LPO programme: 4 Oct 2024 - Patricia Kopatchinskaja plays Shostakovich
Principal Conductor Edward Gardner supported by Aud Jebsen
Principal Guest Conductor Karina Canellakis
Conductor Emeritus Vladimir Jurowski KBE Patron HRH The Duke of Kent KG
Artistic Director Elena Dubinets Chief Executive David Burke
Leader Pieter Schoeman supported by Neil Westreich
Southbank Centre’s Royal Festival Hall Friday 4 October 2024 | 7.30pm
Patricia Kopatchinskaja plays Shostakovich
Britten
Sinfonia da Requiem (21’)
Shostakovich
Violin Concerto No. 1 (36’)
Interval (20’)
Sibelius Symphony No. 5 (31’)
Edward Gardner conductor Generously supported by Aud Jebsen
Patricia Kopatchinskaja violin
Part of
Concert generously supported by Victoria Robey CBE
Welcome LPO news
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Edward Gardner extends his LPO contract
You might have seen the news earlier this month that Edward Gardner has renewed his contract as LPO Principal Conductor until at least 2028. Karina Canellakis has also extended her Principal Guest Conductor contract until 2027, which – along with Conductor Emeritus Vladimir Jurowski – means we retain our enviable conductor lineup for years to come. We’re all looking forward to the musical adventures ahead!
Scan to watch a video of Ed talking about his contract extension and what he loves about the LPO:
Autumn tour adventures
Next week the Orchestra embarks on its first major tour of the USA in a decade, with Principal Conductor Edward Gardner and violinists Patricia Kopatchinskaja and Randall Goosby. Spanning the country from West to East Coasts, the two-week tour begins with four concerts across California, before visits to cities in Illinois, Indiana, Michigan, Connecticut and New York, including a performance at Carnegie Hall on 19 October – this will be both Ed Gardner and Patricia Kopatchinskaja’s debuts there.
Last month the Orchestra travelled to Japan with conductor Robin Ticciati and pianist Nobuyuki Tsujii, performing in the cities of Hamamatsu, Nagoya and Osaka, as well as three concerts at Tokyo’s Suntory Hall. The Orchestra was delighted to be sponsored by HSBC for this tour.
During November we’ll be touring closer to home, giving a series of concerts in Vienna and Germany with Edward Gardner and pianist Víkingur Ólafsson, following his Royal Festival Hall performance with us on 6 November. And later in the autumn we’re preparing for another big trip – a major tour of China at the end of December. With conductor Paavo Järvi and cellist Julia Hagen, we’ll perform in Guangzhou, Shenzhen, Shanghai and Beijing, before returning to the UK in the New Year.
First Violins
Pieter Schoeman* Leader
Chair supported by Neil Westreich
Alice Ivy-Pemberton Co-Leader
Vesselin Gellev Sub-Leader
Kate Oswin
Chair supported by Eric Tomsett
Lasma Taimina
Chair supported by Irina Gofman & Mr Rodrik V. G. Cave
Minn Majoe
Chair supported by Dr Alex & Maria
Chan
Thomas Eisner
Chair supported by Ryze Power
Martin Höhmann
Alice Hall
Yang Zhang
Cassandra Hamilton
Elizaveta Tyun
Nilufar Alimaksumova
Amanda Smith
Ronald Long
Chu-Yu Yang
Second Violins
Tania Mazzetti Principal
Emma Oldfield Co-Principal
Claudia Tarrant-Matthews
Sophie Phillips
Nancy Elan
Fiona Higham
Chair supported by David & Yi
Buckley
Marie-Anne Mairesse
Ashley Stevens
Sioni Williams
Kate Cole
Jessica Coleman
Alison Strange
Charlie MacClure
Jamie Hutchinson
Violas
Scott Dickinson
Guest Principal
Martin Wray
Chair supported by David & Bettina
Harden
Katharine Leek
Benedetto Pollani
Laura Vallejo
Lucia Ortiz Sauco
On stage tonight
Jisu Song
Kate De Campos
Linda Kidwell
Lukas Bowen
Michelle Bruil
Julia Doukakis
Cellos
Kristina Blaumane Principal
Chair supported by Bianca & Stuart Roden
Waynne Kwon
David Lale
Hee Yeon Cho
Nina Kiva
Helen Thomas
George Hoult
Sibylle Hentschel
Iain Ward
Jane Lindsay
Double Basses
Kevin Rundell* Principal
Sebastian Pennar Co-Principal
Hugh Kluger
George Peniston
Tom Walley
Chair supported by William & Alex de Winton
Laura Murphy
Charlotte Kerbegian
Lowri Estell
Flutes
Fiona Kelly Guest Principal
Ellie Blamires
Stewart McIlwham*
Piccolo/Alto Flute
Stewart McIlwham* Principal
Oboes
Ian Hardwick* Principal
Alice Munday
Sue Böhling*
Cor Anglais
Sue Böhling* Principal
Chair supported by Dr Barry Grimaldi
Clarinets
Benjamin Mellefont* Principal
Chair supported by Sir Nigel Boardman & Prof. Lynda Gratton
Thomas Watmough
Chair supported by Roger Greenwood
Paul Richards*
Bass Clarinet
Paul Richards* Principal
Alto Saxophone
Kyle Horch
Bassoons
Jonathan Davies* Principal
Chair supported by Sir Simon Robey
Dominic Tyler
Simon Estell*
Contrabassoon
Simon Estell* Principal
Horns
Annemarie Federle Principal
Chair supported by Victoria Robey CBE
John Ryan* Principal
Martin Hobbs
Mark Vines Co-Principal
Gareth Mollison
Duncan Fuller
Oliver Johnson
Trumpets
Paul Beniston* Principal
Tom Nielsen Co-Principal
Anne McAneney*
Chair supported by Peter Coe
Trombones
Mark Templeton* Principal
Chair supported by William & Alex de Winton
David Whitehouse
Bass Trombone
Lyndon Meredith Principal
Tuba
Lee Tsarmaklis* Principal
Chair supported by William & Alex de Winton
Timpani
Simon Carrington* Principal
Chair supported by Victoria Robey CBE
Percussion
Andrew Barclay* Principal
Chair supported by Gill & Garf Collins
Karen Hutt
Jeremy Cornes
Sarah Mason
Oliver Yates
Harps
Sue Blair Guest Principal
Tamara Young
Piano/Celeste
Catherine Edwards
Assistant Conductor
Juya Shin
*Professor at a London conservatoire
The LPO also acknowledges the following chair supporters whose players are not present at this concert: Sonja Drexler Friends of the 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. Our mission is to share wonder with the modern world through the power of orchestral music, which we accomplish through live performances, online, and an extensive education and community programme, cementing our position as a leading orchestra for the 21st century.
