LPO concert programme: 2 Apr 2022 - A German Requiem (Edward Gardner/London Philharmonic Choir) by London Philharmonic Orchestra

2021/22 concert season at the Southbank Centre’s Royal Festival Hall

Concert programme

Principal Conductor Edward Gardner supported by Aud Jebsen Principal Guest Conductor Karina Canellakis Conductor Emeritus Vladimir Jurowski Patron HRH The Duke of Kent KG Artistic Director Elena Dubinets Chief Executive David Burke Leader Pieter Schoeman supported by Neil Westreich

Southbank Centre’s Royal Festival Hall Saturday 2 April 2022 | 7.30pm

A German Requiem L Boulanger Psalm 129, for chorus and orchestra (6’) Messiaen Le tombeau resplendissant (16’) Interval (20’) Brahms A German Requiem, Op. 45 (68’)

Edward Gardner conductor

Contents 2 3 4 5 6 7 8 10 11 12 16 17 20 21 22 24

Welcome LPO news On stage tonight London Philharmonic Orchestra Leader: Pieter Schoeman Edward Gardner Christiane Karg Roderick Williams London Philharmonic Choir The Rodolfus Choir Edward Gardner on tonight’s programme Programme notes Recommended recordings A German Requiem: Text and translation Next concerts Sound Futures donors Thank you LPO administration

Generously supported by Aud Jebsen

Christiane Karg soprano Roderick Williams baritone London Philharmonic Choir Artistic Director: Neville Creed

The Rodolfus Choir

Artistic Director: Ralph Allwood

The London Philharmonic Choir’s performance is dedicated to the memory of John Wood and Geoffrey Clare.

The timings shown are not precise and are given only as a guide. CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

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.

London Philharmonic Orchestra • 2 April 2022 • A German Requiem

Welcome to the Southbank Centre

LPO news Tonight’s concert on Marquee TV

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.

We are delighted that ten concerts from our 2021/22 Royal Festival Hall season are being filmed for broadcast on Marquee TV throughout the year. This evening, Brahms’s German Requiem is being filmed and will be broadcast on Marquee TV on Saturday 7 May at 7pm. The broadcast 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 LPO2021.

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, 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

Visit marquee.tv/LPO2021 to find out more, enjoy a free trial or subscribe.

We look forward to seeing you again soon.

LPO Junior Artists: Applications open for 2022/23

A few points to note for your comfort and enjoyment: Photography is not allowed in the auditorium.

LPO Junior Artists is a free year-long programme for eight young musicians from backgrounds currently under-represented in professional UK orchestras, offering an immersive, behind-the-scenes experience with the London Philharmonic Orchestra. LPO Junior Artists become part of the LPO family, develop their musicianship, and gain unique insights into the orchestral profession.

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.

Applications for our 2022/23 programme are now open. To apply, young musicians will need to:

• Enjoyed tonight’s concert?

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

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be from a background that is currently underrepresented in professional UK orchestras play an orchestral instrument at Grade 8 standard or above be aged 15–19 on 1 September 2022 be thinking of studying music beyond school

The deadline for applications is 5pm on Friday 22 April 2022. Visit lpo.org.uk/juniorartists to find out more. You can hear our talented 2021/22 LPO Junior Artists perform alongside LPO players and Foyle Future First musicians at a free pre-concert event on the Royal Festival Hall stage at 6.00pm on Wednesday 13 April. Conducted by Gabriella Teychenné, the programme includes music by Delius, Bartók, Bizet, and a new commission by Geoffrey King.

London Philharmonic Orchestra • 2 April 2022 • A German Requiem

On stage tonight First Violins

Pieter Schoeman* Leader

Chair supported by Neil Westreich

Vesselin Gellev Sub-Leader Kate Oswin Chair supported by Friends of the Orchestra

Lasma Taimina

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

Minn Majoe Catherine Craig Thomas Eisner Amanda Smith Martin Höhmann

Chair supported by Chris Aldren

Alice Hall Katalin Varnagy

Chair supported by Sonja Drexler

Nilufar Alimaksumova Yang Zhang

Chair supported by Eric Tomsett

Tina Gruenberg Thea Spiers John Dickinson

Second Violins

Tania Mazzetti Principal Chair supported by Countess Dominique Loredan

Emma Oldfield Helena Smart Kate Birchall Nancy Elan Fiona Higham

Chair supported by David & Yi Buckley

Nynke Hijlkema Lyrit Milgram Joseph Maher Erzsébet Rácz Marie-Anne Mairesse Ashley Stevens Emma Crossley

Violas

Flutes

Richard Waters Principal

Charlotte Ashton Guest Principal

Chair supported by Caroline, Jamie & Zander Sharp

Hannah Grayson Stewart McIlwham*

Ting-Ru Lai Katharine Leek Benedetto Pollani Alistair Scahill Michelle Bruil Daniel Cornford Martin Fenn Richard Cookson Mark Gibbs Rachel Robson Charles Cross

Piccolo

Stewart McIlwham* Principal

Oboes

Ian Hardwick* Principal Alice Munday Sue Böhling*

Cellos

Cor Anglais

Kristina Blaumane Principal

Sue Böhling* Principal

Chair supported by Bianca & Stuart Roden

Chair supported by Dr Barry Grimaldi

Pei-Jee Ng Co-Principal

Clarinets

Chair supported by The Candide Trust

Francis Bucknall David Lale Gregory Walmsley Susanna Riddell Helen Thomas George Hoult Sibylle Hentschel

