Principal Conductor Edward Gardner supported by Aud Jebsen
Principal Guest Conductor Karina Canellakis
Conductor Emeritus Vladimir Jurowski KBE 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
Wednesday 30 October 2024 | 6.30pm
Karina Canellakis conducts Schumann & Bruckner
R Schumann
Overture, Manfred (12’)
R Schumann
Cello Concerto (26’)
Interval (20’)
Bruckner
Symphony No. 4 (64’)
Karina Canellakis conductor
Truls Mørk cello
Part of
Welcome LPO news
Welcome to the Southbank Centre
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The Chamber Sessions: LPO at St John's Waterloo
We’re excited to announce ‘The Chamber Sessions’, a series of hour-long 6.30pm concerts at St John’s Church, Waterloo, in spring 2025. This follows the success of our 2024 chamber series at St John’s. It’s great to continue our partnership as the church celebrates its 200th year, bringing audiences closer to the music and highlighting the talents of our musicians in a more intimate setting.
The series launches on Thursday 23 January 2025 with a performance featuring LPO Wind Principals in quintet works by Mozart, Hindemith and Valerie Coleman. On Saturday 22 February, a string trio will bring Andrew Norman’s Companion Guide to Rome to life – a captivating musical journey inspired by the city’s churches, after which the New London Chamber Choir will join us for Morton Feldman’s Rothko Chapel, an evocative soundscape paying homage to the visionary artist Mark Rothko. Finally, on Friday 7 March, we present an exciting programme of contemporary works featuring a vibrant mix of styles, by LPO Composer-inResidence Tania León, former LPO Young Composer Daniel Kidane, Hannah Kendall, Jessie Montgomery and Brian Raphael Nabors.
Turn to page 9 for full programme details. Tickets £12–£15: book now at lpo.org.uk/thechambersessions
Behind the scenes with LPO Friends
Earlier today, LPO Friends were treated to an exclusive behind-the-scenes experience, watching Karina Canellakis, Truls Mørk and the Orchestra in rehearsal for tonight's concert and enjoying a rare insight into the preparation and artistry that goes into making each performance so special.
As well as exclusive access to a number of private rehearsals each season, LPO Friends membership puts you at the front of the queue for our Southbank Centre concert bookings, and offers invitations to other events and opportunities to meet LPO musicians throughout the year.
Membership starts from just £6 per month. Interested in finding out more? Scan the QR code or visit lpo.org.uk/support
First Violins
Pieter Schoeman* Leader
Chair supported by Neil Westreich
Alice Ivy-Pemberton Co-Leader
Vesselin Gellev Sub-Leader
Kate Oswin
Chair supported by Eric Tomsett
Minn Majoe
Chair supported by Dr Alex & Maria Chan
Elizaveta Tyun
Cassandra Hamilton
Katalin Varnagy
Yang Zhang
Alice Apreda Howell
Amanda Smith
Kate Cole
Ricky Gore
Jack Greed
Alice Hall
Katherine Waller
Second Violins
Tania Mazzetti Principal
Emma Oldfield Co-Principal
Kate Birchall
Fiona Higham
Chair supported by David & Yi Buckley
Nancy Elan
Nynke Hijlkema
Marie-Anne Mairesse
Joseph Maher
Sioni Williams
Sarah Thornett
Paula Clifton-Everest
Emma Purslow
José Nuno Cabrita Matias
Violas
Nicholas Bootiman Guest Principal
Benedetto Pollani
Katharine Leek
Laura Vallejo
Martin Wray
Chair supported by David & Bettina Harden
Michelle Bruill
James Heron
Raquel López Bolívar
Jisu Song
Julia Doukakis
Toby Warr
Anita Kurowska
On stage tonight
Cellos
Leo Melvin Guest Principal
Waynne Kwon
David Lale
Jane Lindsay
Francis Bucknall
George Hoult
Sue Sutherley
Helen Thomas
Sibylle Hentschel
Hee Yeon Cho
Double Basses
Kevin Rundell* Principal
Hugh Kluger
George Peniston
Tom Walley
Chair supported by William & Alex de Winton
Laura Murphy
Emma Prince
Catherine Ricketts
Martin Ludenbach
Flutes
Juliette Bausor Principal
Hannah Grayson
Oboes
Ian Hardwick* Principal
Alice Munday
Clarinets
Benjamin Mellefont* Principal
Chair supported by Sir Nigel Boardman & Prof. Lynda Gratton
James Maltby
Bassoons
Simon Estell* Principal
Helen Storey
Chair supported by Friends of the Orchestra
Horns
Annemarie Federle Principal
Chair supported by Victoria Robey CBE
John Ryan* Principal
Martin Hobbs
Mark Vines Co-Principal
Gareth Mollison
Trumpets
Paul Beniston* Principal
Tom Nielsen Co-Principal
Anne McAneney*
Chair supported in memory of Peter Coe
Tom Watts
Trombones
Mark Templeton* Principal
Chair supported by William & Alex de Winton
David Whitehouse
Gemma Riley
Bass Trombone
Lyndon Meredith Principal
Tuba
Lee Tsarmaklis* Principal
Chair supported by William & Alex de Winton
Timpani
Simon Carrington* Principal
Chair supported by Victoria Robey CBE
Assistant Conductor
Juya Shin
*Professor at a London conservatoire
The LPO also acknowledges the following chair supporters whose players are not present at this concert:
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. Our mission is to share wonder with the modern world through the power of orchestral music, which we accomplish through live performances, online, and an extensive education and community programme, cementing 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 in Brighton, Eastbourne and Saffron Walden, and on tour worldwide. In 2024 we celebrated 60 years as Resident Symphony Orchestra at Glyndebourne Festival Opera, combining the magic of opera with Glyndebourne’s glorious setting in the Sussex countryside.