Our home is at the Southbank Centre’s Royal Festival Hall, where we’re at the beating heart of London’s cultural life. You’ll also find us at our resident venues in Brighton, Eastbourne and Saffron Walden, and on tour worldwide. In 2024 we celebrated 60 years as Resident Symphony Orchestra at Glyndebourne Festival Opera, combining the magic of opera with Glyndebourne’s glorious setting in the Sussex countryside.
Soundtrack to key moments
Everyone will have heard the Grammy-nominated London Philharmonic Orchestra, whether it’s playing the world’s National Anthems for every medal ceremony of the London 2012 Olympics and Paralympics, our iconic recording with Pavarotti that made Nessun Dorma a global football anthem, or closing the flotilla at The Queen’s Thames Diamond Jubilee Pageant. And you’ll almost certainly have heard us on the soundtracks for major films including The Lord of the Rings
Sharing the wonder worldwide
We’re one of the world’s most-streamed orchestras, with over 15 million plays of our content each month. In 2023 we were the most successful orchestra worldwide on YouTube, TikTok and Instagram, with over 1.1m followers across all platforms, and in spring 2024 we featured in a TV documentary series on Sky Arts: ‘Backstage with the London Philharmonic Orchestra’, still available to watch via Now TV. During 2024/25 we’re once again working with Marquee TV to broadcast selected live concerts to enjoy from your own living room.
Our conductors
Our Principal Conductors have included some of the greatest historic names like Sir Adrian Boult, Bernard Haitink, Klaus Tennstedt and Kurt Masur. In 2021 Edward Gardner became our 13th Principal Conductor, and Vladimir Jurowski became Conductor Emeritus in recognition of his impact as Principal Conductor from 2007–21. Karina Canellakis is our current Principal Guest Conductor, and Tania León our Composer-in-Residence.
Next generations
We’re committed to nurturing the next generation of musicians and music-lovers: we love seeing the joy of children and families experiencing their first musical moments, and we’re passionate about inspiring schools and teachers through dedicated concerts, workshops,
resources and training. Reflecting our values of collaboration and inclusivity, our OrchLab and Open Sound Ensemble projects offer music-making opportunities for adults and young people with disabilities and special educational needs.
Today’s young instrumentalists are the orchestra members of the future, and we have a number of opportunities to support their progression. Our LPO Junior Artists programme leads the way in creating pathways into the profession for young artists from under-represented communities, and our LPO Young Composers and Foyle Future Firsts schemes support the next generation of professional musicians, bridging the transition from education to professional careers. We also recently launched the LPO Conducting Fellowship, supporting the development of two outstanding early-career conductors from backgrounds under-represented in the profession.
2024/25 season
Principal Conductor Edward Gardner leads the Orchestra in an exciting 2024/25 season, with soloists including Joyce DiDonato, Leif Ove Andsnes, Patricia Kopatchinskaja, Víkingur Ólafsson and Isabelle Faust, and works including Strauss’s Alpine Symphony, Ravel’s Daphnis and Chloe and Mahler’s Eighth Symphony. Principal Guest Conductor Karina Canellakis joins us for three concerts including Bruckner’s Fourth Symphony, Tchaikovsky’s Sixth Symphony, and Mozart with pianist Benjamin Grosvenor. We’ll also welcome back Conductor Emeritus Vladimir Jurowski, as well as guest conductors including Mark Elder, Lidiya Yankovskaya, Robin Ticciati and Kevin John Edusei.
Throughout the season we’ll explore the relationship between music and memory in our ‘Moments Remembered’ series, featuring works like Beethoven’s ‘Eroica’ Symphony, Strauss’s Metamorphosen and John Adams’s On the Transmigration of Souls. During the season there’ll be the chance to hear brand new works by composers including Freya Waley-Cohen and David Sawer, as well as performances by renowned soloists violinist Gidon Kremer, sarod player Amjad Ali Khan, soprano Renée Fleming and many more. The season also features tours to Japan, the USA, China and across Europe, as well as a calendar bursting with performances and community events in our Brighton, Eastbourne and Saffron Walden residencies. 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 Rachmaninoff Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and the Southbank Centre’s Royal Festival Hall. As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. His chamber music partners have included Anne-Sophie Mutter, Veronika Eberle, Patricia Kopatchinskaja, Boris Garlitsky, Jean-Guihen Queyras, Yannick Nézet-Séguin, Martin Helmchen and Julia Fischer.
