LPO concert programme: 30 Oct 2022 Eastbourne - Beethoven's Fifth (Gábor Káli/Juliette Bausor)

Where music takes you

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

Congress Theatre, Eastbourne Sunday 30 October 2022 | 3.00pm

Beethoven’s Fifth

Schubert Overture, Rosamunde (10’)

Mozart Flute Concerto No. 1 (25’)

Interval (20’)

Beethoven Symphony No. 5 in C minor, Op. 67 (36’)

Gábor Káli conductor

Juliette Bausor flute*

Due to personal circumstances, Ana de la Vega is no longer able to perform in this concert. We’re delighted that our LPO Principal Flute, Juliette Bausor, will perform Mozart’s Flute Concerto No. 1.

Contents

Welcome LPO news

On stage today

London Philharmonic Orchestra

New on the LPO Label

Gábor Káli

Juliette Bausor

Programme notes

Next concerts

Recommended recordings

Thank you

LPO administration

The timings shown are not precise and are given only as a guide. Concert presented by the London Philharmonic Orchestra in association with Eastbourne Borough Council

Welcome to the Congress Theatre LPO news

Theatre Director Chris Jordan

Welcome to this afternoon’s performance. We are pleased to welcome back the London Philharmonic Orchestra and its patrons to the Congress Theatre.

The London Philharmonic Orchestra gave the first ever performance at this Grade II listed building when it originally opened in 1963. This historic building was purpose-built as a theatre and conference venue designed by Bryan and Norman Westwood Architects. What makes the theatre unique is that it is conceived to be a perfect cube, and has fantastic acoustics to enhance your experience of live music. We thank you for continuing to support the concert series.

Please sit back in your seats and enjoy the concert and your visit here. As a courtesy to others, please ensure mobile phones are switched off during the performance. Thank you.

The Chevalier – on sale now

We’re delighted to be part of the UK premiere of The Chevalier, coming to London and Snape Maltings in March 2023. In this unique piece of concert theatre, four actors join conductor Matthew Kofi Waldren, rising star violinist Braimah Kanneh-Mason, and the LPO and friends, to present Bill Barclay’s fascinating tale of Joseph Bologne – an 18th-century Black composer, virtuoso violinist and friend of Mozart and Marie Antoinette – more commonly known as the Chevalier de Saint-Georges. Alongside his incredible musical talents, The Chevalier was an acclaimed fencer, a general of Europe’s first Black regiment and an active campaigner for the abolishment of slavery. Almost forgotten in history, his story is bursting to be told.

The performances are at Snape Maltings, Suffolk, on Sunday 19 March and St Martin-in-the-Fields, London, on Tuesday 21 March 2023. Tickets are priced from £10: book for 19 March via stmartin-in-the-fields.org or for 21 March via brittenpearsarts.org

New on the LPO Label

James MacMillan: Christmas Oratorio

Out next week (4 November) on the LPO Label is James MacMillan’s Christmas Oratorio, recorded live at the work’s UK premiere in December 2021. Conducted by Mark Elder, it features the London Philharmonic Choir, soprano Lucy Crowe and baritone Roderick Williams. Composed in 2019, the Christmas Oratorio embraces a Scots Gaelic lullaby, English poetry and Bible passages, all recounting the Nativity. MacMillan deftly weaves together these strands in his trademark expressive and immediate language, reflecting both his Scottish roots and his deeply-held Catholic faith. It will be available to stream or download via all major platforms, and on sale to buy as a double CD. Visit lpo.org.uk/recordings to find out more.

