LPO programme: 6 Nov 2024 - Víkingur Ólafsson plays Brahms
Principal Conductor Edward Gardner supported by Aud Jebsen
Principal Guest Conductor Karina Canellakis
Conductor Emeritus Vladimir Jurowski KBE Patron HRH The Duke of Kent KG
Artistic Director Elena Dubinets Chief Executive David Burke
Leader Pieter Schoeman supported by Neil Westreich
Southbank Centre’s Royal Festival Hall
Wednesday 6 November 2024 | 7.30pm
Víkingur Ólafsson plays Brahms
Brahms
Piano Concerto No. 1 (46’)
Interval (20’)
Freya Waley-Cohen
Mother Tongue (world premiere)* (25’)
Bartók
The Miraculous Mandarin Suite (21’)
Edward Gardner conductor
Generously supported by Aud Jebsen
Víkingur Ólafsson
piano
*Commissioned by the
Part of
Orchestra
Pre-concert event | 6.15–6.45pm | Royal Festival Hall
Conductor Edward Gardner and composer Freya Waley-Cohen discuss the world premiere of Mother Tongue. All welcome, no ticket required.
The
This concert is being recorded for broadcast on BBC Radio 3 on Monday 6 January 2025 at 7.30pm. It will remain available for 30 days after that on BBC Sounds.
Welcome LPO news
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The Chamber Sessions: LPO at St John’s Waterloo
We’re excited to announce ‘The Chamber Sessions’, a series of hour-long 6.30pm concerts at St John’s Church, Waterloo, in spring 2025. This follows the success of our 2024 chamber series at St John’s. It’s great to continue our partnership as the church celebrates its 200th year, bringing audiences closer to the music and highlighting the talents of our musicians in a more intimate setting.
The series launches on Thursday 23 January 2025 with a performance featuring LPO Wind Principals in quintet works by Mozart, Hindemith and Valerie Coleman. On Saturday 22 February, a string trio will bring Andrew Norman’s Companion Guide to Rome to life – a captivating musical journey inspired by the city’s churches, after which the New London Chamber Choir will join us for Morton Feldman’s Rothko Chapel, an evocative soundscape paying homage to the visionary artist Mark Rothko. Finally, on Friday 7 March, we present an exciting programme of contemporary works featuring a vibrant mix of styles, by LPO Composerin-Residence Tania León and former LPO Young Composers Daniel Kidane and Hannah Kendall, as well as Jessie Montgomery and Brian Raphael Nabors.
Tickets £12–£15: see full details and book now at lpo.org.uk/thechambersessions
Christmas gifts from the LPO
Starting to plan your Christmas shopping? LPO gift vouchers are the perfect option – vouchers can be purchased for any amount, are presented in a smart gift card, and can be redeemed against any concert in the LPO season at the Southbank Centre within a year of purchase. Or how about a gift membership to our LPO Friends scheme? Get up close to the Orchestra with opportunities to see behind the scenes at members’ rehearsals and special events throughout the season. It’s the perfect gift for music connoisseurs and newcomers alike. Gift membership starts at just £60 (£6 per month equivalent).
Visit lpo.org.uk/gifts to find out more or buy online.