Pieter has performed numerous times as a soloist with the London Philharmonic Orchestra. Highlights have included an appearance as both conductor and soloist in Vivaldi’s Four Seasons at the Royal Festival Hall, the Brahms Double Concerto with Kristina Blaumane, Florence Price’s Violin Concerto No. 2, and the Britten Double Concerto with Alexander Zemtsov, which was recorded and released on the LPO Label to great critical acclaim.
Pieter has appeared as Guest Leader with the BBC, Barcelona, Bordeaux, Lyon and Baltimore symphony orchestras; the Rotterdam and BBC Philharmonic orchestras; and the Leipzig Gewandhaus Orchestra.
Pieter’s chair in the LPO is generously supported by Neil Westreich.
London Philharmonic Orchestra • 4 October 2024 • Patricia Kopatchinskaja plays Shostakovich
Edward Gardner Principal Conductor, London Philharmonic Orchestra
Edward Gardner has been Principal Conductor of the London Philharmonic Orchestra since September 2021, recently extending his contract until at least 2028. He is also Music Director of the Norwegian Opera & Ballet, and Honorary Conductor of the Bergen Philharmonic Orchestra, following his tenure as Chief Conductor from 2015–24.
In 2024/25 – his fourth season as Principal Conductor –Edward conducts nine LPO concerts at the Royal Festival Hall. Next week he and the Orchestra embark on a major tour of the US, again with Patricia Kopatchinskaja, as well as violinist Randall Goosby. Later in the season Edward is joined by more superb soloists including Víkingur Ólafsson, Isabelle Faust and Augustin Hadelich, and presents works including Strauss’s mighty Alpine Symphony, Ravel’s Daphnis and Chloe and Mahler’s Symphony No. 8.
Edward opened his inaugural season as Music Director of the Norwegian Opera & Ballet with concert performances of Wagner’s The Flying Dutchman and Mahler’s ‘Resurrection’ Symphony. He will later conduct two fully staged operas; Verdi’s La traviata and Janáček’s The Cunning Little Vixen, following earlier productions of Bartók’s Bluebeard’s Castle, Zemlinsky’s A Florentine Tragedy and Verdi’s Un ballo in maschera
In demand as a guest conductor, this season Edward appears with the Bavarian Radio Symphony, Frankfurt Radio, Dallas Symphony, New World Symphony, Minnesota, Seoul Philharmonic, Sydney Symphony and West Australian Symphony orchestras. Debuts in recent seasons have included with the New York Philharmonic, the Philadelphia and Cleveland Orchestras, and the San Francisco Symphony, Staatskapelle Berlin, Berlin
Radio Symphony and Vienna Symphony orchestras. In the UK, he has had longstanding collaborations with the City of Birmingham Symphony Orchestra, where he was Principal Guest Conductor from 2010-16, and the BBC Symphony Orchestra, whom he has conducted at both the First and Last Night of the BBC Proms.
In spring 2025 Edward returns to London’s Royal Opera House to conduct the world premiere of Mark-Anthony Turnage’s Festen, and in June he returns to the Bavarian State Opera for Rusalka, following his debut with Peter Grimes in 2022 and Otello in 2023. Music Director of English National Opera for eight years (2007–15), Edward has also built a strong relationship with New York’s Metropolitan Opera, with productions of The Damnation of Faust, Carmen, Don Giovanni, Der Rosenkavalier and Werther. Elsewhere, he has conducted at La Scala, Chicago Lyric Opera, Glyndebourne Festival Opera and Opéra National de Paris.
In February this year, the LPO Label released a recording of Berlioz’s The Damnation of Faust with Edward Gardner, recorded live in February 2023 (LPO-0128). This follows his recording of Tippett’s The Midsummer Marriage, which won the 2023 Gramophone Opera Award (LPO-0124). A second Tippett disc, featuring the Second Symphony and the Piano Concerto with Steven Osborne, is planned for release next month (LPO-0129: see page 12). In spring 2024 Edward and the LPO were the subject of a TV documentary series on Sky Arts: ‘Backstage with the London Philharmonic Orchestra’, still available to watch on Now TV.
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, and gained early recognition as Assistant Conductor of the Hallé and Music Director of Glyndebourne Touring Opera. His many accolades include the Royal Philharmonic Society Conductor of the Year Award (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.
Patricia Kopatchinskaja’s focus is to get to the heart of the music – to its meaning for us, here and now. With a combination of depth, brilliance and humour, she brings an inimitable sense of theatrics to her music. Described by The New York Times as ‘a player of rare expressive energy and disarming informality, of whimsy and theatrical ambition’, Patricia’s distinctive approach always conveys the core of a work, whether an out-ofthe-box performance of a traditional repertoire classic or an original, experimental staged project.
A boundary-crosser who thrives on the challenge of musical experiments and describes contemporary music as her lifeblood, Patricia’s absolute priority is the music of the 20th and 21st centuries and collaborations with living composers such as Francisco Coll, Luca Francesconi, Michael Hersch, Márton Illés, György Kurtág, Esa-Pekka Salonen, Aureliano Cattaneo, Stefano Gervasoni, and many others. She directs staged concerts at venues on both sides of the Atlantic and collaborates with leading orchestras, conductors and festivals worldwide.
