LPO concert programme: 4 Dec 2021 - James MacMillan's Christmas Oratorio (Mark Elder, 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 4 December 2021 | 7.30pm

James MacMillan Christmas Oratorio UK premiere Sir Mark Elder conductor Lucy Crowe soprano Roderick Williams baritone London Philharmonic Choir Artistic Director: Neville Creed

There will be a 20-minute interval between Parts 1 & 2. Tonight’s performance will end at approximately 9.50pm.

Commissioned by the London Philharmonic Orchestra with the generous support of The Boltini Trust, NTR Zaterdagmatinee, Radio 4’s concert series in The Concertgebouw Amsterdam, The Melbourne Symphony Orchestra and New York Philharmonic Orchestra.

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

Contents 2 Welcome 3 On stage tonight 4 London Philharmonic Orchestra 5 Leader: Pieter Schoeman 6 Sir Mark Elder 7 Lucy Crowe 8 Roderick Williams 9 London Philharmonic Choir 10 Programme notes 14 Texts and translations 21 Sound Futures donors 22 Thank you 24 LPO administration

London Philharmonic Orchestra • 4 December 2021 • James MacMillan’s Christmas Oratorio

Welcome to the Southbank Centre

LPO news Carols at Waterloo

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.

This Tuesday, 7 December, we’ll be returning to our usual annual spot in Waterloo Station to bring some festive cheer to commuters during the evening rush hour and raise money for Save the Children.

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.

LPO brass players and friends will be joined by members of the London Philharmonic Choir to entertain with a selection of carols and Christmas favourites. Look out for us if you’re passing through, and please donate generously!

Explore across the site with Beany Green, Côte Brasserie, Foyles, Giraffe, Honest Burger, Las Iguanas, Le Pain Quotidien, Ping Pong, Pret, Strada, Skylon, Slice, Spiritland, wagamama and Wahaca.

Tour news

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 customer@southbankcentre.co.uk

Last month we travelled to Germany for a busy week of concerts with Principal Conductor Edward Gardner and pianist Jan Lisiecki. Following his Royal Festival Hall performance with the Orchestra on 10 November, Jan reprised Schumann’s Piano Concerto in Stuttgart, Munich, Frankfurt, Cologne, Berlin, Essen and Hamburg, all to rave reviews.

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.

Next Thursday, 9 December, we return to Germany, this time with Vladimir Jurowski in his new role as Conductor Emeritus, alongside violinist Julia Fischer. We will perform in Baden-Baden, Nuremberg, Ludwigshafen and Dusseldorf, before a final concert at the Théâtre des Champs-Elysées in Paris, before a well-deserved Christmas break.

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.

FUNharmonics are back! Sunday 7 November saw our first FUNharmonics family concert at the Royal Festival Hall since February 2019. It was great to welcome back our youngest audiences, who experienced the colourful world of Berlioz’s Symphonie fantastique, brought to life by presenter Rachel Leach and conductor Michael Seal.

Enjoying your visit safely As we continue our 2021/22 LPO season, the health and wellbeing of our audiences, musicians and staff remains our top priority, and all concerts and events will have appropriate safety measures in place in accordance with Government guidelines: the Southbank Centre’s website will be kept up-todate with all the latest information. To find out more, visit southbankcentre.co.uk/visit or speak to a member of Southbank Centre staff.

We’re already looking forward to our next FUNharmonics concert on Sunday 13 February at 12 noon, when Michael and the Orchestra will be joined by presenter Polly Ives to tell the heroic story of Sir Scallywag and the Golden Underpants, based on the book by Giles Andreae and Korky Paul, with music by Paul Rissmann. Suitable for ages 5+ and with free pre-concert activities from 10am, the concert is on sale now: visit lpo.org.uk/funharmonics

Out of respect for our staff and visitors, we ask that you continue to wear a face covering inside our venues if you are able to do so. Thank you.

London Philharmonic Orchestra • 4 December 2021 • James MacMillan’s Christmas Oratorio

On stage tonight First Violins

Cellos

Chair supported by Neil Westreich

Chair supported by Bianca & Stuart Roden

Pieter Schoeman* Leader

Kristina Blaumane Principal

Vesselin Gellev Sub-Leader Lasma Taimina

Elisabeth Wiklander Francis Bucknall David Lale Gregory Walmsley Laura Donoghue David Bucknall Iain Ward

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

Minn Majoe Yang Zhang

Chair supported by Eric Tomsett

Catherine Craig Katalin Varnagy

Chair supported by Sonja Drexler

Joseph Devalle Nilufar Alimaksumova John Dickinson Deborah Gruman Alice Hall Gavin Davies Miranda Allen

Second Violins

Tania Mazzetti Principal

Chair supported by Countess Dominique Loredan

Emma Oldfield Helena Smart Ashley Stevens Marie-Anne Mairesse Clarice Curradi Nancy Elan Sioni Williams Joseph Maher Kate Cole Lyrit Milgram Claudia Tarrant-Matthews

Violas

David Quiggle Principal Richard Waters Co-Principal Laura Vallejo Benedetto Pollani Shiry Rashkovsky Kim Becker Stanislav Popov Lucia Ortiz Sauco Sarah Malcolm Raquel López Bolivar

Double Basses

Kevin Rundell* Principal Hugh Kluger George Peniston Laura Murphy Lowri Morgan Charlotte Kerbegian

