LPO programme: 25 Oct 2023 - Death and Transfiguration (Karina Canellakis/Cédric Tiberghien) by London Philharmonic Orchestra

2023/24 concert season at the Southbank Centre

Free 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 Wednesday 25 October 2023 | 7.30pm

Death and Transfiguration R Strauss Don Juan (18’) Ravel Piano Concerto for the Left Hand (19’) Interval (20’) Tania León Horizons (UK premiere) (10’) R Strauss Death and Transfiguration (24’)

Karina Canellakis conductor Cédric Tiberghien piano

Free pre-concert discussion | 6.15pm The Clore Ballroom, Level 2, Royal Festival Hall Composer-in-Residence Tania León joins LPO Artistic Director Elena Dubinets to talk about her music and her new role with the LPO. All welcome, no ticket required.

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 Karina Canellakis 7 Cédric Tiberghien 8 Programme notes 11 Strauss on the LPO Label 12 Tania León 14 Recommended recordings 15 Next concerts 17 Sound Futures donors 18 Thank you 20 LPO administration

London Philharmonic Orchestra • 25 October 2023 • Death and Transfiguration

Welcome

LPO news

Welcome to the Southbank Centre

Bravo for the LPO! Gramophone Opera Award

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.

We’re thrilled that our recording of Tippett’s The Midsummer Marriage with Principal Conductor Edward Gardner, the London Philharmonic Choir and the English National Opera Chorus won Gramophone’s Opera Award 2023, announced on 4 October at the annual Gramophone Awards ceremony. We were also nominated for Orchestra of the Year, and in the Contemporary category for our premiere recording of James MacMillan’s Christmas Oratorio.

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

Recorded live at the Royal Festival Hall on 25 September 2021, our performance of The Midsummer Marriage marked an important moment for the Orchestra – not only was it the first concert with Edward Gardner as our Principal Conductor, it was also the first concert with a full audience following the COVID-19 pandemic. The recording, released in September 2022, was also the first commercial recording of the opera in over 50 years.

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Drinks

Tour adventures

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.

Earlier this month the Orchestra embarked on an exciting tour of South Korea and Taiwan with Principal Conductor Edward Gardner. We gave concerts in Daegu, Bucheon and Seoul with violinist Christian Tetzlaff, and in Taipei with violinist William Wei.

Enjoyed tonight’s concert?

Help us to share the wonder of the LPO by making a donation today. Use the QR code to donate via the LPO website, or visit lpo.org.uk/donate. Thank you.

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London Philharmonic Orchestra • 25 October 2023 • Death and Transfiguration

On stage tonight First Violins

Pieter Schoeman* Leader Chair supported by Neil Westreich

Kate Oswin

Chair supported by Eric Tomsett

Lasma Taimina

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

Minn Majoe Martin Höhmann Elizaveta Tyun Cassandra Hamilton Katalin Varnagy

Chair supported by Sonja Drexler

Thomas Eisner Yang Zhang Nilufar Alimaksumova Ronald Long Will Hillman Eleanor Bartlett Katherine Waller Jamie Hutchinson

Second Violins

Tania Mazzetti Principal Claudia Tarrant-Matthews Chair supported by Friends of the Orchestra

Helena Smart Fiona Higham

Chair supported by David & Yi Buckley

Kate Birchall Ashley Stevens Nancy Elan Sioni Williams Nynke Hijlkema Alison Strange Marie-Anne Mairesse Rebecca Dinning Emma Purslow Anna Croad

Violas

Rachel Roberts Guest Principal

Benedetto Pollani Laura Vallejo Lucia Ortiz Sauco Jisu Song Kate De Campos

Clarinets

Alistair Scahill Shiry Rashkovsky Julia Doukakis Anita Kurowska Stanislav Popov Julia Kornig

Benjamin Mellefont Principal

Thomas Watmough

Chair supported by Roger Greenwood

Jernej Albrecht

Cellos

Bass Clarinet

Kristina Blaumane Principal

Paul Richards* Principal

Chair supported by Bianca & Stuart Roden

Peter Martens Nazar Dzhuryn Francis Bucknall David Lale Sue Sutherley Tom Roff Helen Thomas Sibylle Hentschel Tatiana Kalmykova

E-flat Clarinet

Thomas Watmough Principal

Chair supported by Roger Greenwood

Principal

Chair supported by Victoria Robey OBE

Percussion

Andrew Barclay* Principal Chair supported by Gill & Garf Collins

Karen Hutt

Chair supported by Mr B C Fairhall

Harps

Simon Estell* Principal

George Peniston Laura Murphy Lowri Morgan Cathy Colwell Adam Wynter Tom Walley

Simon Carrington*

Chair supported by Sir Simon Robey

Contrabassoon

Co-Principal

Timpani

Bassoons

Dominic Tyler

Kevin Rundell* Principal Sebastian Pennar

Lee Tsarmaklis* Principal

Jeremy Cornes James Crook Feargus Brennan

Jonathan Davies Principal

Double Basses

Tuba

Horns

John Ryan* Principal Annemarie Federle

Rachel Masters Principal Tamara Young

Piano

Iain Clarke

Assistant Conductor Charlotte Politi

Principal

Chair supported by William & Alex de Winton

Martin Hobbs Mark Vines Co-Principal Gareth Mollison

Flutes

Juliette Bausor Principal Frederico Paixão Stewart McIlwham*

Trumpets

Paul Beniston* Principal Tom Nielsen Co-Principal Anne McAneney*

Piccolo

Stewart McIlwham*

Trombones

Principal

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

Oboes

Ian Hardwick* Principal Alice Munday

David Whitehouse

Cor Anglais

Lyndon Meredith Principal

Bass Trombone

Sue Böhling* Principal

Chair supported by Dr Barry Grimaldi

*Holds a professorship at a London conservatoire

The LPO also acknowledges the following chair supporters whose player is not present at this concert: Caroline, Jamie & Zander Sharp

London Philharmonic Orchestra • 25 October 2023 • Death and Transfiguration

London Philharmonic Orchestra

Our conductors

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 Principal Conductors have included some of the greatest historic names like Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. In 2021 Edward Gardner became our 13th Principal Conductor, taking the Orchestra into its tenth decade. Vladimir Jurowski became Conductor Emeritus in recognition of his impact as Principal Conductor from 2007–21. Karina Canellakis is our current Principal Guest Conductor and Tania León our Composer-in-Residence.