From the 2024/25 season, Patricia will serve as Artistic Partner of the SWR Symphony Orchestra in Germany. A virtuoso, storyteller and all-around phenomenon, she will design her own programmes, spanning both established concert formats and innovative theatrical and interdisciplinary approaches. Among these is the staged concert The Peace Project, which reflects on centuries of existential suffering caused by war through a kaleidoscope of Baroque and modern works. The project addresses the numerous reports from war zones, the violent disruption of daily life, and the constant fear for one’s life and loved ones. Patricia will also be Artist-in-Residence at the 2025 Klarafestival in
Belgium, where she will continue to actively support themes related to environmental protection and sustainability through innovatively curated projects. She also holds the position of Associated Artist of the SWR Experimentalstudio, one of the most important international research centres in the field of electronic music.
This season, Patricia channels her creative prowess and versatility into performances at the Venice Biennale, the BBC Proms and the Lucerne Festival, and an appearance with the New York Philharmonic. In 2024 she honours Schoenberg’s 150th anniversary by performing his monumental Violin Concerto with the BBC Symphony and Vienna Symphony orchestras, the Dresden Philharmonic, the Orchestre Philharmonique de Radio France and the Deutsche Kammerphilharmonie Bremen, to name just a few.
A trusted partner of the LPO for over a decade, following tonight’s concert, Patricia will join them and Edward Gardner on an extensive US tour spanning from West to East Coasts, and culminating in a concert at New York’s Carnegie Hall on 19 October. This season she also reunites with Ensemble Resonanz for a new project, playground, which lightheartedly deconstructs our familiar world, reassembles it, and leads the audience on an adventure of discovery. The programme features a new double concerto by Dai Fujikura alongside flautist Claire Chase.
Patricia Kopatchinskaja’s discography includes over 30 recordings, among them the Grammy Award-winning Death and the Maiden with the Saint Paul Chamber Orchestra, which was also recreated as a semi-staged filmed performance with Camerata Bern. Recent releases include Plaisirs Illuminés with cellist Sol Gabetta and Camerata Bern, which was saluted with a BBC Music Magazine Award, and Le monde selon George Antheil with pianist Joonas Ahonen (both on Alpha Classics). A revival of the project Maria Mater Meretrix with soprano Anna Prohaska, a musical mosaic of women throughout the centuries, was also released on CD last season, as well as a new recording with pianist Fazıl Say which was awarded an ‘Editor’s Choice’ by Gramophone. Last season also saw the release of the album Take 3 with clarinettist Reto Bieri and pianist Polina Leschenko – a testament to the enduring partnership of these three artists, celebrating their shared musical journey and musical origins.
by Jeremy Eichler, LPO Writer-in-Residence 2024/25
Is music the ultimate medium of memory?
Ever since the mythical poet Orpheus retrieved his beloved Eurydice from the underworld through the magical power of his song, music has been summoning souls, bridging time, and raising the dead. Its ability to trigger flights of memory is a phenomenon many people still experience: think, for instance, of the song that pops up on the car radio and, like Proust’s madeleine, instantly calls to mind a moment or experience that took place years or even decades earlier.
Yet as so many works presented across the London Philharmonic Orchestra’s 2024/25 season will illustrate, it is not just we who remember music. Music also remembers us. Music reflects the individuals and the societies that create it, capturing something essential about the era of its birth. When a composer in 1824 consciously or unconsciously distils worlds of thought, fantasy and emotion into a series of notes on a page, and then we hear those same notes realized in a performance two centuries later, we are hearing the past literally speaking in the present.
In this sense, music can fleetingly reorder the past, bring closer that which is distant, and confound the one-way linearity of time. In these very ways, music shares a profound affinity with memory itself. For memory by definition also challenges the pastness of the past and the objective distance of history; it also reorders time and flouts the forward march of the years. An event seared in memory from decades ago may haunt the mind with a power far greater than events that took place only yesterday. Indeed, while Mnemosyne, the Greek goddess of memory, was said to be mother of all the Muses, one daughter may stand as first among equals. Memory resonates with the cadences, the revelations, the opacities and the poignancies of music.
But what exactly can music remember? How does it do so differently to other art forms? Whose stories are
being recalled? Who is doing the remembering? And toward what ends are we being asked to recollect?
Over the course of its 2024/25 season, the LPO will explore these questions through no fewer than 15 programmes, a curated gallery of sonic memory. Some will represent iconic figures at the heart of the Western musical tradition (such as Haydn, Beethoven, Schoenberg, Britten, Strauss, Shostakovich and Prokofiev). Some carry forward lesser-known but essential 20th-century voices (Mieczysław Weinberg, Boris Lyatoshynsky, Julia Perry). And some are by living composers (György Kurtág, John Adams, Freya WaleyCohen, Evan Williams, Dinuk Wijeratne), artists who ply their craft while looking both forward and back, creating memories of yesterday for the world of tomorrow.
Across this season we will find sonic bridges to the wartime past, the utopian past, the personal past, the national past, the literary past, the imagined past, the forgotten past, the obliterated past. Implicit in this journey is an awareness of memory’s complexity and contingency, beginning with Beethoven’s ‘Eroica’, a work whose original dedication to Napoleon was itself renounced with a fury that tore the composer’s manuscript paper. And the season ends with the cosmos-embracing euphoria of Mahler’s Eighth Symphony, itself a Goethe-inspired memory of earlier Enlightenment dreams, etched at the dawn of the modern world.
