LPO concert programme: 30 Apr 2022 - OK! A Celebration of Oliver Knussen (Edward Gardner, conductor) 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 30 April 2022 | 7.30pm

OK! A Celebration of Oliver Knussen Knussen Flourish with Fireworks (4’) Knussen Whitman Settings, for soprano and orchestra (12’) Knussen Horn Concerto (13’)

Contents 2 4 5 6 7 8 9 10 18 19 20 21 22 24

Welcome LPO 2022/23 season London Philharmonic Orchestra Leader: Pieter Schoeman Edward Gardner Tonight’s soloists On stage tonight Edward Gardner on tonight’s programme Programme notes & song texts Recommended recordings Next concert New on the LPO Label LPO Annual Appeal 2022 Sound Futures donors Thank you LPO administration

Interval (20’) Britten The Prince of the Pagodas, Op. 57: Selections from the ballet, arr. Edward Gardner (26’) Ravel Daphnis et Chloé: Suite No. 2 (16’) Edward Gardner conductor

Generously supported by Aud Jebsen

Ben Goldscheider horn Sophie Bevan soprano

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

Free pre-concert performance 5.30pm | Royal Festival Hall In a collaboration with the Royal Academy of Music, Principal Conductor Edward Gardner presents a programme celebrating the work of composer Oliver Knussen and his former pupils and RAM alumni Louise Drewett and Gareth Moorcraft. A combined LPO, Foyle Future First and Royal Academy of Music ensemble will perform.

London Philharmonic Orchestra • 30 April 2022 • OK! A Celebration of Oliver Knussen

Welcome to the Southbank Centre

LPO 2022/23 season

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.

Our new concert season: On sale now

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.

Our new season of Royal Festival Hall concerts, from September 2022–May 2023, is now on sale. Entitled ‘A place to call home’, the season’s recurring themes are belonging and displacement. What is the concept of home to people who have experienced exile, homelessness or despair as a result of wars, political instability or racism – conditions that have forced countless refugees to to flee their native countries? For an artist, a sense of home can be central to finding an individual voice – to the stories they tell, and the language in which they tell them. We will survey music by composers such as the Austrians Erich Korngold and Paul Hindemith, the Hungarian Béla Bartók, the Cuban Tania León, the Ukrainian Victoria Vita Polevá and the Syrian Kinan Azmeh.

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 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.

Celebrating the Orchestra’s 90th season, we will perform some now-indispensable music written especially for the LPO, including Vaughan Williams’s Serenade to Music and Tippett’s A Child of Our Time. A focus on British composers sees performances of both symphonies by Elgar, music by Tippett and Thomas Adès, as well as four major works by Vaughan Williams in celebration of his 150th anniversary.

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.

The Orchestra’s commitment to everything new and creative includes world premieres of Mark Simpson’s Piano Concerto and Composer-in- Residence Brett Dean’s In spe contra spem, as well as the UK premiere of Heiner Goebbels’s immersive spectacle A House of Call. We have also commissioned new works from a diverse range of composers from around the world including Agata Zubel, Elena Langer and Vijay Iyer.

Win a £50 Amazon voucher for your feedback Please help the LPO to understand our audiences and improve our concerts by completing our postconcert survey, and be in with a chance to win a £50 Amazon voucher. Your contribution will enable us to better understand your needs, and inform our decision-making around future programming. You will have the opportunity to opt in to the prize draw at the end of the survey. Please use this QR code to complete the survey. Thank you.

We are joined in these explorations by our Principal Conductor Edward Gardner, Principal Guest Conductor Karina Canellakis and Conductor Emeritus Vladimir Jurowski, plus, as always, world-renowned guest artists including Víkingur Ólafsson, Danielle de Niese, Miloš Karadaglić, Beatrice Rana, Randall Goosby, Gil Shaham, Leif Ove Andsnes and many others. We welcome you to join us at the Royal Festival Hall for a season of adventure! Browse the full season and book online at lpo.org.uk/2223season or via the LPO Ticket Office on 020 7840 4242.

2022/23 concert season at the Southbank Centre’s Royal Festival Hall

A place to call home Where music takes you

On sale now Book online lpo.org.uk Ticket Office 020 7840 4242

London Philharmonic Orchestra • 30 April 2022 • OK! A Celebration of Oliver Knussen

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 • 30 April 2022 • OK! A Celebration of Oliver Knussen

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 • 30 April 2022 • OK! A Celebration of Oliver Knussen

Edward Gardner Principal Conductor, London Philharmonic Orchestra

In demand as a guest conductor, recent seasons have seen 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 Vienna Symphony. He also continues 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 saw 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 conducted the London Philharmonic Orchestra in eleven concerts at the Royal Festival Hall, opening with an acclaimed performance of Tippett’s The Midsummer Marriage in which the London Philharmonic Choir was joined by the ENO Chorus. On 31 August he conducts the Orchestra in Elgar’s The Dream of Gerontius at the BBC Proms, with the LPC and the Hallé Choir. He returns to the Royal Festival Hall on 24 September to open the Orchestra’s 2022/23 season with Schoenberg’s Gurrelieder. Other LPO programmes next season include Mendelssohn’s ‘Reformation’ Symphony, Lutosławski’s Fourth Symphony, Stravinsky’s The Rite of Spring, Mahler’s Fifth Symphony, an Elgar symphony cycle, and – with the London Philharmonic Choir – Janáček’s Glagolitic Mass and Berlioz’s Damnation of Faust.

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 performs in Barcelona and Paris this season.

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

London Philharmonic Orchestra • 30 April 2022 • OK! A Celebration of Oliver Knussen

Ben Goldscheider

soprano

horn

Sophie Bevan

Sophie Bevan studied at the Royal College of Music, where she was awarded the Queen Mother Rose Bowl Award. She was the recipient of the 2010 Critics’ Circle Award for Exceptional Young Talent, The Times Breakthrough Award at the 2012 South Bank Sky Arts Awards, the Young Singer Award at the 2013 International Opera Awards, and an MBE for services to music in The Queen’s Birthday Honours in 2019.