Trumpets

Paul Beniston* Principal Anne McAneney Anthony Cross

Trombones

Mark Templeton* Principal

Chair supported by William & Alex de Winton

Benny Vernon

Bass Trombone

Lyndon Meredith Principal

Tuba

Lee Tsarmaklis* Principal

Timpani

Simon Carrington* Principal

Flutes

Chair supported by Victoria Robey OBE

Juliette Bausor Principal

Chair supported by Caroline, Jamie & Zander Sharp

Stewart McIlwham*

Percussion

Andrew Barclay* Principal

Chair supported by Gill & Garf Collins

Henry Baldwin Co-Principal

Oboes

Ian Hardwick* Principal Jennifer Brittlebank

Clarinets

Benjamin Mellefont Principal Thomas Watmough Chair supported by Roger Greenwood

Bassoons

Gareth Newman Principal Simon Estell*

Horns

Stephen Craigen Guest Principal Martin Hobbs Alexander Willett Gareth Mollison

Harp

Tamara Young Guest Principal

Celeste

Catherine Edwards * Holds a professorial appointment in London

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Chris Aldren David & Yi Buckley Friends of the Orchestra Dr Barry Grimaldi Sir Simon Robey

London Philharmonic Orchestra • 4 December 2021 • James MacMillan’s Christmas Oratorio

London Philharmonic Orchestra

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.

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 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, and a commemorative box set of historic recordings with former Principal Conductor Sir Adrian Boult.

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 • 4 December 2021 • James MacMillan’s Christmas Oratorio

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 • 4 December 2021 • James MacMillan’s Christmas Oratorio

Sir Mark Elder CH CBE conductor

He works regularly at the most prominent international opera houses including the Royal Opera House, Covent Garden (where he made his debut in 1976); the Metropolitan Opera, New York; the Opéra National de Paris; the Lyric Opera, Chicago; and Glyndebourne Festival Opera. Other guest engagements have taken him to the Bayreuth Festival (where he was the first English conductor to conduct a new production), Munich, Amsterdam, Zürich, Geneva, Berlin, and the Bregenz Festival. Sir Mark Elder has made many recordings with orchestras including the LPO, Hallé, City of Birmingham Symphony Orchestra, BBC Symphony Orchestra, Orchestra of the Age of Enlightenment, Orchestra of the Royal Opera House and ENO, in repertoire ranging from Verdi, Strauss and Wagner to contemporary music. In 2003 the Hallé launched its own CD label and releases have met with universal critical acclaim, culminating in Gramophone Awards for Elgar’s The Dream of Gerontius, The Kingdom and The Apostles. The recent release of Wagner's Siegfried completes his Hallé Ring Cycle, and other Wagner CDs include Parsifal with the Hallé and Lohengrin with the Royal Concertgebouw Orchestra.

Sir Mark Elder has been Music Director of the Hallé since September 2000. He was previously Music Director of English National Opera (1979–93), Principal Guest Conductor of the City of Birmingham Symphony Orchestra (1992–95) and Music Director of the Rochester Philharmonic Orchestra, USA (1989–94). He has also held positions as Principal Guest Conductor of the BBC Symphony Orchestra and the London Mozart Players. From 2011–19 he was Artistic Director of Opera Rara.

TV appearances include a two-part film on the life and music of Verdi for BBC TV in 1994 and a similar project on Donizetti for German television in 1996. In 2011 he co-presented BBC TV’s four-part series Symphony, and in 2012 fronted BBC2’s TV series Maestro at the Opera. During the 2015 Proms he presented a series of TV programmes on BBC4 in which he talked about eight symphonies ranging from Beethoven to MacMillan featuring performances from the season’s concerts.

During the 2020/21 season Sir Mark conducted the LPO in two online concerts streamed by Marquee TV from the Royal Festival Hall. Previous engagements with the LPO include Puccini’s first opera, Le Villi, in its original version: the work’s first UK performance in 120 years, at the Royal Festival Hall in collaboration with Opera Rara in November 2018. The performance was recorded and subsequently released on the Opera Rara label. In 2016 Sir Mark conducted Beethoven’s Missa Solemnis with the London Philharmonic Orchestra and Choir, also at the Royal Festival Hall.

Sir Mark Elder was knighted in 2008, was awarded the CBE in 1989, and created a Companion of Honour in The Queen’s Birthday Honours in 2017. He won an Olivier Award in 1991 for his outstanding work at ENO and in 2006 he was named Conductor of the Year by the Royal Philharmonic Society. He was awarded Honorary Membership of the Royal Philharmonic Society in 2011.

Sir Mark Elder has worked with many of the world’s leading symphony orchestras including the Berlin Philharmonic, Orchestre de Paris, Chicago Symphony, Boston Symphony, Los Angeles Philharmonic, Royal Concertgebouw and London Symphony orchestras. He is a Principal Artist of the Orchestra of the Age of Enlightenment, and has appeared annually at the BBC Proms for many years, including – in 1987 and 2006 – at the internationally televised Last Nights.

London Philharmonic Orchestra • 4 December 2021 • James MacMillan’s Christmas Oratorio

Tonight's soloists Lucy Crowe soprano she sang Belinda in a concert performance of Purcell’s Dido and Aeneas at the Royal Festival Hall under Sir Roger Norrington.