Along the way, many of the works treat, implicitly or explicitly, the great ruptures of the 20th century, including extraordinary sonic monuments to the Second World War and the Holocaust. We may feel we already know these epochal events through history books. But the information accumulating on library shelves provides just one mode of access. The survivor Jean Améry once went as far as bitterly attacking what he saw as his own era’s tendency to publish books about the horrors of the Holocaust in order to forget those
horrors with a clean conscience, to relegate a shocking and morally unassimilable past to ‘the cold storage of history’.
Music, on the other hand, possesses a unique and often underappreciated power to burn through history’s cold storage, to release its frozen stores of meaning and emotion. Its power may originate in the visceral immediacy of sound itself: sound surrounds us, penetrates our bodies, vibrates within us. Listening to a song, the critic John Berger once wrote, ‘we find ourselves inside a message.’ But music’s potency as a medium of cultural memory also flows from its mysterious capacity to bridge intellect and emotion; its ability to short-circuit the centuries by yoking ‘then’ and ‘now’ within a single performance; and its haunting way of expressing deep yet untranslatable truths that lie beyond the province of language. Thomas Mann called this last quality the ‘spoken unspokenness’ that belongs to music alone.
Each of the season’s works can and should be experienced on its own terms, but one hopes they will also add up to something greater than the sum of their parts. Listeners, in short, are being invited to consider music not only as aesthetic entertainment or even spiritual uplift – but as a unique witness to history and carrier of memory, a window onto humanity’s hopes, dreams and cataclysms. This approach can yield dividends all its own. Indeed, to listen with an awareness of music as an echo of past time opens the possibility of hearing so much more. Here, in essence, are the sounds of culture’s memory, resonating between and behind the notes.
lpo.org.uk/whats-on/london
Jeremy Eichler is a critic and historian based at Tufts University, Massachusetts, as well as the LPO’s inaugural Writer-in-Residence. Portions of this essay were adapted from his award-winning book Time’s Echo: Music, Memory, and the Second World War, recently published in paperback (Faber, 2023).
More star violinists this season
Friday 25 October 2024
James Ehnes
Bruch’s Violin Concerto No. 2
Wednesday 27 November 2024
Gidon Kremer Weinberg’s Violin Concerto
Wednesday 15 January 2025
Isabelle Faust Berg’s Violin Concerto
Sunday 22 January 2025
Alice Ivy-Pemberton
Vivaldi’s Four Seasons
Wednesday 26 February 2025
Augustin Hadelich
Britten’s Violin Concerto
Saturday 1 March 2025
Nikolaj Szeps-Znaider
Tchaikovsky’s Violin Concerto
Wednesday 26 March 2025
Alina Ibragimova
Prokofiev’s Violin Concerto No. 1
Saturday 5 April 2025
Vilde Frang
R Schumann’s Violin Concerto
Programme notes
Benjamin Britten
1913–1976
Sinfonia da Requiem 1940
1 Lacrymosa
2 Dies irae
3 Requiem aeternam
Born in the East Anglian seaside town of Lowestoft in 1913, Benjamin Britten showed early gifts as a composer, studying with Frank Bridge before a less fruitful time at the Royal College of Music in London. His association with the poet W H Auden, with whom he undertook various collaborations, was in part behind his departure with Peter Pears in 1939 for the United States, where opportunities seemed plentiful, away from the petty jealousies and inhibitions of his own country, where musical facility and genius often seemed the objects of suspicion.
The outbreak of war brought its own difficulties. Britten and Pears were firmly pacifist in their views, but were equally horrified at the excesses of National Socialism and sufferings that the war brought. Britten’s nostalgia for his native country and region led to their return to England in 1942, when they rejected the easy option of nominal military service as musicians in uniform in favour of overt pacifism, but were able to give concerts and recitals, often in difficult circumstances, offering encouragement to those who heard them. The re-opening of Sadler’s Wells and the staging of Britten’s opera Peter Grimes started a new era in English opera. The English Opera Group was founded and a series of chamber operas followed, with larger-scale works that established Britten as a composer of the highest stature, a position recognised shortly before his early death by his elevation to the peerage, the first English composer ever to be so honoured.
The Sinfonia da Requiem was written in response to a commission in the autumn of 1939 from the Japanese government for a work to mark the 2600th anniversary
Roland Haupt
London Philharmonic Orchestra • 4 October 2024 • Patricia Kopatchinskaja plays Shostakovich
Programme notes
of the founding of the imperial dynasty. The occasion was to include new compositions by Richard Strauss, Jacques Ibert and Sándor Veress, but Britten’s symphony was rejected by the commissioning committee, who took exception to the nature of the work and its apparent Christian content, although it had initially received approval. Britten had, in any case, resolved to write a composition imbued with as much of the spirit of pacifism as was possible. The official concert duly took place in Tokyo, with Britain unrepresented, and Strauss at his most bombastic. In the event, the Sinfonia da Requiem, dedicated to the memory of Britten’s parents, had its first performance in March 1941 at Carnegie Hall in New York, with the Philharmonic Symphony Orchestra conducted by John Barbirolli.
Britten, in his programme notes for the first performance, described the opening movement, Lacrymosa, as a slow marching lament with three principal motifs, the first heard from the cellos and answered by a solo bassoon, the second based on the interval of a major seventh, and the third alternating chords on flute and trombones. The first section leads to an extended crescendo and a climax based on the first motif. The second movement, Dies irae, which follows without a break, he describes as a Dance of Death. It leads directly to the final Requiem aeternam, with its principal melody announced by the flutes, finally returning before the sustained clarinet note with which the work ends.