Nominated by the Barbican as an ECHO Rising Star, this season Ben Goldscheider gives recitals across Europe including at the Concertgebouw, the Musikverein, the Elbphilharmonie, the Köln Philharmonie, and LSO St Lukes, including a new commission by Mark Simpson. Tonight is Ben’s debut with the London Philharmonic Orchestra. Earlier this season he also made his debut with the BBC Symphony Orchestra, performing Ruth Gipps’s Horn Concerto at the Barbican under Sakari Oramo. In 2022 he returns to the Pierre Boulez Saal both as soloist and as a member of the Boulez Ensemble, and to the Wigmore Hall where he collaborates with Mahan Esfahani, Nicholas Daniel and Adam Walker.

Sophie works regularly with leading orchestras and conductors worldwide. She last appeared with the LPO in October 2020, when she sang Beethoven’s aria ‘Ah! Perfido’ in an online concert streamed from the Royal Festival Hall on Marquee TV. In March 2019 she was a soloist in Haydn’s The Seasons at Royal Festival Hall with the LPO and LPC under Vladimir Jurowski. Other recent and future highlights include concerts with the Philharmonia, Bergen Philharmonic, BBC Philharmonic, Aurora, Finnish Radio Symphony, Netherlands Radio Philharmonic, Concertgebouw, OAE and Swedish Radio orchestras, and at the Edinburgh Festival and the BBC Proms. An acclaimed recitalist, she performs regularly at prestigious venues including the Concertgebouw and the Wigmore Hall.

Highlights over the last year have included the release of ‘Legacy: A Tribute to Dennis Brain’ on Three Worlds Records, with newly commissioned works by Huw Watkins and Roxanna Panufnik; and a solo concerto recording with the Philharmonia Orchestra. Ben has worked with conductors James Gaffigan, Nicholas Collon, Mark Wigglesworth, Kristiina Poska, Radek Baborák, Andrew Gourlay and Jessica Cottis, and recorded the solo horn-call from Wagner’s Siegfried with the Hallé Orchestra conducted by Sir Mark Elder.

Sophie has appeared regularly at the Royal Opera House, ENO and WNO, as well as at the Dresden Semperoper, New York’s Metropolitan Opera, and Glyndebourne. Recent and future engagements include Asteria in Tamerlano for The Grange Festival, Dalinda in Ariodante at the Royal Opera House, Governess in The Turn of the Screw for Garsington, Gluck’s Orfeo ed Euridice at the Edinburgh International Festival, and further productions with ENO and Covent Garden.

Ben is a member of the Pierre Boulez Ensemble and Principal Horn of the West-Eastern Divan Orchestra. He was a prize-winner at the 2019 YCAT International Auditions and a BBC Young Musician Concerto Finalist in 2016. Born in London, in 2020 he completed his studies with honours at the Barenboim-Said Academy in Berlin with Radek Baborák.

London Philharmonic Orchestra • 30 April 2022 • OK! A Celebration of Oliver Knussen

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 Nilufar Alimaksumova Katalin Varnagy

Chair supported by Sonja Drexler

Amanda Smith Martin Höhmann

Chair supported by Chris Aldren

Rasa Zukauskaite Yang Zhang

Chair supported by Eric Tomsett

Alice Apreda Howell Joseph Devalle Jeff Moore

Second Violins

Tania Mazzetti Principal

Chair supported by Countess Dominique Loredan

Emma Oldfield Helena Smart Clarice Curradi Ashley Stevens Joseph Maher Fiona Higham

Chair supported by David & Yi Buckley

Nynke Hijlkema Kate Birchall Lyrit Milgram Nancy Elan Kate Cole Sheila Law

Violas

David Quiggle Principal Richard Waters Co-Principal

Chair supported by Caroline, Jamie & Zander Sharp

Ting-Ru Lai Benedetto Pollani Laura Vallejo Michelle Bruil

Cor Anglais

Stanislav Popov Linda Kidwell Joseph Fisher Shiry Rashkovsky Julia Kornig Kim Becker

Sue Böhling* Principal

Chair supported by Dr Barry Grimaldi

Clarinets

Benjamin Mellefont Principal Thomas Watmough Emma Burgess Paul Richards*

Cellos

Kristina Blaumane Principal

Chair supported by Bianca & Stuart Roden

Bass Clarinet

Francis Bucknall David Lale Gregory Walmsley Sue Sutherley Helen Thomas George Hoult Laura Donoghue David Bucknall Jane Lindsay

Thomas Watmough Principal

Double Basses

Alto Saxophone

Paul Richards* Principal

E-flat Clarinet

Chair supported by Roger Greenwood

Contrabass Clarinet Martin Robertson

Kevin Rundell* Principal Sebastian Pennar Co-Principal Hugh Kluger George Peniston Laura Murphy Tom Walley

Martin Robertson

Bassoons

Jonathan Davies Principal

Chair supported by Sir Simon Robey

Gareth Newman Emma Harding Simon Estell*

Chair supported by William & Alex de Winton

Ken Knussen Simon Oliver

Contrabassoon

Simon Estell* Principal

Flutes

Horns

Katie Bedford Guest Principal Imogen Royce Clare Childs Stewart McIlwham*

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

Piccolos

Stewart McIlwham* Clare Childs

Trumpets

Alto Flute

Paul Beniston* Principal Anne McAneney* Tom Nielsen David Hilton

Stewart McIlwham*

Oboes

Ian Hardwick* Principal Alice Munday Sue Böhling*

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

Luke Taylor

Percussion

Andrew Barclay* Principal Chair supported by Gill & Garf Collins

Paul Stoneman Feargus Brennan Karen Hutt Emmanuel Joste Stefan Beckett Luke Taylor Francesca Lombardelli Ethan Skuodas

Harps

Rachel Masters Principal Tamara Young

Pianos

Catherine Edwards Philip Moore

Celestes

Catherine Edwards Richard Gowers

Assistant Conductor Patrick Milne * Holds a professorial appointment in London

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

London Philharmonic Orchestra • 30 April 2022 • OK! A Celebration of Oliver Knussen

Programme notes Edward Gardner on tonight’s programme

A welcome from our Principal Conductor

‘Oliver Knussen was one of the great composers, conductors, teachers and mentors. He died tragically young in 2018, and this is an opportunity for the LPO to celebrate what would have been his 70th birthday. We’ve created a mini festival around Olly’s musicmaking, with tonight’s main concert and beforehand, a pre-concert performance by the LPO, the Foyle Future Firsts, our musician training scheme, and students from the Royal Academy of Music, an institution that he was also very close to.