Benjamin Mellefont Principal Thomas Watmough Chair supported by Roger Greenwood

Paul Richards*

Bass Clarinet

Paul Richards* Principal

Double Basses

Bassoons

Kevin Rundell* Principal Sebastian Pennar

Jonathan Davies Principal

Chair supported by Sir Simon Robey

Co-Principal

Gareth Newman Fraser Gordon

Hugh Kluger George Peniston Tom Walley

Contrabassoon

Chair supported by William & Alex de Winton

Fraser Gordon

Laura Murphy Sam Rice Colin Paris

Horns

John Ryan* Principal Alexander Edmundson Guest Principal

Martin Hobbs Mark Vines Co-Principal Gareth Mollison

Trumpets

Paul Beniston* Principal Anne McAneney* David Hilton

Trombones

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

David Whitehouse

Bass Trombone

Lyndon Meredith Principal

Tuba

Lee Tsarmaklis* Principal

Timpani

Simon Carrington* Principal Chair supported by Victoria Robey OBE

Percussion

Andrew Barclay* Principal

Chair supported by Gill & Garf Collins

Karen Hutt James Bower Ethan Skuodas

Harps

Rachel Masters Principal Tamara Young

Celeste/Organ Richard Gowers

Assistant Conductor Toby Thatcher

* Holds a professorial appointment in London

London Philharmonic Orchestra • 2 April 2022 • A German Requiem

London Philharmonic Orchestra

One of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with its reputation as one of the UK’s most forward-looking ensembles. As well as its concert performances, the Orchestra also records film soundtracks, releases CDs and downloads on its own label, and reaches thousands of people every year through activities for families, schools and local communities.

the Orchestra takes up its annual residency at Glyndebourne Festival Opera, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra. The London Philharmonic Orchestra has recorded many blockbuster film scores, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 100 releases available on CD and to download. Recent highlights include Shostakovich’s Symphony No. 11 and Mahler’s Symphony No. 8 under Vladimir Jurowski; a commemorative box set of historic recordings with former Principal Conductor Sir Adrian Boult; and works by Richard Strauss under Klaus Tennstedt, featuring soprano Jessye Norman.

The Orchestra was founded by Sir Thomas Beecham in 1932, and has since been headed by many great conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. In September 2021 Edward Gardner became the Orchestra’s Principal Conductor, succeeding Vladimir Jurowski, who became Conductor Emeritus in recognition of his transformative impact on the Orchestra as Principal Conductor from 2007–21. Karina Canellakis is the Orchestra’s current Principal Guest Conductor and Brett Dean is the Orchestra’s current Composer-in-Residence.

In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Music Award for Ensemble.

The Orchestra is resident at the Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. It also enjoys flourishing residencies in Brighton, Eastbourne and Saffron Walden, and performs regularly around the UK. Each summer

London Philharmonic Orchestra • 2 April 2022 • A German Requiem

Pieter Schoeman

The London Philharmonic Orchestra is committed to inspiring the next generation of musicians, and recently celebrated the 30th anniversary of its Education and Community department, whose work over three decades has introduced so many people of all ages to orchestral music and created opportunities for people of all backgrounds to fulfil their creative potential. Its dynamic and wide-ranging programme provides first musical experiences for children and families; offers creative projects and professional development opportunities for schools and teachers; inspires talented teenage instrumentalists to progress their skills; and develops the next generation of professional musicians. The Orchestra’s work at the forefront of digital technology has enabled it to reach millions of people worldwide. Over the pandemic period the LPO further developed its relationship with UK and international audiences through its ‘LPOnline’ digital content: over 100 videos of performances, insights, and introductions to playlists, which collectively received over 3 million views worldwide and led to the LPO being named runner-up in the Digital Classical Music Awards 2020. From Autumn 2020 the Orchestra was delighted to be able to return to its Southbank Centre home to perform a season of concerts filmed live and streamed free of charge via Marquee TV.

Leader

Pieter Schoeman was appointed Leader of the London Philharmonic Orchestra in 2008, having previously been Co-Leader since 2002. He is also a Professor of Violin at Trinity Laban Conservatoire of Music & Dance. Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and London’s Royal Festival Hall. As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. His chamber music partners have included Anne-Sophie Mutter, Veronika Eberle, Patricia Kopatchinskaja, Boris Garlitsky, JeanGuihen Queyras, Yannick Nézet-Séguin and Martin Helmchen.

September 2021 saw the opening of a new live concert season at the Royal Festival Hall, featuring many of the world’s leading musicians including Sheku KannehMason, Klaus Mäkelä, Renée Fleming, Bryn Terfel and this season’s Artist-in-Residence, Julia Fischer. The Orchestra is delighted to be continuing to offer digital streams to selected concerts throughout the season through its ongoing partnership with Intersection and Marquee TV.

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.

lpo.org.uk

Pieter has appeared as Guest Leader with the BBC, Barcelona, Bordeaux, Lyon and Baltimore symphony orchestras, and the Rotterdam and BBC Philharmonic orchestras. Pieter’s chair in the LPO is generously supported by Neil Westreich.

London Philharmonic Orchestra • 2 April 2022 • A German Requiem

Edward Gardner Principal Conductor, London Philharmonic Orchestra

Symphoniker; while returns included engagements with the Gewandhausorchester Leipzig, Montreal Symphony, Deutsches Symphonie-Orchester Berlin, Philharmonia Orchestra and Orchestra del Teatro alla Scala di Milano. He also continued his longstanding collaborations with the City of Birmingham Symphony Orchestra, where he was Principal Guest Conductor from 2010–16, and the BBC Symphony Orchestra, whom he has conducted at both the First and Last Night of the BBC Proms. Music Director of English National Opera for ten years (2006–15), Edward has an ongoing relationship with New York’s Metropolitan Opera, where he has conducted productions of La damnation de 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. The 2021/22 season will see Edward make his debut with the Bayerische Staatsoper in a new production of Peter Grimes. Elsewhere, he has conducted at La Scala, Chicago Lyric Opera, Den Norske Opera and Ballet, Glyndebourne Festival Opera and Opéra National de Paris.