Highlights in concert this season include Beethoven’s Missa Solemnis with the Bavarian Radio Symphony Orchestra; US and European tours of Handel’s Alcina and Serse, both with The English Concert; Mahler’s Symphony No. 4 with the London Symphony Orchestra; and Schumann’s Das Paradies und die Peri with the Staatskapelle Berlin. A committed recitalist, Lucy has appeared at the Amsterdam Concertgebouw, New York’s Carnegie Hall, and the Aldeburgh, Edinburgh, Mostly Mozart and Salzburg festivals, and is a regular guest at the BBC Proms and Wigmore Hall.

With repertoire ranging from Purcell, Handel and Mozart to Donizetti’s Adina, Verdi’s Gilda and Janáček’s Vixen, Lucy Crowe has sung with opera companies throughout the world including the Royal Opera House, Covent Garden; the Glyndebourne Festival; English National Opera; the Teatro Real Madrid; the Deutsche Oper Berlin; the Bavarian State Opera, Munich; and the Metropolitan Opera, New York. Recent opera highlights include her debut at Dutch National Opera in the title role of Handel’s Rodelinda and a return to the Royal Opera House, Covent Garden for Poppea in Handel’s Agrippina. Highlights this season include Susanna in Le nozze di Figaro at the Metropolitan Opera and Pamina in Die Zauberflöte at the Liceu, Barcelona.

Lucy Crowe’s recordings include Mendelssohn’s Lobgesang with the LSO/Gardiner; Handel’s Il pastor fido and Handel & Vivaldi with La Nuova Musica/ David Bates for Harmonia Mundi; Lutosławski with the BBC Symphony Orchestra/Gardner, Handel’s Alceste with the Early Opera Company/Curnyn and Eccles’s The Judgement of Paris, all for Chandos; a solo Handel disc (ll caro Sassone) and Handel’s Rodelinda with The English Concert/Bicket, and Handel’s Queens with London Early Opera for Hyperion. Her debut recital recording, featuring Berg, Strauss, and Schoenberg songs, was released by Linn Records in August 2021.

Lucy has performed in concert with many of the world’s finest conductors and orchestras including the City of Birmingham Symphony Orchestra under Emmanuelle Haïm, Sakari Oramo and Andris Nelsons; the Berlin Philharmonic under Daniel Harding, Haïm and Nelsons; the Vienna Philharmonic under Nelsons; the Orchestra of the Age of Enlightenment under Richard Egarr; the Scottish Chamber Orchestra under Yannick NézetSéguin; the Monteverdi Orchestra under Sir John Eliot Gardiner; the Orchestra dell’Accademia Nazionale di Santa Cecilia under Antonio Pappano; and the London Symphony Orchestra under Sir Simon Rattle. Her last engagement with the LPO was in January 2019, when

London Philharmonic Orchestra • 4 December 2021 • James MacMillan’s Christmas Oratorio

Tonight's soloists Roderick Williams baritone the BBC Proms (including the Last Night in 2014) and the Edinburgh, Cheltenham, Bath, Aldeburgh and Melbourne festivals. Roderick Williams is also a composer and has had works premiered at the Wigmore and Barbican Halls, the Purcell Room and live on national radio. In 2016 he won the prize for Best Choral Composition at the British Composer Awards. © David Shoukry

Roderick recently completed a three-year odyssey of the Schubert song cycles, culminating in performances at the Wigmore Hall, and has subsequently recorded them for Chandos. Future releases include more Schubert, as well as works by Vaughan Williams. Roderick Williams was Artistic Director of Leeds Lieder in 2016, is Artist-in-Residence at the Royal Liverpool Philharmonic Orchestra from 2020/21 for two seasons, and won the RPS Singer of the Year Award in 2016. He was awarded an OBE in June 2017.

Roderick Williams is one of the most sought-after baritones of his generation. He performs a wide repertoire from Baroque to contemporary music in the opera house and on the concert platform, and is in demand as a recitalist worldwide. He enjoys relationships with all the major UK opera houses and has sung opera world premieres by David Sawer, Sally Beamish, Michel van der Aa, Robert Saxton and Alexander Knaifel. Recent and future engagements include the title role in Eugene Onegin for Garsington Opera; the title role in Billy Budd for Opera North; Papageno for Covent Garden; and productions with Cologne Opera, English National Opera and Dutch National Opera. Roderick is a regular guest of the London Philharmonic Orchestra: his most recent concert engagement was in November 2019, when he was a soloist in Walton’s Belshazzar’s Feast at the Royal Festival Hall under Marin Alsop. He also sings regularly with all the BBC and major UK orchestras, as well as with the Berlin and New York Philharmonic orchestras, the Deutsches SymphonieOrchester Berlin, the Orchestre Philharmonique de Radio France, the Ensemble Orchestral de Paris, the Accademia Nazionale di Santa Cecilia in Rome, the Cincinnati Symphony, and the Bach Collegium Japan amongst others. His many festival appearances include

London Philharmonic Orchestra • 4 December 2021 • James MacMillan’s Christmas Oratorio