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
Katalin Varnagy
Yang Zhang
Cassandra Hamilton
Elizaveta Tyun
Thea Spiers
Alice Hall
Nilufar Alimaksumova
Ronald Long
Second Violins
Tania Mazzetti Principal
Emma Oldfield Co-Principal
Coco Inman
Nynke Hijlkema
Claudia Tarrant-Matthews
Fiona Higham
Chair supported by David & Yi
Buckley
Ashley Stevens
Kate Birchall
Joseph Maher
Nancy Elan
Paula Clifton-Everest
José Nuno Cabrita Matias
Marie Anne-Mairesse
Charlie MacClure
Violas
Benjamin Roskams
Guest Principal
Benedetto Pollani
Martin Wray
Chair supported by David & Bettina
Harden
Lucia Ortiz Sauco
Jisu Song
Julia Doukakis
On stage tonight
Toby Warr
James Heron
Linda Kidwell
Raquel López Bolívar
Katharine Leek
Laura Vallejo
Cellos
Timothy Walden
Guest Principal
Leo Melvin
Waynne Kwon
Auriol Evans
David Lale
Jane Lindsay
Francis Bucknall
Sue Sutherley
Helen Thomas
Sibylle Hentschel
Double Basses
Kevin Rundell* Principal
Sebastian Pennar* Co-Principal
Hugh Kluger
George Peniston
Tom Walley
Chair supported by William & Alex de Winton
Laura Murphy
Lowri Estell
Charlotte Kerbegian
Flutes
Juliette Bausor Principal
Daniel Shao
Stewart McIlwham*
Piccolos
Stewart McIlwham* Principal
Daniel Shao
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
Paul Richards*
E-flat Clarinet
Thomas Watmough
Principal
Chair supported by Roger Greenwood
Bass Clarinet
Paul Richards* Principal
Bassoons
Jonathan Davies* Principal
Chair supported by Sir Simon Robey
Helen Storey*
Chair supported by Friends of the Orchestra
Gareth Twigg
Contrabassoon
Gareth Twigg
Horns
John Ryan* Principal
Martin Hobbs
Mark Vines Co-Principal
Gareth Mollison
Elise Campbell
Trumpets
Paul Beniston* Principal
Tom Nielsen Co-Principal
Anne McAneney*
Chair supported in memory of 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
James Bower
Feargus Brennan Francesca Lombardelli
Harp
Sue Blair Guest Principal
Piano
Philip Moore
Catherine Edwards
Celeste
Catherine Edwards
Organ
Clíodna Shanahan
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:
Victoria Robey CBE Bianca & Stuart Roden
London Philharmonic Orchestra
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
across all platforms, and in spring 2024 we featured in a TV documentary series on Sky Arts: ‘Backstage with the London Philharmonic Orchestra’, still available to watch via Now TV. During 2024/25 we’re once again working with Marquee TV to broadcast selected live concerts to enjoy from your own living room.
Our conductors
Our Principal Conductors have included some of the greatest historic names like Sir Adrian Boult, Bernard Haitink, Klaus Tennstedt and Kurt Masur. In 2021 Edward Gardner became our 13th Principal Conductor, and Vladimir Jurowski became Conductor Emeritus in recognition of his impact as Principal Conductor from 2007–21. Karina Canellakis is our current Principal Guest Conductor, and Tania León our Composer-in-Residence.
Next generations
We’re committed to nurturing the next generation of musicians and music-lovers: we love seeing the joy of children and families experiencing their first musical moments, and we’re passionate about inspiring schools and teachers through dedicated concerts, workshops,
resources and training. Reflecting our values of collaboration and inclusivity, our OrchLab and Open Sound Ensemble projects offer music-making opportunities for adults and young people with disabilities and special educational needs.
Today’s young instrumentalists are the orchestra members of the future, and we have a number of opportunities to support their progression. Our LPO Junior Artists programme leads the way in creating pathways into the profession for young artists from under-represented communities, and our LPO Young Composers and Foyle Future Firsts schemes support the next generation of professional musicians, bridging the transition from education to professional careers. We also recently launched the LPO Conducting Fellowship, supporting the development of two outstanding early-career conductors from backgrounds under-represented in the profession.
2024/25 season
Principal Conductor Edward Gardner leads the Orchestra in an exciting 2024/25 season, with soloists including Joyce DiDonato, Leif Ove Andsnes, Patricia Kopatchinskaja, Víkingur Ólafsson and Isabelle Faust, and works including Strauss’s Alpine Symphony, Ravel’s Daphnis and Chloe and Mahler’s Eighth Symphony. Principal Guest Conductor Karina Canellakis joins us for three concerts including Bruckner’s Fourth Symphony, Tchaikovsky’s Sixth Symphony, and Mozart with pianist Benjamin Grosvenor. We’ll also welcome back Conductor Emeritus Vladimir Jurowski, as well as guest conductors including Mark Elder, Lidiya Yankovskaya, Robin Ticciati and Kevin John Edusei.
Throughout the season we’ll explore the relationship between music and memory in our ‘Moments Remembered’ series, featuring works like Beethoven’s ‘Eroica’ Symphony, Strauss’s Metamorphosen and John Adams’s On the Transmigration of Souls. During the season there’ll be the chance to hear brand new works by composers including Freya Waley-Cohen and David Sawer, as well as performances by renowned soloists violinist Gidon Kremer, sarod player Amjad Ali Khan, soprano Renée Fleming and many more. The season also features tours to Japan, the USA, China and across Europe, as well as a calendar bursting with performances and community events in our Brighton, Eastbourne and Saffron Walden residencies.
Pieter Schoeman Leader
Pieter Schoeman was appointed Leader of the London Philharmonic Orchestra in 2008, having previously been Co-Leader since 2002. He is also a Professor of Violin at Trinity Laban Conservatoire of Music & Dance.
Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninoff Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and the Southbank Centre’s Royal Festival Hall. As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. His chamber music partners have included Anne-Sophie Mutter, Veronika Eberle, Patricia Kopatchinskaja, Boris Garlitsky, Jean-Guihen Queyras, Yannick Nézet-Séguin, Martin Helmchen and Julia Fischer.
Pieter has performed numerous times as a soloist with the London Philharmonic Orchestra. Highlights have included an appearance as both conductor and soloist in Vivaldi’s Four Seasons at the Royal Festival Hall, the Brahms Double Concerto with Kristina Blaumane, Florence Price’s Violin Concerto No. 2, and the Britten Double Concerto with Alexander Zemtsov, which was recorded and released on the LPO Label to great critical acclaim.
Pieter has appeared as Guest Leader with the BBC, Barcelona, Bordeaux, Lyon and Baltimore symphony orchestras; the Rotterdam and BBC Philharmonic orchestras; and the Leipzig Gewandhaus Orchestra.
Pieter’s chair in the LPO is generously supported by Neil Westreich.
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. Last month, he and the Orchestra embarked on a major US tour with celebrated violinists Patricia Kopatchinskaja and Randall Goosby, earning resounding praise throughout. Later in the Royal Festival Hall season, Edward is joined by more superb soloists including Isabelle Faust, Alexandra Dovgan 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 Berlioz’s The Damnation of Faust with Edward Gardner, recorded live in February 2023. This follows his recording of Tippett’s The Midsummer Marriage, which won the 2023 Gramophone Opera Award. A second Tippett disc, featuring the Second Symphony and the Piano Concerto with Steven Osborne, is released later this month (LPO-0129: see page 9). In spring 2024 Edward and the LPO featured in a 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.
Icelandic pianist Víkingur Ólafsson has captured the public and critical imagination with his profound musicianship and visionary programmes. One of the most sought-after artists of today, his recordings for Deutsche Grammophon have received almost a billion streams and garnered numerous awards, including BBC Music Magazine’s Album of the Year and Opus Klassik Solo Recording of the Year (twice). Other notable honours include the Rolf Schock Music Prize, Gramophone’s Artist of the Year, and the Order of the Falcon (Iceland’s order of chivalry), as well as the Icelandic Export Award, given by the president of Iceland.
Víkingur Ólafsson made his debut with the London Philharmonic Orchestra in January 2023, when he performed Schumann’s Piano Concerto under Edward Gardner at the Royal Festival Hall as part of his 2022/23 Artist Residency at the Southbank Centre. Following tonight’s concert, he will embark on a tour of Austria and Germany with the Orchestra and Gardner, reprising Brahms’s Piano Concerto No. 1 in Vienna, Baden-Baden, Frankfurt, Hamburg, Dortmund and Düsseldorf.
In a landmark move, Víkingur devoted his entire 2023/24 season to a world tour of a single work: Bach’s Goldberg Variations, performing it 88 times to great critical acclaim. The 2024/25 season sees Víkingur as Artist-in-Residence with the Tonhalle Zürich and Royal Stockholm Philharmonic orchestras, as well as Artist-in-Focus at the Vienna Musikverein. He will tour in Europe with The Cleveland Orchestra and the Tonhalle-Orchester Zürich; perform with the Berlin Philharmonic at the BBC Proms; and return to the New York Philharmonic. He joins forces with Yuja Wang for a highly anticipated two-piano recital tour across
Europe and North America and, in January 2025, will give the world premiere of John Adams’s After the Fall –a piano concerto written especially for him – with the San Francisco Symphony. In spring 2025 Víkingur will perform his new piano recital, featuring Beethoven’s last three sonatas, at multiple venues across the US and Europe.
More star pianists this season
lpo.org.uk
Wednesday 29 January 2025
Benjamin Grosvenor
Mozart’s Piano Concerto No. 21
Saturday 19 February 2025
Boris Giltburg
Tchaikovsky’s Piano Concerto No. 1
Friday 21 February 2025
Alexandra Dovgan Grieg’s Piano Concerto
Wednesday 19 March 2025
Francesco Piemontesi
R Schumann’s Piano Concerto
Saturday 12 April 2025
Jan Lisiecki
Beethoven’s Piano Concerto No. 5 (Emperor)
Journeys at the Crossroads of Music and Memory
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).