Edward Gardner began his tenure as Principal Conductor of the London Philharmonic Orchestra in September 2021; he is also Chief Conductor of the Bergen Philharmonic, a position he has held since 2015. From February 2022 he also became Artistic Advisor at the Norwegian Opera & Ballet, and will take up the position of Music Director in August 2024. During the 2021/22 season Edward conducts the London Philharmonic Orchestra in eleven concerts at the Royal Festival Hall, including five UK premieres. In September 2021 he and the LPO appeared at the Enescu Festival in Bucharest, and in November they embarked on an extensive tour of Germany with pianist Jan Lisiecki. Following tonight’s concert, he next returns to the LPO on 27 April for a concert featuring works by Britten, Brett Dean and Vaughan Williams: see page 20.

A passionate supporter of young talent, Edward founded the Hallé Youth Orchestra in 2002 and regularly conducts the National Youth Orchestra of Great Britain. He has a close relationship with The Juilliard School of Music and with the Royal Academy of Music, who appointed him their inaugural Sir Charles Mackerras Conducting Chair in 2014. Born in Gloucester in 1974, Edward was educated at the University of Cambridge and the Royal Academy of Music. He went on to become Assistant Conductor of the Hallé and Music Director of Glyndebourne Touring Opera. His many accolades include being named Royal Philharmonic Society Award Conductor of the Year (2008), an Olivier Award for Outstanding Achievement in Opera (2009) and receiving an OBE for Services to Music in the Queen’s Birthday Honours (2012).

Edward opened the Bergen Philharmonic’s 2021/22 season with a performance of John Adams’s Harmonium. Further highlights include an all-Stravinsky programme and new commissions by Thomas Larcher, Ryan Wigglesworth and Rebecka Ahvenniemi. Following recent tours to Berlin, Munich, Amsterdam and at the BBC Proms and Edinburgh International Festival, the orchestra will perform in Barcelona and Paris this season.

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

In demand as a guest conductor, the previous two seasons saw Edward debut with the Bavarian Radio Symphony Orchestra, New York Philharmonic, Chicago Symphony Orchestra, Philadelphia Orchestra, San Francisco Symphony, Rundfunk-Sinfonieorchester Berlin, Royal Stockholm Philharmonic and Wiener

London Philharmonic Orchestra • 2 April 2022 • A German Requiem

Roderick Williams

soprano

baritone

Christiane Karg

Born to a family of confectioners in Bavaria, Christiane Karg studied singing at the Salzburg Mozarteum and at the International Opera Studio in Hamburg, before joining the ensemble of the Frankfurt Opera. An outstanding recitalist and concert artist, in 2018 she was awarded the prestigious Brahms Prize.

Roderick Williams is one of the most sought-after baritones of his generation. He performs a wide repertoire from Baroque to contemporary music in the opera house and on the concert platform, and is in demand as a recitalist worldwide. He enjoys relationships with all the major UK opera houses and has sung opera world premieres by David Sawer, Sally Beamish, Michel van der Aa, Robert Saxton and Alexander Knaifel. Recent and future engagements include the title role in Eugene Onegin for Garsington Opera; the title role in Billy Budd for Opera North; Papageno for Covent Garden; and productions with Cologne Opera, English National Opera and Dutch National Opera.

Glorious on stage, she has received tremendous accolades for her interpretations of Mélisande, Blanche, Pamina, Susanna, Fiordiligi, Countess, Sophie, Zdenka and Micaëla, amongst others. Highlights of Christiane’s 2021/22 season include a tour of Mozart arias with Leif Ove Andsnes and the Mahler Chamber Orchestra; Beethoven’s Symphony No. 9 with Andris Nelsons and the Leipzig Gewandhaus Orchestra; Ravel’s Shéhérazade with Jonathan Nott and the Orchestre de la Suisse Romande; a tour of Mahler’s Symphony No. 4 and concert performances of Wagner’s Das Rheingold with Yannick Nézet-Séguin and the Rotterdam Philharmonic Orchestra; and selected songs from Mahler’s Des Knaben Wunderhorn with Ivor Bolton and the Sinfonieorchester Basel. A prolific recitalist, she sings at London’s Wigmore Hall, in Stuttgart, Feuchtwangen and Santiago de Compostela.

Roderick is a regular guest of the London Philharmonic Orchestra: his most recent concert engagement was in December 2021, when he sang in the world premiere of James MacMillan's Christmas Oratorio at the Royal Festival Hall under Mark Elder. He also sings regularly with all the BBC and major UK orchestras, as well as with the Berlin and New York Philharmonic orchestras, the Deutsches Symphonie-Orchester Berlin, the Orchestre Philharmonique de Radio France, the Ensemble Orchestral de Paris, the Accademia Nazionale di Santa Cecilia in Rome, the Cincinnati Symphony, and the Bach Collegium Japan amongst others. His many festival appearances include the BBC Proms (including the Last Night in 2014) and the Edinburgh, Cheltenham, Bath, Aldeburgh and Melbourne festivals.

Following the release of her acclaimed first solo recital disc with Harmonia Mundi, Erinnerung, featuring Lieder by Mahler in 2020, Christiane released her second disc for the label, Licht der Welt, in November 2021. Tonight is Christiane Karg's London Philharmonic Orchestra debut.

London Philharmonic Orchestra • 2 April 2022 • A German Requiem

London Philharmonic Choir Patron HRH Princess Alexandra President Sir Mark Elder Artistic Director Neville Creed Chairman Tessa Bartley Choir Manager Bethea Hanson-Jones Accompanist Jonathan Beatty

Founded in 1947 as the chorus for the London Philharmonic Orchestra, the London Philharmonic Choir is widely regarded as one of Britain’s finest choirs. For the last seven decades the Choir has performed under leading conductors, consistently meeting with critical acclaim and recording regularly for television and radio.

The Choir appears annually at the BBC Proms, and performances have included the UK premieres of Mark-Anthony Turnage’s A Relic of Memory and Goldie’s Sine Tempore in the Evolution! Prom. In recent years the Choir has also given performances of works by Beethoven, Elgar, Howells, Liszt, Orff, Vaughan Williams, Verdi and Walton.