Composing in Soviet Russia was never an easy task, with Shostakovich all too aware of the gagging powers of the regime, as when his 1934 opera Lady Macbeth of the Mtsensk District failed to impress. Sadly, matters were only going to worsen, with Shostakovich and other leading composers becoming the target of Stalin’s chief propogandist Andrey Zhdanov in February
1948. The entire group, including Prokofiev and Khachaturian, saw their works banned due to ‘formalism’ – a term the authorities were never keen to define. It was a grave time, which also saw Shostakovich removed from his post at the Moscow Conservatory. While he knew that any attempt to mount serious new works in such an environment was
Programme notes
futile, he continued to compose for his desk drawer, in the hope that a thaw would follow. Chief among these works was the First Violin Concerto in A minor. Begun in July 1947, work was continuing when Zhdanov issued his decree.
Inspiration had come came from the Odessa-born violinist David Oistrakh, to whom the Concerto was dedicated and who gave the premiere. That first performance in Leningrad had to wait until 1955, however, after the deaths of both Zhdanov and Stalin, though the Concerto was soon performed elsewhere, including in New York, where Oistrakh made a crucial recording with The Philadelphia Orchestra and Dimtri Mitropoulos.
The work begins with a sense of dread, though the opening Nocturne is intensely lyrical too. While its principal theme’s dotted rhythms hint at Baroque detachment, the long-spun nature of the soloist’s
outpouring indicates there is much to be said. The presence of the Dies irae hints that judgement is on its way, but that is only realised in the Scherzo. This is a wild danse macabre, looking to the apparent portrait of Stalin in Shostakovich’s Tenth Symphony. The dance here employs the composer’s musical cipher DSch –D, E flat, C, B natural – as well as Jewish folk material, all at a time of rising anti-Semitism in the Soviet Union.
The imposing Passacaglia returns us to the formalities of the Moderato, with the woodwind and low brass suggesting the religiosity of an organ. When the soloist finally enters, the music speaks more of private grief amid this public mourning. Yet as much as the soloist tries to bend the orchestra to its will, the Passacaglia’s ominous tread continues, until, finally, the violinist seizes control and hurtles into a staggering cadenza. This in turn provides the springboard to the finale, its unbridled glee delivered with a devilish glint in the eye.
An announcement will be made five minutes before the end of the interval.
Coming soon on the LPO Label: Edward Gardner conducts Tippett
Tippett Piano Concerto
Tippett Symphony No. 2
Edward Gardner conductor
Steven Osborne piano
London Philharmonic Orchestra
Recorded live in concert at the Royal Festival Hall
Released 22 November 2024
Available on CD, and to download or stream via Spotify, Apple Music, Presto Music and others. Scan the QR code to pre-add or find out more.
Programme notes
Jean Sibelius
1865–1957
Symphony No. 5 in E flat major, Op. 82
1915
1 Tempo molto moderato – Allegro moderato
2 Andante mosso, quasi allegretto
3 Allegro molto – Un pochettino largamente
In the early 1910s Sibelius could add to his own financial and health problems those of his beloved Finland itself. Russia was strengthening its grip on the province, suspending parliament and attempting to drive out the Finnish language. As Europe slipped towards war, Finland, aligned with Russia, faced mass slaughter and the annihilation of its timber exporting industry. ‘In a deep mire again, but already I am beginning to see dimly the mountain that I shall ascend’, wrote a knowing Sibelius, ‘God opens his door for a moment and his orchestra is playing the Fifth Symphony.’
So, the new symphony was rapidly forming in Sibelius’s mind. Themes included the onset of spring and the spirit of the composer’s country home at Järvenpää. Then, on 12 April 1914, Sibelius witnessed a sight that would affect him profoundly and write the Fifth Symphony’s main theme for him. It was a flock of 16 swans, soaring upwards from the Järvenpää lake for their migration. ‘One of my greatest experiences’, Sibelius wrote in his diary, ‘the Fifth Symphony’s final theme … legato in the trumpets.’
At the time of the Symphony’s Helsinki premiere on 8 December 1915, there were four movements. Sibelius later amalgamated his first movement and scherzo into the opener that was eventually published and that we know now. After the initial, blossoming theme on glowing horns and woodwinds the music gains momentum and folds outwards, the orchestra falling over itself in contrary motion towards the proclamation of a major fourth by the trumpet. The opening motif soon appears again, returning in another form as the
Philharmonic Orchestra • 4 October 2024 • Patricia Kopatchinskaja plays
Programme notes
Symphony is injected with optimism by an upwardpining theme – again in the trumpets.
Those gestures sow the seeds for Sibelius’s finale, in which the double basses are soon heard spelling out a fifth that augments as the bottom note drops twice, stepping back up in the manner of an ostinato. Here are the Järvenpää swans. As it’s taken up by the horns, the theme gains the pace and grandeur of flight, like the rise and fall of an avian wing. Suddenly, the music shifts key: Sibelius’s long-held bass note or ‘pedal note’ disappears like the falling away of a runway. The swans – magically, gloriously – take flight.
Soon they can be heard in the distance again, returning as if for a last farewell. Once more they soar upwards, cutting through a tangling, churning orchestral texture as if to break free from earthly concerns. Six stern orchestral jabs bid them a final salute.
Hot off the press is the Autumn/ Winter edition of our twiceyearly LPO magazine, Tune In Scan the QR code or visit issuu.com/londonphilharmonic to read it online, or call 020 7840 4200 to request a copy in the post.
