LPO programme: 25 Jan 2023 - Three Britons (Edward Gardner/Steven Osborne)

A place to call home Concert programme

2022/23 concert season at the Southbank Centre’s Royal Festival Hall

Principal

Principal

Conductor

Artistic Director Elena Dubinets Chief Executive David

Leader Pieter Schoeman supported by Neil Westreich

Southbank Centre’s Royal Festival Hall

Wednesday 25 January 2023 | 7.30pm

A place to call home

Three Britons

Coleridge-Taylor

Solemn Prelude, Op. 40 (London premiere) (11’)

Tippett

Piano Concerto (34’)

Interval (20’)

Elgar

Symphony No. 1 in A flat, Op. 55 (52’)

Edward Gardner conductor

Generously supported by Aud Jebsen

Steven Osborne piano

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

Works from tonight’s concert are being filmed for future broadcast on Marquee TV.

We would be grateful if audience noise during the performance could be kept to a minimum, and if audience members could kindly hold applause until the end of each full work. Thank you for your co-operation.

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

Contents

2 Welcome LPO news

3 On stage tonight

4 London Philharmonic Orchestra

5 Leader: Pieter Schoeman

6 Edward Gardner

7 Steven Osborne

8 Programme notes

10 Tippett on the LPO Label

12 Recommended recordings

13 Next concerts

15 LPO 90th Birthday Appeal

17 Sound Futures donors

18 Thank you 20 LPO administration

Conductor Edward Gardner supported by Aud Jebsen

Guest Conductor Karina Canellakis

Emeritus Vladimir Jurowski Patron HRH The Duke of Kent KG

Burke

Welcome LPO news

Welcome to the Southbank Centre

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.

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. Explore across the site with Beany Green, Côte Brasserie, Foyles, Giraffe, Honest Burger, Las Iguanas, Le Pain Quotidien, Ping Pong, Pret, Strada, Skylon, Topolski, wagamama and Wahaca.

If you would like to get in touch with us following your visit, please write to: Visitor Contact Team, Southbank Centre, Belvedere Road, London SE1 8XX, or email hello@southbankcentre.co.uk

We look forward to seeing you again soon.

A few points to note for your comfort and enjoyment:

Photography is not allowed in the auditorium. Latecomers will only be admitted to the auditorium if there is a suitable break in the performance.

Readmission If you leave the auditorium during the concert, you will be readmitted at a suitable point at the discretion of our Visitor Assistants.

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

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.

Tonight’s concert on Marquee TV

We are delighted that a selection of concerts from our LPO 2022/23 Royal Festival Hall season are being filmed for broadcast on Marquee TV. Works from this evening’s concert are being filmed for broadcast on Saturday 11 March 2023 at 7pm. The performance will remain available to watch free of charge for 48 hours without a Marquee TV subscription.

If you would like to subscribe for unlimited access to Marquee TV’s extensive range of music, opera, theatre and dance productions, you can enjoy 50% off with code LPO2022. Visit marquee.tv/LPO2022 to find out more, enjoy a free trial or subscribe.

Support our 90th Birthday Appeal

This season marks the LPO’s 90th anniversary, and as we celebrate memories of the last 90 years, we’re asking for your help to keep the next 90 years – and beyond – exciting, dynamic and inclusive. Please consider donating to our Birthday Appeal, as we continue to make history in the present by offering life-enriching musical experiences for everyone. As you may have seen from recent media coverage, the vibrant arts community of which we are part has been hit hard by the funding cuts from Arts Council England. The LPO is no exception to this and so we find ourselves even more reliant on our supporters and your generosity to help carry us forward towards an exciting future. Donate online at lpo.org.uk/celebrate90 or call our Individual Giving Team on 020 7840 4212 or 020 7840 4225 to make a donation by credit or debit card. Thank you.

Tune In: new issue out now

Just published is the Spring 2023 edition of our twice-yearly LPO magazine, Tune In. As well as all the latest news and events, it includes exclusive interviews and behind-the-scenes content. 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.

