2022/23 concert season at the Southbank Centre’s Royal Festival Hall A place to call programmeConcerthome
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
Exiles and Dreamers
A place to call home
2ContentsWelcome 3 On stage tonight 4 London OrchestraPhilharmonic 5 Leader: Pieter Schoeman 6 Edward Gardner 7 Jennifer France 8 Programme notes & texts 16 Recommended recordings 17 Next concerts 18 Dvořák on the LPO Label 21 Sound Futures donors 22 Thank you 24 LPO administration The timings shown are not precise and are given only as a guide. Concert presented by the London Philharmonic Orchestra Southbank Centre’s Royal Festival Hall Wednesday 28 September 2022 | 7.30pm Tchaikovsky Romeo and Juliet (Fantasy Overture) (21’) Dutilleux Correspondances (22’) Interval (20’) Walker Lilacs (13’) Dvořák Symphony No. 7 in D minor, Op. 70 (38’) Edward Gardner conductor Generously supported by Aud Jebsen Jennifer France soprano
This concert is being filmed for future broadcast on Marquee TV. We would be grateful if audience noise during the performance could be kept to a minimum, and if audience members could kindly hold applause until the end of each full work. Thank you for your co-operation.
For Antonín Dvořák, whose Seventh Symphony we hear tonight, inspiration came from the culture and aspirations of his native Bohemia, and in his music we hear him wrestling a new and often joyful national voice out of the political and cultural ferment of 19th- and early 20th-century Central Europe.
In his Correspondances, Henri Dutilleux took the words of exiles and dreamers and transformed their hopes and sorrows into ravishing tenderness and beautiful sounds, while George Walker’s Pulitzer Prize-winning Lilacs gives Walt Whitman’s elegy for Abraham Lincoln a resonance that gains extra power from the composer's own experience as an African American.
We hope you enjoy tonight's concert, and that you are able to join us at the Royal Festival Hall again soon.
Tonight’s concert on Marquee TV
Visit marquee.tv/LPO2022 to find out more, enjoy a free trial or subscribe.
Welcome to the Southbank Centre Welcome
Welcome to the Southbank Centre
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2 London Philharmonic Orchestra • 28 September 2022 • Exiles and Dreamers
Welcome to tonight's London Philharmonic Orchestra concert, which opens our new series, 'A place to call home'. Reflecting the narratives of our time, throughout our 2022/23 season the series will explore the recurring themes of belonging and displacement.
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.
We are delighted that a selection of concerts from our 2022/23 Royal Festival Hall season are being filmed for broadcast on Marquee TV. This evening, Tchaikovsky's Romeo and Juliet (Fantasy Overture) and Dvořák's Symphony No. 7 are being filmed for future broadcast (date to be announced). Once broadcast, the performance will remain available to watch free of charge for 48 hours without a Marquee TV subscription. If you would like to subscribe for unlimited access to Marquee TV’s extensive range of music, opera, theatre and dance productions, you can enjoy 50% off with code LPO2022
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Just what was the concept of home to composers who experienced exile, homelessness or despair as a result of war, political instability or racism?
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Throughout the season we'll be delving into music by composers including the Austrians Erich Korngold and Paul Hindemith, the Hungarian Béla Bartók, the Cuban Tania León, the Ukrainian Victoria Vita Polevá, and the Syrian Kinan Azmeh.
Latecomers will only be admitted to the auditorium if there is a suitable break in the performance.
Harp
Chair supported by Eric Tomsett Sophie Phillips Martin Höhmann
Lyndon Meredith Principal
Piccolos
Oboes
Clarinets
Ronald Long Joseph Devalle Gabriela Opacka
Andrew Barclay* Principal Chair supported by Garf & Gill Collins Keith Millar Ethan Skuodas
Nilufar Alimaksumova Alice Hall
Minn Majoe Thomas Eisner
Raquel López Bolívar James Heron
Georgina Leo Matthew Bain
Benjamin Mellefont Principal Thomas Watmough Chair supported by Roger Greenwood
Kate LasmaOswinTaimina
Shiry Rashkovsky
Pieter Schoeman* Leader
Elizaveta Tyun
Tania Mazzetti Principal Chair supported by Countess Dominique Loredan
Sue Böhling* Principal Chair supported by Dr Barry Grimaldi
Flutes
Chair supported by Irina Gofman & Mr Rodrik V. G. Cave
Stewart McIlwham* Principal Katherine Bicknell
Toby Warr
Bassoons
Lee Tsarmaklis* Principal Chair supported by Friends of the Orchestra
Simon Carrington* Principal Chair supported by Victoria Robey OBE
Violas
Chair supported by David & Yi Buckley Joseph Maher Kate Birchall Ashley Stevens Kate Cole
Jonathan Davies Principal Chair supported by Sir Simon Robey Dominic Tyler
Rachel Masters Principal Celeste Catherine Edwards
Trombones
On stage tonight
Julia Doukakis
* Holds a appointmentprofessorialinLondon
Tuba
Paul Beniston* Principal Toby Street Guest Principal Anne McAneney* Joe Skypala
Horns
Caroline, Jamie & Zander Sharp
The LPO also acknowledges the following chair supporters whose players are not present at this concert:
Cor Anglais
Guest Principal Martin Hobbs Mark Vines Co-Principal Gareth Mollison
Chair supported by The Candide Trust
Christopher Cowie Guest Principal Alice Munday
Sonja Drexler
Laura Murphy Charlotte Kerbegian David Johnson Cathy Colwell Nickie Dixon Adam Wynter Stephen Street
Kevin Rundell* Principal Hugh GeorgeKlugerPeniston
Rachel Robson
Kristina Blaumane Principal Chair supported by Bianca & Stuart
Double Basses
Percussion
Juliette Bausor Principal Clare Childs Stewart McIlwham*
Francis Bucknall David GeorgeHelenTomSusannaLaleRiddellRoffThomasHoult
Pei-JeeRoden Ng Co-Principal
Sibylle Hentschel Jane Lindsay Leo Melvin Auriol Evans
Chair supported by Neil Westreich Ania Safonova
Second Violins
Rebecca Chambers Guest Principal Katharine Leek Martin Wray Kate De Campos Jisu StanislavSongPopov
Cellos
Yang Zhang
Alice Apreda Howell
First Violins
Accordion Ilona Suomalainen
Bass Clarinet Paul Richards* Principal
Mark Templeton* Principal Chair supported by William & Alex de DavidWintonWhitehouse
Merin Rhyd
Bass Trombone
Timpani
Alto Flute Stewart McIlwham*
3 London Philharmonic Orchestra • 28 September 2022 • Exiles and Dreamers
Sarah Mason
Assistant Conductor James Ham
John Ryan* Principal James Pillai
Emma Oldfield Co-Principal Helena Smart Claudia Tarrant-Matthews Nancy Elan Fiona Higham
Trumpets
Sioni Williams Charlie MacClure
AllanMark©
London Philharmonic Orchestra
4 London Philharmonic Orchestra • 28 September 2022 • Exiles and Dreamers
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 Brett Dean our Composer-in-Residence.
