LPO programme: 4 Mar 2023 - Gardner conducts Rachmaninoff (Edward Gardner/Leif Ove Andsnes)

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

A place to call home 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 March 2023 | 7.30pm

A place to call home

Gardner conducts Rachmaninoff

George Benjamin

Sudden Time* (15’)

Grieg

Piano Concerto in A minor (30’)

Interval (20’)

Rachmaninoff

Symphonic Dances (35’)

Edward Gardner

conductor

Generously supported by Aud Jebsen

Leif Ove Andsnes

piano

*Supported by Resonate, a PRS Foundation initiative in partnership with Association of British Orchestras, BBC Radio 3 and Boltini Trust.

Contents

2 Welcome LPO news

3 On stage tonight

4 London Philharmonic Orchestra

5 Leader: Pieter Schoeman

6 Edward Gardner

7 Leif Ove Andsnes

8 Programme notes

13 Recommended recordings

14 Next concerts

15 The Chevalier

16 LPO 90th Birthday Appeal

17 Sound Futures donors

18 Thank you

20 LPO administration

Tonight’s concert is being filmed for future broadcast on Marquee TV. We would be grateful if audience noise during the performance could be kept to a minimum, and if audience members could kindly hold applause until the end of each full work. Thank you for your co-operation.

The timings shown are not precise and are given only as a guide. Concert presented by the London Philharmonic Orchestra

Welcome LPO news

Welcome to the Southbank Centre

We’re the largest arts centre in the UK and one of the nation’s top visitor attractions, showcasing the world’s most exciting artists at our venues in the heart of London. We’re here to present great cultural experiences that bring people together, and open up the arts to everyone.

The Southbank Centre is made up of the Royal Festival Hall, Queen Elizabeth Hall, Purcell Room, Hayward Gallery, National Poetry Library and Arts Council Collection. We’re one of London’s favourite meeting spots, with lots of free events and places to relax, eat and shop next to the Thames.

We hope you enjoy your visit. If you need any information or help, please ask a member of staff. You can also write to us at Southbank Centre, Belvedere Road, London SE1 8XX, or email hello@southbankcentre.co.uk

Subscribers to our email updates are the first to hear about new events, offers and competitions. Just head to our website to sign up.

Drinks

You are welcome to bring drinks from the venue’s bars and cafés into the Royal Festival Hall to enjoy during tonight’s concert. Please be considerate to fellow audience members by keeping noise during the concert to a minimum, and please take your glasses with you for recycling afterwards. Thank you.

Enjoyed tonight’s concert?

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

Tonight’s concert on Marquee TV

We are delighted that a selection of concerts from our LPO 2022/23 Royal Festival Hall season are being filmed for broadcast on Marquee TV. This evening’s concert is being filmed for broadcast on Saturday 15 April 2023 at 7pm. The performance will remain available to watch free of charge for 48 hours without a Marquee TV subscription.

If you would like to subscribe for unlimited access to Marquee TV’s extensive range of music, opera, theatre and dance productions, you can enjoy 50% off with code LPO2022. Visit marquee.tv/LPO2022 to find out more, enjoy a free trial or subscribe.

Spring tours

Earlier this week the Orchestra travelled to Spain, where we gave three concerts in Madrid and Zaragoza with Principal Conductor Edward Gardner and tonight’s pianist Leif Ove Andsnes, before returning to perform together in tonight’s concert.

Later this month we’re off on tour once again, visiting Germany for six concerts across the country with Principal Guest Conductor Karina Canellakis and soloists Daniil Trifonov (piano) and Sol Gabetta (cello). Follow all our tour adventures on Twitter or Instagram!

lporchestra londonphilharmonicorchestra

LPO Young Composers 2023/24

There’s still time to apply for our LPO Young Composers 2023/24 programme! Mentored by the LPO’s Composerin-Residence – currently Brett Dean, to be succeeded by Tania León in September 2023 – the Young Composers spend a season with the LPO, each creating a new chamber orchestra work that is performed by Foyle Future First musicians and LPO players in a public showcase concert at the Southbank Centre’s Queen Elizabeth Hall.

Applications are open to currently unpublished composers aged over 18 and not in full-time education, who are composing at postgraduate level or beyond, or an equivalent standard.

The deadline to apply is Friday 10 March. To find out more, visit lpo.org.uk/youngcomposers