First Violins

Pieter Schoeman* Leader

Chair supported by Neil Westreich Kate Oswin

Lasma Taimina

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

Minn Majoe Yang Zhang Chair supported by Eric Tomsett

Quentin Capozzoli

Alfredo Reyes Logounova

Catherine Craig Thomas Eisner

Katalin Varnagy

Chair supported by Sonja Drexler Martin Höhmann

Cassi Hamilton Fanny Fheodoroff Alice Hall

Rasa Zukauskaite Jamie Hutchinson

Second Violins

Tania Mazzetti Principal Helena Smart Kate Birchall

Nancy Elan Nynke Hijlkema

Fiona Higham Chair supported by David & Yi Buckley

Claudia Tarrant-Matthews

Sioni Williams

Joseph Maher Sheila Law Ashley Stevens Emma Crossley

Alison Strange Rebecca Dinning

On stage tonight

Violas

Richard Waters Principal

Chair supported by Caroline, Jamie & Zander Sharp

Martin Wray Laura Vallejo

Lucia Ortiz Sauco

Benedetto Pollani Shiry Rashkovsky

Katharine Leek Stanislav Popov Michelle Bruil Julia Doukakis Jill Valentine Daniel Cornford

Cellos

Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden

Richard Birchall

David Lale

Francis Bucknall Sue Sutherley Susanna Riddell Helen Thomas Sibylle Hentschel Laura Donoghue Jane Lindsay

Double Basses

Kevin Rundell* Principal Hugh Kluger George Peniston Laura Murphy Charlotte Kerbegian Adam Wynter Emma Prince Catherine Ricketts

Flutes

Juliette Bausor Principal Clare Childs Stewart McIlwham*

Piccolo

Stewart McIlwham* Principal

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 Hunter Gordon

Contrabassoon

Simon Estell* Principal Horns

Annemarie Federle Principal John Ryan* Principal Martin Hobbs Mark Vines Co-Principal Gareth Mollison

Trumpets

Paul Beniston* Principal James Nash Guest Principal Anne McAneney*

Trombones

Mark Templeton* Principal Chair supported by William & Alex de Winton David Whitehouse

Bass Trombone

Lyndon Meredith Principal

Tuba

Lee Tsarmaklis* Principal Chair supported by Friends of the Orchestra

Timpani

Simon Carrington* Principal Chair supported by Victoria Robey OBE

Percussion

Andrew Barclay* Principal Chair supported by Gill & Garf Collins

Feargus Brennan Keith Millar

Harps

Rachel Masters Principal Tamara Young

Celeste

Catherine Edwards

* Holds a professorial appointment in London

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

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

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.

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 Edward Gardner, captured in his first concert as

© Mark Allan

LPO Principal Conductor in September 2021 (see page 10); 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’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.

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

Pieter Schoeman Leader

Pieter Schoeman was appointed Leader of the London Philharmonic Orchestra in 2008, having previously been Co-Leader since 2002. He is also a Professor of Violin at Trinity Laban Conservatoire of Music & Dance.

Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and London’s Royal Festival Hall. As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. His chamber music partners have included Anne-Sophie Mutter, Veronika Eberle, Patricia Kopatchinskaja, Boris Garlitsky, Jean-Guihen Queyras, Yannick Nézet-Séguin, Martin Helmchen and Julia Fischer.

Pieter has performed numerous times as a soloist with the London Philharmonic Orchestra. Highlights have included an appearance as both conductor and soloist in Vivaldi’s Four Seasons at the Royal Festival Hall, the Brahms Double Concerto with Kristina Blaumane, and the Britten Double Concerto with Alexander Zemtsov, which was recorded and released on the LPO Label to great critical acclaim.

Pieter has appeared as Guest Leader with the BBC, Barcelona, Bordeaux, Lyon and Baltimore symphony orchestras; the Rotterdam and BBC Philharmonic orchestras; and the Leipzig Gewandhaus Orchestra.

Pieter’s chair in the LPO is generously supported by Neil Westreich.

© Benjamin Ealovega

Edward Gardner

Principal Conductor, London Philharmonic Orchestra

Symphony No. 2 (Resurrection) and a staged performance of Wagner’s Parsifal. Following recent 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. 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 Rachmaninoff.

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.

This season Edward leads 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. He opened the Orchestra’s season in September with Schoenberg’s Gurrelieder, bringing the Orchestra and soloists together with the London Philharmonic Choir and London Symphony Chorus. Other highlights this season include Mahler’s Fifth Symphony, an Elgar symphony cycle, Janáček’s Glagolitic Mass and Berlioz’s Damnation of Faust He premieres works by LPO Composer-in-Residence Brett Dean, Vijay Iyer and Agata Zubel, and tours with the Orchestra throughout the UK and Benelux as well as undertaking an extensive tour of Germany.

