LPO programme: 28 Jan 2023 - Spirits of Delight (Edward Gardner/Víkingur Ólafsson)

Where music takes you

Concert programme

2022/23 concert season at the Southbank Centre

Principal Conductor Edward Gardner supported by Aud Jebsen

Principal Guest Conductor Karina Canellakis

Conductor Emeritus

Vladimir Jurowski Patron HRH The Duke of Kent KG

Artistic Director Elena Dubinets Chief Executive David Burke

Leader Pieter Schoeman supported by Neil Westreich

Southbank Centre’s Royal Festival Hall

Saturday 28 January 2023 | 7.30pm

Spirits of Delight

Mendelssohn

The Fair Melusina Overture (10’)

Schumann

Piano Concerto in A minor, Op. 54* (31’)

Interval (20’)

Elgar

Symphony No. 2 in E flat, Op. 63 (54’)

Edward Gardner

conductor

Generously supported by Aud Jebsen

Víkingur Ólafsson piano

*Please note change of programme from previously advertised.

Generously supported by Victoria Robey OBE

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 Víkingur Ólafsson

8 Programme notes 11 Recommended recordings 12 Next concerts

13 Sound Futures donors

14 Thank you 16 LPO administration

Welcome LPO news

Welcome to the Southbank Centre

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

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

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

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Drinks

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

LPO Junior Artists: Overture Day

Calling young orchestral players! If you’re aged 11–14 and Grade 4+ standard on your orchestral instrument, there’s still time to apply for our LPO Junior Artists: Overture Day on Sunday 5 March at Saint Gabriel’s College in Lambeth. This Overture Day is part of the Classical Vauxhall festival, a series of exciting musical events in the Vauxhall area, celebrating ‘classical done differently’.

LPO Junior Artists: Overture days are free, fun orchestral skills days where participants play alongside LPO musicians, get tips on musicianship and find out what happens behind the scenes of a professional orchestra. Applications are open to all, but priority is given to young musicians from Lambeth and musicians whose backgrounds are currently under-represented in professional UK orchestras, who may be eligible for the main LPO Junior Artists programme in the future.

Applications close at 9am on Monday 6 February.

To find out more or apply, visit lpo.org.uk/overture Find out more about Classical Vauxhall at classicalvauxhall.com

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.

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.

First Violins

Pieter Schoeman* Leader Chair supported by Neil Westreich Lasma Taimina

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

Minn Majoe

Yang Zhang Chair supported by Eric Tomsett

Katalin Varnagy

Chair supported by Sonja Drexler

Quentin Capozzoli

Martin Höhmann

Catherine Craig Thomas Eisner

Elizaveta Tyun Fanny Fheodoroff

Nilufar Alimaksumova Sophie Mather

Rasa Zukauskaite Amanda Smith Gabriela Opacka

Second Violins

Tania Mazzetti Principal Emma Oldfield Co-Principal Helena Smart Kate Birchall Nynke Hijlkema Nancy Elan Joseph Maher

Sioni Williams Claudia Tarrant-Matthews Harry Kerr Ashley Stevens Sheila Law

Fiona Higham Chair supported by David & Yi Buckley Eleanora Consta

On stage tonight

Violas

Richard Waters Principal Chair supported by Caroline, Jamie & Zander Sharp James Heron Benedetto Pollani

Kate De Campos Martin Wray Alistair Scahill Naomi Holt Kim Becker Rachel Robson Laura Vallejo Daniel Cornford

Cellos

Pei-Jee Ng Guest Principal Richard Birchall Francis Bucknall Susanna Riddell Tom Roff Helen Thomas Sibylle Hentschel Laura Donoghue Jane Lindsay Colin Alexander

Double Basses

Kevin Rundell* Principal George Peniston Laura Murphy

Tom Walley Chair supported by William & Alex de Winton

Adam Wynter Michael Fuller Colin Paris 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 James Maltby

E-flat Clarinet

Thomas Watmough Principal 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

John Ryan* Principal Martin Hobbs Mark Vines Co-Principal Gareth Mollison Duncan Fuller

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 Karen Hutt Keith Millar Jeremy Cornes

Harps

Rachel Masters Principal Tamara Young

* Holds a professorial appointment in London

The LPO also acknowledges the following chair supporters whose player is not present at this concert:

Bianca & Stuart Roden

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

Pieter Schoeman Leader

LPO Principal Conductor in September 2021; and James MacMillan’s Christmas Oratorio, recorded at the work’s UK premiere performance in December 2021.