Enjoying a close relationship with the London Philharmonic Orchestra, the Choir frequently joins it for concerts in the UK and abroad. Recent highlights have included Tippett’s A Midsummer Marriage under Edward Gardner in his inaugural concert as LPO Principal Conductor; Mozart’s Requiem under Ádám Fischer; the UK premiere of James MacMillan’s Christmas Oratorio with the Choir’s President, Sir Mark Elder; Walton’s Belshazzar’s Feast with Marin Alsop; Mahler’s Symphonies Nos. 2 & 8 and Tallis’s Spem in alium with Vladimir Jurowski; Verdi’s Requiem with Edward Gardner; Beethoven’s Missa Solemnis with Sir Mark Elder; and Haydn’s The Creation with Sir Roger Norrington.

A well-travelled choir, it has visited numerous European countries and performed in Kuala Lumpur, Hong Kong and Australia. The Choir has appeared twice at the Touquet International Music Masters Festival and was delighted to travel to the Théâtre des Champs-Elysées, Paris, in December 2017 to perform Bach’s Christmas Oratorio with the London Philharmonic Orchestra. The Choir prides itself on achieving first-class performances from its members, who are volunteers from all walks of life. Supported by

Photographs © Louise Kragh Photography

The London Philharmonic Choir’s performance tonight is dedicated to the memory of John Wood and Geoffrey Clare.

London Philharmonic Orchestra • 2 April 2022 • A German Requiem

London Philharmonic Choir Looking forward after 75 years

Central to this is our policy of inclusivity and accessibility. We are proud to have a rich history of LGBTQ+ members and supporters and have recently taken greater steps for greater inclusivity beyond lip service and friendship: we only categorise people by voice part, not gender; we have changed our dress code to all black (shirts and trousers or full-length dresses) which not only allows all members to be able to choose what they wear (without standing out, blending into one is the goal of any choir!) regardless of their voice part or where they stand, but also enables greater economic accessibility: good quality dinner jackets don’t come cheap. We ensure a range of dressing rooms at concerts: Male, Female and Inclusive so that every single member can feel comfortable backstage. And this is just the beginning: we want to be proactive rather than reactive in ensuring inclusivity and I’m happy to have been appointed Diversity and Wellbeing Officer, ready to report members' ideas and thoughts to the Board. As much as celebrating our achievements in this anniversary year is important, so too is encouraging and nurturing the next generation of choral singers so that we can continue for at least another 75 years. Our recent work with the London Youth Choirs and the Rodolfus Choir does just that: making links with younger singers to create quality music is one of our big projects of recent years and allows us to increase the representation of a diverse London on the classical platform, as does working alongside choirs in 2022/23 such as the London Adventist Chorale and the London Chinese Philharmonic Choir.

The London Philharmonic Choir is turning 75 this year. Since 1947 the LPC has worked under some of the greatest conductors in the world and has established itself as one of the finest choirs in the country. Musical excellence is something that we always have and always will aspire to: it is the reason for the Choir’s existence. But society, choral singing and London itself are all very different in 2022 and we don’t just want to create the best music, we want to do it whilst representing the whole of London on the classical and choral platform.

If classical choral music is to flourish, then it needs to be representative of our modern, diverse, exciting city. The LPC wants to be right at the heart of it, to 2097 and beyond. To mark our 75th anniversary we asked our members to tell us what being in LPC means to them and have combined their feedback into the word cloud above, illustrating perfectly the abiding themes of an inclusive community of friends filled with fun and joy delivering professional music-making with the LPO. This is who we are and who we will continue to be for the next 75 years. If you’re interested in singing with the LPC, please contact our Membership team: lpc.org.uk/join-us

The benefits of singing on positive mental health and wellbeing are well-documented. Many of our members will attest to this. Coming to a rehearsal after a long working day is the tonic that many of us need, and losing regular singing is something that we all struggled with during the long period of lockdown. It is therefore paramount that all members of the Choir feel a sense of belonging and inclusion within the community of the Choir and that we work hard to ensure that there is a place for every individual. In order for the whole of London to be represented by our choir, we need to make sure we are attracting the whole of London into it.

Charlotte Cantrell, Diversity and Wellbeing Officer

London Philharmonic Orchestra • 2 April 2022 • A German Requiem

The Rodolfus Choir Artistic Director Ralph Allwood Assistant Director Elinor Cooper Rehearsal Accompanist Robert Scarmadella

The Rodolfus Choir has established itself firmly over a period of 30 years as one of the leading young choirs in the United Kingdom, offering professional, high-quality choral singing opportunities to its members. Many of its singers are alumni of the Rodolfus Choral Courses, and are drawn by audition from some of the finest singers in the country aged 16–23. Under the leadership of founder and Artistic Director Ralph Allwood, the Choir has become renowned for imaginative programming, innovative and exciting performances, as well as an extensive array of prestigious recordings. The Choir has established artistically fulfilling relationships with such world-class organisations as the Philharmonia Orchestra, the Philharmonia Voices, the London Handel Festival and the Three Choirs Festival, and regularly broadcasts BBC Radio 3 evensongs from churches around the country. Throughout the pandemic the Choir continued to function through a series of online projects including a sight-singing programme led by Ralph Allwood, a virtual evensong, and an ongoing partnership with the exclusively online Choir of the Earth.

Soprano 1

Tenor

Ruby Alexander Lingling Bao-Smith Abigail Barker Constance Budgen Evelyn Byford Diane Comon Tilly Dawes Martha Dowland Nasreen Gill Lilian Hopper Erin Horne Catherine James Isabel Lesser Kizzy Lumley-Edwards Olivia Naylor Jemima Price Jess Quigley Habina Seo Ruby Skilbeck

Oscar Bowen-Hill Sam Britner Sebastian Evans Tom Klafkowski Patrick Maxwell Peter Ostrovsky Mylan Richmond Oliver Simpson

Soprano 2 Sofia Bagulho Rachael Best-Babayeju Emily Budgen Alyssa Chan Lucy Horder Emilia Jaques Arielle Loewinger Lara Maylor-Wrout Lydia Reid

The Rodolfus Choir is part of The Rodolfus Foundation, which seeks to educate and support young singers to experience the excitement of musical teamwork. The Choir supports the Foundation’s wider aims through workshops with school choirs, including with our partner schools in Hackney and Kennington, and a longstanding relationship with schools participating in the Barnes Music Festival. Singers keen to get involved with the Foundation are encouraged to come on a choral course, for which there is no prerequisite other than a love of singing.