Edward opened the LPO’s 2021/22 season with an acclaimed performance of Tippett’s The Midsummer Marriage, released in September 2022 on the LPO Label (see page 10). In August 2022 he conducted the Orchestra in Elgar’s The Dream of Gerontius at the BBC Proms with the LPC and the Hallé Choir.

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

Music 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.

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.

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).

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

© Benjamin Ealovega

Steven Osborne piano

Steven Osborne is one of Britain’s most treasured musicians, whose insightful and idiomatic interpretations of diverse repertoire show an immense musical depth. His numerous awards include the Royal Philharmonic Society’s Instrumentalist of the Year, two BBC Music Magazine Awards and two Gramophone Awards. His residencies at London’s Wigmore Hall, Antwerp’s deSingel, Bath International Music Festival, the Antwerp Symphony Orchestra, the City of Birmingham Symphony Orchestra and the Royal Scottish National Orchestra are a testament to the respect he commands.

Described by The Observer as ‘always a player in absolute service to the composer’, Steven Osborne’s 32 recordings on Hyperion have won multiple awards. His two 2021 releases, Prokofiev’s War Sonatas, and French works for piano duet with Paul Lewis, were both shortlisted for Gramophone Awards.

Steven Osborne’s recitals are publicly and critically acclaimed without exception, and his 2022/23 programmes revisit his recent recording repertoire of Beethoven and Rachmaninoff, interspersed with his own improvisations and another of his much-admired composers, Schubert. He has performed at many of the world’s prestigious venues including the Vienna Konzerthaus, Amsterdam Concertgebouw, Berlin Philharmonie, Hamburg Elbphilharmonie, Suntory Hall Tokyo and Kennedy Center Washington DC, and is a regular guest at both Lincoln Center and Wigmore Hall.

Concerto performances take Steven Osborne to major orchestras all over the world including recent visits to the Deutsches Symphonie-Orchester Berlin, Vienna Radio Symphony Orchestra, Oslo Philharmonic, Danish National Radio, London Symphony Orchestra, Royal Stockholm Philharmonic, Yomiuri Nippon Symphony Orchestra, Australian Chamber Orchestra, Seattle Symphony, the Aspen Music Festival and the Mostly Mozart Festival at Lincoln Center. His repertoire ranges from Mozart, Beethoven, Brahms, Ravel, Rachmaninoff, Shostakovich and Messiaen through to Tippett, Britten and Julian Anderson, who dedicated his 2017 Piano Concerto to Steven. The 2022/23 season sees performances with the Stuttgart Philharmonic, BBC Philharmonic, Royal Scottish National Orchestra, Ulster Orchestra, Singapore Symphony, West Australian Symphony, Adelaide Symphony and São Paulo State Symphony Orchestra.

Autumn 2022 saw Steven’s 33rd release for Hyperion: the latest instalment in his survey of solo works by Debussy. A label artist since 1998, his recordings have accumulated numerous awards in the UK, France, Germany and the USA, including two Gramophone Awards, three German Record Critics’ Awards and a ‘Choc’ in Classica magazine, in addition to a clutch of Editor’s Choices in Gramophone and Recordings of the Year from The Daily Telegraph, The Guardian, The Times and The Sunday Times. His recordings span a wide range of repertoire including Beethoven, Schubert, Debussy, Ravel, Liszt, Stravinsky, Prokofiev, Rachmaninoff, Medtner, Messiaen, Britten, Tippett, Crumb and Feldman.

Steven Osborne won First Prizes at the prestigious Clara Haskil Competition (1991) and the Naumburg International Competition (1997). Born in Scotland, he studied with Richard Beauchamp at St Mary’s Music School in Edinburgh and with Renna Kellaway at the Royal Northern College of Music in Manchester. He is Visiting Professor at the Royal Academy of Music and the Royal Conservatoire of Scotland; Patron of the Lammermuir Festival; and in 2014 was elected a Fellow of the Royal Society of Edinburgh. He was appointed an Officer of the Order of the British Empire (OBE) for services to music in The Queen’s New Year Honours 2022.

© Benjamin Ealovega

Programme notes

Samuel Coleridge-Taylor 1875–1912

Solemn Prelude, Op. 40 1899 (London premiere)

It was Edward Elgar who recommended the still very young Samuel Coleridge-Taylor to the Three Choirs Festival. His festival debut, in 1898, was such a success that he was invited to compose something more substantial for performance the following year. The result was the Solemn Prelude in B minor, scored for a relatively modest orchestra, but creating an impression of striking tonal depth and richness. It was a big success at its premiere at Worcester Cathedral, conducted by the composer, yet, mysteriously, it was never revived. A piano score was published, but the orchestral manuscript and parts disappeared.