First Violins

Pieter Schoeman* Leader

Chair supported by Neil Westreich

Alice Ivy-Pemberton Co-Leader

Kate Oswin

Lasma Taimina

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

Minn Majoe

Katalin Varnagy

Chair supported by Sonja Drexler

Yang Zhang

Chair supported by Eric Tomsett

Catherine Craig

Alfredo Reyes Logounova

Martin Höhmann

Cassandra Hamilton

Thomas Eisner

Nilufar Alimaksumova

Sophie Phillips

Joseph Devalle

Ronald Long

Second Violins

Tania Mazzetti Principal

Emma Oldfield Co-Principal

Nynke Hijlkema

Nancy Elan

Joseph Maher

Kate Birchall

Ashley Stevens

Sioni Williams

Fiona Higham

Chair supported by David &

Yi Buckley

Kate Cole

Jessica Coleman

Emma Crossley

Jamie Hutchinson

Georgina Leo

On stage tonight

Violas

Richard Waters Principal

Chair supported by Caroline, Jamie & Zander Sharp

Laura Vallejo

Benedetto Pollani

Shiry Rashkovsky

Katharine Leek

Lucia Ortiz Sauco

Martin Wray

James Heron

Alistair Scahill

Michelle Bruil

Daniel Cornford

Jill Valentine

Cellos

Kristina Blaumane Principal

Chair supported by Bianca & Stuart

Roden

Morwenna Del Mar

Francis Bucknall

David Lale

Sue Sutherley

Helen Thomas

George Hoult

Sibylle Hentschel

Iain Ward

Colin Alexander

Double Basses

Kevin Rundell* Principal

Hugh Kluger

George Peniston

Laura Murphy

Charlotte Kerbegian

Lowri Morgan

Adam Wynter

David Johnson

Flutes

Juliette Bausor Principal

Stewart McIlwham*

Clare Childs

Ian Mullin

Piccolo

Stewart McIlwham* Principal

Alto Flute

Stewart McIlwham*

Oboes

Rainer Gibbons Guest Principal

Lydia Griffiths

Cor Anglais

Sue Böhling* Principal

Chair supported by Dr Barry Grimaldi

Clarinets

Benjamin Mellefont Principal

Thomas Watmough Chair supported by Roger Greenwood

Bass Clarinet

Paul Richards* Principal

Alto Saxophone

Martin Robertson

Bassoons

Jonathan Davies Principal

Chair supported by Sir Simon

Robey

Guylaine Eckersley

Contrabassoon

Simon Estell* Principal

Horns

John Ryan* Principal

Martin Hobbs

Mark Vines Co-Principal

Gareth Mollison

Duncan Fuller

Trumpets

Paul Beniston* Principal

Anne McAneney*

Erika Curbelo

David Hilton

Trombones

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

David Whitehouse

Bass Trombones

Lyndon Meredith Principal

Ed Hilton

Tuba

Lee Tsarmaklis* Principal Chair supported by Friends of the Orchestra

Timpani

Simon Carrington* Principal

Chair supported by Victoria Robey OBE

Percussion

Andrew Barclay* Principal Chair supported by Gill & Garf Collins

Karen Hutt

Feargus Brennan

Tom Pritchard

James Crook

Jeremy Cornes

Harps

Rachel Masters Principal

Tamara Young

Piano

Catherine Edwards

* Holds a professorial appointment in London

London Philharmonic Orchestra

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

Our home is here 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 throughout the UK and internationally, performing to sell-out audiences worldwide. Each summer we’re resident at Glyndebourne Festival Opera, combining the magic of opera with Glyndebourne’s glorious setting in the Sussex countryside.

Sharing the wonder

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

Our conductors

Our Principal Conductors have included some of the greatest historic names like Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. In 2021 Edward Gardner became our 13th Principal Conductor, taking the Orchestra into its tenth decade. Vladimir Jurowski became Conductor Emeritus in recognition of his impact as Principal Conductor from 2007–21. Karina Canellakis is our current Principal Guest Conductor and Brett Dean our Composer-in-Residence, to be succeeded by Tania León in September 2023.

Soundtrack to key moments

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

We also release live, studio and archive recordings on our own label, and are the world’s most-streamed orchestra, with over 15 million plays of our content each month. Recent releases include the first volume of a Stravinsky series with Vladimir Jurowski; Tippett’s complete opera The Midsummer Marriage under

© Mark Allan

Edward Gardner, captured in his first concert as LPO Principal Conductor in September 2021; and James MacMillan’s Christmas Oratorio, recorded at the work’s UK premiere performance in December 2021.

Next generations

We’re committed to inspiring the next generation of musicians and music-lovers: there’s nothing we love more than seeing the joy of children and families enjoying their first musical moments, and we’re passionate about equipping schools and teachers through schools’ concerts, resources and training. Reflecting our values of collaboration and inclusivity, our OrchLab and Open Sound Ensemble projects offer music-making opportunities for adults and young people with special educational needs and disabilities. Today’s young instrumentalists are the orchestral members of the future, so we have a number of opportunities to support their progression. Our LPO Junior Artists programme is leading the way in creating pathways into the profession for young artists from under-represented communities, and our LPO Young Composers and Foyle Future Firsts schemes support the next generation of professional musicians, bridging the transition from education to professional careers. We have also recently launched the LPO Conducting Fellowship, supporting the development of two outstanding early-career conductors from backgrounds currently under-represented in the profession.

2022/23 and beyond

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

lpo.org.uk

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 Rachmaninov 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, 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.

© Benjamin Ealovega

Edward Gardner

Principal Conductor, London Philharmonic Orchestra

Symphony No. 2 (Resurrection) and a staged performance of Wagner’s Parsifal. Following recent tours to Berlin, Munich and Amsterdam, and appearances at the BBC Proms and Edinburgh International Festival, the orchestra looks forward to touring projects in Germany and Belgium. In demand as a guest conductor, Edward will also return to the Cleveland and Chicago symphony orchestras, and conduct the Staatskapelle Berlin in its Sommerkonzert. Following the announcement of Edward’s appointment at the Norwegian Opera and Ballet, the 2022/23 season will see him conduct a new production of Verdi’s Un ballo in maschera alongside two concert performances of Berlioz’s Damnation of Faust. He will also conduct the Norwegian National Opera Orchestra in a programme of Dvořák and Rachmaninoff.

Edward Gardner became Principal Conductor of the London Philharmonic Orchestra in September 2021. He is also Chief Conductor of the Bergen Philharmonic, a position he will relinquish at the end of the 2023/24 season. From August 2024 he will undertake the Music Directorship of the Norwegian Opera and Ballet (DNO&B), having commenced the role of Artistic Advisor in February 2022.

This season Edward leads the London Philharmonic Orchestra in celebrating its 90th anniversary with music originally written for the LPO, including Vaughan Williams’s Serenade to Music and Tippett’s A Child of Our Time. He opened the Orchestra’s season in September with Schoenberg’s Gurrelieder, bringing the Orchestra and soloists together with the London Philharmonic Choir and London Symphony Chorus. Other highlights this season include Mahler’s Fifth Symphony, an Elgar symphony cycle, Berlioz’s Damnation of Faust and Janáček’s Glagolitic Mass. He also premieres works by LPO Composer-inResidence Brett Dean, Vijay Iyer and Agata Zubel, and tours with the Orchestra throughout the UK and Benelux as well as undertaking an extensive tour of Germany.