Next generations

We’re committed to inspiring the next generation of musicians and music-lovers: there’s nothing we love more than seeing the joy of children and families enjoying their first musical moments, and we’re passionate about equipping schools and teachers through schools’ concerts, resources and training. Reflecting our values of collaboration and inclusivity, our OrchLab and Open Sound Ensemble projects offer music-making opportunities for adults and young people with special educational needs and disabilities. Today’s young instrumentalists are the orchestral members of the future, so we’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.

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

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

Pieter has performed numerous times as a soloist with the London Philharmonic Orchestra. Highlights have included an appearance as both conductor and soloist in Vivaldi’s Four Seasons at the Royal Festival Hall, the Brahms Double Concerto with Kristina Blaumane, 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. 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

Víkingur Ólafsson piano

Icelandic pianist Víkingur Ólafsson has made a profound impact with his remarkable combination of highest level musicianship and visionary programmes. His recordings for Deutsche Grammophon – Philip Glass Piano Works (2017), Johann Sebastian Bach (2018), Debussy/ Rameau (2020) and Mozart & Contemporaries (2021) –captured the public and critical imagination and have led to career streams of over 400 million. His latest album, From Afar, was released in October 2022. Now one of the most sought-after artists of today, Víkingur’s multiple awards include the Rolf Schock Prize for music (2022), Gramophone magazine Artist of the Year, Opus Klassik Solo Recording Instrumental (twice) and Album of the Year at the BBC Music Magazine Awards.

Víkingur Ólafsson continues to perform as artist-inresidence at the world’s top orchestras, concert halls and festivals, and work with today’s greatest composers. In the 2022/23 season he is a Resident Artist with the Southbank Centre, and tonight’s concert is his debut with the London Philharmonic Orchestra. This season he also performs with orchestras including the Philharmonia, Concertgebouw, Czech Philharmonic, New York Philharmonic, Berliner Philharmonic, Cleveland, Bergen Philharmonic, Toronto Symphony orchestras, and the Orchestre symphonique de Montréal.

A captivating communicator both on and off stage, Ólafsson’s significant talent extends to broadcast, having presented several of his own series for television and radio. He was Artist in Residence for three months on BBC Radio 4’s flagship arts programme, Front Row –broadcasting live during lockdown from an empty Harpa concert hall in Reykjavík, he reached millions of listeners around the world.

Pianists with the LPO this spring

MY HOMELAND

Friday 10 February 2023

Kirill Gerstein plays Rachmaninoff’s Piano Concerto No. 2 plus works by Glinka & Smetana

GARDNER CONDUCTS RACHMANINOFF

Saturday 4 March 2023

Leif Ove Andsnes plays Grieg’s Piano Concerto plus works by George Benjamin & Rachmaninoff

TCHAIKOVSKY’S FIFTH

Wednesday 15 March 2023

Daniil Trifonov plays Prokofiev’s Piano Concerto No. 3 plus works by Beethoven & Tchaikovsky

HEROES AND HEROINES

Friday 31 March 2023

Beatrice Rana plays Mendelssohn’s Piano Concerto No. 1 plus works by Tania León & Sibelius

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Programme notes

Felix Mendelssohn 1809–47

The Fair Melusina Overture

1833

Felix Mendelssohn’s 1833 concert overture The Fair Melusina was inspired by a popular legend from medieval European folklore, first recorded in 1387 by Jean d’Arras. The beautiful Melusina is cursed to take the form of a serpent from her waist down for one day each week. She agrees to marry a knight and live in the human world on the condition that he does not seek her out on her ‘serpent day’. Ultimately, the knight breaks his promise and Melusina returns to the water for eternity.