The second half of tonight’s programme is some of the music that Olly loved to conduct. Ravel’s Daphnis Suite No. 2 doesn’t need any introduction – it’s one of the most powerful short orchestral ballet masterpieces that we ever play – but Britten’s Prince of the Pagodas is less familiar, and Olly often conducted the whole ballet. Olly was a huge advocate for The Prince of the Pagodas, and getting to know his recording was a real discovery for me. I wanted to create a suite that had a symphonic shape, whilst respecting the narrative and extraordinary colours in the work. As in Britten’s Death in Venice, the texture of the gamelan is an essential colour in Prince of the Pagodas. It also fits beautifully into the great tradition of ballet scores; you can hear little homages to the worlds of Prokofiev, Stravinsky, Bartók and Ravel. For a composer who wrote very little orchestral-only music, this ballet is filled with Britten’s brilliance and deserves to be far better known.’

Olly composed painstakingly slowly, but rather like his hero Ravel, every note is golden. Flourish with Fireworks is an ebullient celebration of orchestral textures, written for the start of Michael Tilson Thomas’s tenure with the LSO. Both the Horn Concerto and the Whitman Settings, with our two great soloists Ben Goldscheider and Sophie Bevan, display the unique beauty of his voice, his luminous clarity and effervescent virtuosity.

London Philharmonic Orchestra • 30 April 2022 • OK! A Celebration of Oliver Knussen

Programme notes Remembering Oliver Knussen 1952–2018

Reflection (2016) for violin and piano and O Hototogisu! for soprano, flute and ensemble. Knussen’s music was the subject of a BBC Symphony Orchestra ‘Total Immersion’ festival at the Barbican in 2012 – one of many events organised to celebrate his 60th birthday. As one of the foremost composer-conductors in the world, Knussen was renowned for his unfailing advocacy across a wide range of contemporary music. He recorded prolifically and presided over numerous premieres, including important works by Elliott Carter, Hans Werner Henze and Julian Anderson. Recipient of the Royal Philharmonic Society’s Conductor Award in 2009, he was Artist in Association with the BBC Symphony Orchestra (2009–14), Music Director of the London Sinfonietta (1998–2002), Head of Contemporary Music at the Tanglewood Music Center (1986–93) and Artist in Association with the Birmingham Contemporary Music Group. He was Artistic Director of the Aldeburgh Festival from 1983 to 1998, and in 1992 established the Britten-Pears Programme’s Contemporary Composition and Performance Courses in collaboration with Colin Matthews.

Born in 1952, Oliver Knussen studied composition with John Lambert in London and Gunther Schuller at Tanglewood. He was just 15 when he wrote his First Symphony (later conducting its premiere with the London Symphony Orchestra) whilst his Third Symphony (1973–79), dedicated to Michael Tilson Thomas, is now widely regarded as a 20th-century classic. A number of dazzling ensemble works, including Ophelia Dances (a Koussevitzky centennial commission, 1975) and Coursing (1979), cemented Knussen’s position at the forefront of contemporary British music.

Knussen lived in Snape, Suffolk, and was appointed a CBE in 1994. In 2014 he became the inaugural Richard Rodney Bennett Professor of Music at London’s Royal Academy of Music. Other accolades included the Ivor Novello Award for Classical Music, the ISM Distinguished Musician Award, and the 2015 Queen’s Medal for Music.

In the 1980s, Knussen collaborated with Maurice Sendak on an operatic double-bill – Where the Wild Things Are (1979–83) and Higglety Pigglety Pop! (1984–85, rev. 1999). Originally produced by Glyndebourne Festival Opera, these works have been performed extensively in both Europe and the USA and have been recorded on CD and video. Knussen’s ebullient concert opener Flourish with Fireworks (1988) quickly entered standard orchestral repertoire, as did his concertos for horn and violin. The latter, written in 2002 for Pinchas Zukerman and the Pittsburgh Symphony, has received close to 100 performances worldwide under conductors including Barenboim, Dudamel, Eschenbach and Salonen. Later works include Ophelia’s Last Dance (2010) for piano,

London Philharmonic Orchestra • 30 April 2022 • OK! A Celebration of Oliver Knussen

Programme notes Oliver Knussen 1952–2018

Flourish with Fireworks 1988

Flourish with Fireworks, written in August and September 1988, is neither more nor less than its title implies – a four-minute celebratory ‘opener’ for Michael Tilson Thomas’s first season as Principal Conductor of the London Symphony Orchestra. But it is, therefore, a triple homage: to Michael, who has been a close and supportive friend to me and my music for 18 years, since we met backstage at his British debut with the LSO and subsequently at Tanglewood in 1970; to the LSO itself – the orchestra which was ‘home’ to me as a child, when my father was Principal Double Bass, and was later the

first major orchestra to play my music in public; and lastly to Stravinsky, a composer for whom Michael Tilson Thomas and I have shared a special affection. The ‘Fireworks’ of the title are Stravinsky’s earlier ones, and the music is built from the initials of the LSO (A, E-flat, G) and MTT (E, B, B) subjected to constant variation, sometimes of a kind now unknown to the later Stravinsky. Oliver Knussen

OFFSTAGE Our weekly podcast, LPO Offstage, takes a look behind-the-scenes of the LPO, bringing you closer than ever to the world of orchestral music. Hosted by award-winning saxophonist and presenter YolanDa Brown, delve deep into the world of the LPO. Find LPO Offstage free on Apple Podcasts, Spotify, Acast, or wherever you listen.