Edward opened the LPO’s 2021/22 season with an acclaimed performance of Tippett’s The Midsummer Marriage, released in September 2022 on the LPO Label. In August 2022 he conducted the Orchestra in Elgar’s The Dream of Gerontius at the BBC Proms with the LPC and the Hallé Choir.

Edward opened the Bergen Philharmonic season with Beethoven’s Symphony No. 3 (Eroica); further symphonic highlights include works by Stravinsky, Brahms and Nielsen. Choral projects include Mahler’s

Music Director of English National Opera for eight years (2007–15), Edward has an ongoing relationship with New York’s Metropolitan Opera, where he has conducted productions of The Damnation of Faust, Carmen, Don Giovanni, Der Rosenkavalier and Werther. In London he has future plans with the Royal Opera House, where he made his debut in 2019 in a new production of Káťa Kabanová and returned for Werther the following season. During the 2021/22 season Edward made his debut with Bayerische Staatsoper in a new production of Peter Grimes. Elsewhere, he has conducted at La Scala, Chicago Lyric Opera, Glyndebourne Festival Opera and Opéra National de Paris.

A passionate supporter of young talent, Edward founded the Hallé Youth Orchestra in 2002 and regularly conducts the National Youth Orchestra of Great Britain. He has a close relationship with The Juilliard School of Music, and with the Royal Academy of Music who appointed him their inaugural Sir Charles Mackerras Conducting Chair in 2014.

Born in Gloucester in 1974, Edward was educated at the University of Cambridge and the Royal Academy of Music. He went on to become Assistant Conductor of the Hallé and Music Director of Glyndebourne Touring Opera. His many accolades include being named Royal Philharmonic Society Award Conductor of the Year (2008), an Olivier Award for Outstanding Achievement in Opera (2009) and an OBE for Services to Music in The Queen’s Birthday Honours (2012).

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

© Benjamin Ealovega

Leif Ove Andsnes piano

multi-season project exploring one of the most creative and seminal periods of the composer’s career, this sees him lead the ensemble in Mozart’s Piano Concertos Nos. 20–24 at key European venues, as well as recording them for Sony Classical. The project marks his second artistic partnership with the orchestra, following ‘The Beethoven Journey’. An epic four-season focus on the composer’s music for piano and orchestra, this saw Leif Ove give more than 230 performances in 108 cities across 27 countries, as chronicled in the documentary ‘Concerto – A Beethoven Journey’ and captured in an award-winning Sony Classical series.

‘A pianist of magisterial elegance, power, and insight’ (New York Times), Leif Ove Andsnes is ‘one of the most gifted musicians of his generation’ (Wall Street Journal). With his commanding technique and searching interpretations, the celebrated Norwegian pianist has won acclaim worldwide, performing in the world’s leading concert halls and with its foremost orchestras, while building an esteemed and extensive discography. He is founding director of the Rosendal Chamber Music Festival in Norway, was co-artistic director of the Risør Festival of Chamber Music, also in Norway, for nearly two decades, and has served as music director of California’s Ojai Music Festival. A Gramophone Hall of Fame inductee, he holds honorary doctorates from New York’s Juilliard School of Music and the universities of Bergen and Oslo.

This season Leif Ove performs Dvořák’s unjustly neglected piano cycle Poetic Tone Pictures both on a new Sony Classical release and in high-profile recital tours of Europe and North America. In concert, he showcases his interpretation of Grieg’s Concerto with the London Philharmonic, Leipzig Gewandhaus and NDR Elbphilharmonie orchestras – earlier this week he performed the work on tour with the LPO and Edward Gardner in Madrid and Zaragoza. He also plays Debussy’s Fantaisie with The Cleveland Orchestra, and Rachmaninoff’s Piano Concerto No. 3 with ensembles including the Oslo Philharmonic and the Royal Scottish National Orchestra.

Among other 2022/23 highlights, Leif Ove gives Lieder recitals with baritone Matthias Goerne, with whom he recently received his 11th Grammy nomination. He also continues his partnership with the Mahler Chamber Orchestra on ‘Mozart Momentum 1785/86’. A major

Leif Ove Andsnes records exclusively for Sony Classical. His previous discography comprises more than 30 discs for EMI Classics – solo, chamber, and concerto releases, many of them bestsellers – spanning repertoire from the time of Bach to the present day. He has been nominated for 11 Grammys and awarded many international prizes, including six Gramophone Awards. Recent releases encompass the Billboard best-selling Sibelius as well as Chopin: Ballades & Nocturnes (Sony Classical), an album of Stravinsky’s music for two pianos with MarcAndré Hamelin (Hyperion), Schumann’s Liederkreis and Kernerlieder with Matthias Goerne (Harmonia Mundi), Bent Sørensen’s piano concerto La Mattina with the Norwegian Chamber Orchestra and Per Kristian Skalstad (Dacapo), and a disc dedicated to the music of Norwegian composer Ketil Hvoslef, on which Leif Ove performs Hvoslef’s 1994 Piano Concerto with the Bergen Philharmonic and Edward Gardner (Simax).

Leif Ove Andsnes has received Norway’s distinguished honour, Commander of the Royal Norwegian Order of St Olav, as well as the prestigious Peer Gynt Prize. He is also the recipient of the Royal Philharmonic Society’s Instrumentalist Award and the Gilmore Artist Award.