We’re always at the forefront of technology, finding new ways to share our music globally. You’ll find us online, on streaming platforms, on social media and through our broadcast partnership with Marquee TV. During the pandemic period we launched ‘LPOnline’: over 100 videos of performances, insights and introductions to playlists, which led to us being named runner-up in the Digital Classical Music Awards 2020. During 2022/23 we’ll be working once again with Marquee TV to broadcast selected live concerts, so you can share or relive the wonder from your own living room.
Our conductors
Soundtrack to key moments
Our home is here at the Southbank’s Royal Festival Hall, where we’re at the beating heart of London’s cultural life. You’ll also find us at our resident venues in Brighton, Eastbourne and Saffron Walden, and on tour throughout the UK and internationally, performing to sell-out audiences worldwide. Each summer we’re resident at Glyndebourne Festival Opera, combining the magic of opera with Glyndebourne’s glorious setting in the Sussex countryside.
We also release live, studio and archive recordings on our own label, and are the world’s most-streamed orchestra, with over 15 million plays of our content each month. Recent releases include music by Richard Strauss under Klaus Tennstedt with legendary soprano Jessye Norman; the first volume of a Stravinsky series with Vladimir Jurowski including The Rite of Spring
Sharing the wonder
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 believe in the relevance of our music, and that our programmes must reflect the narratives of modern times. This season we’re exploring themes of belonging and displacement in our series ‘A place to call home’, delving into music by composers including Austrians Erich Korngold and Paul Hindemith, Hungarian Béla Bartók, Cuban Tania León, Ukrainian Victoria Vita Polevá and Syrian Kinan Azmeh. As we celebrate our 90th anniversary we perform works premiered by the Orchestra during its illustrious history. This season also marks Vaughan Williams’s 150th anniversary and we’ll be celebrating with four of his works, as well as both symphonies by Elgar and music by Tippett and Thomas Adès. Our commitment to everything new and creative includes premieres by Brett Dean, Mark Simpson and Heiner Goebbels, as well as new commissions from composers from around the world including Agata Zubel, Elena Langer and Vijay Iyer.
Pieter’s chair in the LPO is generously supported by Neil Westreich.
Next generations
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.
Pieter Schoeman Leader
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.
5 London Philharmonic Orchestra • 28 September 2022 • Exiles and Dreamers
2022/23 and beyond
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.
The Midsummer Marriage under Edward Gardner, captured in his first concert as LPO Principal Conductor in September 2021 (see page 18).
and The Firebird; and Tippett’s complete opera
Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and London’s Royal Festival Hall. As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. His chamber music partners have included Anne-Sophie Mutter, Veronika Eberle, Patricia Kopatchinskaja, Boris Garlitsky, Jean-Guihen Queyras, Yannick Nézet-Séguin, Martin Helmchen and Julia Fischer.
Pieter has performed numerous times as a soloist with the London Philharmonic Orchestra. Highlights have included an appearance as both conductor and soloist in Vivaldi’s Four Seasons at the Royal Festival Hall, the Brahms Double Concerto with Kristina Blaumane, and the Britten Double Concerto with Alexander Zemtsov, which was recorded and released on the LPO Label to great critical acclaim.
© Benjamin Ealovega
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.
lpo.org.uk
Edward Gardner’s position at the LPO is generously supported by Aud Jebsen.
Principal Conductor, London Philharmonic Orchestra
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.
symphonic highlights include works by Stravinsky, Brahms and Nielsen. Choral projects include Mahler's Symphony No. 2 (Resurrection) and a staged performance of Wagner's Parsifal Following recent 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.
© Benjamin Ealovega
6 London Philharmonic Orchestra • 28 September 2022 • Exiles and Dreamers
Edward Gardner
Edward Gardner became Principal Conductor of the London Philharmonic Orchestra in September 2021. He is also Chief Conductor of the Bergen Philharmonic, a position he will relinquish at the end of the 2023/24 season. From August 2024 he will undertake the Music Directorship of the Norwegian Opera and Ballet (DNO&B), having commenced the role of Artistic Advisor in February 2022.
Edward opened the Bergen Philharmonic season with Beethoven’s Symphony No. 3 (Eroica); further
Edward opened the LPO's 2021/22 season with an acclaimed performance of Tippett’s The Midsummer Marriage the performance has just been released on the LPO Label (see page 18). Last month he conducted the Orchestra in Elgar’s The Dream of Gerontius at the BBC Proms with the LPC and the Hallé Choir.
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.
This season Edward will lead the London Philharmonic Orchestra in celebrating its 90th anniversary with music originally written for the LPO, including Vaughan Williams's Serenade to Music and Tippett's A Child of Our Time He opened the Orchestra's season earlier this week with Schoenberg's Gurrelieder, bringing the Orchestra and soloists together with the London Philharmonic Choir and London Symphony Chorus. Future highlights this season include Lutosławski’s Fourth Symphony, Stravinsky’s The Rite of Spring, Mahler’s Fifth Symphony, an Elgar symphony cycle, Janáček’s Glagolitic Mass and Berlioz’s Damnation of Faust. He will premiere works by Mark Simpson, LPO Composer-in-Residence Brett Dean, Vijay Iyer and Agata Zubel, and will tour with the Orchestra throughout the UK and Benelux as well as undertaking an extensive tour of Germany.