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

Founded in 1947 as the chorus for the London Philharmonic Orchestra, the London Philharmonic Choir is widely regarded as one of Britain’s finest choirs. For the last seven decades the Choir has performed under leading conductors, consistently meeting with critical acclaim and recording regularly for television and radio. Enjoying a close relationship with the London Philharmonic Orchestra, the Choir frequently joins it for concerts in the UK and abroad. Recent highlights have included Tippett’s A Midsummer Marriage under Edward Gardner in his inaugural concert as LPO Principal Conductor; Walton’s Belshazzar’s Feast with Marin Alsop; Mahler’s Symphonies Nos. 2 & 8 and Tallis’s Spem in alium with Vladimir Jurowski; Verdi’s Requiem with Edward Gardner; Beethoven’s Missa Solemnis with the Choir’s President, Sir Mark Elder; and Haydn’s The Creation with Sir Roger Norrington. The Choir appears annually at the BBC Proms, and performances have included the UK premieres of Mark-Anthony Turnage’s A Relic of Memory and Goldie’s Sine Tempore in the Evolution! Prom. In recent years the Choir has also given performances of works by Beethoven, Elgar, Howells, Liszt, Orff, Vaughan Williams, Verdi and Walton. A well-travelled choir, it has visited numerous European countries and performed in Kuala Lumpur, Hong Kong and Australia. The Choir has appeared twice at the Touquet International Music Masters Festival and was delighted to travel to the Théâtre des Champs-Elysées, Paris, in December 2017 to perform Bach’s Christmas Oratorio with the London Philharmonic Orchestra. The Choir prides itself on achieving first-class performances from its members, who are volunteers from all walks of life.

Supported by

Sopranos

Altos

Basses

Annette Argent Chris Banks Tessa Bartley Hilary Bates Vicki Brammall Charlotte Cantrell Olivia Carter Paula Chessell Sarah Davies Jessica Dixon Kathryn Flood Ella Frost Alison Gabriel Rachel Gibbon Sofia GonzalesMorales Rosie Grigalis Lily Guenault Rhea Gupta Sally Harrison Sasha Holland Cloe Hotham Mary Beth Jones Barbara Kilpatrick Joy Lee Clare Lovett Janey Maxwell Amanda May Meg McClure Natalie Mounsey Kathryn O’Leary Ellii Olivia Elizabeth Ortiz Linda Park Niamh Quinlivan Emma Secher Holly Shannon Rebecca Sheppard Victoria Smith Ronnie Spinks Sze Ying Chan

Phye Bell Alison Biedron Sally Brien Andrei Caracoti May Chan Noel Chow Pat Dixon Andrea Easey Pauline Finney Bethea HansonJones Lexi Harvey Kitty Howse Joanna James Judy Jones Rebecca Kintoff Andrea Lane Ethel Livermore Laetitia Malan Ian Maxwell Emma Millard Nicola Mooney Sophie Morrison Anna Mulroney Rachel Murray Amy Reddington Carolyn Saunders Angela Schmitz Rima Sereikiene Annette Strzedulla Muriel Swijghuisen Reigersberg Catherine Travers Jocelyn Tsang Susi Underwood Jenny Watson

Martyn Atkins Jonathon Bird Peter Blamire Wilf Cartwright Marcus Daniels Ellie Fayle Dominic Foord Gary Freer Ian Frost John Graham Christopher Harvey Nicholas HennellFoley Mark Hillier Stephen Hines David Hodgson Rylan Holey Oliver Jackson Nicolai Leontiev John Luff Christopher Mackay Paul J Medlicott John D Morris Will Parsons Johannes Pieters Edwin Smith Philip Tait Geoff Walker Cam Wiltshire Jair Wuilloud

Tenors Geir Andreassen Robert Geary Alan Glover Peter Goves Iain Handyside David Hoare Stephen Hodges James Hopper Patrick Hughes Simon Naylor Daisy Rushton Don Tallon Claudio Tonini Mikolaj Walczak Toby Wilson

London Philharmonic Orchestra • 4 December 2021 • James MacMillan’s Christmas Oratorio

Programme notes James MacMillan born 1959

Christmas Oratorio 2019 UK premiere Lucy Crowe soprano Roderick Williams baritone London Philharmonic Choir

Part One I Sinfonia 1 orchestra II Chorus 1 chorus and orchestra III Aria 1 soprano solo and orchestra IV Tableau 1 soli, chorus and orchestra V Aria 2 baritone solo and orchestra VI Chorus 2 chorus and orchestra VII Sinfonia 2 orchestra Interval: 20 minutes

Part Two I Sinfonia 3 orchestra II Chorus 3 chorus and orchestra III Aria 3 baritone solo and orchestra IV Tableau 2 soli, chorus and orchestra V Aria 4 soprano solo and orchestra VI Chorus 4 chorus and celeste VII Sinfonia 4 orchestra

London Philharmonic Orchestra • 4 December 2021 • James MacMillan’s Christmas Oratorio

Programme notes James MacMillan: Retrospective Modernist

Although the Scottish composer/conductor James MacMillan (born 1959) describes himself as a modernist, the historical past has played an equally important role in his music since the beginning of his compositional career. Three traditions in particular run through all his works like a thread: the cultural tradition of his native Scotland, the religious tradition of the Catholic Church, and the classical music tradition – from Gregorian chant to Wagner’s Tristan und Isolde to the modernists of the 20th century. ‘James MacMillan: Retrospective Modernist’ – the title of the 2012 dissertation by musicologist Dominic Peter Wells – sums up well the composer’s emphasis on the relationship between past and present traditions.