Born in Karmøy, Norway, in 1970, Leif Ove Andsnes studied at the Bergen Music Conservatory with Jirí Hlinka. He also received invaluable advice from Belgian piano teacher Jacques de Tiège, who, like Hlinka, has greatly influenced Leif Ove’s style and philosophy of playing. Leif Ove is currently Artistic Advisor at the Prof. Jirí Hlinka Piano Academy in Bergen, where he gives annual masterclasses. He lives in Bergen with his partner and three children.

© Helge Hansen/Sony Music Entertainment

Programme notes

George Benjamin born 1960

Sudden Time 1993

One of today’s most prominent British composerconductors, George Benjamin was born in 1960 and in 1976 entered the Paris Conservatoire to study with Olivier Messiaen, after which he worked with Alexander Goehr at King’s College, Cambridge. When Benjamin was only 20 years old, his orchestral work Ringed by the Flat Horizon was performed at the BBC Proms by the BBC Symphony Orchestra under Mark Elder. The London Sinfonietta and Simon Rattle premiered At First Light two years later. Antara was commissioned for the 10th anniversary of the Pompidou Centre in 1987, and Three Inventions for the 75th Salzburg Festival in 1995.

More recent celebrations of Benjamin’s work have taken place at the Southbank Centre in 2012, at the Barbican in 2016 and at the Wigmore Hall in 2019. The last

decade has also seen multi-concert retrospectives in San Francisco, Frankfurt, Turin, Milan, Aldeburgh, Toronto, Dortmund, New York and at the 2018 Holland Festival.

Benjamin’s first operatic work, Into the Little Hill, written with playwright Martin Crimp, was commissioned in 2006 by the Festival d’Automne in Paris. Their second collaboration, Written on Skin, premiered at the Aix-enProvence festival in 2012, has since been scheduled by over 20 international opera houses, winning as many international awards. Lessons in Love and Violence, a third collaboration with Martin Crimp, premiered at the Royal Opera House in 2018.

© Matthew Lloyd

Programme notes

– The Independent on Sunday (Michael White), reviewing the world premiere, 25 July 1993

Sudden Time

In July 1993 the LPO premiered Sudden Time under the composer’s baton at the Southbank Centre’s Queen Elizabeth Hall, as part of that year’s Meltdown festival.

The composer writes: ‘The gestation period for this orchestral piece was lengthy – the first sketches date back to 1983 and the last bars were completed shortly before the premiere a decade later. As this period progressed, my ideas for the type of piece I wanted to write gradually crystallised – this process involved the invention of a new technical approach as well as the rejection of certain concepts very much tied to my earlier works. Above all I wanted the music to flow with considerable agility, the material evolving across the orchestra, sometimes in several different directions simultaneously. To achieve this the texture throughout is conceived in linear terms, the audible harmony being created by the fusion of separate lines. The resulting structure oscillates between focused, pulsed simplicity and whirlpools of complex polyrhythm. An organic sense of continuity between these extremes is made possible by the fact that all material, however plain or elaborate, is based on a few musical cells of great simplicity.

‘Sudden Time basically divides into two continuous movements, the first (lasting about five minutes) acting as a turbulent introduction to the second, where a subliminal metre is perpetually distorted and then re-assembled. Even though an exceptionally large orchestra is employed, my intention at times was to achieve a transparency akin to chamber music. Material was directly conceived into full score and there is no decorative padding or conventional doubling. Some unusual instruments are employed, including a quartet of alto flutes, a pair of miniature recorders, a muted piano and a plethora of mini-tablas which accompany the extremely difficult viola solo at the work’s end. The title is a quotation from a Wallace Stevens poem, Martial Cadenza: “It was like sudden time in a world without time.”

‘Some of the concepts behind this piece can be illustrated by a dream I once had in which the sound of a thunderclap seemed to stretch to at least a minute’s duration before suddenly circulating, as if in a spiral, through my head. I then woke, and realised that I was in fact experiencing merely the first second of a real thunderclap. I had perceived it in dreamtime, in between and in real time. Although this is but analogy, a sense of elasticity, of things stretching, warping and coming back together, is something that I have tried to capture in this piece.’

Programme note © George Benjamin

‘The most telling of its time-tricks is that it compacts such a fecundity of ideas into a duration that, you are astonished to discover, barely exceeds 15 minutes. It feels twice as long; and I don’t say that as criticism. Merely, as a tribute to the substance, depth and technical accomplishment of an outstanding score.’

Programme notes

Edvard Grieg 1843–1907

Piano Concerto in A minor, Op. 16 1870

Leif Ove Andsnes piano

1 Allegro molto moderato

2 Adagio

3 Allegro moderato molto e marcato – Poco animato

In 1870, Grieg had an unforgettable experience. In Rome he met Liszt, the greatest virtuoso pianist of his day, who played through Grieg’s newly completed Piano Concerto. At the end of the finale, where the second theme returns in triumph but with one note tellingly altered, Liszt leapt up from the keyboard, threw his arms wide and exclaimed, ‘G, G, not G sharp! Splendid!’ And when he handed back the score, Liszt exclaimed, ‘Keep going. You’ve got what it takes – don’t let them intimidate you!’

Understandably, this did wonders for the 25-year-old Grieg’s confidence. And yet the path he was eventually to follow led him in rather different directions. Grieg never again attempted anything on as grand a scale as the Piano Concerto. Apart from his theatre scores for the plays Sigurd Jorsalfar and Peer Gynt, the only substantial multi-movement works he produced after the Concerto were for chamber ensembles. Grieg must have realised that his real talent was for creating miniatures rather than grand symphonic constructions. In later years he toyed with the idea of writing another concerto, but only sketches survived.