Programme notes
Johannes Brahms
1833–97
Piano Concerto No. 1 in D minor, Op. 15 1858
Víkingur Ólafsson piano
1 Maestoso
2 Adagio
3 Rondo: Allegro non troppo
The D minor Piano Concerto is Brahms’s first orchestral work, composed in his early twenties. That it took him four years to complete is probably due partly to inexperience and partly to his uncertainty of mind during a traumatic period caused by the attempted suicide, mental illness and eventual death in 1856 of his friend and mentor Robert Schumann. Shortly after the first of these incidents, in 1854, Brahms began work on a sonata for two pianos, but soon started converting the piece to a four-movement symphony. Growing dissatisfaction with this version, however, led him to hit on the idea of combining both to form a piano concerto; the first movement was recast, but the others abandoned and new second and third movements composed in their place. The work was finished in 1858, and the premiere given early the following year in Hanover with Brahms as soloist.
If the first movement was born of a mixture of compromise and second thinking, it is not evident in the final result, unless it be in the fact that it displays a spectacular symphonic grandeur and expressive strength that had not been present in the concerto genre (nor even, in truth, in the symphony) since Beethoven, and that the piano part, though certainly taxing, is not principally driven by virtuosity as an end but plays a role effectively integrated with that of the orchestra. The grim Sturm und Drang passion of the movement as a whole, and of its opening theme in particular, may well owe something to the Schumann situation, but there are consoling moments, too, in this richly thematic sonata design, many of them memorably associated with the soloist, such as the
Programme notes
Bachian first entry and the richly chordal delivery of the second subject. This allows the most dramatic stroke of the movement to be the moment of recapitulation, when the piano for the first time takes up the turbulent opening theme, thundering it out over the same held Ds in the bass, but now cast into the disorientatingly darkening key of E major.
In his autograph score of the Adagio, Brahms wrote words from the Latin Mass under the calmly mystical opening: ‘Benedictus qui venit in nomine Domini’ (‘Blessed is he who comes in the name of the Lord’). He left no further explanation, and there has been speculation (not otherwise supported) that the theme was once intended for a Mass setting. Less equivocally, Brahms had been in the habit of addressing Schumann as ‘Domine’ and had privately told Schumann’s widow Clara that he was ‘painting a lovely portrait of you’, but whether connected to the Schumanns or not, this glorious music certainly appears moved by emotions as profound and heartfelt as those that inspired the first movement.
The symphonic drama of that first movement is not an easy force to summon again within the necessarily altered atmosphere of a finale, and Brahms’s choice of rondo form – in which a principal theme returns several times separated by contrasting episodes – is perhaps not the most obvious way to attempt it. Several commentators over the years have drawn attention to structural parallels between Brahms’s finale and that of Beethoven’s Third Piano Concerto – including the manner in which the main theme is presented, the extravagant piano lead-backs and the central fugato episode – but the way the demonic energy of the opening movement is here successfully recalled while at the same time finding a lighter and more optimistic trajectory surely has a spiritual model in the finale of another great D minor piano concerto, Mozart’s K466.
An announcement will be made five minutes before the end of the interval.
Recommended recordings of tonight’s works by Laurie
Watt
Brahms: Piano Concerto No. 1 Stephen Kovacevich (piano) | London Philharmonic Orchestra | Wolfgang Sawallisch (Warner)
Bartók: The Miraculous Mandarin Suite Melbourne Symphony Orchestra | Edward Gardner (Chandos)
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Programme notes
Freya Waley-Cohen
born 1989
Mother Tongue world premiere
Commissioned by the London Philharmonic Orchestra
British-American composer Freya Waley-Cohen has an ‘instinct for colour’ (The Arts Desk), writing music that can move from ‘a bubbling, popping, feathered array of orchestral sounds’ to a ‘quiet, eerie, interior world’ (The Guardian). She has been commissioned by institutions and ensembles including the Los Angeles Philharmonic, BBC Proms, Wigmore Hall, Philharmonia Orchestra, Britten Sinfonia, The King’s Singers and The Hermes Experiment, as well as the Aldeburgh, Presteigne, Santa Fe, and Cheltenham festivals. Her music has been released on the Signum, Nimbus, Nonclassical, Delphian, Platoon and NMC labels.