Tradition and Modernism, Politics and Spirituality In recent decades MacMillan’s personal oeuvre, infused with spirituality, has garnered great interest worldwide. With his sometimes-modal sound, his frequent use of chorales and Scottish folk music, and with titles such as Adam’s Rib, Vigil and Veni, veni Emmanuel, the Catholic composer may refer to the liturgy – but his multi-layered oeuvre originates more in post-war modernism. For although his work has a clear spiritual signature, it cannot be compared to the euphony of ‘neo-spiritualists’ such as Arvo Pärt. At first sight, tradition and modernism seem to contradict each other, but MacMillan sees this differently. ‘I think that a composer who looks to the past is not necessarily reactionary. I understand my place in the present from the past. In that respect, tradition is like a river running through history; it is a forward-looking stream. That you can indeed look forward as a traditionalist is a Marxist view of history that I am very interested in.’ Although seemingly incompatible with spirituality, Dominic Peter Wells calls MacMillan a political composer. Wells describes his music as operating

Sir James MacMillan © Philip Gatward

London Philharmonic Orchestra • 4 December 2021 • James MacMillan’s Christmas Oratorio

Programme notes continued between the political-aesthetic extremes from autonomy (‘art for art's sake’) to agitprop, or political propaganda. In relation to the latter concept, the Scotsman has often been compared to the politically engaged Dutch composer Louis Andriessen, who was a major influence on the young MacMillan: ‘Andriessen’s music was like a fresh breeze through the contemporary music of 40 years ago. I could totally relate to the exciting, energetic nature of his compositions, although my own work is nothing like his.’

it makes you aware of the “otherness” in creation.’ So what role does Catholicism play in his music? ‘It is my way of expressing universal experiences such as suffering and joy. I have a culturally determined, specifically Catholic understanding of those terms, but with that local inspiration I think I can still express something universal. You see this in artists of all times. Just look at Bach, who composed from a strongly confessional experience, but with a potential that reaches all of humanity.’

MacMillan has in the past shown sympathy for both artistic extremes, although his political views have changed considerably, and his music since 2000 has been much less politically-driven. In a more recent interview, he named the late Sir Peter Maxwell Davies as much more of a kindred spirit: ‘Davies has never really been my teacher; more of a mentor who has explored similar philosophical terrain in his work.’ The common body of thought to which MacMillan refers is mainly in the area of spirituality: ‘As a composer, I want to understand what the last 50 years have brought us in terms of new stimuli and influences, but not take a doctrinaire or ideological position on it. The big problem for composers today is that there are so many directions available. In this situation, an artist must continue to believe in his need to communicate, without being hindered by ideological stumbling blocks.’

On the difference between the music of the neospirituals and his own work, he says: ‘That is a difference of the concept of spirituality. I think it takes place in the here and now, as a commitment to human suffering. Composers like Pärt start from a purity; I like that very much, but I could never write in such a monodimensional way. My character and theological viewpoint call for conflict. After all, the heart of Christian thinking is the sacrificial story: an inspiring, but also disturbing metaphor that I have expressed in various works. ‘The God I am interested in is that of silence. God as companion, as a silent witness who is with us while we suffer. That can be the reason for some people to turn away. But believing in such a God who is always with you – even in the face of Auschwitz and the Third Reich, the depths of human degradation – gives a fascinating picture of what the divine is. Adorno said that no more poetry could be written after Auschwitz. But for artists, it is most important to look into that abyss and say something about the nature of suffering in the modern world, and to bring a sense of spiritual healing.’

For MacMillan, the word ‘ideology’ refers to the restrictive aesthetics of Darmstadt, an ‘outdated, anachronistic and narrow view of music, which still dominates many European composers.’ In the British climate, therefore, he feels particularly at home, because of the multitude of directions and styles that seem to be able to coexist without difficulty.

The Christmas Oratorio

Catholicism

In the works MacMillan composed from the 1990s onwards, starting with Veni, veni Emmanuel, he showed a particular fascination for the events around Easter and the Passion of Christ: the three works of his ‘Easter triptych’ Triduum (The World’s Ransoming, the Cello Concerto, and the symphony Vigil); his response to the Stations of the Cross in Fourteen Little Pictures; the poetic Seven Last Words from the Cross and the text of the Stabat Mater he incorporated in his first opera Inés de Castro; the adoration of the Cross on Good Friday in Kiss on Wood; plus works on the theme of the

This open-mindedness characterises MacMillan’s work, in which a myriad of techniques seems to be the vehicle for a deeper message. ‘I believe that music is essentially a spiritual phenomenon. It is important for a composer to realise this. Through its directness and abstraction, music seems to have the ability to reach the soul and address the relationship between the human and the divine in a powerful, mysterious way. Regardless of where you come from or how you think about whether or not God exists,

London Philharmonic Orchestra • 4 December 2021 • James MacMillan’s Christmas Oratorio

Programme notes continued James MacMillan on his Christmas Oratorio

Resurrection such as Visitatio Sepulchri, They saw the stone had been rolled away, Lumen Christi and Exsultet. MacMillan returned to the subject in 2006, with the Tenebrae Responses in 2006, the much-discussed St John Passion the following year and the St Luke Passion in 2012.

‘My Christmas Oratorio was written in 2019 and is a setting of assorted poetry, liturgical texts and scripture taken from various sources, all relating to the birth of Jesus. It is structured in two parts, each consisting of seven movements.

In his Christmas Oratorio (2019), MacMillan for the first time takes the birth of Christ as its starting point. The work has a strict, cathedral-like structure that seems to refer to Bach’s oratorios. At the same time the music exudes the direct eloquence of Gregorian chant, powerful layering in the instrumental parts and folkmusic-like simplicity. MacMillan says: ‘For me, Palestrina and Bach remain the most influential figures of the past. There is a powerful instinctive, emotional, and spiritual power in their music that made the very first listeners think they were in heaven when they heard it. It is also music that is very complex – complexity and emotional power are not necessarily contradictions.’