Soundtrack to key moments
Everyone will have heard the Grammy-nominated London Philharmonic Orchestra, whether it’s playing the world’s National Anthems for 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
Sharing the wonder worldwide
We’re one of the world’s most-streamed orchestras, with over 15 million plays of our content each month. In 2023 we were the most successful orchestra worldwide on YouTube, TikTok and Instagram, with over 1.1m followers across all platforms, and in spring 2024 we featured in a TV documentary series on Sky Arts: ‘Backstage with the London Philharmonic Orchestra’, still available to watch via Now TV. During 2024/25 we’re once again working with Marquee TV to broadcast selected live concerts to enjoy from your own living room.
Our conductors
Our Principal Conductors have included some of the greatest historic names like Sir Adrian Boult, Bernard Haitink, Klaus Tennstedt and Kurt Masur. In 2021 Edward Gardner became our 13th Principal Conductor, and 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 Tania León our Composer-in-Residence.
Next generations
We’re committed to nurturing the next generation of musicians and music-lovers: we love seeing the joy of children and families experiencing their first musical moments, and we’re passionate about inspiring schools and teachers through dedicated concerts, workshops,
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 disabilities and special educational needs.
Today’s young instrumentalists are the orchestra members of the future, and we have a number of opportunities to support their progression. Our LPO Junior Artists programme leads the way in creating pathways into the profession for young artists from under-represented communities, and our LPO Young Composers and Foyle Future Firsts schemes support the next generation of professional musicians, bridging the transition from education to professional careers. We also recently launched the LPO Conducting Fellowship, supporting the development of two outstanding early-career conductors from backgrounds under-represented in the profession.
2024/25 season
Principal Conductor Edward Gardner leads the Orchestra in an exciting 2024/25 season, with soloists including Joyce DiDonato, Leif Ove Andsnes, Patricia Kopatchinskaja, Víkingur Ólafsson and Isabelle Faust, and works including Strauss’s Alpine Symphony, Ravel’s Daphnis and Chloe and Mahler’s Eighth Symphony. Principal Guest Conductor Karina Canellakis joins us for three concerts including Bruckner’s Fourth Symphony, Tchaikovsky’s Sixth Symphony, and Mozart with pianist Benjamin Grosvenor. We’ll also welcome back Conductor Emeritus Vladimir Jurowski, as well as guest conductors including Mark Elder, Lidiya Yankovskaya, Robin Ticciati and Kevin John Edusei.
Throughout the season we’ll explore the relationship between music and memory in our ‘Moments Remembered’ series, featuring works like Beethoven’s ‘Eroica’ Symphony, Strauss’s Metamorphosen and John Adams’s On the Transmigration of Souls. During the season there’ll be the chance to hear brand new works by composers including Freya Waley-Cohen and David Sawer, as well as performances by renowned soloists violinist Gidon Kremer, sarod player Amjad Ali Khan, soprano Renée Fleming and many more. The season also features tours to Japan, the USA, China and across Europe, as well as a calendar bursting with performances and community events in our Brighton, Eastbourne and Saffron Walden residencies.
Pieter Schoeman 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 Rachmaninoff Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and the Southbank Centre’s Royal Festival Hall. As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. His chamber music partners have included Anne-Sophie Mutter, Veronika Eberle, Patricia Kopatchinskaja, Boris Garlitsky, Jean-Guihen Queyras, Yannick Nézet-Séguin, Martin Helmchen and Julia Fischer.
Pieter has performed numerous times as a soloist with the London Philharmonic Orchestra. Highlights have included an appearance as both conductor and soloist in Vivaldi’s Four Seasons at the Royal Festival Hall, the Brahms Double Concerto with Kristina Blaumane, Florence Price’s Violin Concerto No. 2, and the Britten Double Concerto with Alexander Zemtsov, which was recorded and released on the LPO Label to great critical acclaim.
Pieter has appeared as Guest Leader with the BBC, Barcelona, Bordeaux, Lyon and Baltimore symphony orchestras; the Rotterdam and BBC Philharmonic orchestras; and the Leipzig Gewandhaus Orchestra.
Pieter’s chair in the LPO is generously supported by Neil Westreich.
Principal Guest Conductor, London Philharmonic Orchestra
Karina Canellakis has been Principal Guest Conductor of the London Philharmonic Orchestra since September 2021, and recently extended her contract for a further three years, to the end of the 2026/27 season. She has also been Chief Conductor of the Netherlands Radio Philharmonic Orchestra (RFO) since 2019. Universally acclaimed for symphonic and operatic performances characterised by their emotional impact, interpretive depth and technical command, Karina is welcomed by the finest musical institutions across the globe.
Tonight is the first of three Royal Festival Hall concerts with the LPO this season – Karina returns this Saturday (2 November) for a concert featuring Tchaikovsky’s Sixth Symphony alongside works by Saariaho and Beethoven with pianist Vadym Kholodenko, and again on 29 January 2025 for a programme of Sibelius and Mozart with pianist Benjamin Grosvenor. Last season she conducted the LPO in three concerts at the Royal Festival Hall, and led the Orchestra on tour to Munich and Vienna.
As Chief Conductor of the Netherlands Radio Philharmonic Orchestra, Karina programmes and leads a diverse and eclectic 2024/25 season of new works by living composers alongside great masterworks, at Amsterdam’s Concertgebouw and the TivoliVredenburg in Utrecht. Symphonic highlights include Mahler’s Third Symphony, Brahms’s German Requiem and Elgar’s The Dream of Gerontius.
Guest engagements this season include debuts with the Royal Concertgebouw Orchestra and the Staatskapelle Dresden, as well as return visits to the Munich Philharmonic Orchestra, Bavarian Radio Symphony Orchestra, Orchestre de Paris, New York
Philharmonic, Chicago Symphony Orchestra and Washington DC’s National Symphony Orchestra.