As well as tonight’s world premiere of Mother Tongue, other new works this season include The Moon, The Moss & The Mushrooms, a song-cycle for Roderick Williams and Christopher Glynn, which was premiered last month at the Two Moors Festival; a work for Archipelago Collective’s 10th anniversary festival; and a new piece for the Orchestra of the Age of Enlightenment in response to Fanny Mendelssohn’s Das Jahr. This season also features co-commission premieres of Demon by the Royal Stockholm Philharmonic Orchestra, and Stone Fruit at the Santa Fe Chamber Music Festival with Colin Currie. Last month saw the NMC release of Waley-Cohen’s debut disc, Spell Book, with performances from Manchester Collective alongside Tamsin Waley-Cohen, Ann Beilby, Nathaniel Boyd, Hèloïse Werner, Fleur Barron and Katie Bray.
Programme notes
2023/24 highlights included a concert at the Barbican devoted to Waley-Cohen’s works, including the premieres of two newly commissioned pieces to complete her dramatic song-cycle Spell Book, performed by Manchester Collective. Stone Fruit, a new work for the Colin Currie Percussion Quartet, premiered at Wigmore Hall in February 2024. WaleyCohen’s orchestral work Demon was commissioned by the City of Birmingham Symphony and Royal Stockholm Philharmonic orchestras, and was premiered in February 2023 by the CBSO under the baton of Ilan Volkov. In 2023, her work for string orchestra and solo recorder, Variation on Sellinger’s Round, was commissioned and premiered by Amsterdam Sinfonietta, led by Daniel Bard with soloist Lucie Horsch, in a series of concerts touring the Netherlands.
Freya Waley-Cohen has created several immersive works and installations including Permutations (2017), an interactive artwork and a synthesis of architecture and music created during an Open Space Residency at Snape Maltings from 2015–17. She was the 2021/22 Composer-in-Residence with the London Chamber Orchestra, 2019/20 Associate Composer at Wigmore Hall, and Associate Composer of St David’s Hall’s contemporary music series, ‘Nightmusic’, from 2018-21. Winner of a Royal Philharmonic Society Composition Prize in 2017, Freya Waley-Cohen was 2016-18 Associate Composer of Nonclassical, and was a founding member and artistic director of the ‘Listenpony’ concert series and record label. She currently lives in London.
Freya Waley-Cohen on Mother Tongue
‘Mother Tongue is inspired by the idea that a language holds all of the history and culture of its people and can be seen as an ancestral or even parental figure. Jack Underwood writes that ‘the outside world, various and ready, runs parallel to the creativity of our inner lives, each tramline steering the other. And somehow language mediates’.
Each movement plays with these ideas in a different way: the first is the individual who takes a word or phrase through life with them, through new contexts that add layers and layers of meaning; in the second a whole society plays with the language, pulling grammar to its limits, inventing and re-inventing in each new generation so that meaning is always shifting; the third movement is the moment when an idea exists in your mind but you don’t yet know if a word for it exists and so it is pure and huge and whole and un-communicable; and in the forth there is the intensity of love that is built into the passing down of language from parent or carer to child and then onwards to their own child - over and over, giving the words of your ancestors, and everything ancient and modern that they hold within them, to each new generation.’
1 Introduction (Street Sounds) – The thugs order the girl to the window
2 The girl entices the old rake
3 The girl entices the young man
4 The girl entices the Mandarin
5 The girl slowly begins to dance for the Mandarin
6 The dance concludes – the Mandarin chases the girl
In November 1926, Cologne experienced its first musical scandal. ‘Catcalls, whistling, stamping, and booing’, reported one German music journal, ‘which did not subside even after the composer’s personal appearance, nor even after the safety curtain went down’. Not since Stravinsky unveiled The Rite of Spring to a shocked Parisian audience in 1913 had Europe witnessed such a dramatic reception to a new work. According to Bartók, even before The Miraculous Mandarin received its controversial premiere, ‘people had read the plot and decided it was objectionable’, perhaps with good reason. Described in Bartók’s own words, the plot of this one-act ‘pantomime grotesque’ – composed to a story by Hungarian playwright and screenwriter Melchior Lengyel – has all the hallmarks of a horror film:
‘Three [thugs] force a beautiful girl to lure men into their den so they can rob them … The third [visitor] is a wealthy Chinese man. He is a good catch, and the girl entertains him by dancing. The Mandarin’s desire is aroused, he is inflamed by passion, but the girl shrinks from him in horror. The [thugs] attack him, rob him, smother him in a quilt, and stab him with a sword, but their violence is of no avail. They cannot kill the Mandarin, who continues to look at the girl with love and longing in his eyes. Finally feminine instinct helps: the girl satisfies the Mandarin’s desire, and only then does he collapse and die.’