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).
JennifersopranoFrance
Jennifer made her LPO debut at the Royal Festival Hall in September 2021, when she sang the role of Bella in Tippett’s The Midsummer Marriage just released on the LPO Label (see page 18). Her 2021/22 season also included house debuts at the Bayerische Staatsoper Munich as Zerbinetta and at the Aix-en-Provence Festival as Beatrice in the world premiere of Pascal Dusapin’s Il viaggio, Dante, as well as First Niece in Deborah Warner’s production of Peter Grimes for the Royal Opera House. On the concert platform she sang Pergolesi’s Stabat Mater with the BBC National Orchestra of Wales, Handel’s Messiah with Huddersfield Choral Society and the Royal Northern Sinfonia, and New Year concerts with the City of Birmingham Symphony Orchestra.
Jennifer’s operatic roles include the title role in The Cunning Little Vixen for Opera Holland Park; Alice in Gerald Barry’s Alice’s Adventures Under Ground and George Benjamin’s Lessons in Love and Violence for the Royal Opera House; La Princesse in Philip
Winner of the 2018 Critics’ Circle Emerging Talent Award, British soprano Jennifer France has been described in WhatsOnStage as the ‘living jewel in opera’s crown’. 2022/23 plans include Zerbinetta in Ariadne auf Naxos for Garsington Opera and Opera North, and a return to English National Opera for her role debut as Mary in Jake Heggie’s It’s a Wonderful Life. Concert plans include Britten’s Les Illuminations and Brett Dean’s And once I played Ophelia with the Swedish Chamber Orchestra; Beethoven’s Christus am Ölberge with the Bergen Philharmonic and Mark Elder; and the world premiere of Brett Dean’s cantata In This Brief Moment with the City of Birmingham Symphony Orchestra and Nicholas Collon.
7 London Philharmonic Orchestra • 28 September 2022 • Exiles and Dreamers
Jennifer was an Emerging Artist at Scottish Opera, where her roles included Zerbinetta, Dalinda (Ariodante), Despina (Così fan tutte), The Controller (Jonathan Dove’s Flight), Giulia (La scala di seta) and the role of Ice, which she created in Stuart MacRae’s Anthropocene
A prolific concert artist, Jennifer has sung Gerald Barry’s The Eternal Recurrence and Beethoven’s Symphony No. 9 with the Britten Sinfonia, Elgar’s Une voix dans le désert with the Hallé, Handel arias with the Academy of Ancient Music, Handel’s Dixit Dominus at the International Handel Festival Karlsruhe, Mahler’s Symphony No. 8 with the Philharmonia Orchestra, Mozart’s Requiem with the London Mozart Players and Carmina Burana with the Royal Philharmonic Orchestra. She made her BBC Proms debut in 2017 and her Salzburg Festival debut in 2019, singing Pascal Dusapin’s Medeamaterial with the Akademie für Alte Musik Berlin.
Winner of the Song Prize at the 2014 Kathleen Ferrier Awards and the 2014 Leonard Ingrams Award from Garsington Opera, Jennifer’s recordings include Barry’s The Eternal Recurrence and Beethoven’s Symphony No. 9 (Signum), Benjamin’s Lessons in Love and Violence (Nimbus & Opus Arte), Jommelli’s Il Vologeso (Signum), Debussy Songs Vol. 3 & 4 with Malcolm Martineau (Hyperion), and Elgar’s Une voix dans le désert (Hallé).
Glass’s Orphée for ENO; the title role in Semele at the Badisches Staatstheater Karlsruhe; Ophelia in Brett Dean’s Hamlet for Glyndebourne On Tour; Marzelline in Fidelio, Susanna in Le nozze di Figaro and La Princesse Elsbeth in Offenbach’s Fantasio for Garsington Opera; Le Feu/Le Rossignol in Ravel’s L’enfant et les sortilèges in concert with the BBC Symphony Orchestra; Benjamin’s Lessons in Love and Violence for Dutch National Opera; and Zerbinetta in Ariadne auf Naxos at the Nederlandse Reisopera, where she was nominated for a Schaunard Award.
1840–93
Pyotr Ilyich Tchaikovsky
1869, rev. 1870 & 1880
the Russian Romantic repertoire, a masterpiece Balakirev himself was never able to match. Tchaikovsky designated his Romeo and Juliet as a ‘Fantasy Overture’, but it is a true symphonic poem. The poetic element is clear enough in the sense that the music conveys the feelings of the lovers, the conflict between their two warring families, the Capulets and the Montagues, and the tragic ending so vividly that anyone who knows the story of the play can make them out easily. At the same time there’s a highly effective framing device in the dignified, solemn hymntune associated with the wise and compassionate Friar Lawrence. But Romeo and Juliet is also symphonic in that the form is so well balanced, the musical argument so convincingly engineered, that it’s possible to enjoy it simply as a gripping symphonic statement it doesn’t need any kind of programmatic crutch to prop it up.
All the same, it helps to have the outlines of Tchaikovsky’s musical story. The slow introduction presents Friar Lawrence’s wind hymn-tune, while anxious strings convey his forebodings. A tense, later explosive Allegro portrayed the hair-trigger hostility of the Montagues and Capulets, with rhythmic cymbal clashes depicting furious swordplay. Eventually the music calms down, and the famous love theme begins: apparently the cor anglais and violas are meant to evoke Romeo’s voice, while the flute and oboes that follow are Juliet’s. The way Tchaikovsky manages to convey the lovers’ emotions, the beauty of the night and an underlying sense of ease is particularly impressive. Conflict returns, and eventually so does the love theme, but it now feels embattled, and the driven Allegro music sweeps back in, this time leading to an unmistakably tragic denouement (low strings and bassoons and a loud drum-roll, fading to nothing).