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London Philharmonic Orchestra • 30 April 2022 • OK! A Celebration of Oliver Knussen

Programme notes & texts Oliver Knussen 1952–2018

Whitman Settings, for soprano and orchestra 1991 Sophie Bevan soprano

1 When I heard the Learn’d Astronomer 2 A Noiseless Patient Spider 3 The Dalliance of the Eagles 4 The Voice of the Rain 1 When I heard the Learn’d Astronomer

The Whitman Settings, commissioned by the Amphion Foundation and written for Lucy Shelton, were originally composed for voice and piano during 1991. These characteristically powerful but unusually short poems of Walt Whitman attracted me because they deal with grand natural phenomena on small canvases. The idea of making a parallel version with orchestra came later, while puzzling over how some unusually wide chordspacings could be achieved without a piano. As it turned out, the original vocal line is supported by the most intricate and kaleidoscopic orchestral score I’ve ever done (although the actual notes remain faithful to the original), and I like to think of the result as a concise fourmovement vocal symphony. All four poems muse on things in space or the sky, and all four songs grow out of the idea heard in the very first bar.

When I heard the learn’d astronomer, When the proofs, the figures, were ranged in columns before me, When I was shown the charts and diagrams, to add, divide, and measure them, When I sitting heard the astronomer where he lectured with much applause in the lecture-room, How soon unaccountable I became tired and sick, Till rising and gliding out I wander’d off by myself, In the mystical moist night-air, and from time to time, Look’d up in perfect silence at the stars.

Oliver Knussen

London Philharmonic Orchestra • 30 April 2022 • OK! A Celebration of Oliver Knussen

Programme notes 2 A Noiseless Patient Spider

4 The Voice of the Rain

A noiseless patient spider, I mark’d where on a little promontory it stood isolated, Mark’d how to explore the vacant vast surrounding, It launch’d forth filament, filament, filament, out of itself, Ever unreeling them, ever tirelessly speeding them.

And who art thou? Said I to the soft-falling shower, Which, strange to tell, gave me an answer, as here translated: I am the Poem of Earth, said the voice of the rain, Eternal I rise impalpable out of the land and the bottomless sea, Upward to heav’n, whence, vaguely form’d, altogether changed, and yet the same, I descend to lave the drouths, atomies, dust layers of the globe, And all that in them without me were seeds only, latent, unborn; And forever, by day and night, I give back life to my own origin, and make pure and beautify it: (For song, issuing from its birth-place, after fulfilment, wandering, Reck’d or unreck’d, duly with love returns.)

And you O my soul where you stand, Surrounded, detached, in measureless oceans of space, Ceaselessly musing, venturing, throwing, seeking the spheres to connect them, Till the bridge you will need be form’d, till the ductile anchor hold, Till the gossamer thread you fling catch somewhere, O my soul.

3 The Dalliance of the Eagles

Walt Whitman (1819–92)

Skirting the river road, (my forenoon walk, my rest,) Skyward in air a sudden muffled sound, the dalliance of the eagles, The rushing amorous contact high in space together, The clinching interlocking claws, a living, fierce, gyrating wheel, Four beating wings, two beaks, a swirling mass tight grappling, In tumbling turning clustering loops, straight downward falling, Till o’er the river pois’d, the twain yet one, a moment’s lull, A motionless still balance in the air, then parting, talons loosing, Upward again on slow-firm pinions slanting, their separate diverse fight, She hers, he his, pursuing.

London Philharmonic Orchestra • 30 April 2022 • OK! A Celebration of Oliver Knussen

Programme notes Oliver Knussen 1952–2018

Horn Concerto 1994 Ben Goldscheider horn

The wish to compose something for Barry Tuckwell had been somewhere at the back of my mind for almost as long as I can remember. Hence, when I received an invitation from the Suntory Foundation to write a piece for performance in the magnificent acoustic of Suntory Hall, Tokyo, a work for horn and orchestra seemed appropriate, as I imagined that the subtle colourgradations, wide dynamic range and what might be termed ‘spatial’ characteristics of the horn soundworld would be heard to ideal effect in that room (which I knew from having conducted a concert there in 1992). The relationship between the sound of the instrument itself and the space around it is, it seems to me, especially critical in the case of the horn, and this aspect is particularly difficult to reflect accurately in a recording. Thoughts of this nature eventually led to the conception of a predominantly lyrical work which employs a large orchestra (including two sets of timpani) in a very economical manner.

composition, these designs telescoped unexpectedly, and the result is a single movement, playing for about 13 minutes in all, in which the interlocked old forms are only vestigial frames for a very allusive piece about aspects of the character of my favourite instrument of all. My Horn Concerto, composed in August and September of 1994, was played for the first time in Suntory Hall, Tokyo on 7 October 1994 by Barry Tuckwell with the Tokyo Metropolitan Symphony Orchestra under my direction. The score was revised in October 1995. Oliver Knussen

The music began as a grateful response to more than 30 years of hearing Barry Tuckwell play and, as I composed it, assumed more and more character of a Nachtmusik (in a Mahlerian sense). My working plan was for two parts, Fantastico (a sonata-allegro) and Adagio (variations on a ground bass), framed and connected by cadenza-like passages. But in the process of

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

London Philharmonic Orchestra • 30 April 2022 • OK! A Celebration of Oliver Knussen

