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
Saturday 29
J Strauss II Overture, Die Fledermaus (9’)
Korngold Violin Concerto in D major, Op. 35 (25’)
Interval (20’)
Korngold Märchenbilder, Op. 3 (18’)
R Strauss Suite from ‘Der Rosenkavalier’ (21’)
Arabella Steinbacher violin
The timings shown
Concert presented by the London Philharmonic
2 Welcome LPO news
On stage tonight
London Philharmonic Orchestra
New on the LPO Label
Andrés Orozco-Estrada
Arabella Steinbacher
Programme notes
Recommended recordings Next concerts
Sound Futures donors
Thank you
LPO administration
We hope you enjoy your visit. We have a Duty Manager available at all times. If you need any information or help, please ask a member of staff.
Eating, drinking and shopping? Take in the views over food and drinks at the Riverside Terrace Cafe, Level 2, Royal Festival Hall. Visit our shops for products inspired by our great cultural experiences, iconic buildings and central London location.
Explore across the site with Beany Green, Côte Brasserie, Foyles, Giraffe, Honest Burger, Las Iguanas, Le Pain Quotidien, Ping Pong, Pret, Strada, Skylon, Spiritland, Topolski, wagamama and Wahaca.
If you would like to get in touch with us following your visit, please write to: Visitor Contact Team, Southbank Centre, Belvedere Road, London SE1 8XX, or email hello@southbankcentre.co.uk
We look forward to seeing you again soon.
A few points to note for your comfort and enjoyment:
Photography is not allowed in the auditorium.
Latecomers will only be admitted to the auditorium if there is a suitable break in the performance.
Recording is not permitted in the auditorium without the prior consent of the Southbank Centre. The Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended.
Mobiles and watches should be switched off before the performance begins.
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’re delighted to be part of the UK premiere of The Chevalier, coming to London and Snape Maltings in March 2023. In this unique piece of concert theatre, four costumed actors join conductor Matthew Kofi Waldren, the exciting rising star violinist Braimah Kanneh-Mason, and the LPO and friends, to present Bill Barclay’s The Chevalier, which tells the fascinating life of Joseph Bologne – an 18th-century Black composer, virtuoso violinist and friend of Mozart and Marie Antoinette – more commonly known as the Chevalier de Saint-Georges. Alongside his incredible musical talents, The Chevalier was an acclaimed fencer, a general of Europe’s first Black regiment and an active campaigner for the abolishment of slavery. Almost forgotten in history, his story is bursting to be told. The performances are at Snape Maltings, Suffolk, on Sunday 19 March and St Martin-in-the-Fields, London, on Tuesday 21 March 2023. Tickets are priced from £10: book for 19 March via stmartin-in-the-fields.org or for 21 March via brittenpearsarts.org
Out next week (4 November) on the LPO Label is James MacMillan’s Christmas Oratorio, recorded live at the work’s UK premiere in December 2021. Conducted by Mark Elder, it features the London Philharmonic Choir, soprano Lucy Crowe and baritone Roderick Williams.
Composed in 2019, the Christmas Oratorio embraces a Scots Gaelic lullaby, English poetry and Bible passages, all recounting the Nativity. MacMillan deftly weaves together these strands in his trademark expressive and immediate language, reflecting both his Scottish roots and his deeply-held Catholic faith. It will be available to stream or download via all major platforms, and on sale to buy as a double CD. Visit lpo.org.uk/recordings to find out more.