A ghost of the love theme hovers above funereal drums, Friar Lawrence comments for the last time, then the love theme returns, radiantly transfigured. Love itself, it seems to say, is stronger than death.
Programme notes
8 London Philharmonic Orchestra • 28 September 2022 • Exiles and Dreamers
Programme note © Stephen Johnson
Although Tchaikovsky privately confessed that Balakirev made him uneasy, he clearly welcomed this kind of fatherly intervention. The result after two substantial revisions is one of the glories of
For all the brilliance of his musical imagination and evident depth of feeling, Tchaikovsky was terribly prone to self-criticism. But in the long run that could work to his advantage. In 1869 he sent a copy of the score of his new tone-poem Fatum (‘Fate’) to the great father-figure of Russian national music, the composer Mily Balakirev, hoping for approval. Balakirev was characteristically blunt. He had performed Fatum, but it didn’t go down well, ‘probably because of the appalling cacophony at the end’. Moreover the writing was ‘slapdash’, and ‘the seams show ... Above all the form just does not work’. Naturally Tchaikovsky was hurt, but he had to concede that Balakirev had a point. The two composers began a correspondence, in which Balakirev suggested that Tchaikovsky compose an orchestral work based on Shakespeare’s Romeo and Juliet Typically, Balakirev didn’t stop there: he laid out examples of the kind of structure Tchaikovsky might use, how he might deploy the themes associated with the main characters, even which keys to use.
Romeo and Juliet (Fantasy Overture)
The composer further explains that ‘The work’s general title, Correspondances, beyond the different meanings which could be given to this word, refers to Baudelaire’s famous poem Correspondances, and to the synaesthesias he himself evoked. On another hand, the ‘Baudelairian’ idea that in our world, the divine finds inevitably its image in a devilish world, catches up Van Gogh’s thought when, from Arles, he wrote to his brother that ‘next to the sun (the good Lord), unfortunately there is the Devil Mistral. Each of these episodes is the object of a slightly peculiar
...
Interval – 20 minutes announcement be made five minutes before the end of the
Correspondances1916–20132003 Jennifer
1 Gong I 2 DanseInterludecosmique 3 À Slava et
orchestration, privileging such or such family of instruments. So, the evoked images and colours in Vincent Van Gogh’s letter will mainly find their echo in the wood timbres, and in the brass section as well. Solzhenitsyn’s letters to Slava and Galina will be backed in a dominating way by the strings, especially by the cellos, often in a cello quartet. As for ‘Danse cosmique,’ it’s the whole orchestra that will surround the singer.
Henri
9 London Philharmonic Orchestra • 28 September 2022 • Exiles and Dreamers
... 4 Gong 2 5
Programme note © Susan Key Reprinted with kind permission of the LA Philharmonic
Programme notes Dutilleux France soprano Galina De Vincent à Théo
‘Finally, a remark: at the very end of Solzhenitsyn’s letter, as a watermark, as in a mist, is a quotation from Boris Godunov when is heard the Holy Fool’s grief about the misfortunes of Russia. In the same way, in the centre of the pages devoted to Van Gogh’s letter, the composer used, as a quotation, the main motif of his own score Timbres, espace, mouvement ou la Nuit étoilée, written in 1978 under the influence of the famous painting The Starry Night.’
The texts and translations begin on the next page.
An
will
Correspondances was commissioned by the Berlin Philharmonic and premiered by Simon Rattle and Dawn Upshaw with the Berlin Philharmonic on 5 September 2003. The work consists of settings for soprano and orchestra of excerpts from letters (Alexander Solzhenitsyn to Mstislav and Galina Rostropovich, and Vincent van Gogh to his brother Theo) and poetry by Prithwindra Mukherjee and Rainer Maria Rilke. The unifying element, according to Dutilleux, was their ‘inclination toward mystical thinking’.
interval.
Flames, the flames that invade the earth, Flames in a deluge penetrating all our hearts, Teasing the waves in the ocean of nights, Thunder pealing to the rhythm of lightning.
Flames, the flames in the depths below,
Flames, the flames that invade the sky, Who are you, o Dancer, in the oblivion of the world? Your steps and your motions undo your tresses As the earth and the planets tremble beneath your feet.
The sunflower buds open their petals, The skeletons of the past in the caresse of fire Beget the souls of a new creation.
Dutilleux: Correspondances
Des flammes, des flammes qui envahissent le ciel, Qui es-tu, ô Danseur, dans l'oubli du monde? Tes pas et tes gestes font dénouer tes tresses Tremblent les planètes et la terre sous tes pieds.
Timbre qui n'est plus par l'ouïe mesurable. Comme si le son qui nous surpasse de toutes parts Était l'espace qui mûrit.
10 London Philharmonic Orchestra • 28 September 2022 • Exiles and Dreamers
2 Danse cosmique
Des flammes, des flammes qui envahissent la terre, Des flammes de déluge pénétrant tous les cœurs, Effleurant les ondes de l'océan des nuits Des foudres se font entendre au rythme des éclairs.
Flames, the flames in the heart of man, Who are you, o celestial bard, who sings of the future?
Texts & translations
1 Gong I
3 À Slava et Galina ...
Prithwindra Mukherjee (b. 1936) © 2003 Éditions Le Décaèdre
Timbre that is no longer for measurable hearing. As if the sound that surpasses us Was the space that ripened.
Des flammes, des flammes dans le cœur de l'homme, Qui es-tu, ô barde céleste, qui chantes l'avenir?