On stage today

First Violins

Alice Ivy-Pemberton Guest Leader

Lasma Taimina Chair supported by Irina Gofman & Mr Rodrik V. G. Cave Minn Majoe Elizaveta Tyun Morane Cohen-Lamberger Katalin Varnagy Chair supported by Sonja Drexler Catherine Craig Alice Hall

Amanda Smith Maria Fiore Mazzarini Gavin Davies John Dickinson

Second Violins

Helena Buckie Guest Principal Kate Birchall

Joseph Maher Fiona Higham Chair supported by David & Yi Buckley Lyrit Milgram Harry Kerr Alison Strange Matthew Bain Nicole Stokes Emma Martin

Violas

Rebecca Chambers Guest Principal Katharine Leek

Benedetto Pollani Martin Wray Kate de Campos Shiry Rashkovsky Lucia Ortiz Sauco Julia Kornig

Cellos

Bozidar Vukotic Guest Principal Francis Bucknall Susanna Riddell Sibylle Hentschel Leo Melvin Julia Morneweg

Double Basses

Kevin Rundell* Principal Hugh Kluger George Peniston Tom Walley Chair supported by William & Alex de Winton

Flutes

Charlotte Ashton Guest Principal Camilla Marchant

Piccolo

Maja Persson

Oboes

Ruth Bolister Guest Principal Lydia Griffiths

Clarinets

Thomas Watmough Principal Chair supported by Roger Greenwood Alex Roberts

Bassoons

John McDougall Guest Principal Patrick Bolton

Contrabassoon

Simon Estell* Principal

Horns

John Ryan* Principal Elise Campbell Duncan Fuller Gareth Mollison

Trumpets

Holly Clark Guest Principal Anne McAneney*

Trombones

David Whitehouse Principal Merin Rhyd

Bass Trombone

Lyndon Meredith Principal Timpani

Jonathan Phillips Guest Principal

* Holds a professorial appointment in London

The LPO also acknowledges the following chair supporters whose players are not present at this concert:

The Candide Trust Garf & Gill Collins

Friends of the Orchestra Dr Barry Grimaldi

Countess Dominique Loredan Sir Simon Robey Victoria Robey OBE Bianca & Stuart Roden Caroline, Jamie & Zander Sharp Eric Tomsett Neil Westreich

London Philharmonic Orchestra

Uniquely groundbreaking and exhilarating to watch and hear, the London Philharmonic Orchestra has been celebrated as one of the world’s great orchestras since Sir Thomas Beecham founded it in 1932. With every performance we aim to bring wonder to the modern world and cement our position as a leading orchestra for the 21st century.

Our home is at the Southbank Centre’s Royal Festival Hall, where we’re at the beating heart of London’s cultural life. You’ll also find us at our resident venues here in Eastbourne, in Brighton, and in Saffron Walden, and on tour throughout the UK and internationally, performing to sell-out audiences worldwide. Each summer we’re resident at Glyndebourne Festival Opera, combining the magic of opera with Glyndebourne’s glorious setting in the Sussex countryside.

Sharing the wonder

We’re always at the forefront of technology, finding new ways to share our music globally. You’ll find us online, on streaming platforms, on social media and through our broadcast partnership with Marquee TV. During the pandemic period we launched ‘LPOnline’: over 100 videos of performances, insights and introductions to playlists, which led to us being named runner-up in the Digital Classical Music Awards 2020. During 2022/23 we’ll be working once again with Marquee TV to broadcast selected live concerts, so you can share or relive the wonder from your own living room.

Our conductors

Our Principal Conductors have included some of the greatest historic names like Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. In 2021 Edward Gardner became our 13th Principal Conductor, taking the Orchestra into its tenth decade. Vladimir Jurowski became Conductor Emeritus in recognition of his impact as Principal Conductor from 2007–21. Karina Canellakis is our current Principal Guest Conductor and Brett Dean our Composer-in-Residence.

Soundtrack to key moments

Everyone will have heard the London Philharmonic Orchestra, whether it’s playing the world’s National Anthems at every medal ceremony of the London 2012 Olympics and Paralympics, our iconic recording with Pavarotti that made Nessun Dorma a global football anthem, or closing the flotilla at The Queen’s Thames Diamond Jubilee Pageant. And you’ll almost certainly have heard us on the soundtracks for major films including The Lord of the Rings

We also release live, studio and archive recordings on our own label, and are the world’s most-streamed orchestra, with over 15 million plays of our content each month. Recent releases include music by Richard Strauss under Klaus Tennstedt with legendary soprano Jessye Norman; the first volume of a Stravinsky series with Vladimir Jurowski including The Rite of Spring

© Benjamin Ealovega

London Philharmonic Orchestra

and The Firebird; and Tippett’s complete opera

The Midsummer Marriage under Edward Gardner, captured in his first concert as LPO Principal Conductor in September 2021 (see right).