Guest Leader
Lasma Taimina Chair supported by Irina Gofman & Mr Rodrik V. G. Cave Minn Majoe Morane Cohen-Lamberger Thomas Eisner
Katalin Varnagy Chair supported by Sonja Drexler Fanny Fheodoroff Martin Höhmann
Yang Zhang Chair supported by Eric Tomsett Amanda Smith Sophie Phillips Ronald Long Alice Hall Gabriela Opacka Kay Chappell Gavin Davies
Tania Mazzetti Principal Chair supported by Countess Dominique Loredan Helena Smart Fiona Higham Chair supported by David & Yi Buckley Ashley Stevens Nynke Hijlkema Claudia Tarrant-Matthews
Joseph Maher Sarah Thornett Anna Harpham Sheila Law Kate Cole Sioni Williams Emma Crossley Lyrit Milgram
Richard Waters Principal Chair supported by Caroline, Jamie & Zander Sharp Jisu Song Martin Wray Lucia Ortiz Sauco Laura Vallejo Raquel López Bolívar James Heron Shiry Rashkovsky Toby Warr Naomi Hoult Julia Doukakis Daniel Cornford
Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden Jonathan Ayling Francis Bucknall Sue Sutherley Susanna Riddell Tom Roff Helen Thomas Sibylle Hentschel Iain Ward Hee Yeon Cho Victoria Harrild Julia Morneweg
Kevin Rundell* Principal Hugh Kluger George Peniston Laura Murphy Colin Paris Nickie Dixon Mike Fuller Stephen Street
Charlotte Ashton Guest Principal Ian Mullin Katherine Bicknell
Katherine Bicknell
Ian Hardwick* Principal Alice Munday Sue Böhling*
Sue Böhling* Principal Chair supported by Dr Barry Grimaldi
Benjamin Mellefont Principal Harry Cameron-Penny Elliot Gresty
Paul Richards* Principal
Jonathan Davies Principal Chair supported by Sir Simon Robey
Guylaine Eckersley Simon Estell*
Simon Estell* Principal Horns
John Ryan* Principal Annemarie Federle
Guest Principal Martin Hobbs Duncan Fuller Gareth Mollison
Paul Beniston* Principal Holly Clark Guest Principal Anne McAneney*
David Whitehouse Principal Andrew Connington
Lyndon Meredith Principal
Lee Tsarmaklis* Principal Chair supported by Friends of the Orchestra
Simon Carrington* Principal Chair supported by Victoria Robey OBE
Andrew Barclay* Principal Chair supported by Garf & Gill Collins Tom Edwards Keith Millar Feargus Brennan Jeremy Cornes Stefan Beckett
Rachel Masters Principal Esther Beyer
Celeste Catherine Edwards
* Holds a professorial appointment in London
The LPO also acknowledges the following chair supporters whose players are not present at this concert:
The Candide Trust William & Alex de Winton Roger Greenwood Neil Westreich
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.
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 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.
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 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
The Midsummer Marriage under Edward Gardner, captured in his first concert as LPO Principal Conductor in September 2021 (see right).
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.
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.
New on the LPO Label
COMPLETE OPERA IN THREE ACTS
conducted by Edward Gardner with 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
‘This is Edward Gardner’s show, and he rises to Tippett’s challenge superbly.’ BBC Music Magazine
Available to download, stream, or as a 3-CD box set: scan here to find out more.
Energy, elegance and spirit are the qualities that particularly distinguish Andrés Orozco-Estrada as a musician. He was the London Philharmonic Orchestra’s Principal Guest Conductor from 2015–19, during which time he conducted the Orchestra in numerous acclaimed concerts in the UK and abroad, as well as at Glyndebourne Festival Opera.
Andrés Orozco-Estrada was Principal Conductor of the Frankfurt Radio Symphony Orchestra from 2014–21, and said goodbye in June 2021 with a major concert at the Alte Oper, of which the Frankfurter Rundschau wrote: ‘The image of a balance of human impeccability, communicative passion and the highest professionalism emerged ... it is the combination of dancelike playfulness and an unconditional search for perfection that obviously distinguishes the Colombian’s work.’
Andrés Orozco-Estrada led the Houston Symphony Orchestra as Music Director from 2014–22, and was also Chief Conductor of the Vienna Symphony Orchestra from 2020–22. He regularly conducts Europe’s leading orchestras including the Vienna Philharmonic, Berlin Philharmonic, Sächsische Staatskapelle Dresden, Leipzig Gewandhausorchester, Royal Concertgebouw Orchestra, Orchestra dell’Accademia Nazionale di Santa Cecilia and Orchestre National de France, as well as major US orchestras such as the Chicago Symphony Orchestra and The Philadelphia Orchestra. He has also conducted concerts and opera performances at the Berlin State Opera and the Salzburg Festival with outstanding success.
After his farewell concerts in Houston, where he conducted Mahler’s Symphony No. 2, Andrés concluded the 2021/22 season with his Colombian
Youth Philharmonic Orchestra on a major European tour. The orchestra performed at the Amsterdam Concertgebouw, the Hamburg Elbphilharmonie, the Cologne Philharmonie and the Vienna Konzerthaus, among others.