Then in 2020, the Three Choirs Festival’s Chief Executive, Alexis Paterson, began investigations, and tracked the manuscript down in the British Library. Solemn Prelude was revived, and a new edition of the score was published by Faber Music. The modern premiere was given at Worcester Cathedral in July 2021 to great acclaim, with more performances following in the UK and Chicago.

Although the prevailing character is elegiac (mortality and loss were hugely popular themes in Victorian England), there are moments of almost Rachmaninofflike passion, and the three-in-a-bar pulse gives the music at times the feeling of a slow, stately dance, eventually reaching a quietly consoling conclusion.

‘I wish, wish, wish you would ask Coleridge-Taylor to do it. He still wants recognition, and he is far and away the cleverest fellow going amongst the young men.’

– Edward Elgar, in response to an 1898 request from the Three Choirs Festival

Programme

notes

Michael Tippett

1905–98

Piano Concerto 1953–55

Steven Osborne piano

1 Allegro non troppo 2 Molto lento e tranquillo 3 Vivace

It was whilst hearing the legendary German pianist Walter Gieseking rehearse Beethoven’s Fourth Piano Concerto – the most lyrical and least combative of all Beethoven’s concertos – that Michael Tippett began to realise that ‘a contemporary concerto might be written, in which the piano is used once again for its poetic capabilities.’ Following the examples of Stravinsky and Prokofiev, many 20th-century composers had turned to exploiting the piano primarily as a percussion instrument. In addition, at the time Tippett wrote his Piano Concerto there was a widespread view that truly ‘contemporary’ music should reflect the anxieties and austerity of its times. Tippett, however, felt the need to do something quite different: as in his opera The Midsummer Marriage, which he was working on at the same time, he felt an overwhelming urge to affirm, to express joy and wonder at the elemental beauty and mystery of life – to offer an alternative, dream-world in which hope and the courage to endure might be rediscovered.

Despite this, the Piano Concerto did not fare very well at its premiere, and for decades afterwards it was judged problematic, not least because its piano writing is ferociously difficult – so much so, in fact, that the pianist Julius Katchen declared it unplayable, and walked out of rehearsal not long before the premiere in 1956. But there are plenty of challenging piano concertos in the repertoire that have at one time been pronounced ‘unplayable’. What makes this Concerto still more difficult for the soloist is that this is emphatically not a virtuoso display-piece, in which technical

Tippett at work

fireworks are foregrounded and an element of struggle can add to the excitement. Instead, Tippett mostly demands that the pianist conceal the strain and effort involved in the interests of melodic fluency and ardour, contemplative tenderness and magic. And in contrast to many famous piano concertos, the soloist is rarely in any kind of conflict or contention with the orchestra. The relationship is much more intimate, at times almost symbiotic. Uniquely, Tippett introduces a kind of musical ‘go-between’ in the form of another keyboard instrument, the celeste. In The Midsummer Marriage

Michael

Programme notes

the celeste is associated with spells, incantations and moments of supernatural intervention, and here it speaks in very similar tones, as the piano’s ‘familiar’ or spiritual alter-ego.

The Piano Concerto reflects the proportions of Beethoven’s Fourth: a longish first movement is followed by a shorter slow movement and exuberant finale in rondo (circular) form. But the opening is utterly original –a display of Tippett’s long-breathed lyricism at its most liquid and ecstatic, building to an ardent climax. Other kinds of music appear – capricious, ghostly, tense and muscular – until, after a visionary hushed passage for celeste and timpani, overlaid with multiple piano trills, the opening crescendo returns, this time with eerie muted horn-calls. Solo cadenzas are often moments of extrovert brilliance, but Tippett’s cadenza is the most inward, poetic moment in the whole movement, after which the music ebbs to a quiet, slightly questioning conclusion.