Next generations

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

Today’s young instrumentalists are the orchestral members of the future, so we’re committed to offering them opportunities to progress. Our LPO Junior Artists programme is leading the way in creating pathways into the profession for young artists from under-represented communities, and our LPO Young Composers and Foyle

Future Firsts schemes support the next generation of professional musicians, bridging the transition from education to professional careers.

2022/23 and beyond

We believe in the relevance of our music, and that our programmes must reflect the narratives of modern times. This season we’re exploring themes of belonging and displacement in our series ‘A place to call home’, delving into music by composers including Austrians Erich Korngold and Paul Hindemith, Hungarian Béla Bartók, Cuban Tania León, Ukrainian Victoria Vita Polevá and Syrian Kinan Azmeh. As we celebrate our 90th anniversary we perform works premiered by the Orchestra during its illustrious history. This season also marks Vaughan Williams’s 150th anniversary and we’ll be celebrating with four of his works, as well as both symphonies by Elgar and music by Tippett and Thomas Adès. Our commitment to everything new and creative includes premieres by Brett Dean, Mark Simpson and Heiner Goebbels, as well as new commissions from composers from around the world including Agata Zubel, Elena Langer and Vijay Iyer.

New on the LPO Label

TIPPETT THE MIDSUMMER MARRIAGE

COMPLETE OPERA IN THREE ACTS

conducted by Edward Gardner with Robert Murray, Rachel Nicholls, Ashley Riches, Jennifer France, Toby Spence, Claire Barnett-Jones, Susan Bickley, Joshua Bloom, London Philharmonic Choir English National Opera Chorus

Recorded live in concert at the Southbank Centre’s Royal Festival Hall, 25 September 2021

‘This is Edward Gardner’s show, and he rises to Tippett’s challenge superbly.’

BBC Music Magazine

Available to download, stream, or as a 3-CD box set: scan here to find out more.

Gábor Káli conductor

After replacing Iván Fischer at the prestigious Budapest Festival Orchestra upon the maestro’s request in 2019, earning rave reviews and standing ovations in major cities and venues such as Budapest, Paris, the Hamburg Elbphilharmonie and the Luxembourg Philharmonie, Hungarian Gábor Káli has positioned himself as one of today’s most promising young conductors. This concert is his debut with the London Philharmonic Orchestra.

In 2022/23, his intense opera experience leads Gábor to the Bayerische Staatsoper for The Bartered Bride, the Semperoper Dresden for The Magic Flute, and Graz Opera for Madame Butterfly. Other upcoming highlights further establish him as a symphonic conductor, with invitations to major orchestras such as the Gulbenkian Orchestra, Orchestra della Svizzera Italiana, Lausanne Chamber Orchestra, Bournemouth Symphony Orchestra, Hungarian National Philharmonic Orchestra and Janáček Philharmonic.

Gábor Káli is regularly invited to guest-conduct major orchestras including the Orchestre de Paris, Vienna Symphony, MDR Sinfonieorchester Leipzig, Orchestre National du Capitole de Toulouse, Singapore Symphony Orchestra, Polish National Radio Symphony Orchestra, Orchestre National de Lille, Borusan Istanbul Philharmonic Orchestra, Scottish Chamber Orchestra on tour, Irish Chamber Orchestra, Cologne Chamber Orchestra, Hong Kong Sinfonietta, Staatsorchester Stuttgart, Philharmonie Zuidnederland, Slovak Philharmonic and Taiwan National Symphony Orchestra.