This December, Karina returns to the Théâtre des Champs-Elysées in Paris to conduct Poulenc’s Dialogues des Carmélites with Les Siècles. She conducts at least one opera-in-concert each season with the RFO at the Concertgebouw, and this season will lead Janáček’s From the House of the Dead, completing a cycle of Janáček operas over the past three seasons. Last season she also led Wagner’s complete Siegfried, having previously conducted acts from Tristan und Isolde and Die Walküre. She made her Santa Fe Opera debut last summer with Strauss’s Der Rosenkavalier, and in previous seasons has conducted a wide range of operas including Tchaikovsky’s Eugene Onegin and Mozart’s Don Giovanni, Die Zauberflöte and Le nozze di Figaro
April 2023 saw the start of a multi-album collaboration between Karina, the Netherlands Radio Philharmonic and Pentatone with their debut release: Bartók’s Concerto for Orchestra and Four Orchestral Pieces, earning a GRAMMY nomination. Her second album for Pentatone, Bartók’s Bluebeard’s Castle, is due for release in February 2025. Karina and the RFO were also featured artists for the launch of Apple Music Classical with a recording of Beethoven’s Piano Concerto No. 1 with Alice Sara Ott.
Since winning the Sir Georg Solti Conducting Award in 2016, Karina has developed close relationships with several of the world’s leading orchestras. She was Principal Guest Conductor of the Berlin Radio Symphony Orchestra from 2019–23, and in 2023/24 was a featured Artist-in-Residence at Vienna’s Musikverein. She has toured Australia and will make her debut in Japan in July 2025.
Already known to many in the classical music world as a virtuoso violinist, Karina was encouraged to pursue conducting by Sir Simon Rattle while playing in the Berlin Philharmonic’s Orchestre-Akademie. She performed for several years as soloist, guest leader and chamber musician, spending many summers at the Marlboro Music Festival, until conducting eventually became her focus.
Karina Canellakis was born and raised in New York City. She now makes her home in Amsterdam with her husband and two children.
London Philharmonic Orchestra • 30 October 2024 • Karina Canellakis conducts Schumann & Bruckner
Truls Mørk
cello
Truls Mørk’s compelling performances, combining fierce intensity, integrity and grace, have established him as one of the preeminent cellists of our time. He performs with the most distinguished orchestras including the London Philharmonic Orchestra, Philharmonia Orchestra, Orchestre de Paris, Berlin Philharmonic, Vienna Philharmonic, Royal Concertgebouw Orchestra, Leipzig Gewandhaus Orchestra and Munich Philharmonic. In North America he has appeared with the New York Philharmonic, the Philadelphia and Cleveland orchestras, the Boston Symphony Orchestra and the Los Angeles Philharmonic. Conductor collaborations include Esa-Pekka Salonen, David Zinman, Manfred Honeck, Gustavo Dudamel, Sir Simon Rattle, Kent Nagano, Yannick Nézet-Séguin and Christoph Eschenbach, amongst others.
Truls Mørk’s last appearance with the London Philharmonic Orchestra was in November 2021, when he performed Saint-Saëns’s Cello Concerto No. 1 under Klaus Mäkelä here at the Royal Festival Hall.
The 2024/25 season sees Truls return to the Rotterdam and Bergen Philharmonic orchestras, RAI National Symphony Orchestra Turin, Orchestre Phiharmonique de Radio France and Vienna Radio Symphony Orchestra.
A great champion of contemporary music, Truls Mørk has given over 30 premieres. He has also given highly successful performances of Esa-Pekka Salonen’s Cello Concerto, conducted by the composer at the Royal Festival Hall, Lincoln Center and Aix-en-Provence Festival. In collaboration with Klaus Mäkelä, he performed the Salonen Cello Concerto with the Orchestre Philharmonique de Radio France and the
Oslo Philharmonic Orchestra. Other commissions include Victoria Borisova-Ollas’s cello concerto Oh Giselle, Remember Me; Rautavaara’s Towards the Horizon with the BBC Symphony Orchestra and John Storgårds; Haas’s Cello Concerto with the Vienna Philharmonic and Jonathan Nott; Penderecki’s Concerto for Three Cellos with the NHK Symphony Orchestra and Charles Dutoit; and Hafliði Hallgrímsson’s Cello Concerto, co-commissioned by the Oslo Philharmonic, Iceland Symphony and Scottish Chamber orchestras.
With an impressive recording output, Truls Mørk has recorded many of the great cello concertos for labels such as Virgin Classics, EMI, Deutsche Grammophon, Ondine, Arte Nova and Chandos, many of which have won international awards including Gramophone, Grammy, MIDEM and ECHO Klassik awards. These include Dvořák’s Concerto (Mariss Jansons/Oslo Philharmonic); Britten’s Cello Symphony and Elgar’s Concerto (Sir Simon Rattle/CBSO); Miaskovsky’s Concerto and Prokofiev’s Sinfonia Concertante (Paavo Järvi/CBSO); Dutilleux (Myung-Whun Chung/Orchestre Philharmonique de Radio France); CPE Bach (Bernard Labadie/Les Violons du Roy); Haydn’s Concertos (Iona Brown/Norwegian Chamber Orchestra); and Rautavaara’s Towards the Horizon (John Storgårds/ Helsinki Philharmonic Orchestra), as well as the complete Bach and Britten Cello Suites. Later recordings include Shostakovich’s Concertos with the Oslo Philharmonic Orchestra/Vasily Petrenko; Massenet’s works for cello and orchestra with the Orchestre de la Suisse Romande/Neeme Järvi; and the Saint-Saëns Concertos with the Bergen Philharmonic Orchestra/ Neeme Järvi. His most recent recording features sonatas by Bridge, Britten and Debussy, performed with pianist Håvard Gimse and released on Alpha Classics.
Initially taught by his father, Truls Mørk continued his studies with Frans Helmerson, Heinrich Schiff and Natalia Schakowskaya. Early in his career he won the Moscow Tchaikovsky Competition (1982), the Cassado Cello Competition (1983), the Unesco Prize at the European Radio-Union Competition in Bratislava (1983), and the Naumberg Competition in New York (1986).
by Jeremy Eichler, LPO Writer-in-Residence 2024/25
Is music the ultimate medium of memory?