Programme notes Benjamin Britten 1913–76

The Prince of the Pagodas, Op. 57: Selections from the ballet, arr. Edward Gardner 1956 Part 1: Prelude Act 1: The Palace of the Emperor of the Middle Kingdom The Fool and the Dwarf Variation of Princess Belle Epine Part 2: Act 2, Scene 1: The Strange Journey of Belle Rose to the Pagoda Land Introduction Waltz: Clouds, Stars and Moon Belle Rose borne in by the Frogs Part 3: Act 2, Scene 2: The Arrival and Adventures of Belle Rose in the Kingdom of the Pagodas The Pagodas The Hunt Part 4: Act 3: The Palace of the Middle Kingdom Pas de Deux: Belle Rose and the Prince of the Pagodas Finale and Apotheosis In 1939, Benjamin Britten met the Canadian composer and ethnomusicologist Colin McPhee (1900–64) when Britten and his partner Peter Pears were then living on Long Island, New York at the home of their friends William and Elizabeth Mayer. McPhee, who was a frequent visitor to the house, had recently returned from a six-year stay in Bali where he had made an exhaustive study of the island’s native musical traditions. He transcribed a number of authentic Balinese pieces for two pianos under the title Balinese Ceremonial Music which he and Britten performed and recorded in April 1940. McPhee inscribed Britten’s copy of the score with

the words, ‘To Ben – hoping he will find something in this music after all’. It appears that Britten was sceptical that Balinese music had much to interest him, and it was not until he visited Bali for himself some 16 years later that he indeed found something in the music of what he described in an enthusiastic letter to his assistant Imogen Holst as ‘a remarkable culture’. At that time Britten was struggling to complete a full-length ballet for the Sadler’s Wells company in London, scheduled for performance towards the end of 1955. The composition of the work was causing Britten particular difficulties and when he set off on a world tour with Pears in November

London Philharmonic Orchestra • 30 April 2022 • OK! A Celebration of Oliver Knussen

Programme notes 1955, he was only halfway through the second of the ballet’s three acts. It was his first-hand encounter with Balinese gamelan music in January 1956 that gave him the inspiration he needed to complete the score, as well as providing an appropriate aural model for portraying the fantastical and colourful world of ‘Pagoda Land’. After several postponements, The Prince of the Pagodas was finally premiered on 1 January 1957, with choreography by John Cranko, the principal roles danced by David Blair and Svetlana Beriosova, and the composer conducting. The ballet had only a limited success, however, and was not seen on the British stage again until 1989 when it was successfully revived by the Royal Ballet in a new choreography by Kenneth MacMillan (featuring Darcey Bussell in her first major role). The original scenario by John Cranko is briefly described as follows: an ageing Emperor must appoint one of his two daughters as his successor. The wicked Belle Epine usurps the throne, but her younger sister Belle Rose is magically swept away by four winged frogs to Pagoda Land where she meets a handsome Prince disguised as a green salamander. The salamander follows Belle Rose back to the Court where Belle Epine has imprisoned the Emperor in a cage. Belle Rose is about to be seized by guards when the Prince, assuming human form, comes to her rescue. The Court disappears in a clap of thunder and the lights come up on the Pagoda Palace. Happiness prevails and, following a large-scale divertissement, the ballet ends triumphantly.

Benjamin Britten in 1949 © Roland Haupt

characterised by the strings alone in vaunting, neoBaroque style. On her journey to Pagoda Land, Belle Rose watches the clouds, stars and moon dance a somewhat unsteady waltz. Exhausted from her travels, she is borne in to Pagoda Land by the frogs where the Pagodas (small porcelain figures with movable heads) revolve gaily to Britten’s gamelan-inspired accompaniment (with tuned percussion prominent). The Pagodas blindfold Belle Rose and the Prince sheds his salamander skin and appears in human form. He hides, however, when Belle Rose tears off the blindfold. She hunts for the Prince who, re-emerging as the salamander, follows her back to the Court. The final part of tonight’s selection consists of the Pas de Deux of Belle Rose and the Prince from the Act 3 divertissement, and the ballet’s Finale, an elegant Tchaikovskian waltz culminating in a grand ‘Apotheosis’ based on the trumpet fanfares from the Prelude. The Fool, though, has the last word, leading the Prince and Princess by the hand to the final curtain.

It was always Britten’s hope that he might devise a concert suite from The Prince of the Pagodas, but this never materialised. Towards the end of his life, he did authorise publication of the Prelude and Dances, a selection compiled by the conductor Norman Del Mar, and a more comprehensive suite was assembled by Britten scholars Donald Mitchell and Mervyn Cooke in 1997. However this evening, Edward Gardner has chosen his own sequence of extracts. The Prelude introduces the trumpet fanfares that will recur at important moments in the ballet, as well as a slow-moving texture of superimposed ostinati depicting the Prince in his guise as the green salamander. As the ballet opens, the Fool is preparing for the arrival of the Court but is constantly thwarted by the evil Dwarf (sliding trombones). A fight ensues which is broken up by the entrance of the Emperor. In ‘The Variation of Princess Belle Epine’, her proud, haughty manner is

Programme note © Lloyd Moore

London Philharmonic Orchestra • 30 April 2022 • OK! A Celebration of Oliver Knussen

Programme notes Maurice Ravel 1875–1937

Daphnis et Chloé: Suite No. 2 1912–13

1 Lever du jour 2 Pantomime 3 Danse générale Ravel was a painstaking and fastidious composer, so it is perhaps no surprise that his largest orchestral score took him three years to complete. The original idea had come in 1909 from Serge Diaghilev, the larger-than-life impresario of the Ballets Russes, which had recently taken Paris by storm. Ever on the search for new talent, Diaghilev chose Ravel to be the composer of an hourlong ballet on the subject of Daphnis and Chloë, a prose-pastoral written in the third century by the Greek author Longus. Ravel’s sluggishness over the work eventually caused Diaghilev to have doubts, and there was further tension between the composer, the choreographer Mikhail Fokine (whose suggestion the scenario originally was), and the designer Léon Bakst, whose antiquarian concept differed from Ravel’s idea of ‘a vast musical fresco, less mindful of archaism than of fidelity to the Greece of my dreams, which has close affinities with that imagined and portrayed by late-18thcentury French artists’. The ballet was completed at last in 1912, and premiered in Paris on 8 June, with Nijinsky and Karsavina in the title roles, but the complexities of the score for musicians and dancers alike, coupled with all the other difficulties of bringing the ballet to the stage, made for an uncertain first night, and critical reception was lukewarm.