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.

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.

Sharing the wonder You’ll find us online, on streaming platforms, on social media and through our broadcast partnership with Marquee TV. During the pandemic period we launched ‘LPOnline’: over 100 videos of performances, insights and introductions to playlists, which led to us being named runner-up in the Digital Classical Music Awards 2020. During 2023/24 we’re once again be working with Marquee TV to broadcast selected live concerts, so you can share or relive the wonder from your own living room.

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.

London Philharmonic Orchestra • 25 October 2023 • Death and Transfiguration

Pieter Schoeman Leader

There’s nothing we love more than seeing the joy of children and families enjoying their first musical moments, and we’re passionate about equipping schools and teachers through schools’ concerts, resources and training. Reflecting our values of collaboration and inclusivity, our OrchLab and Open Sound Ensemble projects offer music-making opportunities for adults and young people with special educational needs and disabilities. Our LPO Junior Artists programme is leading the way in creating pathways into the profession for young artists from under-represented communities, and our LPO Young Composers and Foyle Future Firsts schemes support the next generation of professional musicians, bridging the transition from education to professional careers. We also recently launched the LPO Conducting Fellowship, supporting the development of outstanding early-career conductors from backgrounds currently under-represented in the profession.

Next generations

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.

Looking forward

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

The centrepiece of our 2023/24 season is our spring 2024 festival The Music in You. Reflecting our adventurous spirit, the festival embraces all kinds of expression – dance, music theatre, and audience participation. We’ll collaborate with artists from across the creative spectrum, and give premieres by composers including Tania León, Julian Joseph, Daniel Kidane, Victoria Vita Polevá, Luís Tinoco and John Williams. Rising stars making their debuts with us in 2023/24 include conductors Tianyi Lu, Oksana Lyniv, Jonathon Heyward and Natalia Ponomarchuk, accordionist João Barradas and organist Anna Lapwood. We also present the long-awaited conclusion of Conductor Emeritus Vladimir Jurowski’s Wagner Ring Cycle, Götterdämmerung, and, as well as our titled conductors Edward Gardner and Karina Canellakis, we welcome back classical stars including Anne-Sophie Mutter, Robin Ticciati, Christian Tetzlaff and Danielle de Niese.

Pieter 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.

lpo.org.uk

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

London Philharmonic Orchestra • 25 October 2023 • Death and Transfiguration

Karina Canellakis Principal Guest Conductor, London Philharmonic Orchestra

After the great successes of Kat’a Kabánova and The Cunning Little Vixen with the Netherlands Radio Philharmonic in previous seasons, this season Karina continues her series of Janáček operas with The Makropulos Case. She will also conduct Strauss’s Der Rosenkavalier for Santa Fe Opera in summer 2024. Her concert performances of acts of Wagner’s Die Walküre, Tristan und Isolde and Siegfried have met with tremendous critical praise, and she has conducted critically acclaimed productions of Tchaikovsky’s Eugene Onegin; Mozart’s Don Giovanni, Die Zauberflöte and Le nozze di Figaro; David Lang’s the loser; and Peter Maxwell Davies’s The Hogboon. April 2023 saw the start of a multi-album collaboration between Karina, the Netherlands Radio Philharmonic and Pentatone with their debut release; Bartók’s Concerto for Orchestra and Four Orchestral Pieces. Karina and the RFO were also featured artists for the launch of Apple Music Classical, in a recording of Beethoven’s Piano Concerto No. 1 with Alice Sara Ott.

Internationally acclaimed for her emotionally charged performances, technical command and interpretive depth, Karina Canellakis has become one of the most in-demand conductors of her generation. She has been Principal Guest Conductor of the London Philharmonic Orchestra since September 2021, and is also Chief Conductor of the Netherlands Radio Philharmonic Orchestra.

Since winning the Sir Georg Solti Conducting Award in 2016, Karina Canellakis has become a guest conductor with leading orchestras around the world including the Bavarian Radio Symphony, Boston Symphony, Chicago Symphony, Cleveland, LA Philharmonic, London Symphony, Munich Philharmonic, Philadelphia, San Francisco Symphony and Vienna Symphony orchestras, the Orchestre de Paris, and the Gewandhausorchester Leipzig. She recently finished a four-year appointment as Principal Guest Conductor of the Berlin Radio Symphony Orchestra.

Following tonight’s concert, Karina returns to the Royal Festival Hall this Saturday (28 October) to conduct the LPO in Shostakovich’s Eighth Symphony and Beethoven’s Second Piano Concerto with pianist Jonathan Biss. On 21 February 2024 she returns once again for a programme including Brahms’s Fourth Symphony. Following last season’s highly successful tour of Germany with the LPO and pianist Daniil Trifonov, this season Karina again leads the Orchestra on tour to Munich, Athens and Vienna’s Musikverein, where she is a featured Artist-in-Residence for 2023/24.