He is also regularly invited to prestigious opera houses including the Bayerische Staatsoper (Turandot, 2021); the Semperoper Dresden, on Christian Thielemann’s invitation, which follows his 2018 huge success at

Deutsche Oper am Rhein conducting Verdi’s Rigoletto; the Theater und Philharmonie Essen (Bluebeard’s Castle, 2022); and the Nationaltheater Mannheim (Così fan tutte). In 2015 he took up the position of First Kapellmeister and Deputy Music Director of the Nürnberg Staatstheater, conducting Berg’s Wozzeck, Puccini’s La bohème, Janáček’s From the House of the Dead, Bizet’s The Pearl Fishers, Strauss’s Arabella and Verdi’s Otello.

A versatile musician, Gábor Káli is also highly committed to contemporary repertoire, regularly conducting new music and premiering various works across the globe. He is in particular greatly appreciated and sought-after for his deep knowledge of Bartók’s works, which led him to conduct the Budapest Festival Orchestra on tour.

Gábor Káli was awarded the prestigious Nestlé and Salzburg Festival Young Conductors Award in 2018. In the same year he also won First Prize at the inaugural Hong Kong International Conducting Competition.

Gábor studied piano and conducting at the Franz Liszt Music Academy in Budapest. He joined the Conductors’ Forum of the German Music Council, where he attended masterclasses with Kurt Masur, Colin Metters and Sian Edwards. He also took part in courses with Péter Eötvös, Bernard Haitink, David Zinman and the TonhalleOrchester Zürich.

Juliette Bausor flute

© SBenjamin Ealovega

Juliette Bausor joined the London Philharmonic Orchestra in July 2016 as Principal Flute, having previously held the same position with both Royal Northern Sinfonia and London Mozart Players.

Also a member of the celebrated chamber group Ensemble 360, Juliette is regularly invited to perform at major venues and festivals, including frequent Wigmore Hall and Southbank Centre appearances, and performances at the Edinburgh, Cheltenham and Aldeburgh International Festivals and the BBC Proms.

Following early recognition in competitions – including reaching the Final of the BBC Young Musician of the Year and winning the Gold Medal in both the Shell LSO Competition and the Royal Over-Seas League Competition – Juliette has performed as a concerto soloist with the London Symphony Orchestra, Ulster Orchestra, Academy of St Martin in the Fields, European Union Chamber Orchestra, Royal Northern Sinfonia and London Mozart Players. In 2014 she was selected by the European Concert Hall Organisation as one of its Rising Stars, which led to solo engagements in some of Europe’s most prestigious concert venues including the Laeiszhalle Hamburg, Het Concertgebouw in Amsterdam, BOZAR in Brussels, Birmingham Town Hall, the Palace of Arts in Budapest, the Vienna Musikverein, the Stockholm Konserthus, L’Auditori in Barcelona, Konzerthaus Dortmund, Philharmonie Luxembourg, Sage Gateshead and the Barbican.

Juliette features as the soloist on the 2019 LPO Label recording of Mozart’s Flute Concerto No. 2, alongside other Mozart wind concertos performed by LPO Principals under Vladimir Jurowski (LPO-0114).

On the LPO Label

MOZART

WIND CONCERTOS

Concerto No. 2 in D major Sinfonia Concertante in E flat major Bassoon Concerto in B flat major

LPO Principals:

Bausor flute

Davies bassoon Ian Hardwick oboe John Ryan horn

Watmough clarinet

Available on CD from all good outlets, and to download or stream online via Spotify, Apple Music, Idagio and others.

Vladimir Jurowski conductor London Philharmonic Orchestra

Programme notes

Overture, Rosamunde

We do tend to like a piece to have a title, but it is doubtful how meaningful some of them are. For sure, no-one would argue with one bestowed on a work by its composer, but can we always trust the creative insight of a canny publisher who dreams up a marketable-looking name where before there was none, or take much notice when a title is acquired almost by mistake? The latter may sound unlikely, but it is what happened in the case of the Schubert overture which for a century and a half has gone under the name of Rosamunde.