Ever since the mythical poet Orpheus retrieved his beloved Eurydice from the underworld through the magical power of his song, music has been summoning souls, bridging time, and raising the dead. Its ability to trigger flights of memory is a phenomenon many people still experience: think, for instance, of the song that pops up on the car radio and, like Proust’s madeleine, instantly calls to mind a moment or experience that took place years or even decades earlier.
Yet as so many works presented across the London Philharmonic Orchestra’s 2024/25 season will illustrate, it is not just we who remember music. Music also remembers us. Music reflects the individuals and the societies that create it, capturing something essential about the era of its birth. When a composer in 1824 consciously or unconsciously distils worlds of thought, fantasy and emotion into a series of notes on a page, and then we hear those same notes realized in a performance two centuries later, we are hearing the past literally speaking in the present.
In this sense, music can fleetingly reorder the past, bring closer that which is distant, and confound the one-way linearity of time. In these very ways, music shares a profound affinity with memory itself. For memory by definition also challenges the pastness of the past and the objective distance of history; it also reorders time and flouts the forward march of the years. An event seared in memory from decades ago may haunt the mind with a power far greater than events that took place only yesterday. Indeed, while Mnemosyne, the Greek goddess of memory, was said to be mother of all the Muses, one daughter may stand as first among equals. Memory resonates with the cadences, the revelations, the opacities and the poignancies of music.
But what exactly can music remember? How does it do so differently to other art forms? Whose stories are
being recalled? Who is doing the remembering? And toward what ends are we being asked to recollect?
Over the course of its 2024/25 season, the LPO will explore these questions through no fewer than 15 programmes, a curated gallery of sonic memory. Some will represent iconic figures at the heart of the Western musical tradition (such as Haydn, Beethoven, Schoenberg, Britten, Strauss, Shostakovich and Prokofiev). Some carry forward lesser-known but essential 20th-century voices (Mieczysław Weinberg, Boris Lyatoshynsky, Julia Perry). And some are by living composers (György Kurtág, John Adams, Freya WaleyCohen, Evan Williams, Dinuk Wijeratne), artists who ply their craft while looking both forward and back, creating memories of yesterday for the world of tomorrow.
Across this season we will find sonic bridges to the wartime past, the utopian past, the personal past, the national past, the literary past, the imagined past, the forgotten past, the obliterated past. Implicit in this journey is an awareness of memory’s complexity and contingency, beginning with Beethoven’s ‘Eroica’, a work whose original dedication to Napoleon was itself renounced with a fury that tore the composer’s manuscript paper. And the season ends with the cosmos-embracing euphoria of Mahler’s Eighth Symphony, itself a Goethe-inspired memory of earlier Enlightenment dreams, etched at the dawn of the modern world.
Along the way, many of the works treat, implicitly or explicitly, the great ruptures of the 20th century, including extraordinary sonic monuments to the Second World War and the Holocaust. We may feel we already know these epochal events through history books. But the information accumulating on library shelves provides just one mode of access. The survivor Jean Améry once went as far as bitterly attacking what he saw as his own era’s tendency to publish books about the horrors of the Holocaust in order to forget those
horrors with a clean conscience, to relegate a shocking and morally unassimilable past to ‘the cold storage of history’.
Music, on the other hand, possesses a unique and often underappreciated power to burn through history’s cold storage, to release its frozen stores of meaning and emotion. Its power may originate in the visceral immediacy of sound itself: sound surrounds us, penetrates our bodies, vibrates within us. Listening to a song, the critic John Berger once wrote, ‘we find ourselves inside a message.’ But music’s potency as a medium of cultural memory also flows from its mysterious capacity to bridge intellect and emotion; its ability to short-circuit the centuries by yoking ‘then’ and ‘now’ within a single performance; and its haunting way of expressing deep yet untranslatable truths that lie beyond the province of language. Thomas Mann called this last quality the ‘spoken unspokenness’ that belongs to music alone.
Each of the season’s works can and should be experienced on its own terms, but one hopes they will also add up to something greater than the sum of their parts. Listeners, in short, are being invited to consider music not only as aesthetic entertainment or even spiritual uplift – but as a unique witness to history and carrier of memory, a window onto humanity’s hopes, dreams and cataclysms. This approach can yield dividends all its own. Indeed, to listen with an awareness of music as an echo of past time opens the possibility of hearing so much more. Here, in essence, are the sounds of culture’s memory, resonating between and behind the notes.
lpo.org.uk/whats-on/london
Jeremy Eichler is a critic and historian based at Tufts University, Massachusetts, as well as the LPO’s inaugural Writer-in-Residence. Portions of this essay were adapted from his award-winning book Time’s Echo: Music, Memory, and the Second World War, recently published in paperback (Faber, 2023).
The Chamber Sessions
Get closer to the action in three special rush-hour concerts by the London Philharmonic Orchestra at St John’s Church, Waterloo.