Mendelssohn’s Overture begins with gently rippling currents which suggest a sense of sunny, blissful serenity and effortless forward motion. This flowing motif, which we first hear bubbling up in the solo clarinet, anticipates the music of Wagner’s Das Rheingold, which premiered nearly 40 years later. Soon, this fluid dreamscape is interrupted by music that takes an abrupt turn towards stormy passion. Mendelssohn’s music gives us a sense of two worlds colliding. The drama comes to a sudden end as the music seems to sigh with nostalgic lament. The Overture’s final bars fade into watery depths.

Programme note © Timothy Judd

Courtesy of the Royal College of Music, London

Programme notes

Robert Schumann 1810–56

Piano Concerto in A minor, Op. 54 1841–46

Vikingur Ólafsson piano

1 Allegro affettuoso

2 Intermezzo: Andantino grazioso –3 Allegro vivace

Schumann’s one and only Piano Concerto arrived in instalments: in 1841 he composed a freestanding Fantasie for piano and orchestra, which four years later he converted into the first movement of the Concerto by adding a newly composed second and third. His wife Clara gave the premiere in Leipzig on 1 January 1846.

Although this may seem a casual way to build a threemovement work, the result shows no signs of piecemeal construction, and indeed can lay claim to being one of the more satisfying concertos of the Romantic period. This is partly because thematic links between the different movements are strong and natural, but also because of the way in which Schumann fused to a unique degree the roles of piano and orchestra into one organism, steering a mid-course between the Classical ‘symphonic dialogue’ style concertos of Mozart and Beethoven and the virtuoso vehicles of the early Romantics. It was no accident: in an article in 1839 Schumann had called for ‘a genius who will show us ... how orchestra and piano may be combined, how the soloist, dominant at the keyboard, may unfold the wealth of his instrument and his art, while the orchestra, no longer a mere spectator, may interweave its many facets into the scene’. No concerto has done that better than the example Schumann himself provided.

The first movement begins with a brash and brief flourish, but for the most part the atmosphere is lyrical, the various thematic elements interweaving easily and smoothly, and the falling motif of the gentle first theme never far away. It seems that Schumann may have modelled it on a movement he particularly admired from the Piano Concerto No. 7 by the Irish composer John Field; certainly the nocturne-like opening of the central development section echoes a similar passage in the Field. A fiery reappearance of the opening flourish sweeps this away, however, and further explorations of the first theme lead to its formal recapitulation. After this has spilled into a solo cadenza, march-like memories of the first theme then hasten the movement to its finish.

The middle movement is an Intermezzo in which appearances of a tripping outer theme frame a central section dominated by yearning cello lines. At the end, as it seems to be drifting away, stately major and minor statements of the first-movement theme on clarinets and bassoons call it in another direction and suddenly, with a bound, we are in the finale. Even here, the waltzlike main theme recalls that of the first movement, though the overriding feel of this exuberant conclusion, with its free-running piano figuration, is of utter and joyous spontaneity.

Programme note © Lindsay Kemp

Interval – 20 minutes

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

Programme notes

Edward Elgar 1857–1934

Symphony No. 2 in E flat, Op. 63 1911

Thirty months after the premiere of his First Symphony, Elgar’s world had changed: his beloved monarch Edward VII, to whom he had dedicated his Coronation Ode in 1902 and who had knighted him, died on 6 May 1910. Elgar turned his Second Symphony’s slow movement into an elegiac tribute to the King and dedicated the work ‘to the memory of His late Majesty’. When the Symphony was premiered in London on 24 May 1911 with the composer conducting the London Symphony Orchestra, the country was in party mood as its people anticipated the coronation of a new king. A symphony with a funeral march at its centre and which ends with a quiet coda of great richness now seemed out of place to many, and led to little more than a polite reception. It took a world war and the championship of the likes of Sir Adrian Boult to establish the Symphony’s place in the repertoire.