Karina Canellakis was the first woman to conduct the First Night of the BBC Proms in London in 2019, with the BBC Symphony Orchestra, and returned to the Proms in 2022. She was also the first woman to ever conduct the Nobel Prize Concert, with the Royal Stockholm Philharmonic in 2018.

As Chief Conductor of the Netherlands Radio Philharmonic, this season Karina presents exciting contemporary pieces, new commissions and wellknown masterpieces at the Concertgebouw Amsterdam and TivoliVredenburg in Utrecht. Particular highlights include a concert performance of Wagner’s Siegfried as part of the prestigious Zaterdag Matinee series.

Already known to many in the classical music world for her virtuoso violin playing, Karina was initially encouraged to pursue conducting by Sir Simon Rattle while she was playing regularly in the Berlin Philharmonic for two years as a member of its Orchester-Akademie. She performed for many years as a soloist, guest leader and chamber musician, spending her summers at the Marlboro Music Festival, until conducting eventually became her focus.

Karina’s 2023/24 guest engagements include her debut with the New York Philharmonic, as well as returns to the Boston Symphony, San Francisco Symphony, Los Angeles Philharmonic and Cleveland orchestras, the Berlin Radio Symphony Orchestra, and the NDR Elbphilharmonie in Hamburg.

Karina was born and raised in New York City.

London Philharmonic Orchestra • 25 October 2023 • Death and Transfiguration

Cédric Tiberghien piano

Cédric’s most recent recording is Volume 1 of a complete Beethoven Variations cycle, repertoire that he is also performing at the Wigmore Hall. This is released by Harmonia Mundi, for whom Cédric has also recorded the Ravel Concertos with Les Siècles/Roth – a disc that attracted superlative critical acclaim, including ‘Editor’s Choice’ in Gramophone magazine. Cédric has previously recorded works by Bach, Beethoven, Brahms and Debussy for Harmonia Mundi. He has been awarded five Diapasons d’Or for his solo and duo recordings on Hyperion, his most recent solo project being a threevolume exploration of Bartók’s piano works. A dedicated chamber musician, Cédric’s regular partners include violinist Alina Ibragimova, violist Antoine Tamestit and baritone Stéphane Degout, with all of whom he has made several recordings as well as performing in concert. His discography with Alina includes complete cycles of music by Schubert, Szymanowski and Mozart (Hyperion) and a Beethoven Sonatas cycle (Wigmore Live).

Cédric Tiberghien is a French pianist who has established a truly international career. He has been particularly applauded for his versatility, as demonstrated by his wide-ranging repertoire, interesting programming, openness to explore innovative concert formats, and dynamic chamber music partnerships.

Cédric is a member of the Académie Musicale Philippe Jaroussky, where he teaches regularly.

Tonight is Cédric’s debut with the London Philharmonic Orchestra. Other concerto appearances in the 2023/24 season include his debut with the Atlanta Symphony Orchestra, as well as re-invitations to the San Francisco Symphony and the Orchestre National de Lyon. His solo and chamber appearances – the latter with violinist Alina Ibragimova and the Chiaroscuro Quartet – include performances in London, Brussels and Berlin. Cédric has a long association with the Wigmore Hall in London, where he is currently performing a complete Beethoven Variations cycle, juxtaposed with works by other composers, illustrating the evolution of the genre. Last season Cédric performed Messiaen’s Turangalîla Symphony with both the Berlin Philharmonic under Simone Young, and the Orchestre National de France under Cristian Măcelaru. Other recent collaborations have included with the Boston Symphony, Cleveland, London Symphony, NDR Elbphilharmonie and Tokyo Philharmonic orchestras, and at the BBC Proms with Les Siècles. His conductor collaborations include Karina Canellakis, Nicholas Collon, Stéphane Denève, Edward Gardner, Enrique Mazzola, Ludovic Morlot, Matthias Pintscher, François-Xavier Roth and Simone Young.

London Philharmonic Orchestra • 25 October 2023 • Death and Transfiguration

Programme notes Richard Strauss 1864–1949

Don Juan: tone-poem after Nikolaus Lenau, Op. 20 1889

need to know the name of this piece to realise, within seconds, that we’re in for swashbuckling adventure of the most breathless kind. Everyone’s heard of Don Juan – Casanova’s role-model, Mozart’s Don Giovanni and one of Johnny Depp’s most romantic roles. What kind of 24-year-old composer in 1889 would have the nerve to portray such a celebrated – and risqué – figure in music? Surely not Richard Strauss – the golden boy of Munich’s music scene, son of a famous horn player and the composer (so far) of respectable imitations of Brahms and Weber? Young Richard seemed to have grown up terribly suddenly. In Don Juan he took the colour, sensuousness and drama of Wagner’s style and gave it the lean, classical energy of Brahms’s best symphonic movements. And he did it with a brilliance, an impertinence, and a swaggering panache that were entirely his own. Don Juan was premiered on 11 November 1889 by the Weimar court orchestra. Someone asked Strauss whether he was a Wagnerian or a Brahmsian. ‘Neither’, he replied: ‘I’m a Selfian’. Strauss took his hero from a drama of 1851 by the German poet Nikolaus Lenau. Lenau’s Juan lives fast and dies young, and in Strauss’s final bars we hear him stabbed in a duel and breathing his last. But there’s some sensational living to be done first. The great seducer springs immediately into action. A solo violin introduces his first conquest but the swirling, swooning love music soon yields to the next call to action; and the adventures continue until stopped in their tracks by Juan’s one true love – a poignant melody for solo oboe. Juan hesitates, before rising to the challenge with a magnificent new theme: a ringing, virile call for all four horns. This is young man’s music, after all. As Strauss himself told an orchestra that was about to play Don Juan: ‘Those of you who are married: play it as if you’ve just got engaged.’ But even as an upstart, a true artist sees further. Strauss’s final bars – a sudden, chilling, fade to black – are the work of a realist, not an escapist.