Thursday 23 January 2025 | 6.30pm
Wind Quintets: Past to Present
Mozart Quintet in E-flat major for Piano and Winds
Hindemith Kleine Kammermusik for Wind Quintet
Valerie Coleman Tzigane for Wind Quintet
Featuring LPO Wind Principals
Concert generously supported by TIOC Foundation
Saturday 22 February 2025 | 6.30pm Rothko Chapel
Andrew Norman The Companion Guide to Rome
Feldman Rothko Chapel
Featuring New London Chamber Choir
Friday 7 March 2025 | 6.30pm
Echoes of Now
Tania León String Quartet No. 2
Jessie Montgomery Break Away
Brian Raphael Nabors Jump
Daniel Kidane Foreign Tongues
Hannah Kendall Vera
Tickets £12–£15 lpo.org.uk/thechambersessions
Programme notes
Robert Schumann
1810–56
Overture, Manfred
1848–49
The character of Manfred, creation of the archRomantic Lord Byron, fascinated many 19th-century artists. In his dramatic poem Manfred, many of the obsessions of the age are brought together, and clothed in compelling dramatic verse. Manfred is an outcast, a wanderer, heroic yet tormented, godlike but tragically flawed – ‘half-dust, half-deity’ is Byron’s description. But he has a magnificent pride, leading him ultimately to defy Heaven and Hell alike. The settings are wonderful too: a lonely, gloomy castle, Alpine crags, and finally the underworld. To cap it all, Manfred is tormented with guilt for a sin he cannot remember. This turns out to be his incestuous love for his deceased sister, Astarte, but for most of the poem it is the namelessness of Manfred’s ‘crime’ – his unconsciousness of the source of his guilt –that makes it so poignant and intriguing. The fact that Byron regretted publishing Manfred, and expressed the wish that it should never be performed, only added to the drama’s alluring mystique.
It isn’t clear when Robert Schumann first discovered Byron’s Manfred, but by 1848 he had become intensely absorbed in it. His wife Clara wrote that the poetry ‘inspired Robert to an extraordinary degree’. Another friend remembered an occasion when Schumann read Manfred aloud: ‘Suddenly his voice failed him, his eyes filled with tears, and he was so overcome with emotion that he could read no further.’ On one level it is easy to see why Manfred should have moved this composer so much. Both Byron and Schumann were complex, hypersensitive and given to emotional extremes; there is concrete evidence that they were both manicdepressive. The mysterious guilt from which Manfred suffers is a frequent symptom of the depressive phase. And like Manfred, Schumann had a sister who died dreadfully young – in this case by her own hand. Schumann was also much disturbed by the death of his friend Felix Mendelssohn in 1847. All of these factors may have combined to give extra urgency to the music he wrote to accompany Byron’s play in 1848–49.
There is some fine music in Schumann’s Manfred score, but the outstanding movement is its Overture. This compact, superbly argued symphonic drama is one of the gems of the Romantic orchestral repertoire. First, three thrusting chords register Manfred’s internal strife with tremendous economy; then plaintive woodwind and strings seem to cry out for compassion. However, the tempo soon accelerates and a restless, driven Allegro emerges. For this Overture Schumann chose an especially dark key, E-flat minor – challenging for the strings, yet the sense of strain that creates adds to the intensity. The momentum is gripping, yet at the end, the Allegro peters out, leaving the plaintive woodwind and string figures from the beginning to bring the Overture to an unmistakably tragic conclusion.
Recommended recordings of tonight’s works by Laurie Watt
R Schumann: Overture, Manfred Swedish Chamber Orchestra | Thomas Dausgaard (BIS download) or WDR Sinfonieorchester Köln | Hans Vonk (Warner, with the Cello Concerto performed by Truls Mørk)
R Schumann: Cello Concerto Truls Mørk | WDR Sinfonieorchester Köln | Hans Vonk (Warner)
Bruckner: Symphony No. 4 London Philharmonic Orchestra | Klaus Tennstedt (LPO Label LPO-0014: see page 16)
Programme notes
Robert Schumann
1810–56
Cello Concerto in A minor, Op. 129 1850
Truls Mørk cello
1 Nicht zu schnell [Not too fast]–2 Langsam [Slowly] –3 Sehr lebhaft [Very lively]
Robert Schumann never wrote a Cello Concerto. On 2 September 1850, he arrived with his wife Clara in Düsseldorf, where he had accepted the position of Music Director for the city. Düsseldorf fell over itself to welcome the couple; their hotel rooms were decked with flowers, and when Robert entered the hall where he was to hear a concert in his honour, trumpeters sounded a fanfare. Within a month he’d settled into a pleasant and productive routine. He’d work all morning, take a stroll with Clara, lunch at one, and then work until early evening, before repairing to a local restaurant to read the papers and enjoy a stein of beer. And in October 1850, under these happy conditions, and in barely six days, he wrote a ‘Concert Piece [Konzertstück] for Cello with accompaniment for orchestra’.
We don’t know why or for whom Schumann wrote it (and it wouldn’t be performed in public until June 1860 – four years after his death). But we do know that he never called it a Cello Concerto. Later musicians, eager to put one of the 19th century’s most subversive creative imaginations back in its box, have done that, and the term has stuck. But Schumann was a professional writer – indeed, one of the most brilliant of all music critics – and he chose his words carefully. The word ‘concerto’, after all, derives from the idea of competition – and for 19th-century composers, especially German ones, the example of Beethoven’s concertos, mighty battles-royal between orchestra and soloist, was overwhelming.
London Philharmonic Orchestra • 30 October 2024 • Karina Canellakis conducts Schumann & Bruckner
Programme notes
Schumann didn’t think that way; for him, the cello (which he’d played himself as a student), was, like the clarinet and the horn, the Romantic instrument par excellence In numerous shorter works he made it the partner in a poetic dialogue with the piano; now, it’s a figure in a dark-hued orchestral landscape – not a battling hero. Imagine one of one of those solitary wanderers in Caspar David Friedrich’s landscape paintings.
So this isn’t a ‘Concerto’ concerto; its three movements play without a break in an expansive 30-minute arc, and the emphasis is on song rather than fireworks. Even in the bustling finale, Schumann can’t resist that
warm-hearted urge to take the listener aside and exchange a tender confidence. Not that the music lacks passion; in fact, in the absence of orchestral bombast, an ardent soloist with a glorious tone is absolutely essential. We need have no worries on that count tonight. Expect to hear reaffirmed musicologist Donald Tovey’s observation that in this deeply personal work, ‘the qualities of the violoncello are exactly those of the beloved enthusiastic dreamer whom we know as Schumann’.
An announcement will be made five minutes before the end of the interval.