The epigraph from Shelley’s Invocation that Elgar printed in the published score covers, in a few words, much of the work’s emotional variety. A two-bar phrase – the ‘Spirit of Delight’ theme – is heard almost immediately at the opening, and reappears at key points throughout. Elgar spoke of the work’s ‘tremendous energy’, but it also contains moments of terror, introspection and great emotion, beginning with the full orchestra unleashed as

‘Rarely, rarely comest thou, Spirit of delight!’

From the collection of Arthur Reynolds

Programme notes

from the slips: Allegro vivace e nobilmente. This is busy, heady writing, before the ‘Spirit of Delight’ phrase is emphasised, sforzando, with the tempo settled in the fourth bar. After 47 bars the second subject and a countermelody change the atmosphere, although the impetus ensures there is no immediate relaxation. After a calming section, the energy returns, only to be supplanted by a change of mood as muted instruments, below eight harp notes, herald throbbing timpani and basses introducing a new theme which Elgar described as ‘a sort of malign influence wandering thro’ the summer night in the garden’. The recapitulation is signalled by fortississimo blows on the timpani and, as in the First Symphony, Elgar’s orchestration paints a variety of pictures as he weaves his melodies into a cohesive and brilliant conclusion.

For the Larghetto second movement, a short introduction precedes the march played over the tread of strings, lower woodwind, brass, timpani and harps. Originally conceived as a memorial to a friend, the movement serves a dead king, but its inherent sadness becomes more personal as an oboe threnody leads the listener towards the march’s recapitulation. The tension is then intensified towards a climax of almost unbearable grief, the strings seeming to weep as the outburst ends before the movement concludes dispassionately, Elgar reflecting on the introduction and seemingly shrugging off his vision of what lay beyond his personal abyss.

The energetic rhythm of the opening theme of the Rondo third movement gives way to a more bucolic –almost pastoral – second subject but, lurking beneath are sinister undertones which presage the return of the ‘malign influence’. Intrusive, violent timpani strokes lead the whole orchestra towards a massive statement conjuring an image of great ‘malignity’ as brass and timpani ‘beat’ out the rhythm. The climax subsides as if Elgar was embarrassed by what he had imagined. He later told a friend that lines from Tennyson’s Maud came to mind when composing the passage:

Dead, long dead, Long dead!

And my heart is a handful of dust

And the wheels go over my head …

… The hoofs of the horses beat, Beat into my scalp and brain …

The rhythm of the Finale’s first theme suggests that calm might at last pervade the Symphony which the second theme cannot disturb. A third theme (nobilmente –nobly), labelled by Elgar ‘Hans himself’ after the great

conductor Hans Richter, seems to settle the atmosphere, but Elgar develops his material by a return to restlessness using some of the instruments at their extremes. With the reappearance of the opening theme, we might expect the pulse to increase as the Symphony heads towards a conventional ending. Instead, signalled by the ‘Spirit of Delight’, Elgar produces a masterstroke: a long diminuendo (decrease in volume), supported by orchestration of great beauty and imagination. Gracefully, Elgar guides his Symphony towards its conclusion, the full orchestra ending on a fortissimo chord which dissipates into eternity, the Symphony’s work done, its emotions reconciled.

Programme note © Andrew Neill

Recommended recordings of tonight’s works

by Laurie Watt

Mendelssohn: The Fair Melusina Overture City of Birmingham Symphony Orchestra Edward Gardner (Chandos)

Schumann: Piano Concerto Leif Ove Andsnes | Berlin Philharmonic Mariss Jansons (Warner Classics)

Elgar: Symphony No. 2 BBC Symphony Orchestra | Edward Gardner (Chandos) or

London Philharmonic Orchestra | Adrian Boult (Lyrita) or

London Philharmonic Orchestra | Georg Solti (Decca)

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.

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

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 EHNES PLAYS BRAHMS

Friday 17 February 2023 | 7.30pm

Missy Mazzoli Sinfonia (for Orbiting Spheres)

Brahms Violin Concerto

Dvořák Symphony No. 9 (From the New World)

Kevin John Edusei conductor

James Ehnes violin LPO.ORG.UK

Edward Gardner © Mark Allan

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

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Charitable Trust

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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