Guest conducting engagements in the coming season will take Andrés to the Boston Symphony Orchestra, Leipzig Gewandhausorchester, Staatskapelle Dresden, NDR Elbphilharmonieorchester, Budapest Festival Orchestra, Oslo Philharmonic, Orchestre National de France and Israel Philharmonic. He will also return to the podium of the hr-Sinfonieorchester and the Staatsoper Berlin, where he will conduct a revival of La traviata A tour with the Chamber Orchestra of Europe will take him to the Canary Islands, as well as to the Salzburg Mozartwoche. A concert week and a masterclass for conductors with the Orquesta Sinfónica Freixenet de la Escuela Reina Sofía are also planned.
Celebrated worldwide as one of today’s leading soloists, Arabella Steinbacher is known for her extraordinarily varied repertoire, comprising pieces from the Classical and Romantic eras alongside modernist concertos by Bartók, Berg, Britten, Glazunov, Gubaidulina, Hartmann, Hindemith, Khachaturian, Milhaud, Prokofiev, Schnittke, Shostakovich and Szymanowski.
Arabella opened the 2022/23 season with a concert at the Klosters Festival in Switzerland, where she appeared with the Mozarteum Orchester Salzburg and Patrick Hahn, followed by a tour to Spain with Camerata Salzburg. This season she has also been invited to return to the Royal Philharmonic Orchestra, and will perform with the Polish National Radio Symphony, Munich Symphony, Belgian National and Württemberg Chamber orchestras, as well as the Orchestra del Teatro Petruzzelli di Bari and the Ulster Orchestra. Further afield, she returns to the stages of the Seattle Symphony, NHK Symphony and Osaka Philharmonic orchestras. Another highlight of this season will be a return to the Sydney Symphony Orchestra under the baton of Umberto Clerici for the world premiere of Georges Lentz’s Violin Concerto, which he has written for Arabella.
Other orchestras with whom Arabella has collaborated include the New York Philharmonic, Boston Symphony, Chicago Symphony, Leipzig Gewandhaus, Dresden Philharmonic, NDR Elbphilharmonie, Bavarian Radio Symphony and Berlin Radio Symphony orchestras. She has also performed to great acclaim with the London Symphony Orchestra, Orchestre National de France and Vienna Radio Symphony Orchestra, as well as the Seoul Philharmonic Orchestra. She has toured extensively with the BBC Philharmonic, the Orchestre
Philharmonique de Strasbourg and the Deutsche Radio Philharmonie Saarbrücken. Arabella works with conductors such as Marin Alsop, Herbert Blomstedt, Christoph von Dohnányi, Christoph Eschenbach, Lawrence Foster, Jakub Hrůša, Pietari Inkinen, Marek Janowski, Vladimir Jurowski, Fabio Luisi, Zubin Mehta, Andris Nelsons, Yannick Nézet-Séguin, Kirill Petrenko, John Storgårds and Kazuki Yamada.
Arabella Steinbacher’s extensive discography impressively demonstrates her diverse repertoire. Her most recent recording for Pentatone, for whom she records exclusively, concludes her highly praised Mozart recording cycle with Festival Strings Lucerne. Just as successful was her previous recording, featuring The Four Seasons by both Vivaldi and Piazzolla, in which Arabella play/directed the Munich Chamber Orchestra. The disc was released in summer 2020 and received rapturous reviews, The Guardian’s 5-star review concluding simply with the words ‘What a player.’ On her upcoming recording with the Stuttgart Chamber Orchestra, Arabella juxtaposes works by J S Bach and Arvo Pärt.
Born into a family of musicians, Arabella has played the violin since the age of three and studied with Ana Chumachenco at the University of Music and Theatre in Munich from the age of eight. A particular source of musical inspiration and guidance has been the Israeli violinist Ivry Gitlis.
Arabella currently plays the violins of Antonio Stradivari, Cremona 1718, known as the ‘ex Benno Walter’ and the Guarneri del Gesu ‘Sainton’ Cremona 1744, both generously provided by a private Swiss foundation.