Alto/Countertenor Katrina Bedford Amy Bolster Georgia Burr Emily Cassidy Ella Couldridge Alannah Enskat Amy Goodsall Katie Hastings Karol Jozwik Robert Kendrick Emmylou Lloyd-Tucker Morgen Michel Honey Millard-Clothier Romi Sharp Olivia Skellern

For more information visit the Choir’s website: therodolfusfoundation.org.uk

Bass 1 Tom Fesmer James Gooding Henry Liu Sebastian Middleton Joseph Morris John Scholey Benjamin Staniforth Joseph Ward Peter Waters Richie Zhang

Bass 2 Riccardo Conci Peter Evans Matthew Fesmer Conrad Geake Alexander Goodbody James Gordon Alex Hardy Joseph Hornsby Orlando Oliver Tom Thiselton

London Philharmonic Orchestra • 2 April 2022 • A German Requiem

Programme notes Edward Gardner on tonight’s programme

A welcome from our Principal Conductor

‘The soundworld of Brahms is central to the musicmaking of the LPO, and for this performance of the German Requiem we’re thrilled to be reunited with the London Philharmonic Choir, alongside the Rodolfus Choir – a group I myself sang with, many years ago.

and in the Messiaen it’s the range and fantasy of his soundworld. In Le tombeau resplendissant there’s an unusual directness to his language, from the dancing, rhythmic joy, to the loneliness and sorrow of the final, singular string lines.

Brahms’s Requiem is a hymn to humanity. This great work can stand on its own in performance, but I’m also fascinated by Brahms's unique response to religion, community and mortality. The other two pieces in the programme share this unique response. I feel both Boulanger and Messiaen evoke something from Berlioz; in the Boulanger it’s the grandeur of formalised ritual,

I’m thrilled that the LPO is shining a focus on Lili Boulanger’s music; she died tragically young but already by her early twenties she had found a unique voice, her music so full of dark, lush colours. In the little we have of her music, we can only wonder at what she might have gone on to achieve as a great figure of the 20th century.’

London Philharmonic Orchestra • 2 April 2022 • A German Requiem

Programme notes Lili Boulanger 1893–1918

Psalm 129, for chorus and orchestra 1916 London Philharmonic Choir

When Lili Boulanger won the Prix de Rome in 1913 with her cantata Faust et Hélène, she was the first woman to do so in the prize’s 110-year history. It was the supreme accolade for a young French composer, and part of the prize was a three-year residency at the Villa Medici in Rome – the idea being that young artists could experience at first hand the birthplace of classical culture. Boulanger arrived in Rome in March 1914 and the experience certainly seems to have had an inspiring effect. The atmosphere at the Villa Medici – unsurprisingly for an institution full of students, abroad (in many cases) for the first time in their lives – was lively. Boulanger recorded in her diary that 'after lunch we threw water on Dupas [a fellow student] who sprayed all of us … after dinner we broke plates while having fun.'

that’s no less fierce for being so superbly controlled. It was premiered in June 1921, by which time the composer had been dead for three years. The piece was originally scored for solo baritone and orchestra – Boulanger’s devoted sister Nadia (1887–1979) created this choral version in 1924. Programme note © Richard Bratby

It’s a poignant image – these brilliant, high-spirited young people, stretching their creative wings. Boulanger was already ill with Crohn’s Disease (she would be dead before her 25th birthday) and in between the platesmashing, she applied herself to her creative work with intense seriousness. One of the stipulations of the Prix de Rome scholarship was that the prize-winner should complete at least one large-scale sacred work – 'a solemn Mass, a Te Deum, a large-scale Psalm' – during their time in Rome, and in 1916 she completed two strikingly original psalm-settings with orchestra. It’s been suggested that the text of Psalm 129 – with its opening line, 'They have greatly oppressed me from my youth' – had an autobiographical resonance for the ailing, determined Boulanger. But from its weighty opening chords to its final (and far from untroubled) words of blessing, the music is wholly typical of Boulanger at the tragically brief peak of her imaginative powers: confident, sombre, and shaped by a passion

London Philharmonic Orchestra • 2 April 2022 • A German Requiem

Boulanger: Psalm 129 Text & translation Ils m’ont assez opprimé dès ma jeunesse, Qu’Israël le dise! Ils m’ont assez opprimé dès ma jeunesse, Mais ils ne m’ont pas vaincu. Des laboureurs ont labouré mon dos, Ils y ont tracé de longs sillons. L’Eternel est juste: Il a coupé les cordes des méchants. Qu’ils soient confondus et qu’ils reculent, Tous ceux qui haïssent Sion! Qu’ils soient comme l’herbe des toits, Qui sèche avant qu’on l’arrache! Le moissonneur n’en remplit point sa main, Celui qui lie les gerbes n’en charge point son bras Et les passants ne disent point: «Que la bénédiction de l’Eternel soit sur vous! Nous vous bénissons au nom de l’Eternel!»

They have greatly oppressed me from my youth, Let Israel say! They have greatly oppressed me from my youth, but they have not gained the victory over me. Plowmen have plowed my back and made their furrows long. But the Lord is righteous; he has cut me free from the cords of the wicked. May all who hate Zion be turned back in shame. May they be like grass on the roof, which withers before it can grow; with it the reaper cannot fill his hands, nor the one who gathers fill his arms. May those who pass by not say: ‘The blessing of the Lord be upon you! We bless you in the name of the Lord!’