Therefore the music of each part is topped and tailed by short orchestral movements (four in all), creating a palindromic structure. The Choruses are mostly Latin liturgical texts (although the last one is a Scottish lullaby), the Arias are settings of poems by Robert Southwell, John Donne and John Milton, and the two central Tableaux are biblical accounts from the Gospels of St Matthew in Part One, and St John in Part Two. The soloists, who have two arias each, are a soprano and a baritone, (and they sing in the two Tableaux along with the choir). The orchestra is of modest size, using double woodwind, brass and percussion, plus a harp and celeste.

The Christmas Oratorio consists of two parts, each divided into seven segments, a biblical number. In both parts MacMillan uses similar segments: Sinfonia (instrumental), Chorus (choir and orchestra), Aria (soloist and orchestra), Tableau (soloist, choir and orchestra), Aria, Chorus and Sinfonia. This creates a layered palindromic structure in the diptych, reminiscent not only of Bach but also of the work of composers such as Anton Webern and Luigi Nono.

There are various characteristic elements and moods throughout, from the ambiguous opening which mixes resonances of childhood innocence with more ominous premonitions, pointing to later events in the life of Jesus. There are also intermittent moments of joyfulness and the childhood excitement and abandon of Christmas at various points, especially in the choral Hodie Christus natus est and in some of the orchestral interludes.

Programme notes © Anthony Fiumara

Sometimes we hear the ‘dancing’ rhythms associated with some secular Christmas carols. There is also, at points, a sense of narrative when the chorus take the role of the Evangelist as he tells the Nativity story. The 16th- and 17th-century English poems provide opportunities for reflection in the four solo Arias, firmly based in the oratorio tradition.

The Christmas Oratorio was commissioned by the London Philharmonic Orchestra with the generous support of The Boltini Trust, NTR Zaterdagmatinee, Radio 4’s concert series in The Concertgebouw Amsterdam, the Melbourne Symphony Orchestra and the New York Philharmonic Orchestra. World premiere: 16 January 2021, NTR ZaterdagMatinee, Concertgebouw, Amsterdam. Netherlands Radio Philharmonic Orchestra & Choir, Mary Bevan (soprano), Christopher Maltman (baritone), James MacMillan (conductor).

There is also at points a sense of mystery in both orchestral and choral textures, such as in the setting of the O Magnum Mysterium text in Part Two. The oratorio ends reflectively in Sinfonia 4 with the orchestra alone, highlighting a small ensemble of string soloists amid the larger textures.’

London Philharmonic Orchestra • 4 December 2021 • James MacMillan’s Christmas Oratorio

Texts & translations Part One Part One I – Sinfonia 1 II – Chorus 1 Chorus O Oriens, splendor lucis æternæ, et sol justitiæ: veni, et illumina sedentes in tenebris, et umbra mortis. Great ‘O’ antiphon for 21 December

O Radiant Dawn, Splendour of eternal Light, Sun of Justice: come, shine on those who dwell in darkness and the shadow of death.

… in unum Dominum Jesum Christum, Filium Dei unigenitum et ex Patre natum, ante omnia sæcula. Deum de Deo, lumen de lumine, Deum verum de Deo vero, genitum, non factum, consubstantialem Patri: per quem omnia facta sunt. Qui propter nos homines, et propter nostram salutem descendit de cælis, et incarnatus est de Spiritu Sancto ex Maria Virgine, et homo factus est. From the Credo

… in one Lord Jesus Christ, the Only Begotten Son of God, born of the Father before all ages. God from God, Light from Light, true God from true God, begotten, not made, consubstantial with the Father; through him all things were made. For us men and for our salvation he came down from heaven, and by the Holy Spirit was incarnate of the Virgin Mary, and became man.

Virgo prius ac posterius, Gabrielis ab ore sumens illud Ave, peccatorum miserere. From Alma Redemptoris Mater, Marian antiphon for the office of Compline

Virgin both before and after childbirth, who received from Gabriel’s mouth that ‘Hail’, have mercy on us sinners. Translation: Edward Tambling

III – Aria 1 Soprano solo Behold a silly tender babe, In freezing winter night, In homely manger trembling lies: Alas! a piteous sight The inns are full; no man will yield This little pilgrim bed; But forced He is with silly beasts In crib to shroud His head Despise Him not for lying there, First what He is inquire: An orient pearl is often found In depth of dirty mire Weigh not His crib, His wooden dish, Nor beasts that by Him feed; Weigh not His Mother’s poor attire, Nor Joseph’s simple weed.