Vienna has produced and inspired many musicians over the centuries. During the late 1800s, however, the Austrian capital was dominated by waltzes from one particular family: the Strausses. So it is fitting that tonight’s concert opens with a highlight from Johann Strauss II’s most popular operetta. And there are also strains of his waltzing world in the Suite from Der Rosenkavalier, a no less evergreen opera, set in Vienna, by the (unrelated) Bavarian composer Richard Strauss. Between these two whirling scores are works by Erich Wolfgang Korngold, beginning with his Viennese childhood, when his father Julius was one of the most revered and feared music critics in the
city, and ending in the 1940s, after the Jewish-born composer had been forced to leave Europe and settle in Hollywood. Taking sketches for a Violin Concerto with him, Korngold completed the work by the end of Second World War. And it would prove to be one of the composer’s most enduring works, thanks to the demands its places on the soloist – Jascha Heifetz gave the 1947 premiere – and the generosity of its themes, many of which likewise appeared in Korngold’s scores for the silver screen. But like so much of the music he wrote for the movie industry, the Violin Concerto is as indebted to the old world of Korngold’s youth as it is to life and culture on the West Coast.
Die Fledermaus (‘The Bat’) was first seen in Vienna in 1874. Although it would take a few seasons for the operetta to become a veritable hit, it played brilliantly to the turbulent mood of the Habsburg capital at its premiere. The year before the work came to the stage of the famous Theater an der Wien, there had been a terrible crash at the city’s stock exchange, throwing both the Austro-Hungarian Empire and the wider world into a terrible financial crisis. Die Fledermaus promptly came along to offer a panacea, not least with its refrain, heard at the end of Act I, of ‘happy is he who forgets what can no longer be changed.’
The show begins, however, with an equally infectious Overture, much of its music taken from the final scene in the drama, where the protagonist, Gabriel von Eisenstein, and his wife Rosalinde’s singing teacher (and lover), Alfred, find themselves in prison – albeit only briefly. Two other themes dominate: the dupletime dance that deftly spells out the operetta’s title and, somewhat inevitably, one of the most infectious waltz tunes Strauss ever wrote. Together, they provide a dazzling curtain-raiser for an operetta that remains as popular in Vienna today as it did nearly 150 years ago.
The Jewish-born Erich Korngold enjoyed a successful career in Central Europe before the rise of the Nazis and their branding of his work as ‘degenerate’. Yet, of all the composers to have their European careers destroyed by Joseph Goebbels’s cultural prohibitions, Korngold was the one who most successfully established himself elsewhere, by becoming one of the leading musical lights in Hollywood. After the Second World War, he would resume writing ‘art music’, including his spectacular Symphony in F sharp, though Korngold was never able to replicate his successes of the 1920s and 1930s.
The exception to the rule is his 1945 Violin Concerto – today, a staple of the repertoire. It is an unabashed essay in post-Romanticism, seemingly littered with quotations from the movie scores. When the Concerto was published, however, it was dedicated to Alma Mahler, speaking of a much longer gestation, with much of the music sketched prior to Korngold’s departure from Europe. Indeed, it has since proved impossible to establish whether elements from the film scores or those in the Concerto came first.
By the time of its premiere, on 15 February 1947, with Jascha Heifetz as the soloist and the St Louis Symphony Orchestra conducted by Vladimir Golschmann, the Concerto’s opening theme had already been heard within the context of the 1937 film Another Dawn. Here, it sets the nostalgic tone for the whole. A more virtuoso section, with leaping semiquavers and woodwind accompaniment, prepares the way for a second melancholy theme (from the 1939 film Juarez). These ideas are then combined in dialogue, as the music ventures into different tonal areas, before an exuberant cadenza prepares for the recapitulation, now led by the orchestra, with interjections from the soloist.
The second movement is in ternary (A–B–A) form, with the outer sections, steered first by a solo clarinet and later by the violin, featuring a theme that also appeared in Anthony Adverse (1936). The hesitant orchestral accompaniment is rich with string harmonics, percussion, celeste and harp, before the central
section turns more mysterious, with bitonal harmonies questioning the air of romance. The disturbance is, however, short-lived, and the movement soon returns to that lyrical first theme, with a coda recalling the bittersweet shimmer of the ‘Silver Rose’ music from Strauss’s Der Rosenkavalier.