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London Philharmonic Orchestra • 2 April 2022 • A German Requiem

Programme notes Olivier Messiaen 1908–92

Le tombeau resplendissant 1931

glorious rebirth; and in 1932, with his marriage to Claire Delbos, he entered into a wholly new chapter of his life. That, in short, is the personal narrative behind the symphonic poem Le tombeau resplendissant (The Resplendent Tomb), composed at his childhood home of Fuligny in 1931, and premiered (to some acclaim) two years later – then discreetly suppressed (though never actually withdrawn) by him until it was finally published (posthumously) in 1997. Some commentators have speculated that Messiaen came to regard the work as almost too personal for public performance, though the flashing orchestral colours, the passionate, headlong emotion and the final, radiant serenity of Le tombeau’s four linked sections speak with a voice that is compelling, and unmistakable. Messiaen wrote an 'epitaph' at the head of the published score: 'My youth is dead: it was I who killed it. Anger, rushing forwards, anger overflowing! Anger like a flaring rocket of blood, anger like a hammer blow! Despair, and tears! My youth was lived to the music of flowers. A magic staircase revealed to my gaze … My youth is dead: it was I who killed it. Rage, where are you leading me? Trees, why do you gleam brightly in the night? A cracking, whirling, dancing, shouting, roaring: the void has entered into me! What is this resplendent tomb? It is the tomb of my youth, it is my heart. The flame that surges out endlessly, the blinding clarity of an inner voice: “Come to me, all you who are weary and burdened, and I shall give you rest … Blessed are the pure in heart, for they shall see God.”’

Olivier Messiaen’s mother, the poet Cécile Sauvage, died of tuberculosis in August 1927, a few weeks before her 18-year-old son was due to join Paul Dukas’s composition class at the Paris Conservatoire. In the immediate aftermath of her death, the young composer underwent a spiritual and creative crisis: the fire (and with Messiaen, transcendent imagery feels hard to avoid) in which he began to forge his utterly individual musical voice. For a Catholic as devout as Messiaen, death was only the precursor to an inconceivably

Programme note © Richard Bratby

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

London Philharmonic Orchestra • 2 April 2022 • A German Requiem

Programme notes Johannes Brahms 1833–97

A German Requiem, Op. 45 1866 Christiane Karg soprano Roderick Williams baritone London Philharmonic Choir The Rodolfus Choir

1 Selig sind, die da Leid tragen | Blessed are they that mourn 2 Denn alles Fleisch, es ist wie Gras | For all flesh is as grass 3 Herr, lehre doch mich | Lord, let me know mine end 4 Wie lieblich sind deine Wohnungen | How lovely are thy dwellings 5 Ihr habt nun Traurigkeit | And ye now therefore have sorrow 6 Denn wir haben keine bleibende Statt | For here have we no abiding city 7 Selig sind die Toten | Blessed are the dead The texts and translations begin on page 17. ‘If he will only point his magic wand to where the powers amassed in the orchestra and chorus lend him their might’, said Robert Schumann of Johannes Brahms, ‘yet more wonderful glimpses into the mysteries of the spirit world would await us’. Schumann believed a large-scale choral-cum-orchestral work from his young acolyte’s pen would prove a masterpiece. But Brahms needed more than verbal inspiration, and he soon got it: months later, Schumann unsuccessfully attempted suicide and was admitted to an asylum. Two years after that he died, his wife Clara, with Brahms, at his bedside. Brahms’s reaction to the loss of his artistic guiding star was the sketching of a symphony that never saw the light of day. Instead, some ten years later, Brahms reused some of the material as the starting point for a Requiem

(other chunks made their way into the D minor Piano Concerto). The tragedy of Schumann’s death would doubtless have haunted him still, but there was another deadly blow coming Brahms’s way: the death of his mother, to whom he had been particularly close, in 1865. And so the creation of A German Requiem began in earnest, Brahms sending two completed movements to Schumann’s widow Clara just months after his mother’s passing. In the summer of 1866 it was complete; Schumann’s wish for a musical glimpse of the heavens from Brahms’s pen had been posthumously granted. But despite the backdrop of death against which it was created, Brahms’s Requiem was a very hopeful one, and, indeed a very German one: a piece that captures a

London Philharmonic Orchestra • 2 April 2022 • A German Requiem

Programme notes cultural rather than dogmatic view of Brahms’s Germany, carrying the gift of spiritual comfort rather than the threat of impending judgement. The first performance proper of A German Requiem – then for baritone soloist, chorus and orchestra – came in Bremen on Good Friday 1868. The composer subsequently added the fifth movement with soprano soloist, and the newly completed piece was first heard in Leipzig in February 1869, soon thereafter being recognised as the first major masterpiece of a mature composer.

In addition to these references to the compositional past, Brahms also turns to the ‘contrapuntal’ technique of fugue, long associated with sacred music. The second, third and sixth movements of the Requiem are capped by fugal codas, though heard in a fully Brahmsian idiom using chromatic, expressive melodic shapes that are never virtuosic or awkwardly archaic. Indeed, Brahms’s music is all his own, and whilst he may himself have described the piece as being as much a ‘human’ as a ‘German’ Requiem, it is also a deeply personal one.

What Brahms wrote was not only exquisite and profoundly moving, but also largely unprecedented. It includes no direct reference to Christ, and sets not the words of the Requiem Mass (or even their Lutheran equivalent), but a selection of biblical excerpts from the books of Psalms, Revelation, Ecclesiasticus, Isaiah and Hebrews, the epistles of St Paul and the gospels of St Matthew and St John, among others.