orchestral writing ever devised. The scenes it describes are from the end of the ballet: the goatherd Daphnis and his love Chloë have endured a forced separation, but are reunited as dawn breaks; a pantomime is enacted telling the story of Syrinx’s wooing by Pan, at the end of which Daphnis swears his love for Chloë; and there is general celebratory dancing to finish. ‘Lever du jour’, Ravel’s depiction of the sunrise, is a ravishing crescendo; though the orchestra is a large one, the forces are kept superbly in check as forest murmurings, bird-twitterings and shepherd’s pipings conduct a sinuous melodic line through to a resplendent and luminous climax. The ‘Pantomime’ for Pan is predictably but nevertheless atmospherically characterised by brilliant and elegant flute solos, and leads eventually to the solemn chordal sentences of Daphnis’s pledge. This done, the rejoicing finally breaks out and builds in the ‘Danse générale’, any last thoughts of 18th-century decorum blown away in an orgy of Dionysiac frenzy. Programme note © Lindsay Kemp

Ravel had already by this time already extracted the first of his two concert suites from the ballet, but it is the second suite, put together in 1913, that has become not only the better-known, but indeed a repertoire piece recognised as one of the most sumptuous examples of

London Philharmonic Orchestra • 30 April 2022 • OK! A Celebration of Oliver Knussen

Programme notes Recommended recordings of tonight’s works

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

by Laurie Watt Knussen: Flourish with Fireworks London Sinfonietta | Oliver Knussen (Deutsche Grammophon) Knussen: Whitman Settings Lucy Shelton | London Sinfonietta | Oliver Knussen (Deutsche Grammophon) Knussen: Horn Concerto Ben Goldscheider| London Sinfonietta Oliver Knussen (Deutsche Grammophon) Britten: The Prince of the Pagodas Suite London Sinfonietta | Oliver Knussen (Warner, formerly Virgin) Ravel: Daphnis et Chloé Suite No. 2 Berlin Philharmonic | Herbert von Karajan (Deutsche Grammophon)

Daphnis et Chloé on the LPO Label Ravel: Daphnis et Chloé (complete ballet) Bernard Haitink conductor London Philharmonic Orchestra John Alldis Choir .£9.99 | LPO-0059

Recorded live in concert at the Southbank Centre’s Royal Festival Hall on 6 November 1979.

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

Final LPO concert this season at the Royal Festival Hall

The Song of the Earth Friday 6 May 2022 Birtwistle Deep Time Mahler Das Lied von der Erde Edward Gardner conductor Magdalena Kožená mezzo-soprano Andrew Staples tenor Magdalena Kožená & Andrew Staples

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New on the LPO Label: Jessye Norman sings Strauss Richard Strauss: Five Songs | Le Bourgeois Gentilhomme | Salome (excerpts) Klaus Tennstedt conductor Jessye Norman soprano .£9.99 | LPO-0122

Newly available recording: recorded live in concert at the Southbank Centre’s Royal Festival Hall on 4 May 1986

‘It’s the songs, and especially the Salome, that make this recording an essential listen, and a compelling reminder of a great singer at her dramatic best.’ Editor’s Choice, Gramophone, 21 March 2022 All LPO Label releases are available on CD from all good retailers, and to download or stream via Spotify, Apple Music, Idagio and others.

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London Philharmonic Orchestra • 30 April 2022 • OK! A Celebration of Oliver Knussen

Sound Futures donors We are grateful to the following donors for their generous contributions to our Sound Futures campaign. Thanks to their support, we successfully raised £1 million by 30 April 2015 which has now been matched pound for pound by Arts Council England through a Catalyst Endowment grant. This has enabled us to create a £2 million endowment fund supporting special artistic projects, creative programming and education work with key venue partners including our Southbank Centre home. Supporters listed below donated £500 or over. For a full list of those who have given to this campaign please visit lpo.org.uk/soundfutures.

Masur Circle Arts Council England Dunard Fund Victoria Robey OBE Emmanuel & Barrie Roman The Underwood Trust

Welser-Möst Circle William & Alex de Winton John Ireland Charitable Trust The Tsukanov Family Foundation Neil Westreich

Tennstedt Circle Valentina & Dmitry Aksenov Richard Buxton The Candide Trust Michael & Elena Kroupeev Kirby Laing Foundation Mr & Mrs Makharinsky Alexey & Anastasia Reznikovich Sir Simon Robey Bianca & Stuart Roden Simon & Vero Turner The late Mr K Twyman

Solti Patrons Ageas John & Manon Antoniazzi Gabor Beyer, through BTO Management Consulting AG Jon Claydon Mrs Mina Goodman & Miss Suzanne Goodman Roddy & April Gow The Jeniffer & Jonathan Harris Charitable Trust Mr James R.D. Korner Christoph Ladanyi & Dr Sophia Ladanyi-Czernin Robert Markwick & Kasia Robinski

The Maurice Marks Charitable Trust Mr Paris Natar The Rothschild Foundation Tom & Phillis Sharpe The Viney Family

Haitink Patrons Mark & Elizabeth Adams Dr Christopher Aldren Mrs Pauline Baumgartner Lady Jane Berrill Mr Frederick Brittenden David & Yi Yao Buckley Mr Clive Butler Gill & Garf Collins Mr John H Cook Mr Alistair Corbett Bruno De Kegel Georgy Djaparidze David Ellen Christopher Fraser OBE David & Victoria Graham Fuller Goldman Sachs International Mr Gavin Graham Moya Greene Mrs Dorothy Hambleton Tony & Susie Hayes Malcolm Herring Catherine Høgel & Ben Mardle Mrs Philip Kan Rehmet Kassim-Lakha de Morixe Rose & Dudley Leigh Lady Roslyn Marion Lyons Miss Jeanette Martin Duncan Matthews QC Diana & Allan Morgenthau Charitable Trust Dr Karen Morton Mr Roger Phillimore Ruth Rattenbury The Reed Foundation The Rind Foundation Sir Bernard Rix

David Ross & Line Forestier (Canada) Carolina & Martin Schwab Dr Brian Smith Lady Valerie Solti Mr & Mrs G Stein Dr Peter Stephenson Miss Anne Stoddart TFS Loans Limited Marina Vaizey Jenny Watson Guy & Utti Whittaker