Finally, the Concerto closes with a boisterous jig that often suggests the acrobatics of a rodeo, as
if reflecting both the European and US periods in Korngold’s career. A second theme, pointing to a tune from the 1937 score for The Prince and the Pauper, affords a brief haven of calm in an otherwise helterskeltering movement, before the soloist strides off with increasingly wild double-stopped variations. The orchestra then takes over in magisterial form, briefly allowing the violinist to catch their breath for the final hoedown.
An announcement will be made five minutes before the end of the interval.
If the Violin Concerto represents Korngold towards the end of his career, the Märchenbilder (‘Fairytale Pictures’), written for piano in 1910 and then orchestrated under Zemlinsky’s tutelage, reveal something of his prodigious youth. Encouraged by his music critic father, Korngold was, after all, only 13 at the time, prompting much older and much more established composers such as Mahler, Strauss and Puccini to express their admiration.
Korngold’s original piano work was cast in seven movements, with a second, ‘The Princess and the Pea’, lost from the orchestration he created for an abortive 1911 premiere in the Czech spa town of Karlsbad –the first public performance finally took place in 1997, with the BBC Philharmonic. The six surviving tableaux nonetheless show extraordinary levels of inspiration.
In ‘The Enchanted Princess’, for instance, Korngold contrasts elements of march and romance, while
introducing an idiom that has long if erroneously been associated with his and others’ work for Hollywood, two decades later. ‘The Ruler of the Spirits’, on the other hand, is imbued with the bittersweet melancholy that would dominate his 1920 opera Die tote Stadt.
Turning to Mendelssohnian scurries (‘The Gnomes’) and a Straussian waltz (‘The Fairy King’s Ball’), Korngold then provides a miniature tone-poem for the Grimm
Brothers’ ‘Brave Little Tailor’, the figure who tricks both giants and crowned heads, before the sequence ends with a gloriously open-hearted Epilogue. Korngold’s career, on the other hand, was only just beginning, with Engelbert Humperdinck, the composer of Hänsel und Gretel, calling him a ‘wonder child from fairyland’, the very world of these beguiling Märchenbilder
Richard Strauss had long wanted to make a mark in the theatre, though both his first and second operas, Guntram and Feuersnot, failed to wow. Finally, he triumphed spectacularly with the world premiere of Salome in Dresden in 1905, when the opera’s combination of highly controversial text and glitteringly violent score made for box office gold. Indeed, Salome was so successful that Strauss was able to build a new villa in the Bavarian town of Garmisch with the proceeds.
The composer was, understandably, keen to repeat the success. Not long after the premiere, he saw Hugo von Hofmannsthal’s Sophocles adaptation Elektra in Berlin, which he promptly recognised as ‘a brilliant opera text’. Even though Strauss had misgivings about writing another gruesome tragedy so hot on the heels of Salome, he soon began work with Hofmannsthal on the new opera. Yet throughout its genesis Strauss kept asking for alternative ideas, alighting on stories from the Bible, as well as a comedy on the life of Casanova. But it was not until February 1909, a month after the eventual premiere of Elektra, that Hofmannsthal delivered the goods:
I have spent three quiet afternoons here drafting the full and entirely original scenario for an opera, full of burlesque situations and characters, with lively action, pellucid almost like a pantomime.
There are opportunities in it for lyrical passages, for fun and humour, even for a small ballet. I find the scenario enchanting and Count Kessler, with whom I discussed it, is delighted with it. It contains two big parts, one for baritone and one for a graceful girl dressed up as a man, à la Farrar or Mary Garden. Period: the old Vienna under Empress Maria Theresa.
Here were the bare bones of Der Rosenkavalier. The choice of a mid-18th-century setting encouraged various references to Mozart, including parallels with Le nozze di Figaro. Yet it was the score’s sensuous if somewhat incongruous sequences of waltzes from the era of Strauss’s (unrelated) namesake Johann that guaranteed its success, with international productions quickly following the 1911 world premiere in Dresden.
Tonight’s Suite, created by Strauss and the Polish conductor Artur Rodziński in 1944, was a late attempt to exploit this immensely popular opera yet further. It opens with the music of the Prelude to Act I, describing a night between the Marschallin – the wife of a field marshal in the Habsburg army – and her young boyfriend Count Octavian. Their lovemaking and subsequent levée are then interrupted by the lecherous Baron Ochs, who has chosen to marry the nouveau-riche Sophie and comes to ask his cousin to select an emissary for a silver rose, the traditional
symbol of engagement. It is the music of this token and its presentation by Octavian in Act II that we hear next, described by a deliciously winsome theme and metallic splashes from the upper winds, harp and celeste.