At the approach of the tenth anniversary of my exile, scenes of terrible and trying years come to life before my eyes. Alia and I thought back to those moments: without your protection and your support, I never would have been able to go on. I would have foundered, for my strength had almost already left me. I had no roof over my head: in Ryazan, I would have been suffocated. And you, you protected my solitude with such grace that you never even told me about all the restrictions
À l'approche du dixième anniversaire de mon exil, des scènes des années terribles et accablantes reprennent vie devant mes yeux. Alia et moi avons repensé à ces moments: sans votre protection et votre soutien, jamais je n'aurais pu supporter ces années-là. J'aurais fait naufrage, car ma vigueur était déjà près de s'éteindre. Je n'avais pas de toit pour m'abriter: à Riazan, on m'aurait étouffé. Et vous, vous avez protégé ma solitude avec un tact tel que vous ne m'avez même pas
Rainer Maria Rilke (1875–1926). French translation by Jean-Yves Masson, © 1999 Les Éditions Verdier
Des flammes, des flammes dans les gouffres souterrains, Des bourgeons de tournesol ouvrent leurs pétales, Des squelettes du passé dans la caresse du feu Engendrent les âmes d'une création nouvelle.
Merci mes chers amis. Bien à vous pour toujours.
Bourdonnement épars, silence perverti, Tout ce qui fut autour, en mille bruits se change, Nous quitte et revient: rapprochement étrange De la marée de l'infini.
... Tout et partout, la coupole du ciel est d'un bleu admirable, le soleil a un rayonnement de soufre pâle et c'est doux et charmant comme la combinaison des bleus célestes et des jaunes dans les Vermeer de Delft. Malheureusement, à côté du soleil du Bon Dieu il y a, trois quarts du temps, le Diable Mistral.
All that was around us, in a thousand noises changes, Leaving us and returning: the strange convergence Of infinity’s tide.
Texts & translations
To remember all this graciously is to say little. You paid a cruel price for it, above all Galya who lost her theatre forever. All my gratitude will never make up for such losses. We can only take a little strength from the conviction that in this century, we Russians are dedicated to the same terrible destiny of hoping that the Lord will not punish us until the end.
parlé des contraintes et du harcèlement auxquels vous étiez soumis. Vous avez créé une atmosphère que je n'aurais pas imaginée possible. Sans elle, j'aurais probablement explosé, incapable de tenir jusqu'en 1974.
A scattered buzzing, perverted silence
As long as autumn lasts, I will not have enough hands, canvas or colours to paint the beauty I see.
Thank you, my dear friends. Wishing you the best, always.
Aleksandr Isayevich Solzhenitsyn (1918–2008). French translation © 1985 Librairie Arthème Fayard
Tant que durera l'automne, je n'aurai pas assez de mains, de toile et de couleurs pour peindre ce que je vois de beau.
Rainer Maria Rilke (1875–1926). French translation by Jean-Yves Masson.
5 De Vincent à Théo ...
J'ai un besoin terrible de religion. Alors, je vais la nuit, dehors, pour peindre les étoiles. Sentir les étoiles et l'infini, en faut, clairement, alors, la vie est tout de même presque enchantée.
In everything everywhere, the dome of the sky is an admirable blue, and the sun radiates a pale sulphur, sweet and charming like a combination of celestial blues and the yellows in the Vermeers of Delft. Sadly, next to the sun of the Good Lord there is, three quarters of the time, the Mistral Devil.
Se rappeler tout cela avec gratitude, c'est bien peu dire. Vous l'avez payé bien cruellement, surtout Galia qui a perdu à jamais son théâtre. Toute ma gratitude ne suffira jamais à compenser de telles pertes. Tout au plus peut-on retirer une certaine force de la conviction qu'en ce siècle, nous autres Russes sommes tous voués au même terrible destin de d'espérer que le Seigneur ne nous punira pas jusqu'au bout.
4 Gong 2
Dutilleux: Correspondances
and harassment to which you were subject. You created an atmosphere that I could not have imagined to be possible. Without it, I would have gone to pieces, unable to hold out until 1974.
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... I have a terrible need of religion. So, I go into the night, outside, to paint the stars. Feeling the stars and infinity, clearly, life is then all the same, almost enchanted.
Among the numerous honours awarded to Dutilleux were the Grand Prix de Rome, the French Grand Prix National de la Musique, the Praemium Imperiale, the Cannes Classical Award for his orchestral work The Shadows of Time, and the Grand Prix 1999 de la Presse Musicale Internationale. In 2005 he received the Ernst von Siemens Music Award, two years later the MIDEM Lifetime Achievement Award, and in 2011 the Marie-Josée Kravis Prize for New Music from the New York Philharmonic. In addition, Henri Dutilleux was an honorary member of the American Academy and Institute of Arts and Letters and of the Académie Royale de Belgique.
Composer profile: Henri Dutilleux
In my painting Night Café, I sought to express that the café is a place where you can ruin yourself, go mad, commit crimes. And finally I sought the contrasts of tender pink and blood red and wine red, with yellowgreens and harsh blue-greens, and all this in the atmosphere of an infernal furnace, of pale sulphur, to be expressed as the power of darkness in an assommoir
Dans mon tableau «Café de nuit», j'ai cherché à exprimer que le café est un endroit où l'on peut se ruiner, devenir fou, commettre des crimes. Enfin, j'ai cherché par des contrastes de rose tendre et de rouge sang et lie de vin, avec les verts-jaunes et les vertsbleus durs, tout cela dans une atmosphère de fournaise infernale, de soufre pâle, à exprimer comme la puissance des ténèbres d'un assommoir.
Henri Dutilleux died in Paris on 22 May 2013.
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Vincent Willem van Gogh (1853–90). French translation by Maurice Beerblock and Loui Roëlandt, © 1960 Éditions Bernard Grasset.
Texts & translations
Even though personal contacts with colleagues such as André Jolivet, Darius Milhaud, Francis Poulenc and Georges Auric frequently gave him inspiration, Dutilleux never belonged to a particular composition movement or group. Since his international breakthrough with Symphony No. 1 (1951) he was active in various genres: as well as symphonic works, he also composed chamber music, solo concertos and ballet music.
2007 saw the premiere of the first version of Le temps l'horloge for soprano and orchestra in Japan, with Renée Fleming under Seiji Ozawa. The extended version was performed at the Théâtre des Champs-Elysées in 2009. Correspondances (2003), also composed for soprano and orchestra, is one of the most frequently played works of the composer.