But does this mean that the Piano Concerto is anything other than a masterpiece? However captivating the musical invention, say some critics, the Concerto is somewhat mechanical in its use of form: recapitulations, for example, tend to be literal, and development of the leading ideas (when it occurs) tends to be formulaic. There is some justice in this, and yet in a sympathetic performance it hardly seems to matter. Not only are the

Courtesy of the Royal College of Music, London

Programme notes

tunes all top-drawer Grieg, there are moments of exceptional beauty – especially the haunting soft orchestral introduction to the central slow movement; and the return and transformation of the finale’s big tune when the piano takes it up at the end of the Concerto is a superb dramatic stroke.

The beginning of the Piano Concerto deservedly remains one of the most famous openings to a concerto in the repertory: a timpani crescendo, a shout for the full orchestra, then a series of downward cascading figures for the piano. After this the movement is based on two main themes: the first introduced quietly by winds, answered by strings; the second a singing melody first heard on cellos. The big cadenza near the end of the movement is a splendid tour de force, and the return of the Concerto’s opening figures to round off the movement is superbly engineered. After the magical hushed orchestral introduction, the song-like Adagio is dominated by the piano, not so much developing the melodies as decorating them. This leads without a break to the finale: full of vigorous folk-dance tunes at first, then introducing the Concerto’s ‘star tune’ in its slower middle section on solo flute. Grieg builds up the excitement impressively in the faster coda, to the point where the flute tune returns first in full orchestral splendour, then with that telling alteration – G sharp to G – in rich harmonisation on the piano. No wonder it made Liszt shout ‘Splendid!’

Programme note © Stephen Johnson

More pianists with the LPO this month

TCHAIKOVSKY’S FIFTH

Wednesday 15 March 2023

Daniil Trifonov plays

Prokofiev’s Piano Concerto No. 3 plus

Beethoven’s Coriolan Overture & Tchaikovsky’s Symphony No. 5

Karina Canellakis conductor

Generously supported by Victoria Robey OBE

HEROES AND HEROINES

Friday 31 March 2023

Beatrice Rana plays

Mendelssohn’s Piano Concerto No. 1 plus

Tania León’s Stride (UK premiere) & Sibelius’s Symphony No. 2

Dima Slobodeniouk conductor

Interval – 20 minutes

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

Programme notes

Serge Rachmaninoff

1873–1943

Symphonic Dances, Op. 45

1940

1 Non allegro

2 Andante con moto (Tempo di valse)

3 Lento assai – Allegro vivace

In the last 25 years of his life, after leaving his native Russia at the time of the Revolution to settle in the West, Rachmaninoff was forced to devote most of his time to his concert tours as pianist and conductor, and composed only a handful of major works. The last of these was his Symphonic Dances, written in the summer and autumn of 1940 on Long Island in New York State, where he was convalescing after an operation. He composed it first as a work for two pianos, then orchestrated it, checking the proofs in spare moments after he had resumed his touring. The orchestral version was written as a showpiece for The Philadelphia Orchestra and its conductor Eugene Ormandy, who together gave the first performance in January 1941.

The Dances are not ‘symphonic’ in their formal designs: each has an A–B–A outline, with a contrasting middle section and a free reprise of the opening, though each is turned into a substantial whole by the inclusion of an introduction, transitions between sections, and a coda. The adjective indicates rather their scale, their treatment of their material, and their essentially serious nature. At one point Rachmaninoff intended to call them ‘Fantastic Dances’; and he is said to have considered entitling the three movements respectively ‘Noon’, ‘Evening’ and ‘Midnight’ – with reference not only to times of day but also to phases of life.

The first movement is a forceful stylised march; the middle section is much slower, with a languorous melody first heard on alto saxophone, accompanied by woodwind only. The coda begins with a broad string melody derived from the motto-theme of the composer’s First Symphony, a work inspired by

Courtesy of the Royal College of Music, London

Programme notes

a youthful love-affair. (This was a private reference for Rachmaninoff, who thought the work had been destroyed many years earlier; the Symphony was reconstructed only after his death.) The second movement is a crepuscular waltz in changing metres, punctuated by baleful brass fanfares; the middle section moves from elegance to melodic warmth; the coda gathers speed into a whirl, then dies away.

The finale is in the dance rhythm of the saltarello, but it has a slow, sombre introduction and middle section; and increasingly obvious allusions to the Dies irae funeral plainchant, a leitmotif of Rachmaninoff’s whole composing career, suggest that it is something of a dance of death. However, another prominent melody, first heard on the cor anglais towards the end of the first section, is derived from a Russian Orthodox chant which Rachmaninoff had used in the ninth section of his 1915 All-Night Vigil (the so-called Vespers), celebrating the Resurrection of Christ; and the coda of the Dance is freely transcribed from the choral work. At the point where the choir sings ‘Alleluia’, Rachmaninoff wrote the word into his score; and at the end of the manuscript he added ‘I thank Thee, Lord’.

Recommended recordings of tonight’s works

by Laurie Watt

George Benjamin: Sudden Time

London Philharmonic Orchestra | Fretwork

London Sinfonietta | George Benjamin (Nimbus)

Grieg: Piano Concerto in A minor Jean-Efflam Bavouzet | Bergen Philharmonic Orchestra | Edward Gardner (Chandos)

Rachmaninoff: Symphonic Dances

London Philharmonic Orchestra | Vladimir Jurowski (LPO Label LPO-0004: see below)

Rachmaninoff’s Symphonic Dances on the LPO Label

Rachmaninoff The Isle of the Dead Rachmaninoff Symphonic Dances

Vladimir Jurowski conductor

London Philharmonic Orchestra

LPO-0004

Sunday Telegraph, May 2005

Programme note © Anthony Burton

‘Jurowski miraculously goes to the heart of the autumnal spirit of this music, and the playing is responsive to all his demands.’

