douglas Home

Mr & Mrs Ralph Kanza

Mrs Elena & Mr Oleg Kolobov

Rose & Dudley Leigh

Wg. Cdr. & Mrs M T Liddiard OBE

JP RAF

Drs Frank & Gek Lim

Mr Nicholas Little

Geoff & Meg Mann

Mrs Elizabeth Meshkvicheva

Andrew T Mills

Peter & Lucy Noble

Mr Roger Phillimore

Mr Michael Posen

Mr Anthony Salz

Ms Nadia Stasyuk

Charlotte Stevenson

Joe Topley

Mr & Mrs John C Tucker

Timothy Walker CBE AM

Jenny Watson CBE

Grenville & Krysia Williams

Principal Supporters

Anonymous donors

Dr Manon Antoniazzi

Julian & Annette Armstrong

Mr John D Barnard

Mr Geoffrey Bateman

Mr Philip Bathard-Smith

Mrs A Beare

Dr Anthony Buckland

Dr Simona Cicero & Mr Mario

Altieri

Mr Peter Coe

Mrs Pearl Cohen

David & Liz Conway

Mr Alistair Corbett

Ms Mary Anne Cordeiro

Ms Elena Dubinets

Mr Richard Fernyhough

Jason George

Mr Christian Grobel

Prof Emeritus John Gruzelier

Mark & Sarah Holford

Mrs Maureen Hooft-Graafland

Per Jonsson

Mr Ian Kapur

Ms Kim J Koch

Ms Elena Lojevsky

Mrs Terry Neale

John Nickson & Simon Rew

Oliver & Josie Ogg

Ms Olga Ovenden

Mr James Pickford

Filippo Poli

Sir Bernard Rix

Mr Robert Ross

Priscylla Shaw

Martin & Cheryl Southgate

Mr & Mrs G Stein

Dr Peter Stephenson

Joanna Williams

Christopher Williams

Ms Elena Ziskind

Supporters

Anonymous donors

Ralph & Elizabeth Aldwinckle

Mr & Mrs Robert Auerbach

Mrs Julia Beine

Harvey Bengen

Miss YolanDa Brown OBE

Miss Yousun Chae

Mr Julien Chilcott-Monk

Alison Clarke & Leo Pilkington

Mr Joshua Coger

Miss Tessa Cowie

Mr David Devons

Patricia Dreyfus

Mr Martin Fodder

Christopher Fraser OBE

Will Gold

Ray Harsant

Mr Peter Imhof

The Jackman Family

Mr David MacFarlane

Dame Jane Newell DBE

Mr Stephen Olton

Mari Payne

Mr David Peters

Ms Edwina Pitman

Mr & Mrs Graham & Jean Pugh

Mr Giles Quarme

Mr Kenneth Shaw

Mr Brian Smith

Ms Rika Suzuki

Tony & Hilary Vines

Dr June Wakefield

Mr John Weekes

Mr C D Yates

Hon. Benefactor

Elliott Bernerd

Hon. Life Members

Alfonso Aijón

Kenneth Goode

Carol Colburn Grigor CBE

Pehr G Gyllenhammar

Robert Hill

Victoria Robey OBE

Mrs Jackie Rosenfeld OBE

Timothy Walker CBE AM

Laurence Watt

Thomas Beecham Group Members

David & Yi Buckley

Gill & Garf Collins

William & Alex de Winton

Sonja Drexler

The Friends of the LPO

Irina Gofman

Roger Greenwood

Dr Barry Grimaldi

Mr & Mrs Philip Kan

John & Angela Kessler

Sir Simon Robey

Victoria Robey OBE

Bianca & Stuart Roden

Caroline, Jamie & Zander Sharp

Julian & Gill Simmonds

Eric Tomsett

Neil Westreich

Guy & Utti Whittaker

Corporate Donor

Barclays

LPO Corporate Circle

Principal Bloomberg Carter-Ruck

French Chamber of Commerce

Tutti

Lazard

Natixis Corporate Investment

Banking

Sciteb Ltd

Walpole

Preferred Partners

Gusbourne Estate

Jeroboams

Lindt & Sprüngli Ltd

OneWelbeck

Steinway

In-kind Sponsor

Google Inc

Thank you

Trusts and Foundations

ABO Trust

BlueSpark Foundation

The Boltini Trust

Borrows Charitable Trust

The Candide Trust

Cockayne – Grants for the Arts

The London Community Foundation

The D’Oyly Carte Charitable Trust

Dunard Fund

Ernst von Siemens Music Foundation

Foyle Foundation

Garrick Charitable Trust

John Horniman’s Children’s Trust

John Thaw Foundation

Institute Adam Mickiewicz

Kirby Laing Foundation

Lord and Lady Lurgan Trust

The Marchus Trust

The Radcliffe Trust Rivers Foundation

Rothschild Foundation

Scops Arts Trust

Sir William Boremans’ Foundation

The John S Cohen Foundation

The Stanley Picker Trust

The Thriplow Charitable Trust

TIOC Foundation

Vaughan Williams Foundation

The Victoria Wood Foundation

The Viney Family

The Barbara Whatmore Charitable Trust and all others who wish to remain anonymous.