Richard Strauss Of the three genres for which Richard Strauss is best known – tone-poem, song and opera – it was the first and second that preoccupied his earlier years as a composer, and the tone-poem in particular that spread his name as an important new voice in German music. The first work to which he applied the term was the now rarely heard Macbeth, begun in 1886 and completed in 1888. By the end of the following year, however, he had completed two more tone-poems which have better stood the test of time and both of which we hear this evening: Don Juan and Death and Transfiguration. Don Juan opens with a rocketing flurry of strings, a cocksure fanfare and a crowning flourish – you don’t

Programme note © Richard Bratby

London Philharmonic Orchestra • 25 October 2023 • Death and Transfiguration

Programme notes Maurice Ravel 1875–1937

Piano Concerto for the Left Hand 1929–30

Cédric Tiberghien piano

Lento – Allegro – Tempo Primo Imagine you are a pianist, and that you’ve just been told that you have to lose one of your hands. Which one would you choose? Those of us who are right-handed would probably opt to lose the left one. Yet it actually makes much more sense to keep the left hand. This is the hand that is trained to play rippling arpeggio figures and striding bass chords: in other words, to provide rich supporting harmonies. At the same time, the two strongest, most agile fingers – forefinger and thumb – are at the top, so they’re better able to pick out melodies than the ring and little fingers at the top of the right hand. And the left hand is more directly connected to the right hemisphere of the brain – the part associated with music rather than with language and logic. So while you could hardly say that the pianist Paul Wittgenstein was lucky to lose his right arm in the First World War, it could have been worse, as Wittgenstein (brother of the famous philosopher) came to realise. He worked hard at building up his left-hand technique, and before long he was playing with remarkable virtuosity. The trouble was, only one great composer – Brahms – had produced anything substantial for left hand alone: an arrangement of Bach’s mighty Chaconne from the Partita in D minor for solo violin. Undeterred, Wittgenstein set about commissioning virtuoso works for left hand from some of the leading composers of the day: Erich Korngold, Richard Strauss, Sergei Prokofiev, Benjamin Britten, Franz Schmidt and Maurice Ravel – a strikingly international lineup. The results were all impressive, and very different in character. But while most of these composers made little effort to disguise the one-handedness of the soloist, Ravel created Maurice Ravel

London Philharmonic Orchestra • 25 October 2023 • Death and Transfiguration

Programme notes something very different. Try shutting your eyes during any of the solo cadenza passages in this Concerto: you’ll probably find it very hard indeed to believe that the soloist isn’t cheating and using his right hand as well. In fact Ravel’s writing for the piano in this work is every bit as much of a feat of virtuosity as performing it would be. Somehow he seems to know exactly how far he can push the left hand without making it simply impossible to play.

with an increasingly serious tone. Suddenly the slow dance theme sweeps back in, this time with soloist and full orchestra combined. The solo cadenza that follows is suitably virtuosic, but increasingly there is a note of sadness – a sense of loss perhaps. But again the piano rises defiantly, and the Allegro theme returns for a brief but triumphal close. Programme note © Stephen Johnson

It seems that something of Wittgenstein’s heroic determination – his refusal to accept that his terrible loss meant the end of his career – left its mark on the character of Ravel’s Concerto. Generally speaking, Ravel didn’t care much for the heroically striving romantic language created by Beethoven in his piano concertos: for him Beethoven was ‘le grand Sourd’ – ‘the great deaf-mute’, whose effect on musical development had been deadening. Ravel preferred delicacy, refinement, exquisite suggestiveness to Byronic blood and thunder. But there is something truly Beethovenian about the Concerto for the Left Hand. While Ravel’s two-hand Piano Concerto in G balances solos and orchestra with typically fastidious care (only a chamber orchestra is required), this Concerto pits its one-handed soloist against a large orchestra with full brass, enlarged woodwind and a powerful percussion section. Though Ravel skilfully avoids bringing pianist and full orchestra into direct conflict too often, the effect is still of a small but determined figure standing up to an elemental force – like Wittgenstein himself defying his fate.

Pianist Paul Wittgenstein

The Concerto is in one continuous movement: two broad slow sections framing a brilliant central Allegro. It begins with deep, murky bass textures, and a rare example of a great solo for contrabassoon. This builds to a huge climax, from which the piano emerges, also from the depths, establishing a magnificent habaneralike dance theme (though with three beats in a bar instead of two) which is then taken up by the orchestra. More intimate dialogue between soloist and orchestra eventually builds another crescendo, at which the Allegro bursts onto the scene. This dazzling colourful music, with more suggestions of Latin folk music, but

Interval – 20 minutes An announcement will be made five minutes before the end of the interval.