The

Recorded live at the Southbank Centre’s Royal Festival Hall (The Isle of the Dead on 8 December 2004, Symphonic Dances on 29 October 2003)

Next LPO concerts at the Southbank Centre’s Royal Festival Hall

TCHAIKOVSKY’S FIFTH

Wednesday 15 March 2023 | 7.30pm

Beethoven Coriolan Overture

Prokofiev Piano Concerto No. 3

Tchaikovsky Symphony No. 5

Karina Canellakis conductor

Daniil Trifonov piano

Generously supported by Victoria Robey OBE

TEARS AND LAUGHTER

Saturday 18 March 2023 | 7.30pm

Victoria Vita Polevá Nova (UK premiere)

Elena Langer The Dong with a Luminous Nose (world premiere)

Shostakovich Symphony No. 5

Andrey Boreyko conductor

Kristina Blaumane cello*

London Philharmonic Choir

*Chair supported by Bianca and Stuart Roden

A HOUSE OF CALL

Saturday 25 March 2023 | 7.30pm

Heiner Goebbels A House of Call (UK premiere)

Vimbayi Kaziboni conductor

Performed with kind permission of Ensemble Modern

Karina Canellakis © Mark Allan

Written and directed by Bill Barclay

Tuesday 21 March 2023

7.30pm

St Martin-in-the-Fields

The Chevalier tells the fascinating life of Joseph Bologne –an 18th-century Black composer, virtuoso violinist and friend of Mozart and Marie Antoinette – more commonly known as the Chevalier de Saint-Georges.

Generously supported by Victoria Robey OBE

Matthew Kofi Waldren conductor

Braimah Kanneh-Mason violin

Chukwudi Iwuji Joseph Bologne

Merritt Janson Marie Antoinette

David Joseph Mozart

Bill Barclay Choderlos de Laclos

London Philharmonic Orchestra and friends

Tickets: £10–£35 (Booking fee: £2.75)

St Martin in the Fields Box Office 020 7766 1100 (Mon–Sat 10.00am–5.00pm) smitf.org

Celebrating 90 years & counting

We cherish our heritage and are committed to keeping the next 90 years exciting, dynamic and inclusive. Donate now, as we continue to make history in the present by offering life-enriching musical experiences for everyone, investing in the next generation of talent, commissioning masterworks of the future and reaching more communities around the UK, especially in Brighton and Eastbourne.

Sound Futures donors

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

Masur Circle

Arts Council England

Dunard Fund

Victoria Robey OBE

Emmanuel & Barrie Roman

The Underwood Trust

Welser-Möst Circle

William & Alex de Winton

John Ireland Charitable Trust

The Tsukanov Family Foundation

Neil Westreich

Tennstedt Circle

Valentina & Dmitry Aksenov

Richard Buxton

The Candide Trust

Michael & Elena Kroupeev

Kirby Laing Foundation

Mr & Mrs Makharinsky

Alexey & Anastasia Reznikovich

Sir Simon Robey

Bianca & Stuart Roden

Simon & Vero Turner

The late Mr K Twyman

Solti Patrons

Ageas

John & Manon Antoniazzi

Gabor Beyer, through BTO Management Consulting AG

Jon Claydon

Mrs Mina Goodman & Miss Suzanne

Goodman

Roddy & April Gow

The Jeniffer & Jonathan Harris Charitable Trust

Mr James R.D. Korner

Christoph Ladanyi & Dr Sophia

Ladanyi-Czernin

Robert Markwick & Kasia Robinski

The Maurice Marks Charitable Trust

Mr Paris Natar

The Rothschild Foundation

Tom & Phillis Sharpe

The Viney Family

Haitink Patrons

Mark & Elizabeth Adams

Dr Christopher Aldren

Mrs Pauline Baumgartner

Lady Jane Berrill

Mr Frederick Brittenden

David & Yi Yao Buckley

Mr Clive Butler

Gill & Garf Collins

Mr John H Cook

Mr Alistair Corbett

Bruno De Kegel

Georgy Djaparidze

David Ellen

Christopher Fraser OBE

David & Victoria Graham Fuller

Goldman Sachs International

Mr Gavin Graham

Moya Greene

Mrs Dorothy Hambleton

Tony & Susie Hayes

Malcolm Herring

Catherine Høgel & Ben Mardle

Mrs Philip Kan

Rehmet Kassim-Lakha de Morixe

Rose & Dudley Leigh

Lady Roslyn Marion Lyons

Miss Jeanette Martin

Duncan Matthews 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

Mrs Aline Foriel-Destezet

Aud Jebsen

In memory of Mrs Rita Reay

Sir Simon & Lady Robey OBE

Orchestra Circle

William & Alex de Winton

Patricia Haitink

Mr & Mrs Philip Kan

Neil Westreich

The American Friends of the London Philharmonic Orchestra

Principal Associates

Richard Buxton

Gill & Garf Collins

In memory of Brenda Lyndoe

Casbon

In memory of Ann Marguerite

Collins

Sally Groves MBE

George Ramishvili

Associates

Mrs Irina Andreeva

In memory of Len & Edna Beech

Steven M. Berzin

Ms Veronika BorovikKhilchevskaya

The Candide Trust

Irina Gofman & Mr Rodrik V. G.