Pritchard Donors Ralph & Elizabeth Aldwinckle Mrs Arlene Beare Mr Patrick & Mrs Joan Benner Mr Conrad Blakey Dr Anthony Buckland Paul Collins Alastair Crawford Mr Derek B. Gray Mr Roger Greenwood The HA.SH Foundation Darren & Jennifer Holmes Honeymead Arts Trust Mr Geoffrey Kirkham Drs Frank & Gek Lim Peter Mace Mr & Mrs David Malpas Dr David McGibney Michael & Patricia McLaren-Turner Mr & Mrs Andrew Neill Mr Christopher Querée The Rosalyn & Nicholas Springer Charitable Trust Timothy Walker CBE AM Christopher Williams Peter Wilson Smith Mr Anthony Yolland and all other donors who wish to remain anonymous

London Philharmonic Orchestra • 30 April 2022 • OK! A Celebration of Oliver Knussen

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

Artistic Director’s Circle

Anonymous donors Mrs Aline Foriel-Destezet Mrs Christina Lang Assael In memory of Mrs Rita Reay Sir Simon & Lady Robey OBE

Orchestra Circle

The Candide Trust William & Alex de Winton Aud Jebsen Mr & Mrs Philip Kan Neil Westreich The American Friends of the London Philharmonic Orchestra

Principal Associates An anonymous donor Richard Buxton Gill & Garf Collins In memory of Brenda Lyndoe Casbon In memory of Ann Marguerite Collins Hamish & Sophie Forsyth The Tsukanov Family

Associates

Anonymous donors Mrs Irina Andreeva In memory of Len & Edna Beech Steven M. Berzin Ms Veronika BorovikKhilchevskaya Irina Gofman & Mr Rodrik V. G. Cave The Lambert Family Charitable Trust Countess Dominique Loredan Mr & Mrs Makharinsky George Ramishvili Stuart & Bianca Roden Julian & Gill Simmonds In memory of Hazel Amy Smith Deanie & Jay Stein

Gold Patrons

An anonymous donor Chris Aldren David & Yi Buckley David Burke & Valerie Graham David & Elizabeth Challen

In memory of Allner Mavis Channing Sonja Drexler The Vernon Ellis Foundation Peter & Fiona Espenhahn Marie-Laure Favre-Gilly de Varennes de Beuill Mr Roger Greenwood Malcolm Herring John & Angela Kessler Dame Theresa Sackler Scott & Kathleen Simpson Eric Tomsett Andrew & Rosemary Tusa The Viney Family Guy & Utti Whittaker

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Mrs A Beare The Rt Hon. The Lord Burns GCB Bruno De Kegel Jan & Leni Du Plessis Ulrike & Benno Engelmann Simon & Meg Freakley Pehr G Gyllenhammar The Jeniffer & Jonathan Harris Charitable Trust Catherine Høgel & Ben Mardle Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Sofiya Machulskaya Mrs Elizabeth Meshkvicheva The Metherell Family Andrew Neill Peter & Lucy Noble Marianne Parsons Tom & Phillis Sharpe Laurence Watt Grenville & Krysia Williams

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Anonymous donors Michael Allen Dr Manon Antoniazzi Julian & Annette Armstrong Roger & Clare Barron Mr Philip Bathard-Smith Sir Peter Bazalgette Mikhail Noskov & Vasilina Bindley Mr Bernard Bradbury Sally Bridgeland In memory of Julie Bromley Desmond & Ruth Cecil Mr John H Cook Howard & Veronika Covington John & Sam Dawson

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Anonymous donors Dr R M Aickin Mr Mark Astaire Sir John Baker Tessa Bartley Mr Geoffrey Bateman Mrs Julia Beine Mr Anthony Boswood Dr Anthony Buckland Dr Carlos Carreno Mr Julien Chilcott-Monk Mr & Mrs Stewart Cohen David & Liz Conway Mr Alistair Corbett Andrew Davenport Mr Simon Douglas Mr B C Fairhall Mr Richard Fernyhough Mrs Janet Flynn Mrs Ash Frisby

Jason George Mr Stephen Goldring Mr Daniel Goldstein Mr Milton Grundy Prof. Emeritus John Gruzelier Nerissa Guest & David Foreman Michael & Christine Henry Mark & Sarah Holford Ivan Hurry Per Jonsson Alexandra Jupin & John Bean Mr Ian Kapur Ms Kim J Koch Richard & Briony Linsell Paul & Brigitta Lock Mr Peter Mace Nicholas & Lindsay Merriman Andrew T Mills Simon & Fiona Mortimore Mrs Terry Neale John Nickson & Simon Rew Mr James Pickford Michael & Carolyn Portillo Mr David Russell Colin Senneck & the Hartley and District LPO Group Mr John Shinton Nigel Silby Mr Brian Smith Martin & Cheryl Southgate Mr & Mrs G Stein Dr Peter Stephenson Mr Ian Tegner Dr June Wakefield Howard & Sheelagh Watson Joanna Williams Roger Woodhouse Mr John Wright

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Anonymous donors Ralph & Elizabeth Aldwinckle Alexander & Rachel Antelme Julian & Annette Armstrong Lindsay Badenoch Mr Mark Bagshaw & Mr Ian Walker Mr John Barnard Mr John D Barnard Damaris, Richard & Friends Mr David Barrett Diana Barrett Mr Simon Baynham Harvey Bengen Nick & Rebecca Beresford Mr Paul Bland Mr Keith Bolderson Mr Andrew Botterill