For quite a while, the slow movement seems to be moving on two levels at the same time: slow imitative writing on horns, then woodwind, evolves steadily as a calm background to an almost manic, florid outpouring for the piano. Eventually, this builds to a climax, at which upward-surging string figures are gradually soothed by the soloist – an unmistakable homage to the slow movement of Beethoven’s Fourth Concerto, yet recreated in breathtakingly original terms. A vigorous dancing main theme for orchestra alone begins the finale (a welcome rest for the pianist after the demands of the previous movement), alternating with a bravura theme for piano, a gorgeous long melody for cellos and horns, with cascading solo figures, and a kind of bluesy meditation for piano and celeste. Finally, piano and orchestra are united in a return of the main theme, building to a jubilant, firmly major-key ending.

Coleridge-Taylor & Tippett programme notes © Stephen Johnson

Interval – 20 minutes

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

ON THE LPO LABEL

TIPPETT

THE MIDSUMMER

MARRIAGE

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

Conducted by Edward Gardner with Robert Murray, Rachel Nicholls, Ashley Riches, Jennifer France, Claire Barnett-Jones, Toby Spence, Susan Bickley, Joshua Bloom, London Philharmonic Choir & English National Opera Chorus

Available to download, stream, or as a 3-CD box set: scan the QR code to listen or find out more.

‘THIS IS EDWARD GARDNER’S SHOW, AND HE RISES TO TIPPETT’S CHALLENGE SUPERBLY.’ BBC Music Magazine

Programme notes

Edward Elgar 1857–1934

Symphony No. 1 in A flat, Op. 55 1908

1 Andante. Nobilmente e semplice 2 Allegro molto 3 Adagio 4 Lento — Allegro

In a 1905 lecture, referring to the symphony as a form, Elgar said: ‘Perhaps [it] is somewhat battered by the illusage of some of its admirers, although some modern symphonies still testify to its vitality; but when the looked-for genius comes, it may be absolutely revived ...’

Although Elgar mastered orchestration early, it took the self-taught composer until he was over 50 before he was confident enough to complete a symphony. That Elgar was largely an autodidact makes his two symphonies particularly interesting, and perhaps explains their originality. This is apparent in the way he uses both his material and the orchestra. This was not unique, but it was unique as far as music in this country was concerned, and when ‘the looked-for genius’ came, the result was revolutionary and cast aside any doubts on the ‘vitality’ of the symphonic form.

When Elgar’s First Symphony was premiered in Manchester on 3 December 1908, with the great Wagnerian Hans Richter conducting the Hallé Orchestra, the reception was extraordinary. The conductor Arthur Nikisch wrote: ‘I consider Elgar’s Symphony a masterpiece of the first order, one that will soon be ranked on the same basis as the great symphonic models – Beethoven and Brahms’, while the critic of The Daily Mail observed: ‘It is quite plain that here we have perhaps the finest masterpiece of its type that ever came from the pen of an English composer’.

The Symphony is dominated by a motto theme, or idée fixe, an approach that is not in itself original, as the

From the collection of Arthur Reynolds

Programme notes

fourth and fifth symphonies of Tchaikovsky and the Symphonie fantastique of Berlioz demonstrate. However, for Elgar, this is no ‘fate’ motif hammering uncompromisingly on the composer’s door; it is the subtle engine of the work, weaving in and out of the Symphony, at times elusively and at others forcefully, becoming, as it progresses, a distant memory quietly haunting the listener until it ends in hard-won triumph.

Two pianissimo timpani rolls announce the Symphony, its originality apparent as, beginning in the home key, ‘nobly and simply’ over staccato lower strings, the long melody is quietly played on the woodwind for 25 bars before a crescendo leads into a repetition by the full orchestra. The theme ends; the orchestra pauses and, with a wrench from 4/4 to 2/2, dives into another world, that of the first-subject Allegro in the contrasting key of D minor. Eventually the second subject appears, but cannot still the restlessness. Elgar keeps a rein on the increasing use of brass with allowable lapses (tutta forza – full power!) Muted horns hint at the ‘motto’ theme and the orchestration becomes increasingly complex, with the use of devices such as divided second violins and, on occasion, using only the last desks of the strings, thereby diffusing the source of the sound. However, in a passage that Elgar asked be played in a ‘veiled and remote’ manner, a solo violin and solo cello with harps to the fore suggest the return of the ‘motto theme’. Elgar, the renowned orchestrator, displays his skill in the magical closing pages of the movement: solos for clarinet, viola and double bass, the other strings sul ponticello (played near the bridge), the horns muted, harp arpeggios creating a stillness and atmosphere of longing as, just before the end, all tension dissipated, the horns return naturale heralding a final pizzicato on the lower strings.