London Philharmonic Orchestra • 4 December 2021 • James MacMillan’s Christmas Oratorio

Texts & translations Part One continued This stable is a Prince’s court, This crib His chair of state; The beasts are parcel of His pomp, The wooden dish His plate; The persons in that poor attire His royal liveries wear; The Prince Himself is come from heaven, This pomp is prizèd there With joy approach, O Christian wight, Do homage to thy King; And highly praise this humble pomp Which He from heaven doth bring. Robert Southwell (1561–95) IV – Tableau 1 Chorus Now when Jesus was born in Bethlehem of Judea in the days of Herod the king, behold, wise men from the East came to Jerusalem, saying, ‘Where is he who has been born king of the Jews? For we have seen his star in the East, and have come to worship him.’ When Herod the king heard this, he was troubled, and all Jerusalem with him; and assembling all the chief priests and scribes of the people, he inquired of them where the Christ was to be born They told him, ‘In Bethlehem of Judea; for so it is written by the prophet: Soprano & baritone soli ‘“And you, O Bethlehem, in the land of Judah, are by no means least among the rulers of Judah; for from you will come a ruler who will govern my people Israel.”’ Chorus Then Herod summoned the wise men secretly and ascertained from them what time the star appeared; and he sent them to Bethlehem, saying, ‘Go and search diligently for the child, and when you have found him bring me word, that I too may come and worship him.’ When they had heard the king they went their way; and lo, the star which they had seen in the East went before them, till it came to rest over the place where the child was. When they saw the star, they rejoiced exceedingly with great joy; and going into the house they saw the child with Mary his mother, and they fell down and worshipped him. Then, opening their treasures, they offered him gifts, gold and frankincense and myrrh. And being warned in a dream not to return to Herod, they departed to their own country by another way.

London Philharmonic Orchestra • 4 December 2021 • James MacMillan’s Christmas Oratorio

Texts & translations Part One continued Now when they had departed, behold, an angel of the Lord appeared to Joseph in a dream and said: Soprano & baritone soli ‘Rise, take the child and his mother, and flee to Egypt, and remain there till I tell you; for Herod is about to search for the child, to destroy him.’ Chorus And he rose and took the child and his mother by night, and departed to Egypt, and remained there until the death of Herod. This was to fulfil what the Lord had spoken by the prophet: Soprano & baritone soli ‘Out of Egypt have I called my son.’ Chorus Then Herod, when he saw that he had been tricked by the wise men, was in a furious rage, and he sent and killed all the male children in Bethlehem and in all that region who were two years old or under, according to the time which he had ascertained from the wise men. Then was fulfilled what was spoken by the prophet Jeremiah: Chorus (simultaneous with soli) Vox in Rama audita est, ploratus et ululatus, Rachel plorans filius suos, et noluit consolari, quia non sunt. Communion motet for the feast of Holy Innocents

Soprano & baritone soli ‘A voice was heard in Ramah, wailing and loud lamentation, Rachel weeping for her children; she refused to be consoled, because they were no more.’

Chorus But when Herod died, behold, an angel of the Lord appeared in a dream to Joseph in Egypt, saying: Soprano & baritone soli ‘Rise, take the child and his mother, and go to the land of Israel, for those who sought the child’s life are dead.’ Chorus And he rose and took the child and his mother, and went to the land of Israel. But when he heard that Archelaus reigned over Judea in place of his father Herod, he was afraid to go there, and being warned in a dream he withdrew to the district of Galilee. And he went and dwelt in a city called Nazareth, that what was spoken by the prophets might be fulfilled:

London Philharmonic Orchestra • 4 December 2021 • James MacMillan’s Christmas Oratorio

Texts & translations Part One continued Baritone solo ‘He shall be called a Nazarene.’ The Gospel according to Matthew, Chapter 2, entire Revised Standard Version, Catholic Edition V – Aria 2 Baritone solo Immensity, cloistered in thy dear womb, Now leaves His well-belov’d imprisonment, There He hath made Himself to His intent Weak enough now into the world to come; But O, for thee, for Him hath the inn no room? Yet lay Him in this stall, and from the Orient, Stars and wise men will travel to prevent The effect of Herod’s jealous, general doom. Seest thou, my soul, with thy faith’s eyes, how He Which fills all place, yet none holds Him, doth lie? Was not His pity towards thee wondrous high, That would have need to be pitied by thee? Kiss Him, and with Him into Egypt go, With His kind mother, who partakes thy woe. John Donne (1572–1631), Nativity VI – Chorus 2 Chorus Today Christ is born. Today a saviour has appeared. Today the angels sing on the earth, and the archangels rejoice. Today the just rejoice, saying: Glory to God in the highest. Alleluia. Translation: Edward Tambling

Hodie Christus natus est: Hodie Salvator apparuit: Hodie in terra canunt Angeli, lætantur Archangeli. Hodie exsultant justi, dicentes: Gloria in excelsis Deo. Alleluia. Magnificat antiphon at Vespers on Christmas Day VII – Sinfonia 2

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

London Philharmonic Orchestra • 4 December 2021 • James MacMillan’s Christmas Oratorio

Texts & translations Part Two Part Two I – Sinfonia 3 II – Chorus 3 Chorus O great mystery and wonderful sacrament, that animals should see the new-born Lord lying in a manger! Blessed is the Virgin, whose womb was worthy to bear Christ the Lord. Alleluia!