Take the music with you Strauss on the LPO Label

LPO-0122

LPO-0079

Scan the QR codes to listen instantly

Jessye Norman sings Strauss: Five Songs Le Bourgeois Gentilhomme Salome (excerpts)

Don Juan Ein Heldenleben Bernard Haitink conductor

LPO-0106

LPO-0117

Klaus Tennstedt conductor

Strauss: Symphonia Domestica Rimsky-Korsakov: Scheherazade

Eine Alpensinfonie Die Frau ohne Schatten (excerpts) Dance of the Seven Veils

Zubin Mehta conductor

Vladimir Jurowski conductor

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

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London Philharmonic Orchestra • 25 October 2023 • Death and Transfiguration

Programme notes Tania León

LPO Composer-in-Residence | born 1943

Horizons

1999 (UK premiere)

Having studied piano in her native Cuba since the age of four and earned Bachelor’s and Master’s degrees in music (plus a certification in accounting!), Tania left Cuba for the United States in 1967. She settled in New York City, where she received Bachelor’s and Master’s degrees again, this time from New York University, and in 1969 staked her place in New York’s cultural scene as a founding member and music director of Arthur Mitchell’s Dance Theatre of Harlem. Five years later she instituted the Brooklyn Philharmonic Community Concert series. She was New Music Advisor at the New York Philharmonic from 1993–97, and from 1994–2001 she served as Latin American music advisor for the American Composers Orchestra. She is also the founder and artistic director of Composers Now, dedicated to empowering living composers and celebrating the diversity of their voices.

Tonight’s work, Horizons, was commissioned by the Hammoniale – Festival der Frauen, an international biennial for women artists in Hamburg, Germany, and was premiered at that festival in 1999. Tonight is its first performance in the UK. In the composer’s own words: ‘Rather than being in a fixed form, Horizons is more like a stream that widens and narrows unpredictably, following a winding course. It begins with bright ripples in the flute, and throughout its journey, foreground events episodically interrupt the flow of background textures, the currents beneath the surface.’

Tonight’s concert marks the launch of Tania León’s role as LPO Composer-in-Residence for the next two seasons. As well as presenting exciting brand-new commissions and performances of her earlier works, during her time with us Tania will continue her lifelong advocacy for the music of living composers as mentor to our LPO Young Composers.

Playlist: Tania León and the LPO

In December 2022 Tania León received a prestigious Kennedy Center Honor, awarded annually to figures in the performing arts for their contributions to American culture. In addition, she won the 2021 Pulitzer Prize for Music for her work Stride (given its UK premiere by the LPO on 31 March 2023), and she was recently announced as winner of the 2023 Michael Ludwig Nemmers Prize in Music Composition.

Watch our YouTube playlist of Tania León’s music with the LPO. Scan the QR code or visit youtube.com/ londonphilharmonicorchestra

London Philharmonic Orchestra • 25 October 2023 • Death and Transfiguration

Introducing Tania León In conversation with our new Composer-in-Residence During the next two seasons you’ll also take on the role of mentor to our LPO Young Composers. Previously you spent 35 years as a professor of composition at the City University of New York, and as a visiting professor at universities and conservatoires worldwide. What is it that excites you about working with young people?

Welcome to the LPO, Tania! Having been working in the classical music world for over 50 years and having recently celebrated your 80th birthday, how has it felt to be recognised with a Pulitzer Prize, a Kennedy Center Honor and a Michael Ludwig Nemmers Prize, all in the last three years? I am very grateful for the recognition I have recently received. Frankly, it has been a very surprising turn of events for me – as surprising as the fact that, while studying at the conservatory in Havana I envisioned a career as a concert pianist, and never thought that later on in my life I would become a composer as well as a conductor or a professor. The trajectory of my life has constantly surprised me, something that I still experience up to this day.

Young creators are inspiring to me. Their ideas are fresh and engaging for all of us mentors and dream listeners. I am very eager to listen to their ideas. These young people are the visionaries of the works of art that will populate the history of our future, and that’s why I think that supporting them in the now is extremely important. A longer version of this interview appeared in the Autumn 2023 edition of the LPO newsletter, Tune In. Read it online at issuu.com/londonphilharmonic

In 1967, aged 24, you left Cuba for the USA, aspiring to become a concert pianist. And then, while still a student at New York University, you were invited to become a founding member and first music director of the Dance Theatre of Harlem. This proved a pivotal moment, as you subsequently switched from studying piano to composition, and composed your first ballet for the company. You’ve since written six more ballets – what is it about dance that resonates with you?

More from Tania León this season Saturday 3 February 2024 | 6.00pm Southbank Centre’s Royal Festival Hall Free pre-concert event: Foyle Future Firsts & Royal Academy of Music Stravinsky Symphonies of Wind Instruments Tania León Ácana Tippett Little Music for String Orchestra Daniels Deep Forest

Dancing is integral to Cuban culture. I used to dance at home, with my friends, with my family, since I was a child. We all dance the music of our time – by that, I mean popular music. Whatever new style or genre the popular musicians may come up with, all of us become part of a collective dance troupe. That instinct towards dance is something so natural that I don’t even think about it. I am grateful that in my role at Dance Theatre of Harlem I was able to create original scores for the choreographers I collaborated with, and since then have had the opportunity to collaborate with other choreographers in the field.

Edward Gardner conductor Wednesday 6 March 2024 | 7.30pm Southbank Centre’s Royal Festival Hall Dance Re-imagined Tania León New work (world premiere)* Ravel La valse Szymanowski Harnasie** Edward Gardner conductor Robert Murray tenor Flemish Radio Choir

On 6 March next year the LPO will give the world premiere of a brand new work you’ve composed especially for them. What’s it like getting to know a new group of musicians and writing for them?

*Co-commissioned by the London Philharmonic Orchestra and Concertgebouw Brugge.

I am very much looking forward to creating new works for the LPO. I have already enjoyed meeting many of the players, and look forward to our collaboration with open arms – to write for this group of talented musicians will be a joy. And attending the premieres of the works I will create for them will be an experience for which I’m immensely grateful.