Rosamunde, Fürstin von Zypern (‘Rosamunde, Princess of Cyprus’) was a play which opened in Vienna on 20th December 1823 and closed on the 21st, so lacking was it in literary and dramatic merit. Its author, Helmina von Chézy, had two months earlier created another fiasco in the form of Euryanthe, which had wasted the composing talents of the great Carl Maria von Weber, and now her magic touch was responsible for simultaneously bringing forth and sinking another fine incidental score, this time by the 23-year-old Franz Schubert. The music was put away and only fully recovered four decades later.

Yet there was never a Rosamunde overture: for those two performances in 1823, Schubert re-used the overture to his unperformed opera Alfonso und Estrella. The overture now usually associated and performed with the Rosamunde music was actually composed in August 1820 for a three-act melodrama entitled Der Zauberharfe (‘The Magic Harp’). Though its libretto, too, was undistinguished, Schubert’s music helped it to a run of twelve performances before it likewise disappeared from view.

That the overture we hear tonight should truly be known as Der Zauberharfe is confirmed by the presence of certain musical links with the music of the melodrama itself, where there are reappearances of the dramatic opening bars, and of its first Allegro theme. With the professional stage in mind, Schubert wrote

for a fuller orchestra than had been available to him in his first six symphonies, which had been composed for a school ensemble, but despite the portentous nature of the slow introduction, the prevailing atmosphere of this popular piece is sunny, buoyant and unmistakably Schubertian.

Programme notes

Wolfgang Amadeus Mozart

Flute Concerto in G major, K313

Juliette Bausor flute

maestoso

ma non troppo

Rondo: Tempo di menuetto

Mozart’s music for flute and orchestra is a compact body of work, most of it composed during a five-month stay in the winter of 1777/78 in Mannheim, where the 21-year-old was hoping for a job. Mannheim was an important musical centre, the seat of the Elector Palatine and famous for a court orchestra which, under such composers as Stamitz, Cannabich and Holzbauer, had played a major part in the evolutions of both the Classical symphony and the Classical style in general. In 1772 the English music historian Charles Burney described the orchestra as ‘an army of generals’, and among its members when Mozart was there was a fine crop of wind players, including the oboist Friedrich Ramm, the bassoonist Georg Wenzel Ritter and the flautist Johann Baptist Wendling. A few months later, in Paris, Mozart would write a Sinfonia Concertante for them all.

Wendling was a particular friend, and when it became clear that no post for Mozart would be forthcoming in Mannheim, he helped the composer out by securing for him a commission from one of his pupils for ‘three small, short and easy concertos and a few quartets for flute’. The pupil was one Ferdinand Dejean, an amateur flautist and professional surgeon in the employ of the Dutch East India Company, and a German for all that in

his letters home Mozart managed to describe him as both Dutch and Indian! Sadly, though, the commission was not completed, and in the end Mozart supplied only two concertos and two quartets – and even then one of the concertos was a transcription of his recent Oboe Concerto. To his father he made what sounds the rather lame excuse that ‘my mind gets dulled, as you know, when I’m supposed to write for an instrument I cannot stand’.

And this is the wisdom we have traditionally drawn from the episode: that Mozart hated the flute. But did he really? If so, it doesn’t show in the music he wrote for it, either here or in his orchestral scores, where it often creates a sound-world both glowing and loving. Perhaps it was gentleman flautists, rather than the flute itself, that irked him. That special sound-world can be heard in the middle movement of this ‘true’ Flute Concerto, K313, where Mozart silences the orchestral oboes and mutes the violins and violas in an Adagio of sublime lightness, grace and intimacy. The first movement, by contrast, has a public-facing confidence and imposing stature, while the finale is spirited and (for the soloist) rather athletic. Not much sign here of Mozart’s mind dulling!