Dutilleux: Correspondances
Henri Dutillleux was born in Angers, France, in 1916. From 1933–38 he attended the Paris Conservatoire, studying harmony and counterpoint with Jean and Noël Gallon, composition with Henri Paul Busser and music history with Maurice Emmanuel. After brief military service, Dutilleux returned to Paris in 1940 where he earned a living as a pianist, arranger and teacher before becoming choral director at the Paris Opera in 1942. From 1945–63 he was director of music productions at the French radio company ORTF. From 1961–70 he taught composition at the Ecole Normale de Musique de Paris, until he returned to the Paris Conservatoire for two years as guest professor.
In the solo concerto genre, Dutilleux's concertos for violin are outstanding: L'arbre des songes (1985) and Sur le même accord (2002). Anne-Sophie Mutter's first recording of the latter work was awarded the Echo Klassik.
Sessions, George Crumb and Jennifer Higdon, as well as Kurt Weill, who incorporated it into his musical Street Scene
3
George Walker 1922–2018 Lilacs 1996 Jennifer France soprano
Programme note © Jessica Duchen
Programme notes (quaver = 56) (crotchet = 60) (quaver = 56) (crotchet = 72)
Nevertheless, Walker was deeply unhappy to find that few orchestras were willing to take up the piece: ‘I got probably more publicity nationwide than perhaps any other Pulitzer Prize winner,’ he told The Washington Post ‘But not a single orchestra approached me about doing the piece or any piece ... It materialised in nothing.’ Its New York premiere in Carnegie Hall finally took place in 2009, within a concert series promoted by Jessye Norman.
The text is on the next page.
Lilacs, which won George Walker the Pulitzer Prize, was commissioned by the Boston Symphony Orchestra and premiered by them in 1996 with soprano Faye Robinson, under the baton of Seiji Ozawa. The Pulitzer committee declared: ‘The unanimous choice of the Music Jury, this passionate, and very American, musical composition has a beautiful and evocative lyrical quality.’
Walker’s setting uses the poem’s first three and 13th stanzas, giving the piece a four-part structure. Reflecting the poem’s recurring imagery, he attaches musical motifs to each verbal one. The lilac is implicitly represented by a semitone followed by a flourish, a motif heard at the very start and a crucial buildingblock of the work’s structure. The second section is devoted to the image of the star, which glints bright against the darkness of deep brass. The lilacs return in part three, and the fourth and final section focuses on the bird, before combining all three ideas in the final lines: ‘You only I hear, yet the star holds me (but will soon depart), / Yet the lilac with mastering odor holds me.’ Though the textures and pace are plentifully contrasted, the overall soundworld remains suitably intense.
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1
4
2
Walt Whitman’s 1865 poem When Lilacs Last in the Dooryard Bloom’d is an extended elegy on the assassination of President Abraham Lincoln. It reflects the sombre national mood that America was experiencing in the aftermath; never, though, does it mention Lincoln by name, or the circumstances of his death. This lack of specificity helped to give its characteristically great-hearted power a sense of timeless relevance. Over the years, parts of it have been set by numerous composers, among them Gustav Holst, Paul Hindemith, Karl Amadeus Hartmann, Roger
I mourn’d, and yet shall mourn with ever-returning spring.
O shades of night, O moody tearful night!
Walt Whitman (1819–92), from When Lilacs Last in the Dooryard Bloom’d (1865)
Walker: Lilacs Text
Composer profile: George Walker
O powerful western fallen star!
His output ran to more than 90 works, ranging from piano sonatas to commissions for some of the most revered orchestras in the US. He was awarded numerous composition prizes, among them Guggenheim, Rockefeller and Fulbright fellowships. Walker possessed a sense of driven determination, endless musical curiosity and a devotion to absolute technical rigour. ‘I don’t know what relaxation is’, he told The Washington Post while working on a new symphony, aged 93. He died in August 2018.
Sing on, sing on you gray-brown bird. Sing from the swamps, the recesses, pour your chant from the bushes, Limitless out of the dusk, out of the cedars and pines. Sing on dearest brother, warble your reedy song, Loud human song with voice of uttermost woe.
In the dooryard fronting an old farmhouse in the whitewashed palings,
O harsh surrounding cloud that will not free my soul.
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When lilacs last in the dooryard bloom’d, And the great star early droop’d in the western sky in the night,
Yet the lilac with mastering odor holds me.
George Walker was an immensely prolific composer and the first from an AfricanAmerican background to win the Pulitzer Prize for Music, awarded to him for Lilacs in 1996. Born in Washington, DC in 1922, he started piano lessons aged five and by the age of 14 was studying at the Oberlin Conservatory. Soon afterwards, he began to attend the Curtis Institute of Music, where his instrumental and chamber music teachers included Rudolf Serkin, William Primrose and Gregor Piatigorsky. His composing was encouraged by Rosario Scalero, who had taught Samuel Barber. Walker subsequently went to Paris to study with Nadia Boulanger. His String Quartet No. 1, written in 1946, features a slow movement entitled 'Lyric for Strings', which won tremendous popularity in its orchestral version.
A celebrated pianist, Walker made his New York recital debut in 1945. He became the first Black instrumentalist to perform with The Philadelphia Orchestra and the first to be signed by a major artist management company, which arranged a European tour in 1954. Two years later he became the first Black recipient of a doctoral degree from the Eastman School of Music. He taught thereafter in universities including Colorado, the Peabody Institute and finally Rutgers, where he was Professor of Music.
O wild and loose to my soul, O wondrous singer! You only I hear, yet the star holds me (but will soon depart),
O great star disappeared, O the black murk that hides the star!
O cruel hands that hold me powerless, O helpless soul of me!
Ever-returning spring, trinity sure to me you bring, Lilac blooming perennial and drooping star in the west, And thought of him I love.
With every leaf a miracle and from this bush on the dooryard,
With many a pointed blossom rising delicate, with the perfume strong I love,
With delicate-colored blossom and heart-shaped leaves of rich green, A sprig with its flower I break.
Stands the lilac bush tall growing with heart-shaped leaves of rich green,
O liquid and free and tender.