Published in a Hungarian magazine in 1917, Lengyel’s story immediately captured Bartók’s imagination, and he began work on his pantomime ballet the following year. ‘It will be hellish music’, he wrote to his wife that summer. ‘The prelude before the curtain goes up will be very short and sound like pandemonium ... the audience will be introduced to the [thieves’] den at the height of the hurly-burly of the metropolis.’ Bartók’s completed score did not disappoint. Its cacophonous mix of pounding rhythms, blaring orchestration and dizzying climaxes – interspersed with moments of seductive, glittering tenderness – would far exceed the drama of anything he wrote in the years to come. Composed during the final months of the First World War, it is hard not to hear the savagery and horror of the war-torn landscape in Bartók’s music, which he himself described as ‘breathless’ from start to finish.
After its disastrous reception in Cologne, it would be another 20 years before The Miraculous Mandarin was staged in Bartók’s native Hungary. But his concert suite of the work, which Bartók arranged in 1919, was performed in Budapest in 1928 under the baton of fellow Hungarian Ernö Dohnányi. Comprising around two-thirds of the material in the complete work and played in one continuous movement, the suite concludes with the girl’s struggle with the Mandarin –so in this scenario, at least, he escapes death.
Schoenberg A Survivor from Warsaw Weinberg Violin Concerto Shostakovich Symphony No. 13 (Babi Yar)
Andrey Boreyko conductor
Gidon Kremer violin
Alexander Roslavets narrator/bass
London Philharmonic Choir
Swan Lake
Friday 29 November 2024
7.30pm
Weber Overture, Oberon Tchaikovsky Variations on a Rococo Theme Tchaikovsky Selections from Swan Lake
Tianyi Lu conductor
Zlatomir Fung cello
Strauss, Berg & Brahms
Wednesday 15 January 2025
7.30pm
R Strauss Metamorphosen
Berg Violin Concerto Brahms Symphony No. 2
Edward Gardner conductor
Isabelle Faust violin
Sound Futures donors
We are grateful to the following donors for their generous contributions to our Sound Futures campaign. Thanks to their support, we successfully raised £1 million by 30 April 2015 which has now been matched pound for pound by Arts Council England through a Catalyst Endowment grant. This has enabled us to create a £2 million endowment fund supporting special artistic projects, creative programming and education work with key venue partners including our Southbank Centre home. Supporters listed below donated £500 or over. For a full list of those who have given to this campaign please visit lpo.org.uk/soundfutures
Masur Circle
Arts Council England
Dunard Fund
Victoria Robey CBE
Emmanuel & Barrie Roman
The Underwood Trust
Welser-Möst Circle
William & Alex de Winton
John Ireland Charitable Trust
The Tsukanov Family Foundation
Neil Westreich
Tennstedt Circle
Valentina & Dmitry Aksenov
Richard Buxton
The Candide Trust
Michael & Elena Kroupeev
Kirby Laing Foundation
Mr & Mrs Makharinsky
Alexey & Anastasia Reznikovich
Sir Simon Robey
Bianca & Stuart Roden
Simon & Vero Turner
The late Mr K Twyman
Solti Patrons
Ageas
John & Manon Antoniazzi
Gabor Beyer, through BTO
Management Consulting AG
Jon Claydon
Mrs Mina Goodman & Miss Suzanne
Goodman
Roddy & April Gow
The Jeniffer & Jonathan Harris
Charitable Trust
Mr James R.D. Korner
Christoph Ladanyi & Dr Sophia Ladanyi-Czernin
Robert Markwick & Kasia Robinski