Board of the American Friends of the LPO

We are grateful to the Board of the American Friends of the London Philharmonic Orchestra, who assist with fundraising for our activities in the United States of America:

Simon Freakley Chairman

Kara Boyle

Jon Carter

Jay Goffman

Alexandra Jupin

Natalie Pray

Damien Vanderwilt

Marc Wasserman

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

Veronika Borovik-Khilchevskaya

Marie-Laure Favre Gilly de Varennes de Bueil

Aline Foriel-Destezet

Irina Gofman

Countess Dominique Loredan

Olivia Ma

George Ramishvili

Sophie Schÿler-Thierry

Jay Stein

London Philharmonic Orchestra Administration

Board of Directors

Dr Catherine C. Høgel Chair

Lord Hall of Birkenhead CBE Vice-Chair

Martin Höhmann* President

Mark Vines* Vice-President

Kate Birchall*

David Buckley

David Burke

Bruno De Kegel

Deborah Dolce

Elena Dubinets

Tanya Joseph

Hugh Kluger*

Katherine Leek*

Al MacCuish

Minn Majoe*

Tania Mazzetti*

Jamie Njoku-Goodwin

Andrew Tusa

Neil Westreich

Simon Freakley (Ex officio –Chairman of the American Friends of the London Philharmonic Orchestra)

*Player-Director

Advisory Council

Martin Höhmann Chairman

Christopher Aldren

Dr Manon Antoniazzi

Roger Barron

Richard Brass

Helen Brocklebank

YolanDa Brown OBE

Simon Burke

Simon Callow CBE

Desmond Cecil CMG

Sir Alan Collins KCVO CMG

Andrew Davenport

Guillaume Descottes

Cameron Doley

Christopher Fraser OBE

Jenny Goldie-Scot

Jonathan Harris CBE FRICS

Marianna Hay MBE

Nicholas Hely-Hutchinson DL

Amanda Hill

Rehmet Kassim-Lakha

Jamie Korner

Geoff Mann

Clive Marks OBE FCA

Stewart McIlwham

Andrew Neill

Nadya Powell

Sir Bernard Rix

Victoria Robey OBE

Baroness Shackleton

Thomas Sharpe KC

Julian Simmonds

Barry Smith

Nicholas Snowman OBE

Martin Southgate

Chris Viney

Laurence Watt

Elizabeth Winter

General Administration

Elena Dubinets

Artistic Director

David Burke Chief Executive

Chantelle Vircavs

PA to the Executive

Concert Management

Roanna Gibson

Concerts and Planning Director

Graham Wood Concerts and Recordings Manager

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

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

Hannah Foakes

Education and Community Project Managers

Hannah Smith

Education and Community Co-ordinator

Development

Laura Willis

Development Director

Rosie Morden

Individual Giving Manager

Siân Jenkins

Corporate Relations Manager

Anna Quillin

Trusts and Foundations Manager

Katurah Morrish

Development Events Manager

Eleanor Conroy

Al Levin

Development Assistants

Nick Jackman

Campaigns and Projects Director

Kirstin Peltonen

Development Associate

Marketing

Kath Trout

Marketing and Communications Director

Sophie Harvey

Marketing Manager

Rachel Williams

Publications Manager

Harrie Mayhew

Website Manager

Gavin Miller

Sales and Ticketing Manager

Ruth Haines

Press and PR Manager

Greg Felton

Digital Creative

Hayley Kim

Marketing Co-ordinator

Alicia Hartley

Marketing Assistant Archives

Philip Stuart

Discographer

Gillian Pole

Recordings Archive

Professional Services

Charles Russell Speechlys Solicitors

Crowe Clark Whitehill LLP

Auditors

Dr Barry Grimaldi

Honorary Doctor

Mr Chris Aldren

Honorary ENT Surgeon

Mr Simon Owen-Johnstone

Hon. Orthopaedic Surgeon

London Philharmonic Orchestra

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Cover illustration

Simon Pemberton/Heart

2022/23 season identity

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