Programme notes
2
1841–1904
Antonín Dvořák
4
That darkness perhaps ‘severity’ is a better word had been uncommon in Dvořák’s music up to this point. The Seventh was the composer’s first symphony written in a minor key and it only rarely finds the major.
The Seventh might not be Dvořák’s most popular symphony, but it’s arguably his best. In the composer’s own mind, he simply had to deliver something special for the London Philharmonic Society, who had commissioned the piece in 1884. His career was at a crossroads: success had finally come, offers were being made, and contacts were putting themselves forward. Brahms and others were urging Dvořák to consider a move from his hometown of Prague to Vienna or Berlin. All Dvořák had to do in his own mind was prove that he could write first-class symphonic music already; music that didn’t rely overtly on indigenous Czech folk themes and that demonstrated a firm grasp of symphonic thought.
3
1 Allegro maestoso Poco adagio Scherzo: vivace Finale: Allegro
On that front, Dvořák more than succeeded with his Seventh Symphony. It was first performed on 22 April 1885 in St James’s Hall, London, and was immediately hailed as a masterpiece. As a symphony it’s near flawless, and certainly Dvořák’s most organic and wellargued. For that, the composer had Brahms to thank. Dvořák had recently heard Brahms’s Third Symphony, whose taut, concise and clear-cut structure is wholly evident here. There are also a good few points of direct comparison: both symphonies contain radiant horn solos (you’ll hear Dvořák’s in his second movement) and both are stalked by a sense of underlying darkness.
Symphony No. 7 in D minor, Op. 70 1885
15 London Philharmonic Orchestra • 28 September 2022 • Exiles and Dreamers
Recommended recordings of tonight’s works
Dutilleux: Correspondances Barbara Hannigan | Orchestre Philharmonique Radio France | Esa-Pekka Salonen (Deutsche Grammophon)
by Laurie Watt
Programme note © Andrew Mellor
Walker: Lilacs
The Cleveland Orchestra| Franz Welser-Möst (Cleveland Orchestra label: due for release
London Philharmonic Orchestra | Yannick Séguin (LPO Label LPO-0095; see page or London Symphony Orchestra | István (Decca)
issue out now
Dvořák’s second movement is a continuous, river-like flow of inspired melodies opening with what sounds like an ancient chorale in a serene F major, the key that also closes the movement. The aforementioned horn solo that comes later represents one of the Symphony’s only moments of warmth; a sudden appearance of the sun between clouds. Though the third movement features an idyllic Trio section, it’s surrounded by a demonic dance built from an insistent, syncopated figure that combines duple and triple time in reference to the furiant, a Czech folk dance.
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Dvořák: Symphony No. 7
TunenotesIn:new
Hot off the press is the Autumn/ Winter edition of our twiceyearly LPO magazine, Tune In. Scan the QR code or visit issuu.com/londonphilharmonic to read it online, or call 020 7840 4200 to request a copy in the post.
So organic and rich in cross-referencing is the Seventh’s music that an analysis of its themes and their origins is best left for academics. What’s worth listening out for in the first movement, however, is the restlessness of Dvořák’s lower strings, which helps create a feeling of impending stormy weather; throughout, instruments enter in a fragmentary fashion, each seeming to stride into the conversation with a conflicting view.
Programme
Tchaikovsky: Romeo and Juliet (Fantasy Overture) London Philharmonic Orchestra | Mstislav Rostropovich (Warner Classics, in full symphony set) or Los Angeles Philharmonic | Zubin Mehta
Even so, the joy and bustle associated with Dvořák’s music is somehow ever-present either fighting to be heard or peering through the composer’s minor-key colourings. Perhaps it’s the composer’s profusion of rich melodies that keeps the Symphony so consistently radiant even when resolutely rooted in the minor (as in the demonic dance of the Scherzo, for example).
Dvořák didn’t want to over-egg his use of devices and themes from Czech folk music in the Symphony, and uses them similarly fleetingly and subtly in his finale. This movement is a fierce tussle, relieved only by its bright secondary idea cast in a major key and first heard on cellos, supported by lightly ornamenting violins. Dvořák seems to triumph over the movement’s nervous energy as he introduces a theme of distinctly Czech character on the flutes. In a dramatic coda, the Symphony’s final paragraph, the music finally finds victory as it discovers the warmth of D major.
Dvořák's on
Symphony No. 7
Recorded live at the Southbank Centre’s Royal Festival Hall on 3 February 2016.
the LPO Label
unexaggerated,
The Financial Times Available from all good outlets, and available to download or stream online via Spotify, Apple Music, Idagio and others. NEW LPO LABEL RELEASE AVAILABLE NOW TO DOWNLOAD, STREAM, OR AS A 3-CD BOX SET LPO Label releases are available on CD from all good outlets, and to download or stream via Spotify, Apple Music, Idagio and others. TIPPETT THE MIDSUMMER MARRIAGE COMPLETE OPERA IN THREE ACTS conducted by EDWARDwithGARDNER ROBERT MURRAY, RACHEL NICHOLLS, ASHLEY RICHES, JENNIFER FRANCE, TOBY SPENCE, CLAIRE BARNETT-JONES, SUSAN BICKLEY, JOSHUA BLOOM LONDON PHILHARMONIC CHOIR, ENGLISH NATIONAL OPERA CHORUS Recorded live in concert at the Southbank Centre’s Royal Festival Hall, 25 September 2021
Dvořák: Othello Overture Symphony No. 6 Symphony No. 7 Yannick Nézet-Séguin conductor London Philharmonic Orchestra LPO-0095
‘The the music-making is the spirit is joyous. Recommended.’