Cave

The Lambert Family Charitable

Trust

Stuart & Bianca Roden

In memory of Hazel Amy Smith

The Tsukanov Family

The Viney Family

Gold Patrons

An anonymous donor

Chris Aldren

David & Yi Buckley

In memory of Allner Mavis

Channing

Sonja Drexler

Jan & Leni Du Plessis

The Vernon Ellis Foundation

Peter & Fiona Espenhahn

Hamish & Sophie Forsyth

Mr Roger Greenwood

Malcolm Herring

John & Angela Kessler

Julian & Gill Simmonds

Eric Tomsett

Andrew & Rosemary Tusa

Guy & Utti Whittaker

Mr Florian Wunderlich

Silver Patrons

Dame Colette Bowe

David Burke & Valerie Graham

John & Sam Dawson

Bruno De Kegel

Ulrike & Benno Engelmann

Virginia Gabbertas MBE

Dmitry & Ekaterina Gursky

The Jeniffer & Jonathan Harris

Charitable Trust

Catherine Høgel & Ben Mardle

Sir George Iacobescu

Jamie & Julia Korner

Mr & Mrs Makharinsky

Mr Nikita Mishin

Andrew Neill

Tom & Phillis Sharpe

Mr & Mrs John & Susi Underwood

Laurence Watt

Bronze Patrons

Anonymous donors

Michael Allen

Mr Mark Astaire

Nicholas & Christine Beale

Mikhail Noskov & Vasilina Bindley

Mr Anthony Blaiklock

Lorna & Christopher Bown

Mr Bernard Bradbury

Simon Burke & Rupert King

Desmond & Ruth Cecil

Mr Evgeny Chichvarkin

Mr John H Cook

Georgy Djaparidze

Deborah Dolce

Cameron & Kathryn Doley

Mariana Eidelkind & Gene

Moldavsky

David Ellen

Ben Fairhall

Mr Richard & Helen Gillingwater

Mr Daniel Goldstein

David & Jane Gosman

Mr Gavin Graham

Lord & Lady Hall

Mrs Dorothy Hambleton

Martin & Katherine Hattrell

Michael & Christine Henry

Mr Steve Holliday

J Douglas Home

Mr & Mrs Ralph Kanza

Mrs Elena & Mr Oleg Kolobov

Rose & Dudley Leigh

Wg. Cdr. & Mrs M T Liddiard OBE

JP RAF

Drs Frank & Gek Lim

Mr Nicholas Little

Geoff & Meg Mann

Mrs Elizabeth Meshkvicheva

Andrew T Mills

Peter & Lucy Noble

Mr Roger Phillimore

Mr Michael Posen

Mr Anthony Salz

Ms Nadia Stasyuk

Charlotte Stevenson

Mr Joe Topley & Ms Tracey

Countryman

Mr & Mrs John C Tucker

Timothy Walker CBE AM

Jenny Watson CBE

Grenville & Krysia Williams

Principal Supporters

Anonymous donors

Dr Manon Antoniazzi

Julian & Annette Armstrong

Mr John D Barnard

Mr Geoffrey Bateman

Mr Philip Bathard-Smith

Mrs A Beare

Dr Anthony Buckland

Dr Simona Cicero & Mr Mario

Altieri

Mr Peter Coe

Mrs Pearl Cohen

David & Liz Conway

Mr Alistair Corbett

Ms Mary Anne Cordeiro

Ms Elena Dubinets

Mr Richard Fernyhough

Jason George

Mr Christian Grobel

Prof Emeritus John Gruzelier

Mark & Sarah Holford

Mrs Maureen Hooft-Graafland

Per Jonsson

Mr Ian Kapur

Ms Kim J Koch

Ms Elena Lojevsky

Mrs Terry Neale

John Nickson & Simon Rew

Oliver & Josie Ogg

Ms Olga Ovenden

Mr James Pickford

Filippo Poli

Sir Bernard Rix

Mr Robert Ross

Priscylla Shaw

Martin & Cheryl Southgate

Mr & Mrs G Stein

Dr Peter Stephenson

Joanna Williams

Christopher Williams

Ms Elena Ziskind

Supporters

Anonymous donors

Ralph & Elizabeth Aldwinckle

Mr & Mrs Robert Auerbach

Mrs Julia Beine

Harvey Bengen

Miss YolanDa Brown OBE

Miss Yousun Chae

Mr Julien Chilcott-Monk

Alison Clarke & Leo Pilkington

Mr Joshua Coger

Miss Tessa Cowie

Mr David Devons

Patricia Dreyfus

Mr Martin Fodder

Christopher Fraser OBE

Will Gold

Ray Harsant

Mr Peter Imhof

The Jackman Family

Mr David MacFarlane

Dame Jane Newell DBE

Mr Stephen Olton

Mari Payne

Mr David Peters

Ms Edwina Pitman

Mr & Mrs Graham & Jean Pugh

Mr Giles Quarme

Mr Kenneth Shaw

Mr Brian Smith

Ms Rika Suzuki

Tony & Hilary Vines

Dr June Wakefield

Mr John Weekes

Mr C D Yates

Hon. Benefactor

Elliott Bernerd

Hon. Life Members

Alfonso Aijón

Kenneth Goode

Carol Colburn Grigor CBE

Pehr G Gyllenhammar

Robert Hill

Victoria Robey OBE

Mrs Jackie Rosenfeld OBE

Timothy Walker CBE AM

Laurence Watt

Thomas Beecham Group Members

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

Sir Simon Robey

Victoria Robey OBE

Bianca & Stuart Roden

Caroline, Jamie & Zander Sharp

Julian & Gill Simmonds

Eric Tomsett

Neil Westreich

Guy & Utti Whittaker

Corporate Donor

Barclays

LPO Corporate Circle

Principal

Bloomberg

Carter-Ruck

French Chamber of Commerce

Tutti

Lazard

Natixis Corporate Investment

Banking

Sciteb Ltd

Walpole

Preferred Partners

Gusbourne Estate

Jeroboams

Lindt & Sprüngli Ltd

OneWelbeck Steinway

In-kind Sponsor

Google Inc

Thank you

Trusts and Foundations

ABO Trust

BlueSpark Foundation

The Boltini Trust

Borrows Charitable Trust

The Candide Trust

Cockayne – Grants for the Arts

The London Community Foundation