Programme note © Andrew Mellor

Recommended recordings of tonight’s works

Despite the abstracted, humanist qualities of much of his chosen texts, Brahms’s musical inspirations were more traditionally sacred and ritualistic. Schumann had instilled in him a fascination for music of the Renaissance and Baroque eras, a characteristic both composers shared with Felix Mendelssohn. The spirit of such music shines through much of A German Requiem; its sense of balance, its instrumental and choral colours, its musical painting of words and its watertight cohesion (the latter itself a Brahmsian hallmark).

by Laurie Watt L Boulanger: Psalm 129 Élisabeth Brasseur Choir | Orchestre des Concerts Lamoureux | Igor Markevich (Everest) Messiaen: Le tombeau resplendissant Tonhalle-Orchester Zürich | Paavo Järvi Brahms: A German Requiem London Philharmonic Orchestra & Choir | Yannick Nézet-Séguin (LPO Label LPO-0045: see page 19) or London Philharmonic Orchestra & Choir | Klaus Tennstedt (Warner)

So just how did Brahms fashion a work that seems to rest contented upon its performers like a rock-steady faith? Well, partly through his reliance on two motifs, each movement taking either one as its basis. The first of these is the Bach chorale theme ‘Wer nur den lieben Gott lässt walten’, which is detectable in Brahms’s second movement funeral march, and also steers the work’s opening bars (recurring, therefore, as Brahms recalls his opening material at the work’s conclusion – another act of reassurance). The second is a simple 1–3–4 idea (think of the first three notes of the carol ‘Once in Royal David’s City’) which features consistently in the other movements as both a thematic ‘motto’ and an incidental gesture. Soon, therefore, the music feels familiar; the movements, though different, referencing one another’s sentiments rather than providing the traditional thematic contrast between eternal damnation and eternal paradise.

London Philharmonic Orchestra • 2 April 2022 • A German Requiem

Brahms: A German Requiem Text & translation 1

Selig sind, die da Leid tragen

Blessed are they that mourn

Selig sind, die da Leid tragen, denn sie sollen getröstet werden. Die mit Tränen säen, werden mit Freuden ernten. Sie gehen hin und weinen, und tragen edlen Samen, und kommen mit Freuden und bringen ihre Garben.

Blessed are they that mourn, for they shall be comforted. They that sow in tears shall reap in joy. He that goeth forth and weepeth, bearing precious seed, shall doubtless come again with rejoicing, bringing his sheaves with him.

2 Denn alles Fleisch es ist wie Gras

For all flesh is as grass

Denn alles Fleisch es ist wie Gras und alle Herrlichkeit des Menschen wie des Grases Blumen. Das Gras ist verdorret und die Blume abgefallen.

For all flesh is as grass, and all the glory of man as the flower of grass. The grass withereth, and the flower thereof falleth away.

So seid nun geduldig, lieben Brüder, bis auf die Zukunft des Herrn. Siehe, ein Ackermann wartet auf die köstliche Frucht der Erde, und ist geduldig darüber, bis er empfange den Morgenregen und Abendregen. Aber des Herrn Wort bleibet in Ewigkeit.

Be patient therefore, brethren, unto the coming of the Lord. Behold, the husbandman waiteth for the precious fruit of the earth, and hath long patience for it, until he receive the early and latter rain.

Die Erlöseten des Herrn werden wiederkommen, und gen Zion kommen mit Jauchzen; Freude, ewige Freude wird über ihrem Haupte sein; Freude und Wonne werden sie ergreifen, und Schmerz und Seufzen wird weg müssen.

And the ransomed of the Lord shall return, and come to Zion with songs and everlasting joy upon their heads; they shall obtain joy and gladness, and sorrow and sighing shall flee away.

3 Herr, lehre doch mich

Lord, let me know mine end

Herr, lehre doch mich, dass ein Ende mit mir haben muss, und mein Leben ein Ziel hat, und ich davon muss. Siehe, meine Tage sind einer Handbreit vor dir, und mein Leben ist wie nichts vor dir. Ach, wie gar nichts sind alle Menschen, die doch so sicher leben. Sie gehen daher wie ein Schemen,

Lord, let me know mine end, and the measure of my days, what it is; that I may know how frail I am. Behold, thou hast made my days as an handbreadth; and mine age is as nothing before thee; verily every man at his best state is altogether vanity. Surely every man walketh in a vain show; surely they are disquieted in vain;

But the word of the Lord endureth for ever.

London Philharmonic Orchestra • 2 April 2022 • A German Requiem

Brahms: A German Requiem Text & translation und machen ihnen viel vergebliche Unruhe; sie sammeln und wissen nicht wer es kriegen wird.

he heapeth up riches, and knoweth not who shall gather them.

Nun, Herr, was soll ich mich trösten? Ich hoffe auf dich. Der Gerechten Seelen sind in Gottes Hand, und keine Qual rühret sie an.

And now, Lord, what wait I for? My hope is in thee. But the souls of the righteous are in the hand of God, and there shall no torment touch them.

4 Wie lieblich sind deine Wohnungen

How lovely are thy dwellings

Wie lieblich sind deine Wohnungen, Herr Zebaoth! Meine Seele verlanget und sehnet sich nach den Vorhöfen des Herrn; mein Leib und Seele freuen sich in dem lebendigen Gott. Wohl denen, die in deinem Hause wohnen, die loben dich immerdar.

How lovely are thy dwellings, O Lord of hosts! My soul longeth, yea, even fainteth for the courts of the Lord; my heart and my flesh crieth out for the living God. Blessed are they that dwell in thy house; they will be still praising thee.

5 Ihr habt nun Traurigkeit

And ye now therefore have sorrow

Ihr habt nun Traurigkeit; aber ich will euch wieder sehen, und euer Herz soll sich freuen, und eure Freude soll niemand von euch nehmen. Ich will euch trösten wie einen seine Mutter tröstet. Sehet mich an: ich habe eine kleine Zeit Mühe und Arbeit gehabt, und habe grossen Trost gefunden.

And ye now therefore have sorrow; but I will see you again, and your heart shall rejoice, and your joy no man taketh from you. As one whom his mother comforteth, so will I comfort you. Behold with your eyes, how that I laboured but a little, and found for myself much rest.