Coming soon on the LPO Label: Edward Gardner conducts Tippett
Tippett Piano Concerto
Tippett Symphony No. 2
Edward Gardner conductor
Steven Osborne piano
London Philharmonic Orchestra
Recorded live in concert at the Royal Festival Hall
Released 29 November 2024
‘ It would be hard to imagine a more convincing account of the Piano Concerto than the one Steven Osborne conjured here.’ ★★★★
The Guardian (concert review)
Available on CD, and to download or stream via Spotify, Apple Music, Presto Music and others. Scan the QR code to pre-add or find out more.
Programme notes
Anton Bruckner
1824–96
Symphony No. 4 in E flat major (‘Romantic’)
(Nowak edition, revised 1878 with 1880 Finale)
1 Bewegt, nicht zu schnell [Lively, not too fast]
2 Andante, quasi Allegretto
3 Scherzo: Bewegt [Lively] – Trio: Nicht zu schnell. Keinesfalls schleppend [Not too fast. But not dragging] – Scherzo
4 Finale: Bewegt, doch nicht zu schnell [Lively, but not too fast]
Bruckner was quite clear about it: the Fourth was his ‘Romantic’ Symphony. So why single out this work in particular? All his symphonies are clearly products of the Romantic era, however much they may owe to the counterpoint of Palestrina and Bach, or to the architecture of the great Austrian cathedrals in which Bruckner (a superb organist and a devout Roman Catholic) worked and found spiritual refuge. When it first appeared, the Fourth Symphony was provided with a picturesque descriptive programme, inviting listeners to imagine dawn over a medieval town, processions of knights, hunting scenes, etc. In fact Bruckner probably had little to do with this; almost certainly his arm was twisted by over-zealous friends, anxious to help the still largely sceptical Viennese musical public get to grips with such a long, complex and highly original new work.
And yet for many, the Fourth Symphony does have an extraordinary power to conjure up moods or mental pictures. The magical opening – solo horn-calls sounding through quietly shimmering string tremolandos – is clearly forest music, particularly Austrian-German forest music in the Romantic tradition of Schubert, or Weber’s classic nationalist opera Der Freischütz. What this beginning also reveals is Bruckner’s newfound confidence as a symphonist. From the horn theme, through the long following crescendo to the arrival of the second main theme, fortissimo, on bass brass, the music flows forward like
Programme notes
a great river. As the movement unfolds, Bruckner may allow himself pauses for breath or reflection, like a walker stopping to admire a fine view, but soon the steady momentum is re-established. The horn theme returns twice in its original form: at the start of the recapitulation (with a touchingly simple countermelody on flute), and the very end of the movement, where its first phrase sounds out thrillingly on all four horns in unison.
The typical Bruckner slow movement is a profound, songful Adagio meditation. Here, however, we have something closer to a funeral march, or at least a melancholy nocturnal procession. But although the tempo marking – Andante, quasi Allegretto – suggests a mobile pace, the underlying pulse feels slow, the landscape even more spacious than that opened out in the Symphony’s opening pages. The feeling of immense shadowy space is enhanced by the second theme: violas singing long, calm phrases through quiet pizzicato (plucked) chords. There are moments of mesmerising stillness, in which solo woodwinds and horns call to each other like birds across wide distances. This movement could have been written to illustrate the marvellous German word Waldeinsamkeit: the unique sense of aloneness one feels in a forest. Eventually this march theme rouses itself to a magnificent climax. But the splendour soon fades, and we are left with the march rhythm on solitary timpani, and sadly falling phrases on horn, viola and clarinet.
The Fourth Symphony’s descriptive programme compares the Scherzo to hunting scenes. All very apt –up to a point. But there is something almost cosmic about this music, as though the horses were careering across the skies rather than thundering over the earth. The slower central Trio section, however, is a delicious example of the cosy, rustic Bruckner: a lazily contented Ländler (country cousin of the Viennese waltz) is murmured by oboe and clarinet. Then the ‘cosmically’ galloping Scherzo returns in full.
The Finale is the longest and most exploratory of the four movements. Bruckner claimed that the main theme came to him in a dream, played by a friend who told Bruckner, ‘The first three movements of the Romantic (Fourth) Symphony are ready, and we’ll soon find the theme for the fourth. Go to the piano and play it for me.’ Bruckner tells us: ‘I was so excited that I woke up, leaped out of bed and wrote the theme down, just as I’d heard it.’ Almost certainly this dream-given idea is the elemental unison theme for full orchestra that enters at the height of the first crescendo – strikingly, one of the
few passages that remained essentially unchanged in the two major revisions Bruckner made of this movement.
Clarifying the form of this Finale caused Bruckner immense trouble, and there is evidence he wasn’t satisfied even after he’d completed this supposedly ‘final’ version. Even some Bruckner lovers have tended to agree with him: certainly there are splendid ideas, but there are also passages in which the music momentarily seems to lose its way. But then Bruckner is attempting something highly original here: not a fast classical finale, but a huge summing up that contrasts dramatic assertion with moments of anxious uncertainty or, in at the other extreme, meditative calm. Give Bruckner the benefit of the doubt, however, and patience is ultimately rewarded, with interest. The long final crescendo, beginning in minor-key darkness with the first theme sounding quietly through shimmering strings, is one of Bruckner’s most superbly engineered symphonic summations, ending in a blaze of major-key glory. In the final moments, horns recall thrillingly the solo horn theme that set everything in motion at the start of the first movement. We have come full circle.
We hope you enjoyed tonight’s concert. Could you spare a few moments afterwards to complete a short survey about your experience? Your feedback is invaluable to us and will help to shape our future plans. Just scan the QR code to begin the survey. Thank you!