**Harnasie is an original co-production of NOSPR The Polish National Radio Symphony Orchestra in Katowice (initiator), London Philharmonic Orchestra (with support from the Adam Mickiewicz Institute), conceived and produced by Studio Wayne McGregor. Project partner: Concertgebouw Brugge. Concert generously supported by Victoria Robey OBE.

London Philharmonic Orchestra • 25 October 2023 • Death and Transfiguration

Programme notes Richard Strauss 1864–1949

Death and Transfiguration, Op. 24 1888–89

Tod und Verklärung (‘Death and Transfiguration’), which Strauss himself conducted for the first time at a concert in June 1890, is a typically bold depiction in music of the dying moments of an idealistic artist. Although on his own deathbed 60 years later, Strauss remarked that ‘dying is just as I composed it in Tod und Verklärung’, he did not seem to have had himself in mind when he wrote the piece in 1888–89, just after Don Juan. But even if the original inspiration for the work is unknown, it is clear that it did have some personal significance for him; he later quoted from it in the more transparently autobiographical tone-poem Ein Heldenleben (‘A Hero’s Life’) and at the question ‘Is this perhaps death?’ at the end of ‘Im Abendrot’ from the Four Last Songs.

Recommended recordings of tonight’s works by Laurie Watt R Strauss: Don Juan London Philharmonic Orchestra | Bernard Haitink (LPO Label LPO–0079: see page 11) or Vienna Philharmonic | Herbert von Karajan (Decca) Ravel: Piano Concerto for the Left Hand Cédric Tiberghien | Les Siecles | François-Xavier Roth (Harmonia Mundi)

Death and Transfiguration is in sonata form with a slow introduction and a (significant) coda, and Strauss provided a detailed programme for it. At the beginning a sick man lies asleep, his faltering breathing represented by irregular rhythms on strings and timpani. A solo oboe leads off a section in which he is comforted by ‘agreeable dreams’, before a convulsive start to the main Allegro section of the work shows him racked with pain and shivering with fear. Eventually the pains ease and a broad new theme is heard, characterised by an up-and-over octave leap; symbolic of the artist’s ideals – this is the theme Strauss re-used in those later works.

Tania León: Horizons NDR Sinfonieorchester | Peter Ruzicka (on ‘Singin’ Sepia: Music Of Tania León’, Bridge Records) R Strauss: Death and Transfiguration Pittsburgh Symphony Orchestra | Manfred Honeck (Reference Recordings – available via Presto Music) or Berlin Philharmonic | Herbert von Karajan (DG)

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In the central section we hear the dying man’s memories of childhood, youthful exploits and a passionate love scene, while the idealism theme makes three differing statements. After a while the music subsides, along with the memories, and we are returned to the fitful palpitations of the opening. A final stab of pain climaxes in kindly gong-strokes to signal the moment of death, but out of this darkness the idealism theme rises to dominate the work’s radiant closing pages, reaching ever higher as the soul takes flight, ‘in order’, said Strauss, ‘to find gloriously achieved in everlasting space those things which could not be fulfilled here below’.

We hope you enjoyed tonight’s concert. Could you spare a few moments to complete a short survey about your experience this evening? Your feedback is invaluable to us and will help to shape our future plans. To say thank you, at the end of the survey you will have the chance to opt in to a prize draw to win a £75 Amazon voucher. Just scan the QR code to begin the survey. Thank you!

Programme note © Lindsay Kemp

Next LPO concerts at the Southbank Centre’s Royal Festival Hall CANELLAKIS CONDUCTS SHOSTAKOVICH Saturday 28 October 2023 | 7.30pm

Beethoven Overture, The Creatures of Prometheus Beethoven Piano Concerto No. 2 Shostakovich Symphony No. 8 Karina Canellakis conductor Jonathan Biss piano

HÉLÈNE GRIMAUD PLAYS RAVEL Friday 3 November 2023 | 7.30pm

Dukas The Sorcerer’s Apprentice Ravel Piano Concerto in G Stravinsky Petrushka (1947 revised version) Edward Gardner conductor Hélène Grimaud piano Hélène Grimaud’s performance is generously supported by HSH Dr Donatus, Prince of Hohenzollern.

JULIAN JOSEPH PLAYS GERSHWIN Wednesday 22 November 2023 | 7.30pm

Julian Joseph Spiritual Fiction or Fact? (No. 5 of Symphonic Stories: The Great Exception) Gershwin Rhapsody in Blue Saint-Saëns Symphony No. 3 (Organ) Jader Bignamini conductor Julian Joseph piano Julian Joseph Trio Anna Lapwood organ

LPO.ORG.UK

THE

FIREBIRD SUNDAY 29 OCTOBER 2023 SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL CONCERT 12.00–1.00PM ACTIVITIES 10.00–11.45AM

Edward Gardner conductor Rachel Leach presenter London Philharmonic Orchestra

Weaving a tale of good versus evil, The Firebird will captivate audiences and provide an unforgettable first concert experience for all the family. Recommended for children aged 6+ and their families. Join us from 10.00am for free pre-concert activities.

LPO.ORG.UK/FUNHARMONICS

Coming soon on the LPO Label Edward Gardner conducts

Berlioz: The Damnation of Faust LPO-0128

Recorded live at the Royal Festival Hall, 4 Feb 2023

Apple Music Classical exclusive release: 3 November 2023 General release: 3 February 2024

Karen Cargill Marguerite John Irvin Faust Christopher Purves Mephistopheles Jonathan Lemalu Brander London Philharmonic Choir London Symphony Chorus London Youth Choirs

Look for the Apple Music Classical app for iPhone and Android in the App Store or Google Play Store.