6 Denn wir haben keine bleibende Statt

For here have we no abiding city

Denn wir haben keine bleibende Statt, sondern die zukünftige suchen wir. Siehe, ich sage euch ein Geheimnis: wir werden nicht alle entschlafen, wir werden aber alle verwandelt werden; und dasselbige plötzlich, in einem Augenblick, zu der Zeit der letzten Posaune. Denn es wird die Posaune schallen, und die Toten werden auferstehen unverweslich,

For here have we no abiding city, but we seek one to come. Behold, I show you a mystery: we shall not all sleep, but we shall all be changed; in a moment, in the twinkling of an eye, at the last trump; for the trumpet shall sound, and the dead shall be raised incorruptible,

London Philharmonic Orchestra • 2 April 2022 • A German Requiem

Brahms: A German Requiem Text & translation und wir werden verwandelt werden. Dann wird erfüllet warden das Wort, das geschrieben steht: Der Tod ist verschlungen in den Sieg. Tod, wo ist dein Stachel? Hölle, wo ist dein Sieg? Herr, du bist würdig zu nehmen Preis und Ehre und Kraft, denn du hast alle Dinge erschaffen, und durch deinen Willen haben sie das Wesen und sind geschaffen.

and we shall be changed. Then shall be brought to pass the saying that is written: Death is swallowed up in victory. O death, where is thy sting? O grave, where is thy victory? Thou art worthy, O Lord, to receive glory and honour and power, for thou hast created all things, and for thy pleasure they are and were created.

7 Selig sind die Toten

Blessed are the dead

Selig sind die Toten die in dem Herren sterben, von nun an. Ja, der Geist spricht dass sie ruhen von ihrer Arbeit, denn ihre Werke folgen ihnen nach.

Blessed are the dead which die in the Lord from henceforth. Yea, saith the Spirit, that they may rest from their labours, and their works do follow them.

Brahms's German Requiem on the LPO Label Brahms: A German Requiem Yannick Nézet-Séguin conductor Elizabeth Watts soprano Stéphane Degout baritone London Philharmonic Orchestra & Choir £9.99 | LPO-0045 Recorded live at Southbank Centre’s Royal Festival Hall on 4 April 2009

‘A German Requiem that doesn’t rush and achieves a remarkable inwardness ... I found so many things to enjoy about this recording.' Peter Quantrill, Gramophone, August 2010 All LPO Label releases are available on CD from all good retailers, and to download or stream via Spotify, Apple Music, Idagio and others.

Next LPO concerts at the Southbank Centre’s Royal Festival Hall Mitsuko Uchida plays Beethoven

A Gala Evening with Renée Fleming

Saturday 9 April 2022

Friday 22 April 2022

Helmut Lachenmann Marche fatale (UK premiere) Beethoven Piano Concerto No. 4 Bruckner Symphony No. 6

Dvořák Othello Overture Verdi Ballet Music from Otello Verdi Willow Song & Ave Maria from Otello R Strauss Introduction, Moonlight & Finale from Capriccio

Vladimir Jurowski conductor Mitsuko Uchida piano

Enrique Mazzola conductor Renée Fleming soprano

Julia Fischer plays Elgar

Generously supported by Mrs Aline Foriel-Destezet.

Wednesday 13 April 2022 Elgar Violin Concerto Enescu Symphony No. 2 Vladimir Jurowski conductor Julia Fischer violin

War and Peace Wednesday 27 April 2022 Britten Sinfonia da Requiem Brett Dean Cello Concerto (UK premiere) Vaughan Williams Symphony No. 5 Edward Gardner conductor Alban Gerhardt cello Generously supported by The Vaughan Williams Charitable Trust.

Book online lpo.org.uk Ticket Office 020 7840 4242

London Philharmonic Orchestra • 2 April 2022 • A German Requiem

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London Philharmonic Orchestra • 2 April 2022 • A German Requiem

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London Philharmonic Orchestra • 2 April 2022 • A German Requiem

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London Philharmonic Orchestra • 2 April 2022 • A German Requiem

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General Administration

Jean-Paul Ramotar Finance and IT Officer

Frances Slack Finance Director Dayse Guilherme Finance Manager

Elena Dubinets Artistic Director David Burke Chief Executive Chantelle Vircavs PA to the Executive

Education and Community Talia Lash Interim Education and Community Director

Concert Management

Rebecca Parslow Education and Community Project Manager

Roanna Gibson Concerts Director

Hannah Foakes Tilly Gugenheim Education and Community Project Co-ordinators

Graham Wood Concerts and Recordings Manager Fabio Sarlo Glyndebourne and Projects Manager

Development Laura Willis Development Director

Grace Ko Tours Manager

Scott Tucker Development Events Manager

Alison Jones Concerts and Recordings Co-ordinator Matthew Freeman Recordings Consultant Andrew Chenery Orchestra Personnel Manager

Felix Lo Orchestra and Auditions Manager

Greg Felton Digital Creative Kiera Lockard Marketing Assistant

Archives Philip Stuart Discographer Gillian Pole Recordings Archive

Professional Services Charles Russell Speechlys Solicitors Crowe Clark Whitehill LLP Auditors Dr Barry Grimaldi Honorary Doctor

Mr Simon Owen-Johnstone Hon. Orthopaedic Surgeon

Kirstin Peltonen Development Associate

Marketing Kath Trout Marketing and Communications Director Mairi Warren Marketing Manager Rachel Williams Publications Manager

Sophie Harvey Digital and Residencies Marketing Manager

Rosie Morden Individual Giving Manager

Nick Jackman Campaigns and Projects Director

Freddie Jackson Assistant Stage Manager

Ruth Haines (née Knight) Press and PR Manager

Mr Chris Aldren Honorary ENT Surgeon

Priya Radhakrishnan Georgia Wiltshire Development Assistants

Laura Kitson Stephen O’Flaherty Stage Managers

Gavin Miller Sales and Ticketing Manager

Stef Woodford Corporate Relations Manager

Anna Quillin Trusts and Foundations Manager

Sarah Thomas Martin Sargeson Librarians

Harrie Mayhew Website Manager

London Philharmonic Orchestra 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Box Office: 020 7840 4242 Email: admin@lpo.org.uk lpo.org.uk Cover photo James Wicks 2021/22 season identity JMG Studio Printer John Good Ltd