The Maurice Marks Charitable Trust
Mr Paris Natar
The Rothschild Foundation
Tom & Phillis Sharpe
The Viney Family
Haitink Patrons
Mark & Elizabeth Adams
Dr Christopher Aldren
Mrs Pauline Baumgartner
Lady Jane Berrill
Mr Frederick Brittenden
David & Yi Yao Buckley
Mr Clive Butler
Gill & Garf Collins
Mr John H Cook
Mr Alistair Corbett
Bruno De Kegel
Georgy Djaparidze
David Ellen
Christopher Fraser OBE
David & Victoria Graham Fuller
Goldman Sachs International
Mr Gavin Graham
Moya Greene
Mrs Dorothy Hambleton
Tony & Susie Hayes
Malcolm Herring
Catherine Høgel & Ben Mardle
Mrs Philip Kan
Rehmet Kassim-Lakha de Morixe
Rose & Dudley Leigh
Lady Roslyn Marion Lyons
Miss Jeanette Martin
Duncan Matthews KC
Diana & Allan Morgenthau
Charitable Trust
Dr Karen Morton
Mr Roger Phillimore
Ruth Rattenbury
The Reed Foundation
The Rind Foundation
Sir Bernard Rix
David Ross & Line Forestier (Canada)
Carolina & Martin Schwab
Dr Brian Smith
Lady Valerie Solti
Mr & Mrs G Stein
Dr Peter Stephenson
Miss Anne Stoddart
TFS Loans Limited
Marina Vaizey
Jenny Watson
Guy & Utti Whittaker
Pritchard Donors
Ralph & Elizabeth Aldwinckle
Mrs Arlene Beare
Mr Patrick & Mrs Joan Benner
Mr Conrad Blakey
Dr Anthony Buckland
Paul Collins
Alastair Crawford
Mr Derek B. Gray
Mr Roger Greenwood
The HA.SH Foundation
Darren & Jennifer Holmes
Honeymead Arts Trust
Mr Geoffrey Kirkham
Drs Frank & Gek Lim
Peter Mace
Mr & Mrs David Malpas
Dr David McGibney
Michael & Patricia McLaren-Turner
Mr & Mrs Andrew Neill
Mr Christopher Querée
The Rosalyn & Nicholas Springer
Charitable Trust
Timothy Walker CBE AM
Christopher Williams
Peter Wilson Smith
Mr Anthony Yolland
and all other donors who wish to remain anonymous
Thank you
We are extremely grateful to all donors who have given generously to the LPO over the past year. Your generosity helps maintain the breadth and depth of the LPO’s activities, as well as supporting the Orchestra both on and off the concert platform.
Artistic Director’s Circle
Anonymous donors
The American Friends of the London Philharmonic Orchestra
William & Alex de Winton
Catherine Høgel & Ben Mardle
Aud Jebsen
In memory of Mrs Rita Reay
Sir Simon & Lady Robey CBE
Orchestra Circle
Mr & Mrs Philip Kan
Neil Westreich
Principal Associates
An anonymous donor
Mrs Irina Andreeva
Steven M. Berzin
Richard Buxton
Gill & Garf Collins
In memory of Brenda Lyndoe Casbon
In memory of Ann Marguerite
Collins
Irina Gofman & Mr Rodrik V. G.
Cave
Patricia Haitink
George Ramishvili
In memory of Kenneth Shaw
The Tsukanov Family
Mr Florian Wunderlich
Associates
In memory of Len & Edna Beech
Sir Nigel Boardman & Prof. Lynda Gratton
The Candide Trust
Stuart & Bianca Roden
In memory of Hazel Amy Smith
Gold Patrons
An anonymous donor
David & Yi Buckley
Dr Alex & Maria Chan
In memory of Allner Mavis Channing
In memory of Peter Coe
Michelle Crowe Hernandez
Hamish & Sophie Forsyth
Virginia Gabbertas MBE
Jenny & Duncan Goldie-Scot
Mr Roger Greenwood
Malcolm Herring
Julian & Gill Simmonds
Mr Brian Smith
Mr Jay Stein
Eric Tomsett
The Viney Family
Guy & Utti Whittaker
Silver Patrons
David Burke & Valerie Graham
Clive & Helena Butler
John & Sam Dawson
Ulrike & Benno Engelmann
Fiona Espenhahn in memory of Peter
Prof. Erol & Mrs Deniz Gelenbe
The Jeniffer & Jonathan Harris
Charitable Trust
Iain & Alicia Hasnip
John & Angela Kessler
Mrs Elizabeth Meshkvicheva
Dr Irene Rosner David
Tom & Phillis Sharpe
Jenny Watson CBE
Laurence Watt
Bronze Patrons