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melodies sing,
Sat 26 Nov 2022 | Tippett’s A Child of Our Time Edward Gardner conducts the epic oratorio joined by Nadine Benjamin, Sarah Connolly, Kenneth Tarver and Roderick Williams. Sun 22 Jan 2023 | Tan Dun’s Buddha Passion Tan Dun himself conducts the UK premiere, featuring Sen Guo, Huiling Zhu, Kang Wang and Shenyang. Sat 4 Feb 2023 | Berlioz’s The Damnation of Faust Berlioz’s choral-orchestral spectacular, with Edward Gardner, Karen Cargill, David Junghoon Kim, Christopher Purves and Jonathan Lemalu. Sat 18 Mar 2023 | Elena Langer world premiere Andrey Boreyko conducts Langer's brand new work The Dong with a Luminous Nose, alongside Shostakovich's Symphony No. 5. Sat 6 May 2023 | Janáček’s Glagolitic Mass Edward Gardner closes the season with Sara Jakubiak, Madeleine Shaw, Toby Spence and Matthew Rose. HIGHLIGHTSCHORAL this season with the London Philharmonic Choir lpo.org.uk
TAN DUN’S Buddha Passion SUNDAY 22 JANUARY 2023 SOUTHBANK7.30PM CENTRE’S ROYAL FESTIVAL HALL Tan Dun Buddha Passion (UK premiere) Tan Dun conductor Sen Guo soprano Huiling Zhu mezzo-soprano Kang Wang tenor Shenyang bass-baritone London Philharmonic Choir London PhilharmonicChineseChoir ‘The most astonishing experience … a great film-like orchestral storm’ Süddeutsche Zeitung, 2018 Film composer Tan Dun (Crouching Tiger, Hidden Dragon) conducts his Buddha Passion, in which the legends of Buddhism meet the tradition of Bach’s great choral Passions, drawing on ancient Chinese and Sanskrit texts. Tickets £14–£46* Premium seats £65* Booking fees apply London Philharmonic Orchestra Ticket Office 020 7840 4242 Mon–Fri 10.00am–5.00pm lpo.org.uk COMING UP IN 2023
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23 London Philharmonic Orchestra • 28 September 2022 • Exiles and Dreamers
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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:
Natalie Pray
The D’Oyly Carte Charitable Trust
Garrick Charitable Trust
*Player-Director
Jean-Paul Ramotar Finance and IT Officer
Cameron Doley Christopher Fraser OBE
General Administration
Martin Höhmann* President Mark Vines* Vice-President
Geoff Mann Clive Marks OBE FCA
Freddie Jackson Deputy Stage Manager Felix Lo Orchestra and Auditions Manager
Finance
Education Communityand
Philip Stuart Discographer Gillian Pole Recordings Archive
Julian Simmonds Barry Smith Martin Southgate Chris Viney Laurence Watt Elizabeth Winter
Hon. Orthopaedic Surgeon
89 Albert Embankment London SE1 7TP
Coverlpo.org.ukillustration
London Philharmonic Orchestra Administration
Development Assistants
Talia Lash Education and Community Director
London OrchestraPhilharmonic
Honorary Doctor
Nicholas Hely-Hutchinson DL
Honorary ENT Surgeon
Elena Dubinets
Nadya Powell
David Buckley
Lord Hall of Birkenhead CBE Vice-Chair
Andrew Chenery Orchestra Personnel Manager
Laura Kitson Stage and Operations Manager
Mairi Warren Marketing Manager
Rachel Williams Publications Manager
Librarians
Kath Trout Marketing Communicationsand Director
Printer John Good Ltd
David Burke Chief Executive Chantelle Vircavs PA to the Executive Concert Management
Dr Manon Antoniazzi
Marianna Hay MBE
Roanna Gibson Concerts and Planning Director
Amanda Hill
David Burke
Andrew Neill
Sir Bernard Rix
Harrie Mayhew Website Manager
Press and PR Manager
Tanya Joseph Hugh Kluger* Katherine Leek* Al MacCuish Minn Majoe*
Professional Services
Mr Simon Owen-Johnstone
Board of Directors
Crowe Clark Whitehill LLP Auditors
Dr Barry Grimaldi
Andrew Davenport
Alison Jones Concerts and Recordings Co-ordinator
Sophie Harvey Digital and Residencies Marketing Manager
Advisory Council
Rehmet Kassim-Lakha
Kate Birchall*
Desmond Cecil CMG Sir Alan Collins KCVO CMG
Siân Jenkins Corporate Relations Manager
Eleanor Conroy Al Levin
Tania Mazzetti*
Greg Felton Digital Creative
Elena Dubinets Artistic Director
Guillaume Descottes
Jonathan Harris CBE FRICS
Victoria Robey OBE
Frances Slack Finance Director Dayse Guilherme Finance Manager
Katurah Morrish Development Events Manager
Email: admin@lpo.org.uk
Martin Höhmann Chairman Christopher Aldren
24 London Philharmonic Orchestra • 28 September 2022 • Exiles and Dreamers
Baroness Shackleton
Dr Catherine C. Høgel Chair
Neil Westreich
Rebecca Parslow Education and Community Project Managers
Bruno De Kegel
Robert Winup Concerts and Tours Assistant
Sarah Thomas Martin Sargeson
Development Laura Willis Development Director Rosie Morden
Individual Giving Manager
Andrew Tusa
Nick Jackman Campaigns and Projects Director
Simon Callow CBE
Simon Freakley (Ex officio –Chairman of the American Friends of the London Philharmonic Orchestra)
Jamie Korner
Matthew Freeman Recordings Consultant
Stephen O’Flaherty
Deputy Operations Manager
Fabio Sarlo Glyndebourne and Projects Manager
Thomas Sharpe QC
Stewart McIlwham
Kirstin Peltonen Development Associate Marketing
Gavin Miller Sales and Ticketing Manager
Ruth Haines
Graham Wood Concerts and Recordings Manager
Jamie Njoku-Goodwin
Helen Brocklebank YolanDa Brown
Simon Burke
Anna Quillin Trusts and Foundations Manager
Alicia Hartley Marketing Assistant Archives
Hannah Foakes
Mr Chris Aldren
Tel: 020 7840 4200
Simon Pemberton/Heart 2022/23 season identity
JMG Studio
Roger RichardBarronBrass
Box Office: 020 7840 4242
Maddy Clarke Tours Manager
Lowri Davies Education and Community Co-ordinator
Deborah Dolce
Charles Russell Speechlys Solicitors