Interval – 20 minutes

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

Programme notes

Whatever the Fifth Symphony was to its earliest audiences, it was not comfortable. Those who took their seats in Vienna’s Theater an der Wien on 22 December 1808 for the concert at which the work was first performed would doubtless have had some idea what to expect. Anyone who had already heard the ‘Eroica’, or indeed the ‘Pastoral’ Symphony, which was also premiered earlier in the same concert, would have known that Beethoven had greatly expanded the timescale of the symphonic form, raised its level of seriousness and expressive weight, and brought to it an increasingly theatrical, even narrative strain. But few can have been prepared for the brusque, almost visceral assault this unique work was to make on their senses.

Where did it come from? Well, Beethoven was a revolutionary of course, but he was one who worked within an established tradition, and who was subject to his fair share of influences. Several of these come together in the Fifth Symphony. One was Mozart, with whom he shared a special feeling for the expressive power of the key of C minor; another was the largescale, open-heartedly bombastic music composed for the public celebrations of Revolutionary France; and a third was Haydn, his teacher, who time and time again had shown in his string quartets and symphonies how to construct whole movements from small but highly pregnant thematic cells.

last influence is undoubtedly at its most potent in the highly dramatic first movement, totally dominated as it is by its famous four-note opening motif. Not

Programme notes

that it sounds in any way like Haydn. The music here is astonishingly terse, pared down to the melodic minimum, and the second theme, a relaxed horn-call expansion of the main motif answered by a reassuring embrace from the violins and woodwind, is quickly upon us. Yet it is this consolatory theme which, after a combative development section, reappears in swirling, nightmarish transformation in the movement’s long and turbulent coda.

There is more than a hint of Haydn’s influence, too, in the slow second movement, which has the overall shape of one of his favourite forms, the ‘double variation set’ in which two themes are varied in alternation. The second of Beethoven’s themes provides occasional brief foretastes of the exultant mood of the finale, but at the end of this particular movement it is the more graceful first theme that wins the day.

As in the Fourth Symphony, Beethoven did not call the third movement a scherzo, though in form and function it is one. If there is humour here, however, it is of a grim cast and beset by uncertainty. When a sturdier theme emerges, it is brief and troubled, dominated by a balefully intoned horn-call transformation of the fournote motif from the first movement. The mood lightens in the scurryingly fugal major-key ‘trio’ section (heard twice), but at its second reappearance the first theme, played pizzicato and pianissimo, takes on a stealthy, nocturnal character, before leading us to the most celebrated passage in the whole Symphony. Here, over held string notes and sinister tappings from the timpani, wisps of the first theme are heard, leading us for the moment we know not where. Gradually the excitement rises, until with a last sudden rush we find ourselves propelled into the blazingly triumphant C major of the finale. It is one of the most upliftingly theatrical moments in all music, and the unequivocal joyfulness of the ensuing movement (almost unremittingly loud, by the way, and reinforced for the purpose by Beethoven with trombones, piccolo and double bassoon) is not even diverted by the brief, perhaps mocking reapparance about halfway through of the third movement’s main theme, now gloriously overcome.

Whether one feels the Fifth Symphony as a journey from darkness to light, a depiction of adversity overcome, or as an emergence from some sort of underworld, there is no doubt that it has an effect on the listener that goes beyond the appreciation of its musical and formal niceties. Beethoven himself has left little clue as to what the Symphony is ‘about’, save for

a possibly apocryphal remark to a friend about the first movement: ‘thus Fate knocks at the door’. Yet we know that he thought of many of his instrumental works in programmatic terms; whether or not we as listeners can guess them correctly, the fact that in his greatest symphonies we can sense them so strongly is proof of his success.

Programme notes © Lindsay Kemp

Tune In: new issue out now

Hot off the press is the Autumn/ Winter edition of our twiceyearly LPO magazine, Tune In Scan the QR code or visit issuu.com/londonphilharmonic to read it online, or call 020 7840 4200 to request a copy in the post.