Tchaikovsky’s Sixth
Saturday 2 November 2024
7.30pm
Saariaho Lumière et Pesanteur
Beethoven Piano Concerto No. 3
Tchaikovsky Symphony No. 6 (Pathétique)
Karina Canellakis conductor
Vadym Kholodenko piano
Víkingur Ólafsson plays Brahms
Wednesday 6 November 2024
7.30pm
Brahms Piano Concerto No. 1
Freya Waley-Cohen Mother Tongue (world premiere)*
Bartók The Miraculous Mandarin Suite
Edward Gardner conductor
Víkingur Ólafsson piano
*Commissioned by the London Philharmonic Orchestra
A Dark Century
Wednesday 27 November 2024
7.30pm
Schoenberg A Survivor from Warsaw
Weinberg Violin Concerto
Shostakovich Symphony No. 13 (Babi Yar)
Andrey Boreyko conductor
Gidon Kremer violin
Alexander Roslavets narrator/bass
London Philharmonic Choir
Bruckner on the LPO Label
Scan the QR codes to listen now
Symphony No. 3
conducted by Stanisław Skrowaczewski LPO-0084
Symphony No. 5
conducted by Stanisław Skrowaczewski
LPO-0090
Symphony No. 7
conducted by Stanisław Skrowaczewski LPO-0071
Symphony No. 8
Conducted by Klaus Tennstedt LPO-0032
Symphony No. 4 conducted by Klaus Tennstedt LPO-0014
Symphony No. 6 conducted by Christoph Eschenbach LPO-0049
Symphony No. 7 conducted by Klaus Tennstedt LPO-0030
All LPO Label recordings are available on CD from all good outlets, and to download or stream via Apple Music Classical, Spotify, Idagio and others.
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 CBE
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 KC
Diana & Allan Morgenthau
Charitable Trust
Dr Karen Morton
Mr Roger Phillimore
Ruth Rattenbury
The Reed Foundation
The Rind Foundation
Sir Bernard Rix
David Ross & Line Forestier (Canada)
Carolina & Martin Schwab
Dr Brian Smith
Lady Valerie Solti
Mr & Mrs G Stein
Dr Peter Stephenson
Miss Anne Stoddart
TFS Loans Limited
Marina Vaizey
Jenny Watson
Guy & Utti Whittaker
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
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
The American Friends of the London Philharmonic Orchestra
William & Alex de Winton
Catherine Høgel & Ben Mardle
Aud Jebsen
In memory of Mrs Rita Reay
Sir Simon & Lady Robey CBE
Orchestra Circle
Mr & Mrs Philip Kan
Neil Westreich
Principal Associates
An anonymous donor
Mrs Irina Andreeva
Steven M. Berzin
Richard Buxton
Gill & Garf Collins
In memory of Brenda Lyndoe Casbon
In memory of Ann Marguerite
Collins
Irina Gofman & Mr Rodrik V. G.
Cave
Patricia Haitink
George Ramishvili
In memory of Kenneth Shaw
The Tsukanov Family
Mr Florian Wunderlich
Associates
In memory of Len & Edna Beech
Sir Nigel Boardman & Prof. Lynda Gratton
The Candide Trust
Stuart & Bianca Roden
In memory of Hazel Amy Smith
Gold Patrons
An anonymous donor
David & Yi Buckley
Dr Alex & Maria Chan
In memory of Allner Mavis Channing
In memory of Peter Coe
Michelle Crowe Hernandez
Hamish & Sophie Forsyth
Virginia Gabbertas MBE
Jenny & Duncan Goldie-Scot
Mr Roger Greenwood
Malcolm Herring
Julian & Gill Simmonds
Mr Brian Smith
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Eric Tomsett
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Guy & Utti Whittaker
Silver Patrons
David Burke & Valerie Graham
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Fiona Espenhahn in memory of Peter
Prof. Erol & Mrs Deniz Gelenbe
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Charitable Trust
Iain & Alicia Hasnip
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Mrs Elizabeth Meshkvicheva
Dr Irene Rosner David
Tom & Phillis Sharpe
Jenny Watson CBE
Laurence Watt
Bronze Patrons
Anonymous donors
Chris Aldren
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Guy Davies
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Kolobov
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Wg. Cdr. M T Liddiard OBE JP
RAF
Drs Frank & Gek Lim
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John Nickson & Simon Rew
Peter Noble & L Vella
Mikhail Noskov & Vasilina
Bindley
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Mr Roger Phillimore
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Marie Power
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Principal Supporters
Anonymous donors
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Mrs A Beare
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David Devons
Deborah Dolce
In memory of Enid Gofton
Prof Emeritus John Gruzelier
Mrs Farrah Jamal
Bruce & Joanna Jenkyn-Jones
Per Jonsson
Tanya Joseph
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Jozef & Helen Kotz
Mr Peter Mace
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Kseniia Rubina
Mr Andrea Santacroce & Olivia Veillet-Lavallée
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Supporters
Anonymous donors
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Sarah Connor
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Steve Goldring
In memory of Derek Gray
Nick Hely-Hutchinson
The Jackman Family
Molly Jackson
Jan Leigh & Jan Rynkiewicz
Mr David MacFarlane
Simon Moore
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Dana Mosevicz
Dame Jane Newell DBE
Diana G Oosterveld
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Clarence Tan
Tony & Hilary Vines
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Mr John Weekes
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Mr C D Yates
Hon. Benefactor
Elliott Bernerd
Hon. Life Members
Alfonso Aijón
Carol Colburn Grigor CBE
Pehr G Gyllenhammar
Robert Hill
Keith Millar
Victoria Robey CBE
Mrs Jackie Rosenfeld OBE
Cornelia Schmid
Timothy Walker CBE AM Laurence Watt
Thomas Beecham
Group Members
Sir Nigel Boardman & Prof. Lynda Gratton
David & Yi Buckley
In memory of Peter Coe
Dr Alex & Maria Chan
Garf & Gill Collins
William & Alex de Winton
The Friends of the LPO
Irina Gofman & Mr Rodrik V. G.