London Philharmonic Orchestra • 25 October 2023 • Death and Transfiguration

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

London Philharmonic Orchestra • 25 October 2023 • Death and Transfiguration

Thank you We are extremely grateful to all donors who have given generously to the LPO over the past year. Your generosity helps maintain the breadth and depth of the LPO’s activities, as well as supporting the Orchestra both on and off the concert platform.

Artistic Director’s Circle

The American Friends of the London Philharmonic Orchestra Anonymous donors Mrs Aline Foriel-Destezet Aud Jebsen In memory of Mrs Rita Reay Sir Simon & Lady Robey OBE

Orchestra Circle

William & Alex de Winton Edward Gardner & Sara Övinge Patricia Haitink Catherine Høgel & Ben Mardle Mr & Mrs Philip Kan Neil Westreich

Principal Associates

Richard Buxton Gill & Garf Collins In memory of Brenda Lyndoe Casbon In memory of Ann Marguerite Collins Irina Gofman & Mr Rodrik V. G. Cave George Ramishvili The Tsukanov Family Mr Florian Wunderlich

Associates

Mrs Irina Andreeva In memory of Len & Edna Beech Steven M. Berzin The Candide Trust John & Sam Dawson HSH Dr Donatus, Prince of Hohenzollern Stuart & Bianca Roden In memory of Hazel Amy Smith

Gold Patrons

Iain & Alicia Hasnip Eugene & Allison Hayes J Douglas Home Molly Jackson Mrs Farrah Jamal Mr & Mrs Jan Mr & Mrs Ralph Kanza Mr Peter King Jamie & Julia Korner Rose & Dudley Leigh Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Drs Frank & Gek Lim Mr & Mrs Makharinsky Mr Gordon McNair Andrew T Mills Denis & Yulia Nagy Andrew Neill Jamie Njoku-Goodwin Peter & Lucy Noble Oliver & Josie Ogg Mr Stephen Olton Simon & Lucy Owen-Johnstone Mr Roger Phillimore Mr Michael Posen Saskia Roberts John Romeo Priscylla Shaw Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Karina Varivoda Grenville & Krysia Williams Joanna Williams

David & Yi Buckley In memory of Allner Mavis Channing Sonja Drexler Peter & Fiona Espenhahn Mr B C Fairhall Hamish & Sophie Forsyth Virginia Gabbertas MBE Mr Roger Greenwood Malcolm Herring Julian & Gill Simmonds Eric Tomsett The Viney Family Guy & Utti Whittaker

Silver Patrons

Dame Colette Bowe David Burke & Valerie Graham Cameron & Kathryn Doley Ulrike & Benno Engelmann Dmitry & Ekaterina Gursky The Jeniffer & Jonathan Harris Charitable Trust John & Angela Kessler Mrs Elena & Mr Oleg Kolobov Mrs Elizabeth Meshkvicheva Mikhail Noskov & Vasilina Bindley Tom & Phillis Sharpe Mr Joe Topley & Ms Tracey Countryman Andrew & Rosemary Tusa Jenny Watson CBE Laurence Watt

Principal Supporters

Anonymous donors Ralph & Elizabeth Aldwinckle Mr John D Barnard Roger & Clare Barron Dr Simona Cicero & Mr Mario Altieri Mr Alistair Corbett Guy Davies David Devons Igor & Lyuba Galkin Prof. Erol & Mrs Deniz Gelenbe In memory of Enid Gofton Alexander Greaves Prof. Emeritus John Gruzelier Michael & Christine Henry Mrs Maureen Hooft-Graafland Per Jonsson Mr Ian Kapur Ms Elena Lojevsky Pippa Mistry-Norman Mrs Terry Neale John Nickson & Simon Rew

Bronze Patrons

Anonymous donors Chris Aldren Michael Allen Mrs A Beare Mr Anthony Blaiklock Lorna & Christopher Bown Mr Bernard Bradbury Simon Burke & Rupert King Desmond & Ruth Cecil Mr John H Cook Deborah Dolce Ms Elena Dubinets David Ellen Christopher Fraser OBE Mr Daniel Goldstein David & Jane Gosman Mr Gavin Graham Lord & Lady Hall Mrs Dorothy Hambleton

Mr James Pickford Filippo Poli Mr Robert Ross Martin & Cheryl Southgate Mr & Mrs G Stein Christopher Williams

Supporters

Anonymous donors Mr Francesco Andronio Julian & Annette Armstrong Mr Philip Bathard-Smith Emily Benn Mr Julien Chilcott-Monk Alison Clarke & Leo Pilkington Mr Peter Coe Mr Joshua Coger Miss Tessa Cowie Caroline Cox-Johnson Mr Simon Edelsten Will Gold Mr Stephen Goldring Mr & Mrs Graham & Jean Pugh Mr Geordie Greig Mr Peter Imhof The Jackman Family Mr David MacFarlane Paul & Suzanne McKeown Nick Merrifield Dame Jane Newell DBE Mr David Peters Nicky Small Mr Brian Smith Mr Michael Timinis Mr & Mrs Anthony Trahar Tony & Hilary Vines Mr John Weekes Mr Roger Woodhouse Mr C D Yates

Hon. Benefactor Elliott Bernerd

Hon. Life Members Alfonso Aijón Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Keith Millar Victoria Robey OBE Mrs Jackie Rosenfeld OBE Timothy Walker CBE AM Laurence Watt