O magnum mysterium et admirabile sacramentum, ut animalia viderent Dominum natum, jacentem in præsepio! Beata Virgo, cujus viscera meruerunt portare Dominum Jesum Christum. Alleluia! Responsory at Matins on Christmas Day III – Aria 3 Baritone solo This is the month, and this the happy morn, Wherein the Son of Heav’n’s eternal King, Of wedded Maid, and Virgin Mother born, Our great redemption from above did bring; For so the holy sages once did sing, That he our deadly forfeit should release, And with his Father work us a perpetual peace. It was the winter wild, While the Heav’n-born child, All meanly wrapp’d in the rude manger lies; Nature in awe to him Had doff’d her gaudy trim, With her great Master so to sympathise: It was no season then for her To wanton with the Sun, her lusty paramour. No war, nor battle’s sound Was heard the world around; The idle spear and shield were high uphung; The hookèd chariot stood Unstain’d with hostile blood; The trumpet spake not to the armed throng; And kings sat still with awful eye, As if they surely knew their sovran Lord was by But wisest Fate says no: This must not yet be so; The Babe lies yet in smiling infancy, That on the bitter cross

London Philharmonic Orchestra • 4 December 2021 • James MacMillan’s Christmas Oratorio

Texts & translations Part Two continued Must redeem our loss, So both himself and us to glorify: Yet first to those ychain’d in sleep, The wakeful trump of doom must thunder through the deep But see, the Virgin blest Hath laid her Babe to rest Time is our tedious song should here have ending; Heav’n’s youngest-teemèd star Hath fix’d her polish’d car, Her sleeping Lord with handmaid lamp attending; And all about the courtly stable Bright-harness’d Angels sit in order serviceable John Milton (1608–74), from On the Morning of Christ’s Nativity

IV – Tableau 2 Chorus In the beginning was the Word, and the Word was with God, and the Word was God. He was in the beginning with God; all things were made through him, and without him was not anything made that was made. In him was life, and the life was the light of men. The light shines in the darkness, and the darkness has not overcome it.

Chorus And the Word became flesh and dwelt among us, full of grace and truth; we have beheld his glory as of the only Son from the Father. (John bore witness to him, and cried, ‘This was he of whom I said: “He who comes after me ranks before me, for he was before me.”’) And from his fullness we have all received, grace upon grace. For the law was given through Moses, grace and truth [came] through Jesus Christ. No one has ever seen God; the only Son, who is in the bosom of the Father, he has made him known. The Gospel according to John, Chapter 1: 1–18 Revised Standard Version, Catholic Edition

Soprano & baritone soli There was a man sent from God, whose name was John. He came for testimony, to bear witness to the light, that all might believe through him. He was not the light, but came to bear witness to the light. The true Light that enlightens every man was coming into the world. He was in the world, and the world was made through him, yet the world knew him not. He came to his own home, and his own people received him not. But to all who received him, who believed in his name, he gave power to become children of God; who were born, not of blood nor the will of the flesh nor of the will of man, but of God.

London Philharmonic Orchestra • 4 December 2021 • James MacMillan’s Christmas Oratorio

Texts & translations Part Two continued V – Aria 4 Soprano solo As I in hoary winter’s night stood shivering in the snow, Surpris’d I was with sudden heat which made my heart to glow; And lifting up a fearful eye to view what fire was near, A pretty Babe all burning bright did in the air appear; Who, scorchèd with excessive heat, such floods of tears did shed As though his floods should quench his flames which with his tears were fed. ‘Alas!’ quoth he, ‘but newly born, in fiery heats I fry, Yet none approach to warm their hearts or feel my fire but I! My faultless breast the furnace is, the fuel [the] wounding thorns, Love is the fire, and sighs the smoke, the ashes shame and scorns; The fuel Justice layeth on, and Mercy blows the coals, The metal in this furnace wrought are men’s defilèd souls; For which, as now on fire I am to work them to their good, So will I melt them into a bath to wash them in my blood.’ With this he vanish’d out of sight and swiftly shrunk away, And straight I callèd unto mind that it was Christmas Day. Robert Southwell (1561–95), The Burning Babe VI – Chorus 4 Chorus My love and tender one are you, My sweet and lovely son are you You are my love and darling you, Unworthy, I of You Haleluia Your mild and gentle eyes proclaim The loving heart with which you came, A tender, helpless, tiny babe With boundless gifts of grace Haleluia King of Kings, most holy one, God a son, eternal one You are my God and helpless son, My ruler of mankind Haleluia Melody: trad. Words: after Scottish Gaelic by Fr Ranald Rankin (1811–63), The Christ-Child’s Lullaby VII – Sinfonia 4

London Philharmonic Orchestra • 4 December 2021 • James MacMillan’s Christmas Oratorio

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

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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 • 4 December 2021 • James MacMillan’s Christmas Oratorio

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

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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 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 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 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

London Philharmonic Orchestra • 4 December 2021 • James MacMillan’s Christmas Oratorio

Thank you

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 Mr Ian Kapur 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 Mr David Peters Nadya Powell Ms Caroline Priday Mr Richard Rolls Mr Richard Rowland Mr & Mrs Alan Senior Tom Sharpe Mr Kenneth Shaw 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

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Elliott Bernerd

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Corporate Donors

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LPO Corporate Circle Leader freuds Sunshine

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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

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In-kind Sponsor Google Inc

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:

Trusts and Foundations 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 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.

London Philharmonic Orchestra • 4 December 2021 • James MacMillan’s Christmas Oratorio

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

Barry Smith Martin Southgate Chris Viney Laurence Watt Elizabeth Winter

Finance

General Administration

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*Player-Director

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Advisory Council

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Martin Höhmann Chairman Christopher Aldren Dr Manon Antoniazzi Roger Barron Richard Brass Helen Brocklebank 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

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Archives Philip Stuart Discographer Gillian Pole Recordings Archive

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

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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

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Mr Chris Aldren Honorary ENT Surgeon

Sarah Thomas Martin Sargeson Librarians

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Stef Woodford 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