Cave
Mr Roger Greenwood
Barry Grimaldi
David & Bettina Harden
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Sir Simon Robey
Victoria Robey OBE
Stuart & Bianca Roden
Julian & Gill Simmonds
Eric Tomsett
Neil Westreich
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LPO Corporate Circle
Principal
Bloomberg
Carter-Ruck Solicitors
French Chamber of Commerce
Ryze Power
Tutti
German-British Chamber of Industry & Commerce
Lazard
Natixis Corporate Investment
Banking
Walpole
Thank you
Preferred Partners
Jeroboams
Lindt & Sprüngli Ltd
Neal’s Yard Remedies
OneWelbeck
Sipsmith
Steinway & Sons
In-kind Sponsor
Google Inc
Trusts and Foundations
ABO Trust
Art Mentor Foundation Lucerne
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The Boltini Trust
Candide Trust
Cockayne Grants for the Arts in London
Dunard Fund
Ernst von Siemens Music Foundation
Foyle Foundation
Garfield Weston Foundation
Garrick Charitable Trust
The Golsoncott Foundation
Jerwood Foundation
John Coates Charitable Trust
John Horniman’s Children’s Trust
John Thaw Foundation
Idlewild Trust
Institute Adam Mickiewicz
Kirby Laing Foundation
The John S Cohen Foundation
The Lennox Hannay Charitable Trust
Kurt Weill Foundation
Lord and Lady Lurgan Trust
Lucille Graham Trust
The Marchus Trust
Maria Bjӧrnson Memorial Fund
PRS Foundation
The R K Charitable Trust
The Radcliffe Trust
Rivers Foundation
Rothschild Foundation
Scops Arts Trust
TIOC Foundation
Vaughan Williams Foundation
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
Kara Boyle
Jon Carter
Jay Goffman
Alexandra Jupin
Natalie Pray MBE
Damien Vanderwilt
Marc Wassermann
Elizabeth Winter
Catherine Høgel Hon. Director
LPO International Board of Governors
Natasha Tsukanova Chair
Mrs Irina Andreeva
Steven M. Berzin
Shashank Bhagat
Irina Gofman
Olivia Ma
George Ramishvili
Florian Wunderlich
London Philharmonic Orchestra Administration
Board of Directors
Dr Catherine C. Høgel Chair
Nigel Boardman Vice-Chair
Mark Vines* President
Kate Birchall* Vice-President
Emily Benn
David Buckley
David Burke
Michelle Crowe Hernandez
Deborah Dolce
Elena Dubinets
Simon Estell*
Tanya Joseph
Katherine Leek*
Minn Majoe*
Tania Mazzetti*
Jamie Njoku-Goodwin
Neil Westreich
David Whitehouse*
Simon Freakley (Ex officio –
Chairman of the American Friends of the LPO)
*Player-Director
Advisory Council
Roger Barron Chairman
Christopher Aldren
Kate Birchall
Richard Brass
Helen Brocklebank
YolanDa Brown OBE
David Burke
Simon Burke
Simon Callow CBE
Desmond Cecil CMG
Jane Coulson
Andrew Davenport
Guillaume Descottes
Cameron Doley
Elena Dubinets
Lena Fankhauser
Christopher Fraser OBE
Jenny Goldie-Scot
Jonathan Harris CBE FRICS
Nicholas Hely-Hutchinson DL
Dr Catherine C. Høgel
Martin Höhmann
Jamie Korner
Andrew Neill
Nadya Powell
Sir Bernard Rix
Victoria Robey CBE
Baroness Shackleton
Thomas Sharpe KC
Julian Simmonds
Daisuke Tsuchiya
Mark Vines
Chris Viney
Laurence Watt
Elizabeth Winter
New Generation Board
Ellie Ajao
Peter De Souza
Vivek Haria
Rianna Henriques
Pasha Orleans-Foli
Zerlina Vulliamy
General Administration
Elena Dubinets
Artistic Director
David Burke
Chief Executive
Ineza Grabowska
PA to the Executive & Office Manager
Concert Management
Roanna Gibson
Concerts & Planning Director
Graham Wood
Concerts & Recordings Manager
Maddy Clarke Tours Manager
Madeleine Ridout
Glyndebourne & Projects Manager
Alison Jones
Concerts & Artists Co-ordinator
Dora Kmezić
Concerts & Recordings Co-ordinator
Tom Cameron
Concerts & Tours Assistant
Matthew Freeman
Recordings Consultant
Andrew Chenery
Orchestra Personnel Manager
Helen Phipps
Orchestra & Auditions Manager
Sarah Thomas
Martin Sargeson Librarians
Laura Kitson
Stage & Operations Manager
Stephen O’Flaherty
Deputy Operations Manager
Benjamin Wakley
Deputy Stage Manager
Finance
Frances Slack
Finance Director
Dayse Guilherme Finance Manager
Jean-Paul Ramotar Finance & IT Officer
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Talia Lash
Education & Community Director
Lowri Davies
Eleanor Jones
Education & Community Project Managers
Hannah Smith
Education & Community Co-ordinator
Claudia Clarkson
Regional Partnerships Manager
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Laura Willis
Development Director
Rosie Morden
Individual Giving Manager
Owen Mortimer Corporate Relations Manager
Anna Quillin
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Eleanor Conroy
Development Events Manager
Al Levin
Development Co-ordinator
Holly Eagles Development Assistant
Nick Jackman
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Kirstin Peltonen
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Kath Trout
Marketing & Communications Director
Sophie Lonergan (née Harvey) Marketing Manager
Rachel Williams
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Josh Clark
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Georgie Blyth
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Greg Felton
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Alicia Hartley
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Isobel Jones
Marketing Co-ordinator
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Philip Stuart
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Gillian Pole
Recordings Archive
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Dr Barry Grimaldi
Honorary Doctor
Mr Chris Aldren
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Mr Simon Owen-Johnstone
Hon. Orthopaedic Surgeon
London Philharmonic
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