Next concerts at the Congress Theatre

Landscapes and Fairytales

Sunday 11 December 2022 | 3.00pm

Smetana Vltava

Vaughan Williams The Lark Ascending Rimsky-Korsakov Scheherazade

Kerem Hasan conductor Leia Zhu violin

Miloš plays Rodrigo

Sunday 15 January 2023 | 3.00pm

De Falla The Three-Cornered Hat: Suite No. 1

David Bruce The Peacock Pavane Rodrigo Concierto de Aranjuez

Bizet Carmen Suites Nos. 1 & 2 Bizet Farandole from L’Arlésienne Suite No. 2

Karen Kamensek conductor Miloš Karadaglić guitar

Poetry and Passion

Sunday 12 February 2023 | 3.00pm

Tchaikovsky Romeo and Juliet: Fantasy Overture

Tchaikovsky Rococo Variations

Tchaikovsky Symphony No. 5

Gergely Madaras conductor Zlatomir Fung cello*

Romantic Journeys

Sunday 26 March 2023 | 3.00pm

Mendelssohn Symphony No. 3 (Scottish) Rachmaninoff Piano Concerto No. 3

Patrick Hahn conductor Tom Borrow piano

Imaginary Landscapes

Sunday 16 April 2023 | 3.00pm

Mendelssohn Hebrides Overture

Dvořák Violin Concerto Brahms Symphony No. 3

Chloé van Soeterstède conductor Tai Murray violin

Thank you

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

Artistic Director’s Circle

Anonymous donors

Mrs Aline Foriel-Destezet

Aud Jebsen

In memory of Mrs Rita Reay Sir Simon & Lady Robey OBE

Orchestra Circle

William & Alex de Winton

Mr & Mrs Philip Kan

Neil Westreich

The American Friends of the London Philharmonic Orchestra

Principal Associates

Richard Buxton

Gill & Garf Collins

In memory of Brenda Lyndoe Casbon

In memory of Ann Marguerite Collins

Sally Groves MBE George Ramishvili Associates

Mrs Irina Andreeva

In memory of Len & Edna Beech Steven M. Berzin Ms Veronika BorovikKhilchevskaya

The Candide Trust Irina Gofman & Mr Rodrik V. G. Cave Patricia Haitink

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Countess Dominique Loredan Stuart & Bianca Roden

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An anonymous donor

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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

Corporate Donor Barclays

LPO Corporate Circle

Principal Berenberg

Bloomberg Carter-Ruck French Chamber of Commerce

Tutti Lazard Walpole

Trialist Sciteb

Preferred Partners

Gusbourne Estate

Jeroboams

Lindt & Sprüngli Ltd

OneWelbeck Steinway

In-kind Sponsor

Google Inc

Thank you

Trusts and Foundations

ABO Trust

BlueSpark Foundation

The Boltini Trust

Borrows Charitable Trust

The Candide Trust

Cockayne – Grants for the Arts

The London Community Foundation

The D’Oyly Carte Charitable Trust Dunard Fund

Ernst von Siemens Music Foundation

Foyle Foundation

Garrick Charitable Trust

John Horniman’s Children’s Trust

John Thaw Foundation Institute Adam Mickiewicz

Kirby Laing Foundation

The Marchus Trust

The Radcliffe Trust Rivers Foundation Rothschild Foundation RVW Trust Scops Arts Trust

Sir William Boremans' Foundation

The John S Cohen Foundation

The Stanley Picker Trust

The Thriplow Charitable Trust

The Vaughan Williams Charitable Trust

The Victoria Wood Foundation

The Viney Family

The Barbara Whatmore Charitable Trust

and all others who wish to remain anonymous.

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

Jon Carter Jay Goffman Alexandra Jupin Natalie Pray Damien Vanderwilt

Elizabeth Winter Catherine Høgel Hon. Director Jenifer L. Keiser, CPA, EisnerAmper LLP

LPO International Board of Governors

Natasha Tsukanova Co-Chair Martin Höhmann Co-Chair Mrs Irina Andreeva Steven M. Berzin

Veronika Borovik-Khilchevskaya Marie-Laure Favre Gilly de Varennes de Bueil Aline Foriel-Destezet Irina Gofman