Despite Ochs’s aims, it is Octavian and Sophie who then fall in love, as heard in music from their second act duet. The Baron remains typically oblivious to their burgeoning relationship and, instead, delivers a much bawdier waltz. The Suite’s remaining themes are derived from the Marschallin’s philosophical monologue concerning age and mortality in Act I, as well as the justly famous trio from the conclusion to the drama, when the Marschallin graciously bows out to allow Sophie and Octavian’s new relationship to flourish. Finally, the young pair are left alone, with a lullaby reprise of their delicate rose theme, before Strauss concludes the Suite with an even more rambunctious version of one of the waltzes that dominate his most popular score.
Programme notes © Gavin Plumley
J Strauss II: Overture, Die Fledermaus London Philharmonic Orchestra | Franz WelserMöst (Warner)
or Vienna Philharmonic | Willi Boskovsky (Decca)
Korngold: Violin Concerto Arabella Steinbacher | Gulbenkian Orchestra Lawrence Foster (Pentatone)
Korngold: Märchenbilder BBC Philharmonic | Matthias Bamert (Chandos)
R Strauss: Suite from ‘Der Rosenkavalier’ Pittsburgh Symphony Orchestra | Manfred Honeck (Reference Recordings)
or London Philharmonic Orchestra | Norman Del Mar (Classics for Pleasure)
Spring
Skye Prisms, Cycles, Leaps
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
Arts Council England Dunard Fund
Victoria Robey OBE
Emmanuel & Barrie Roman
The Underwood Trust
William & Alex de Winton
John Ireland Charitable Trust
The Tsukanov Family Foundation Neil Westreich
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
John & Manon Antoniazzi
Gabor Beyer, through BTO Management Consulting AG
Jon Claydon
Mrs Mina Goodman & Miss Suzanne Goodman
Roddy & April Gow
The Jeniffer & Jonathan Harris Charitable Trust
Mr James R.D. Korner
Christoph Ladanyi & Dr Sophia Ladanyi-Czernin
Robert Markwick & Kasia Robinski
The Maurice Marks Charitable Trust
The Rothschild Foundation
Tom & Phillis Sharpe
The Viney Family
Mark & Elizabeth Adams
Dr Christopher Aldren
Mrs Pauline Baumgartner
Lady Jane Berrill
Mr Frederick Brittenden
David & Yi Yao Buckley
Mr Clive Butler Gill & Garf Collins
Mr John H Cook
Mr Alistair Corbett
Bruno De Kegel
Georgy Djaparidze David Ellen Christopher Fraser OBE David & Victoria Graham Fuller Goldman Sachs International
Mr Gavin Graham Moya Greene
Mrs Dorothy Hambleton
Tony & Susie Hayes
Malcolm Herring
Catherine Høgel & Ben Mardle
Mrs Philip Kan
Rehmet Kassim-Lakha de Morixe
Rose & Dudley Leigh Lady Roslyn Marion Lyons
Miss Jeanette Martin Duncan Matthews KC
Diana & Allan Morgenthau
Charitable Trust
Dr Karen Morton
Mr Roger Phillimore
Ruth Rattenbury
The Reed Foundation
The Rind Foundation
Sir Bernard Rix
David Ross & Line Forestier (Canada)
Carolina & Martin Schwab
Dr Brian Smith Lady Valerie Solti
Mr & Mrs G Stein
Dr Peter Stephenson Miss Anne Stoddart
TFS Loans Limited Marina Vaizey Jenny Watson Guy & Utti Whittaker
Ralph & Elizabeth Aldwinckle
Mrs Arlene Beare
Mr Patrick & Mrs Joan Benner
Mr Conrad Blakey
Dr Anthony Buckland Paul Collins
Alastair Crawford
Mr Derek B. Gray
Mr Roger Greenwood
The HA.SH Foundation
Darren & Jennifer Holmes
Honeymead Arts Trust
Mr Geoffrey Kirkham
Drs Frank & Gek Lim
Peter Mace
Mr & Mrs David Malpas
Dr David McGibney
Michael & Patricia McLaren-Turner
Mr & Mrs Andrew Neill
Mr Christopher Querée
The Rosalyn & Nicholas Springer Charitable Trust
Timothy Walker CBE AM Christopher Williams Peter Wilson Smith
Mr Anthony Yolland
and all other donors who wish to remain anonymous
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.