The D’Oyly Carte Charitable Trust

Dunard Fund

Ernst von Siemens Music Foundation

Foyle Foundation

Garrick Charitable Trust

John Horniman’s Children’s Trust

John Thaw Foundation

Institute Adam Mickiewicz

Kirby Laing Foundation

Lord and Lady Lurgan Trust

The Marchus Trust

The Radcliffe Trust

Rivers Foundation

Rothschild Foundation

Scops Arts Trust

Sir William Boremans’ Foundation

The John S Cohen Foundation

The Stanley Picker Trust

The Thriplow Charitable 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

Damien Vanderwilt

Marc Wasserman

Elizabeth Winter

Catherine Høgel Hon. Director

Jenifer L. Keiser, CPA, EisnerAmper LLP

LPO International Board of Governors

Natasha Tsukanova Co-Chair

Martin Höhmann Co-Chair

Mrs Irina Andreeva

Steven M. Berzin

Shashank Bhagat

Veronika Borovik-Khilchevskaya

Marie-Laure Favre Gilly de Varennes de Bueil

Aline Foriel-Destezet

Irina Gofman

Countess Dominique Loredan

Olivia Ma

George Ramishvili

Sophie Schÿler-Thierry

Jay Stein

London Philharmonic Orchestra Administration

Board of Directors

Dr Catherine C. Høgel Chair

Lord Hall of Birkenhead CBE Vice-Chair

Martin Höhmann* President

Mark Vines* Vice-President

Kate Birchall*

David Buckley

David Burke

Bruno De Kegel

Deborah Dolce

Elena Dubinets

Tanya Joseph

Hugh Kluger*

Katherine Leek*

Al MacCuish

Minn Majoe*

Tania Mazzetti*

Jamie Njoku-Goodwin

Andrew Tusa

Neil Westreich

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

Philharmonic Orchestra)

*Player-Director

Advisory Council

Martin Höhmann Chairman

Christopher Aldren

Dr Manon Antoniazzi

Roger Barron

Richard Brass

Helen Brocklebank

YolanDa Brown OBE

Simon Burke

Simon Callow CBE

Desmond Cecil CMG

Sir Alan Collins KCVO CMG

Andrew Davenport

Guillaume Descottes

Cameron Doley

Christopher Fraser OBE

Jenny Goldie-Scot

Jonathan Harris CBE FRICS

Marianna Hay MBE

Nicholas Hely-Hutchinson DL

Amanda Hill

Rehmet Kassim-Lakha

Jamie Korner

Geoff Mann

Clive Marks OBE FCA

Stewart McIlwham

Andrew Neill

Nadya Powell

Sir Bernard Rix

Victoria Robey OBE

Baroness Shackleton

Thomas Sharpe KC

Julian Simmonds

Barry Smith

Nicholas Snowman OBE

Martin Southgate

Chris Viney

Laurence Watt

Elizabeth Winter

General Administration

Elena Dubinets

Artistic Director

David Burke Chief Executive

Chantelle Vircavs PA to the Executive

Concert Management

Roanna Gibson

Concerts and Planning Director

Graham Wood

Concerts and Recordings Manager

Maddy Clarke Tours Manager

Madeleine Ridout

Glyndebourne and Projects Manager

Alison Jones

Concerts and Recordings

Co-ordinator

Robert Winup Concerts and Tours Assistant

Matthew Freeman

Recordings Consultant

Andrew Chenery Orchestra Personnel Manager

Sarah Thomas

Martin Sargeson

Librarians

Laura Kitson

Stage and Operations Manager

Stephen O’Flaherty

Deputy Operations Manager

Felix Lo

Orchestra and Auditions Manager

Finance

Frances Slack

Finance Director

Dayse Guilherme Finance Manager

Jean-Paul Ramotar

Finance and IT Officer

Education and Community

Talia Lash

Education and Community Director

Lowri Davies

Hannah Foakes

Education and Community Project Managers

Hannah Smith

Education and Community Co-ordinator

Development

Laura Willis

Development Director

Rosie Morden

Individual Giving Manager

Siân Jenkins

Corporate Relations Manager

Anna Quillin

Trusts and Foundations Manager

Katurah Morrish

Development Events Manager

Eleanor Conroy

Al Levin

Development Assistants

Nick Jackman

Campaigns and Projects Director

Kirstin Peltonen

Development Associate

Marketing

Kath Trout

Marketing and Communications Director

Sophie Harvey

Marketing Manager

Rachel Williams

Publications Manager

Harrie Mayhew

Website Manager

Gavin Miller

Sales and Ticketing Manager

Ruth Haines

Press and PR Manager

Greg Felton

Digital Creative

Hayley Kim

Marketing Co-ordinator

Alicia Hartley

Marketing Assistant Archives

Philip Stuart

Discographer

Gillian Pole

Recordings Archive

Professional Services

Charles Russell Speechlys

Solicitors

Crowe Clark Whitehill LLP

Auditors

Dr Barry Grimaldi

Honorary Doctor

Mr Chris Aldren

Honorary ENT Surgeon

Mr Simon Owen-Johnstone

Hon. Orthopaedic Surgeon

London Philharmonic Orchestra

89 Albert Embankment

London SE1 7TP

Tel: 020 7840 4200

Box Office: 020 7840 4242

Email: admin@lpo.org.uk lpo.org.uk

Cover illustration

Simon Pemberton/Heart

2022/23 season identity

JMG Studio

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