Julian & Margaret Bowden & Mr Paul Michel Richard & Jo Brass Mr & Mrs Shaun Brown Mr Alan C Butler Lady Cecilia Cadbury Mrs Marilyn Casford Miss Yousun Chae Alison Clarke & Leo Pilkington J Clay Mr Joshua Coger Mr Martin Compton Mr Martin Connelly Mr Stephen Connock Miss Tessa Cowie Mr David Davies Mr Roderick Davies Mr David Devons Anthony & Jo Diamond Miss Sylvia Dowle Patricia Dreyfus Mr Andrew Dyke Mr Declan Eardly Mrs Maureen Erskine Mr Peter Faulk Mr Joe Field Ms Chrisine Louise Fluker Mr Kevin Fogarty Mr Richard France Mr Bernard Freudenthal Mrs Adele Friedland & Friends Will Gold Mrs Alison Goulter Mr Andrew Gunn Mr K Haines Mr Martin Hale Roger Hampson Mr Graham Hart Mr & Mrs Nevile Henderson The Jackman Family Martin Kettle Mr Justin Kitson Ms Yvonne Lock Mrs Sally Manning Belinda Miles Dr Joe Mooney Christopher & Diane Morcom Dame Jane Newell DBE Oliver & Josie Ogg Mr Stephen Olton Mari Payne Mr David Peters Nadya Powell Ms Caroline Priday Mr Richard Rolls Mr Richard Rowland Mr & Mrs Alan Senior Tom Sharpe Mr Kenneth Shaw

London Philharmonic Orchestra • 30 April 2022 • OK! A Celebration of Oliver Knussen

Thank you

Ruth Silvestre Barry & Gillian Smith Mr David Southern Ms Mary Stacey Mr Simon Starr Mrs Margaret Thompson Philip & Katie Thonemann Mr Owen Toller Mrs Rose Tremain Ms Mary Stacey Ms Caroline Tate Mr Peter Thierfeldt Dr Ann Turrall Michael & Katie Urmston Dr June Wakefield Mr Dominic Wallis Mrs C Willaims Joanna Williams Mr Kevin Willmering Mr David Woodhead

Corporate Donors

Hon. Benefactor

Tutti

Elliott Bernerd

Hon. Life Members Alfonso Aijón Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Mrs Jackie Rosenfeld OBE Laurence Watt

Thomas Beecham Group Members Chris Aldren 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

Barclays CHANEL Fund for Women in the Arts and Culture Pictet Bank

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BlueSpark Foundation The Boltini Trust Borrows Charitable Trust Boshier-Hinton Foundation The Candide Trust Cockayne – Grants for the Arts The London Community Foundation The David Solomons Charitable Trust The D’Oyly Carte Charitable Trust Dunard Fund

Ernst von Siemens Music Foundation The Fidelio Charitable Trust Foyle Foundation Garrick Charitable Trust The Leche Trust Lucille Graham Trust John Horniman’s Children’s Trust John Thaw Foundation The Idlewild Trust Kirby Laing Foundation The Marchus Trust Adam Mickiewicz Institute PRS Foundation The Radcliffe Trust Rivers Foundation The R K Charitable Trust Romanian Cultural Institute Rothschild Foundation RVW Trust Schroder Charity Trust Scops Arts Trust Serge Rachmaninoff Foundation Sir William Boreman’s Foundation Souter Charitable Trust The Stanley Picker Trust The Thomas Deane Trust The Thriplow Charitable Trust The Vaughan Williams Charitable Trust The Victoria Wood Foundation The Viney Family The Barbara Whatmore Charitable Trust The William Alwyn Foundation and all others who wish to remain anonymous. The LPO would also like to acknowledge all those who have made donations to the Play On Appeal and who have supported the Orchestra during the COVID-19 pandemic.

Board of the American Friends of the LPO We are grateful to the Board of the American Friends of the London Philharmonic Orchestra, who assist with fundraising for our activities in the United States of America:

Simon Freakley Chairman Jay Goffman Alexandra Jupin William A. Kerr Kristina McPhee Natalie Pray Damien Vanderwilt Elizabeth Winter Victoria Robey OBE Hon. Director Jenifer L. Keiser, CPA, EisnerAmper LLP

LPO International Board of Governors Natasha Tsukanova Co-Chair Martin Höhmann Co-Chair Mrs Irina Andreeva (Russia) Steven M. Berzin (USA) Veronika Borovik-Khilchevskaya (Cyprus) Marie-Laure Favre Gilly de Varennes de Bueil (France) Aline Foriel-Destezet (France) Irina Gofman (Russia) Countess Dominique Loredan (Italy) Olivia Ma (Greater China Area) Olga Makharinsky (Russia) George Ramishvili (Georgia) Victoria Robey OBE (USA) Jay Stein (USA)

London Philharmonic Orchestra • 30 April 2022 • OK! A Celebration of Oliver Knussen

London Philharmonic Orchestra Administration Board of Directors Victoria Robey OBE Chairman Martin Höhmann* President Dr Catherine C. Høgel Vice-Chairman Mark Vines* Vice-President Kate Birchall* David Buckley David Burke Bruno De Kegel Deborah Dolce Elena Dubinets Tanya Joseph Hugh Kluger* Al MacCuish Tania Mazzetti* Stewart McIlwham* Jamie Njoku-Goodwin Andrew Tusa Neil Westreich Simon Freakley (Ex officio – Chairman of the American Friends of the London Philharmonic Orchestra) *Player-Director

Advisory Council Martin Höhmann Chairman Christopher Aldren Dr Manon Antoniazzi Roger Barron Richard Brass Helen Brocklebank YolanDa Brown Simon Callow CBE Desmond Cecil CMG Sir Alan Collins KCVO CMG Andrew Davenport Guillaume Descottes Cameron Doley Christopher Fraser OBE Lord Hall of Birkenhead CBE Jonathan Harris CBE FRICS Marianna Hay MBE Amanda Hill Rehmet Kassim-Lakha Jamie Korner Geoff Mann Clive Marks OBE FCA Stewart McIlwham Andrew Neill Nadya Powell Sir Bernard Rix Victoria Robey OBE Baroness Shackleton Thomas Sharpe QC Julian Simmonds

Barry Smith Martin Southgate Chris Viney Laurence Watt Elizabeth Winter

Finance

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

Siân Jenkins Corporate Relations Manager

Anna Quillin Trusts and Foundations Manager

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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