The Allegro molto second movement, largely in F sharp minor, scurries away as short phrases prevent the music from settling. A second, marching theme sustains the tension but a new theme, in B flat major, allows the music to relax. Once, in a rehearsal, Elgar asked the orchestra to play this ‘like something you hear down by the river’. A solo violin takes over before the marching tune recurs slowing the music, the scoring becoming sparer as the strings segue into the Adagio, the main theme note-for-note that of the previous movement. This is no conjuring trick, as music of peace and longing ease the hardest of hearts. Towards the movement’s end, Elgar introduces a new theme (closely related to the ‘motto’). The music slows, and muted trombones set up the closing hushed clarinet phrase.

The fourth movement begins Lento (slowly) in D minor, the rustling strings hinting at what is to come as the principal theme of the movement is quietly played by bassoons and pizzicato cellos, before the ‘motto’ theme is heard, as from afar. Then Allegro, with a change to G minor, the movement strides away. As Elgar develops his material, the march-like main theme is transformed into a melody of great beauty which, although banished by the impatient orchestra, establishes the rhythm as Elgar moves towards the climax of his Symphony. At last the ‘motto theme’ is reprised. Hesitant at first, as syncopated chords attempt to prevent its progress, it eventually asserts itself. Grandioso, we are propelled towards the ending, which is not so much one of triumph but of joy – a celebration of Elgar’s description of his Symphony: ‘There is no programme beyond a wide experience of human life, with a great charity (love) & a massive hope in the future’.

Programme note © Andrew Neill

Recommended recordings of tonight’s works

by Laurie Watt

Tippett: Piano Concerto Steven Osborne | BBC Scottish Symphony Orchestra | Martyn Brabbins (Hyperion)

Elgar: Symphony No. 1 BBC Symphony Orchestra | Edward Gardner (Chandos) or London Philharmonic Orchestra | Adrian Boult (Lyrita) or London Philharmonic Orchestra | Georg Solti (Decca)

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

SPIRITS OF DELIGHT

Saturday 28 January 2023 | 7.30pm

Mendelssohn The Fair Melusina Overture Schumann Piano Concerto* Elgar Symphony No. 2

Edward Gardner conductor Víkingur Ólafsson piano Generously supported by Victoria Robey OBE *Please note change of programme from previously advertised

THE DAMNATION OF FAUST

Saturday 4 February 2023 | 7.30pm

Berlioz The Damnation of Faust

Edward Gardner conductor Karen Cargill Marguerite David Junghoon Kim Faust Christopher Purves Méphistophélès Jonathan Lemalu Brander London Philharmonic Choir Members of the London Symphony Chorus London Youth Choir MY HOMELAND

Friday 10 February 2023 | 7.30pm

Glinka Overture, Ruslan and Ludmilla Rachmaninoff Piano Concerto No. 2 Smetana Má Vlast (movements 1–4)

Nikolaj Szeps-Znaider conductor Kirill Gerstein piano LPO.ORG.UK Víkingur Ólafsson © Ari Magg

I fell in love with my husband, 38 years ago, at an LPO concert featuring Tchaikovsky’s 5th Symphony in White Rock, Hastings.” LPO audience member

In 1961 we were the first British orchestra to tour to Australia.

In 1987, with a commitment to sharing orchestral music with as wide and diverse an audience as possible, we established our Education and Community programme.

In 2016 LPO Junior Artists was launched, a programme offering young musicians from under-represented backgrounds a pathway into the music profession.

Formed 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.

with a bold purpose: to rival the greatest orchestras in the world, this year the London Philharmonic Orchestra celebrates its 90th birthday. Annual Appeal 2023 Donate online, or call the Individual Giving Team on 020 7840 4212 or 020 7840 4225 to make a donation by credit or debit card. lpo.org.uk/celebrate90

“ My Show your support by making a donation.

first ever LP O concert was in July 1953: The opening Ruslan&Ludmilla overture thrilled me! A fan for life.”

LPO

“ The

LPO

2011

In

We were the first orchestra to perform at Glyndebourne Festival Opera in 1964.

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

Grenville & Krysia Williams

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

Thank you

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

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

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

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 89 Albert Embankment London SE1 7TP

Tel: 020 7840 4200 Box Office: 020 7840 4242 Email: admin@lpo.org.uk lpo.org.uk

Cover illustration

Simon Pemberton/Heart 2022/23 season identity

JMG Studio Printer John Good Ltd