Countess Dominique Loredan Olivia Ma George Ramishvili Jay Stein

London Philharmonic Orchestra Administration

Board of Directors

Dr Catherine C. Høgel Chair

Lord Hall of Birkenhead CBE

Vice-Chair

Martin Höhmann* President Mark Vines* Vice-President Kate Birchall*

David Buckley David Burke

Bruno De Kegel Deborah Dolce Elena Dubinets

Tanya Joseph Hugh Kluger*

Katherine Leek*

Al MacCuish Minn Majoe*

Tania Mazzetti*

Jamie Njoku-Goodwin

Andrew Tusa

Neil Westreich

Simon Freakley (Ex officio –Chairman of the American Friends of the London Philharmonic Orchestra)

*Player-Director

Advisory Council

Martin Höhmann Chairman

Christopher Aldren

Dr Manon Antoniazzi

Roger Barron Richard Brass Helen Brocklebank YolanDa Brown

Simon Burke Simon Callow CBE

Desmond Cecil CMG Sir Alan Collins KCVO CMG

Andrew Davenport Guillaume Descottes

Cameron Doley

Christopher Fraser OBE

Jonathan Harris CBE FRICS

Marianna Hay MBE Nicholas Hely-Hutchinson DL Amanda Hill

Rehmet Kassim-Lakha

Jamie Korner

Geoff Mann Clive Marks OBE FCA

Stewart McIlwham Andrew Neill

Nadya Powell

Sir Bernard Rix Victoria Robey OBE Baroness Shackleton

Thomas Sharpe KC

Julian Simmonds

Barry Smith Martin Southgate Chris Viney Laurence Watt Elizabeth Winter

General Administration

Elena Dubinets Artistic Director

David Burke Chief Executive

Chantelle Vircavs PA to the Executive

Concert Management

Roanna Gibson Concerts and Planning Director

Graham Wood Concerts and Recordings Manager

Fabio Sarlo

Glyndebourne and Projects Manager

Maddy Clarke Tours Manager

Alison Jones

Concerts and Recordings Co-ordinator

Robert Winup Concerts and Tours Assistant

Matthew Freeman Recordings Consultant

Andrew Chenery Orchestra Personnel Manager Sarah Thomas Martin Sargeson Librarians

Laura Kitson

Stage and Operations Manager

Stephen O’Flaherty

Deputy Operations Manager

Freddie Jackson Deputy Stage Manager

Felix Lo Orchestra and Auditions Manager

Finance

Frances Slack Finance Director

Dayse Guilherme Finance Manager

Jean-Paul Ramotar Finance and IT Officer

Education and Community

Talia Lash Education and Community Director

Hannah Foakes Lowri Davies Education and Community Project Managers

Development

Laura Willis Development Director

Rosie Morden

Individual Giving Manager

Siân Jenkins

Corporate Relations Manager

Anna Quillin Trusts and Foundations Manager

Katurah Morrish Development Events Manager

Eleanor Conroy Al Levin

Development Assistants

Nick Jackman

Campaigns and Projects Director

Kirstin Peltonen Development Associate

Marketing

Kath Trout Marketing and Communications Director

Mairi Warren Marketing Manager

Rachel Williams Publications Manager Harrie Mayhew Website Manager

Gavin Miller Sales and Ticketing Manager

Ruth Haines

Press and PR Manager

Sophie Harvey Digital and Residencies Marketing Manager

Greg Felton Digital Creative

Alicia Hartley Marketing Assistant

Archives

Philip Stuart Discographer Gillian Pole Recordings Archive

Professional Services

Charles Russell Speechlys Solicitors

Crowe Clark Whitehill LLP Auditors

Dr Barry Grimaldi

Honorary Doctor

Mr Chris Aldren

Honorary ENT Surgeon

Mr Simon Owen-Johnstone Hon. Orthopaedic Surgeon

London Philharmonic Orchestra 89 Albert Embankment London SE1 7TP

Tel: 020 7840 4200

Box Office: 020 7840 4242 Email: admin@lpo.org.uk lpo.org.uk

Cover illustration

Simon Pemberton/Heart 2022/23 season identity

JMG Studio

Printer John Good Ltd