Recommended recordings of tonight’s works by Laurie Watt
Britten: Sinfonia da Requiem New Philharmonia Orchestra | Benjamin Britten (Decca)
Shostakovich: Violin Concerto No. 1 Alina Ibragimova | State Academic Symphony Orchestra of Russia ‘Evgeny Svetlanov’ | Vladimir Jurowski (Hyperion)
Sibelius: Symphony No. 5
London Philharmonic Orchestra | Paavo Berglund (LPO Label LPO-0065: see page 16)
We’d love to hear from you
We hope you enjoyed tonight’s concert. Could you spare a few moments afterwards to complete a short survey about your experience? Your feedback is invaluable to us and will help to shape our future plans. Just scan the QR code to begin the survey. Thank you!
A Hero’s Life
Friday 25 October 2024
7.30pm
Ravel Mother Goose (complete ballet)
Bruch Violin Concerto No. 2
R Strauss Ein Heldenleben
Mark Elder conductor
James Ehnes violin
Karina Canellakis conducts Schumann & Bruckner
Wednesday 30 October 2024
6.30pm (Please note start time)
R Schumann Overture, Manfred
R Schumann Cello Concerto
Bruckner Symphony No. 4
Karina Canellakis conductor
Truls Mørk cello
Tchaikovsky’s Sixth
Saturday 2 November 2024
7.30pm
Saariaho Lumière et Pesanteur
Beethoven Piano Concerto No. 3
Tchaikovsky Symphony No. 6 (Pathétique)
Karina Canellakis conductor
Vadym Kholodenko piano
Víkingur Ólafsson plays Brahms
Wednesday 6 November 2024
7.30pm
Brahms Piano Concerto No. 1
Freya Waley-Cohen Mother Tongue (world premiere)
*
Bartók The Miraculous Mandarin Suite
Edward Gardner conductor Víkingur Ólafsson piano
*Commissioned by the London Philharmonic Orchestra
All LPO Label releases are available to buy on CD, and to download or stream via Spotify, Apple Music, Idagio and others. Scan the QR codes to listen now or find out more.
Edward
Gardner conducts
Berlioz: The Damnation of Faust
Recorded live at the Royal Festival Hall, 4 February 2023
Karen Cargill Marguerite
John Irvin Faust
Christopher Purves Mephistopheles
Jonathan Lemalu Brander
London Philharmonic Choir
London Symphony Chorus
London Youth Choirs
‘If I have to go to hell, I’ve decided, I want the London Philharmonic Orchestra and Edward Gardner to come with me.’
The Times ★★★★
Available from all good outlets, and available to download or stream online via Spotify, Apple Music, Idagio and others.
Scan to listen now
Sound Futures donors
We are grateful to the following donors for their generous contributions to our Sound Futures campaign. Thanks to their support, we successfully raised £1 million by 30 April 2015 which has now been matched pound for pound by Arts Council England through a Catalyst Endowment grant. This has enabled us to create a £2 million endowment fund supporting special artistic projects, creative programming and education work with key venue partners including our Southbank Centre home. Supporters listed below donated £500 or over. For a full list of those who have given to this campaign please visit lpo.org.uk/soundfutures
Masur Circle
Arts Council England
Dunard Fund
Victoria Robey CBE
Emmanuel & Barrie Roman
The Underwood Trust
Welser-Möst Circle
William & Alex de Winton
John Ireland Charitable Trust
The Tsukanov Family Foundation
Neil Westreich
Tennstedt Circle
Valentina & Dmitry Aksenov
Richard Buxton
The Candide Trust
Michael & Elena Kroupeev
Kirby Laing Foundation
Mr & Mrs Makharinsky
Alexey & Anastasia Reznikovich
Sir Simon Robey
Bianca & Stuart Roden
Simon & Vero Turner
The late Mr K Twyman
Solti Patrons
Ageas
John & Manon Antoniazzi
Gabor Beyer, through BTO
Management Consulting AG
Jon Claydon
Mrs Mina Goodman & Miss Suzanne
Goodman
Roddy & April Gow
The Jeniffer & Jonathan Harris
Charitable Trust
Mr James R.D. Korner
Christoph Ladanyi & Dr Sophia Ladanyi-Czernin
Robert Markwick & Kasia Robinski
The Maurice Marks Charitable Trust
Mr Paris Natar
The Rothschild Foundation
Tom & Phillis Sharpe
The Viney Family
Haitink Patrons
Mark & Elizabeth Adams
Dr Christopher Aldren
Mrs Pauline Baumgartner
Lady Jane Berrill
Mr Frederick Brittenden
David & Yi Yao Buckley
Mr Clive Butler
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Mr Alistair Corbett
Bruno De Kegel
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David Ellen
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Moya Greene
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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
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TFS Loans Limited
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Dr Anthony Buckland
Paul Collins
Alastair Crawford
Mr Derek B. Gray
Mr Roger Greenwood
The HA.SH Foundation
Darren & Jennifer Holmes
Honeymead Arts Trust
Mr Geoffrey Kirkham
Drs Frank & Gek Lim
Peter Mace
Mr & Mrs David Malpas
Dr David McGibney
Michael & Patricia McLaren-Turner
Mr & Mrs Andrew Neill
Mr Christopher Querée
The Rosalyn & Nicholas Springer
Charitable Trust
Timothy Walker CBE AM
Christopher Williams
Peter Wilson Smith
Mr Anthony Yolland
and all other donors who wish to remain anonymous
Thank you
We are extremely grateful to all donors who have given generously to the LPO over the past year. Your generosity helps maintain the breadth and depth of the LPO’s activities, as well as supporting the Orchestra both on and off the concert platform.