Anonymous donors
Mrs Aline Foriel-Destezet
Aud Jebsen
In memory of Mrs Rita Reay Sir Simon & Lady Robey OBE
William & Alex de Winton
Mr & Mrs Philip Kan
Neil Westreich
The American Friends of the London Philharmonic Orchestra
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 Patricia Haitink
The Lambert Family Charitable Trust
Countess Dominique Loredan Stuart & Bianca Roden
In memory of Hazel Amy Smith
The Tsukanov Family
The Viney Family
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
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
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
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
Anonymous donors
Ralph & Elizabeth Aldwinckle
Mr & Mrs Robert Auerbach
Mrs Julia Beine Harvey Bengen Miss YolanDa Brown
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
Elliott Bernerd
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
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 Countess Dominique Loredan Sir Simon Robey Victoria Robey OBE Bianca & Stuart Roden Caroline, Jamie & Zander Sharp Julian & Gill Simmonds Eric Tomsett Neil Westreich Guy & Utti Whittaker
Berenberg
Bloomberg Carter-Ruck French Chamber of Commerce
Tutti Lazard Walpole
Trialist Sciteb
Gusbourne Estate
Jeroboams
Lindt & Sprüngli Ltd
OneWelbeck Steinway
Google Inc
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
RVW Trust Scops Arts Trust
Sir William Boremans' Foundation
The John S Cohen Foundation
The Stanley Picker Trust
The Thriplow Charitable Trust
The Vaughan Williams Charitable Trust
The Victoria Wood Foundation
The Viney Family
The Barbara Whatmore Charitable Trust
and all others who wish to remain anonymous.
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
Jon Carter Jay Goffman Alexandra Jupin Natalie Pray Damien Vanderwilt
Elizabeth Winter
Catherine Høgel Hon. Director Jenifer L. Keiser, CPA, EisnerAmper LLP
Natasha Tsukanova Co-Chair Martin Höhmann Co-Chair Mrs Irina Andreeva Steven M. Berzin
Veronika Borovik-Khilchevskaya Marie-Laure Favre Gilly de Varennes de Bueil Aline Foriel-Destezet Irina Gofman
Countess Dominique Loredan Olivia Ma George Ramishvili Jay Stein
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
Martin Höhmann Chairman Christopher Aldren
Dr Manon Antoniazzi
Roger Barron Richard Brass Helen Brocklebank
YolanDa Brown Simon Burke Simon Callow CBE
Desmond Cecil CMG Sir Alan Collins KCVO CMG
Andrew Davenport Guillaume Descottes
Cameron Doley Christopher Fraser OBE
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
Julian Simmonds
Barry Smith Martin Southgate Chris Viney Laurence Watt Elizabeth Winter
Elena Dubinets Artistic Director
David Burke Chief Executive
Chantelle Vircavs PA to the Executive
Roanna Gibson Concerts and Planning Director
Graham Wood Concerts and Recordings Manager
Fabio Sarlo
Glyndebourne and Projects Manager
Maddy Clarke Tours 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
Freddie Jackson Deputy Stage Manager
Felix Lo Orchestra and Auditions Manager
Frances Slack Finance Director
Dayse Guilherme Finance Manager
Jean-Paul Ramotar Finance and IT Officer
Talia Lash Education and Community Director
Hannah Foakes Lowri Davies Education and Community Project Managers
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
Kath Trout Marketing and Communications Director
Mairi Warren Marketing Manager
Rachel Williams Publications Manager Harrie Mayhew Website Manager
Ruth Haines
Press and PR Manager
Sophie Harvey Digital and Residencies Marketing Manager
Greg Felton Digital Creative Alicia Hartley Marketing Assistant
Philip Stuart Discographer Gillian Pole Recordings Archive
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
Simon Pemberton/Heart 2022/23 season identity
JMG Studio
Printer John Good Ltd