London Philharmonic Orchestra • 25 October 2023 • Death and Transfiguration

Thank you

Thomas Beecham Group Members

David & Yi Buckley Gill & Garf Collins William & Alex de Winton Sonja Drexler Mr B C Fairhall The Friends of the LPO Roger Greenwood Dr Barry Grimaldi Mr & Mrs Philip Kan John & Angela Kessler Sir Simon Robey Victoria Robey 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 Solicitors French Chamber of Commerce

Tutti

German-British Chamber of Industry & Commerce Lazard Natixis Corporate Investment Banking Sciteb Ltd Walpole

Trusts and Foundations

Board of the American Friends of the LPO

ABO Trust The Barbara Whatmore Charitable Trust BlueSpark Foundation The Boltini Trust Borrows Charitable Trust Cockayne – Grants for the Arts The London Community Foundation Dunard Fund Ernst von Siemens Music Foundation Foyle Foundation Garrick Charitable Trust Idlewild Trust Institute Adam Mickiewicz John Coates Charitable Trust John Horniman’s Children’s Trust John Thaw Foundation Kirby Laing Foundation The Kurt Weill Foundation for Music Lord and Lady Lurgan Trust Lucille Graham Trust The Marchus Trust PRS Foundation The R K Charitable Trust The Radcliffe Trust Rivers Foundation Rothschild Foundation Scops Arts Trust TIOC Foundation The Thriplow Charitable Trust Vaughan Williams Foundation The Victoria Wood Foundation The Viney Family

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 Wassermann Elizabeth Winter Catherine Høgel Hon. Director Jenifer L. Keiser, CPA, EisnerAmper LLP

LPO International Board of Governors Natasha Tsukanova Co-Chair Martin Höhmann Co-Chair Mrs Irina Andreeva Steven M. Berzin Shashank Bhagat HSH Dr Donatus, Prince of Hohenzollern Aline Foriel-Destezet Irina Gofman Olivia Ma George Ramishvili Sophie Schÿler-Thierry Florian Wunderlich

and all others who wish to remain anonymous.

Preferred Partners Jeroboams Lindt & Sprüngli Ltd Neal’s Yard OneWelbeck Sipsmith Steinway

In-kind Sponsor Google Inc

London Philharmonic Orchestra • 25 October 2023 • Death and Transfiguration

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 Emily Benn Kate Birchall* David Burke Deborah Dolce Elena Dubinets Tanya Joseph Hugh Kluger* Katherine Leek* 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 Roger Barron Chairman Christopher Aldren Richard Brass Helen Brocklebank YolanDa Brown OBE David Buckley Simon Burke Simon Callow CBE Desmond Cecil CMG Sir Alan Collins KCVO CMG Andrew Davenport Guillaume Descottes Cameron Doley Christopher Fraser OBE Jenny Goldie-Scot Jonathan Harris CBE FRICS Marianna Hay MBE Nicholas Hely-Hutchinson DL Amanda Hill Dr Catherine C. Høgel Martin Höhmann Rehmet Kassim-Lakha Jamie Korner Geoff Mann Andrew Neill Nadya Powell Sir Bernard Rix Victoria Robey OBE Baroness Shackleton Thomas Sharpe KC Julian Simmonds Barry Smith Martin Southgate Chris Viney

Laurence Watt Elizabeth Winter

Education and Community

General Administration

Talia Lash Education and Community Director

Elena Dubinets Artistic Director

Lowri Davies Hannah Foakes Education and Community Project Managers

David Burke Chief Executive Chantelle Vircavs PA to the Executive and Employee Relations Manager

Hannah Smith Education and Community Co-ordinator

Concert Management Roanna Gibson Concerts and Planning Director

Claudia Clarkson Regional Partnerships Manager

Graham Wood Concerts and Recordings Manager

Development Laura Willis Development Director

Maddy Clarke Tours Manager

Rosie Morden Individual Giving Manager

Madeleine Ridout Glyndebourne and Projects Manager

Siân Jenkins Corporate Relations Manager

Alison Jones Concerts and Recordings Co-ordinator

Anna Quillin Trusts and Foundations Manager

Robert Winup Concerts and Tours Assistant

Katurah Morrish Development Events Manager

Matthew Freeman Recordings Consultant

Eleanor Conroy Al Levin Development Co-ordinators

Andrew Chenery Orchestra Personnel Manager Sarah Thomas Martin Sargeson Librarians

Nick Jackman Campaigns and Projects Director

Laura Kitson Stage and Operations Manager

Kirstin Peltonen Development Associate

Marketing

Stephen O’Flaherty Deputy Operations Manager

Kath Trout Marketing and Communications Director

Benjamin Wakley Assistant Stage Manager Felix Lo Orchestra and Auditions Manager

Sophie Harvey Marketing Manager Rachel Williams Publications Manager

Finance

Gavin Miller Sales and Ticketing Manager

Frances Slack Finance Director

Ruth Haines Press and PR Manager

Dayse Guilherme Finance Manager

Hayley Kim Residencies and Projects Marketing Manager

Jean-Paul Ramotar Finance and IT Officer

Greg Felton Digital Creative Alicia Hartley Digital and Marketing Co-ordinator Isobel Jones Marketing Assistant

Archives Philip Stuart Discographer Gillian Pole Recordings Archive

Professional Services Charles Russell Speechlys Solicitors Crowe Clark Whitehill LLP Auditors Dr Barry Grimaldi Honorary Doctor Mr Chris Aldren Honorary ENT Surgeon Mr Simon Owen-Johnstone Hon. Orthopaedic Surgeon London Philharmonic Orchestra 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Box Office: 020 7840 4242 Email: admin@lpo.org.uk lpo.org.uk Cover illustration Selman Hoşgör 2023/24 season identity JMG Studio Printer John Good Ltd