Artistic Director’s Circle
Anonymous donors
The American Friends of the London Philharmonic Orchestra
William & Alex de Winton
Catherine Høgel & Ben Mardle
Aud Jebsen
In memory of Mrs Rita Reay
Sir Simon & Lady Robey CBE
Orchestra Circle
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Neil Westreich
Principal Associates
An anonymous donor
Mrs Irina Andreeva
Steven M. Berzin
Richard Buxton
Gill & Garf Collins
In memory of Brenda Lyndoe Casbon
In memory of Ann Marguerite
Collins
Irina Gofman & Mr Rodrik V. G.
Cave
Patricia Haitink
George Ramishvili
In memory of Kenneth Shaw
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Associates
In memory of Len & Edna Beech
Sir Nigel Boardman & Prof. Lynda Gratton
The Candide Trust
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Gold Patrons
An anonymous donor
David & Yi Buckley
Dr Alex & Maria Chan
In memory of Allner Mavis Channing
In memory of Peter Coe
Michelle Crowe Hernandez
Sonja Drexler
Hamish & Sophie Forsyth
Virginia Gabbertas MBE
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Silver Patrons
David Burke & Valerie Graham
Clive & Helena Butler
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Fiona Espenhahn in memory of Peter
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Charitable Trust
Iain & Alicia Hasnip
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Dr Irene Rosner David
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Laurence Watt
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Anonymous donors
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Kolobov
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Wg. Cdr. M T Liddiard OBE JP
RAF
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Underwood
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Principal Supporters
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David Devons
Deborah Dolce
In memory of Enid Gofton
Prof Emeritus John Gruzelier
Mrs Farrah Jamal
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Per Jonsson
Tanya Joseph
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Peter Mainprice
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Mr Andrea Santacroce & Olivia Veillet-Lavallée
Penny Segal
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Supporters
Anonymous donors
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In memory of Derek Gray
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Mr C D Yates
Hon. Benefactor
Elliott Bernerd
Hon. Life Members
Alfonso Aijón
Carol Colburn Grigor CBE
Pehr G Gyllenhammar
Robert Hill
Keith Millar
Victoria Robey CBE
Mrs Jackie Rosenfeld OBE
Cornelia Schmid
Timothy Walker CBE AM Laurence Watt
Thomas Beecham
Group Members
Sir Nigel Boardman & Prof. Lynda Gratton
David & Yi Buckley
In memory of Peter Coe
Dr Alex & Maria Chan
Garf & Gill Collins
William & Alex de Winton
Sonja Drexler
The Friends of the LPO
Irina Gofman & Mr Rodrik V. G.
Cave
Mr Roger Greenwood
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Victoria Robey OBE
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Principal
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Thank you
Preferred Partners
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Inc
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Institute
Adam Mickiewicz
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PRS Foundation
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Rivers Foundation
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TIOC Foundation
Vaughan Williams Foundation
The Victoria Wood Foundation
The Viney Family
The Barbara Whatmore Charitable Trust
and all others who wish to remain anonymous.
Board of the American Friends of the LPO
We are grateful to the Board of the American Friends of the London Philharmonic Orchestra, who assist with fundraising for our activities in the United States of America:
Simon Freakley Chairman
Kara Boyle
Jon Carter
Jay Goffman
Alexandra Jupin
Natalie Pray MBE
Damien Vanderwilt
Marc Wassermann
Elizabeth Winter
Catherine Høgel Hon. Director
LPO International Board of Governors
Natasha Tsukanova Chair
Mrs Irina Andreeva
Steven M. Berzin
Shashank Bhagat
Irina Gofman
Olivia Ma
George Ramishvili
Florian Wunderlich
London Philharmonic Orchestra Administration
Board of Directors
Dr Catherine C. Høgel Chair
Nigel Boardman Vice-Chair
Mark Vines* President
Kate Birchall* Vice-President
Emily Benn
David Buckley
David Burke
Michelle Crowe Hernandez
Deborah Dolce
Elena Dubinets
Simon Estell*
Tanya Joseph
Katherine Leek*
Minn Majoe*
Tania Mazzetti*
Jamie Njoku-Goodwin
Neil Westreich
David Whitehouse*
Simon Freakley (Ex officio –
Chairman of the American Friends of the LPO)
*Player-Director
Advisory Council
Roger Barron Chairman
Christopher Aldren
Kate Birchall
Richard Brass
Helen Brocklebank
YolanDa Brown OBE
David Burke
Simon Burke
Simon Callow CBE
Desmond Cecil CMG
Jane Coulson
Andrew Davenport
Guillaume Descottes
Cameron Doley
Elena Dubinets
Lena Fankhauser
Christopher Fraser OBE
Jenny Goldie-Scot
Jonathan Harris CBE FRICS
Nicholas Hely-Hutchinson DL
Dr Catherine C. Høgel
Martin Höhmann
Jamie Korner
Andrew Neill
Nadya Powell
Sir Bernard Rix
Victoria Robey CBE
Baroness Shackleton
Thomas Sharpe KC
Julian Simmonds
Daisuke Tsuchiya
Mark Vines
Chris Viney
Laurence Watt
Elizabeth Winter
New Generation Board
Ellie Ajao
Peter De Souza
Vivek Haria
Rianna Henriques
Pasha Orleans-Foli
Priya Radhakrishnan
Zerlina Vulliamy
General Administration
Elena Dubinets
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David Burke
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Roanna Gibson
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