Anonymous donors
Chris Aldren
Alexander & Rachel Antelme
Annie Berglof
Nicholas Berwin
Lorna & Christopher Bown
Mr Bernard Bradbury
Richard & Jo Brass
Desmond & Ruth Cecil
Mr John H Cook
Emmanuelle & Thierry d’Argent
Mrs Elizabeth Davies
Guy Davies
Cameron & Kathryn Doley
Ms Elena Dubinets
David Ellen
Cristina & Malcolm Fallen
Mr Daniel Goldstein
David & Jane Gosman
Mr Gavin Graham
Mrs Dorothy Hambleton
Eugene & Allison Hayes
J Douglas Home
Mr & Mrs Jan
Mr & Mrs Ralph Kanza
Mrs Elena Kolobova & Mr Oleg
Kolobov
Rose & Dudley Leigh
Wg. Cdr. M T Liddiard OBE JP
RAF
Drs Frank & Gek Lim
Andrew T Mills
Mr & Mrs Andrew Neill
John Nickson & Simon Rew
Peter Noble & L Vella
Mikhail Noskov & Vasilina
Bindley
Simon & Lucy Owen-Johnstone
Andrew & Cindy Peck
Mr Roger Phillimore
Mr Michael Posen
Marie Power
Sir Bernard Rix
Baroness Shackleton
Tim Slorick
Sir Jim Smith
Mrs Maria Toneva
Mr Joe Topley & Ms Tracey Countryman
Mr & Mrs John C Tucker
Andrew & Rosemary Tusa
Galina Umanskaia
Mr & Mrs John & Susi Underwood
The Viney Family
Mr Rodney Whittaker
Grenville & Krysia Williams
Joanna Williams
Principal Supporters
Anonymous donors
Julian & Annette Armstrong
Chris Banks
Mr John D Barnard
Roger & Clare Barron
Mrs A Beare
Chris Benson
Peter & Adrienne Breen
Dr Anthony Buckland
Mr Julien Chilcott-Monk
Mr Alistair Corbett
David Devons
Deborah Dolce
In memory of Enid Gofton
Prof Emeritus John Gruzelier
Mrs Farrah Jamal
Bruce & Joanna Jenkyn-Jones
Per Jonsson
Tanya Joseph
Mr Ian Kapur
Jozef & Helen Kotz
Mr Peter Mace
Peter Mainprice
Miss Rebecca Murray
Mrs Terry Neale
Mr Stephen Olton
Mr James Pickford
Mr Robert Ross
Kseniia Rubina
Mr Andrea Santacroce & Olivia Veillet-Lavallée
Penny Segal
Priscylla Shaw
Michael Smith
Mr & Mrs G Stein
Dr Peter Stephenson
Ben Valentin KC
Sophie Walker
Christopher Williams
Liz Winter
Elena Y Zeng
Supporters
Anonymous donors
Ralph & Elizabeth Aldwinckle
Robert & Sarah Auerbach
Dr Simona Cicero & Mr Mario Altieri
Alison Clarke & Leo Pilkington
Sarah Connor
Miss Tessa Cowie
Andrew Davenport
Stephen Denby
Mr Simon Edelsten
Steve & Cristina Goldring
In memory of Derek Gray
Nick Hely-Hutchinson
The Jackman Family
Molly Jackson
Jan Leigh & Jan Rynkiewicz
Mr David MacFarlane
Simon Moore
Simon & Fiona Mortimore
Dana Mosevicz
Dame Jane Newell DBE
Diana G Oosterveld
Mr David Peters
Mr & Mrs Graham & Jean Pugh
Clarence Tan
Tony & Hilary Vines
Dr June Wakefield
Mr John Weekes
Mr Roger Woodhouse
Mr C D Yates
Hon. Benefactor
Elliott Bernerd
Hon. Life Members
Alfonso Aijón
Carol Colburn Grigor CBE
Pehr G Gyllenhammar
Robert Hill
Keith Millar
Victoria Robey CBE
Mrs Jackie Rosenfeld OBE
Cornelia Schmid
Timothy Walker CBE AM Laurence Watt
Thomas Beecham
Group Members
Sir Nigel Boardman & Prof. Lynda Gratton
David & Yi Buckley
In memory of Peter Coe
Dr Alex & Maria Chan
Garf & Gill Collins
William & Alex de Winton
The Friends of the LPO
Irina Gofman & Mr Rodrik V. G.
Cave
Mr Roger Greenwood
Barry Grimaldi
David & Bettina Harden
Mr & Mrs Philip Kan
Mr & Mrs John Kessler
Sir Simon Robey
Victoria Robey OBE
Stuart & Bianca Roden
Julian & Gill Simmonds
Eric Tomsett
Neil Westreich
Guy & Utti Whittaker
LPO Corporate Circle
Principal
Bloomberg
Carter-Ruck Solicitors
French Chamber of Commerce
Ryze Power
Tutti
German-British Chamber of Industry & Commerce
Lazard
Natixis Corporate Investment
Banking
Walpole
Thank you
Preferred Partners
Jeroboams
Lindt & Sprüngli Ltd
Neal’s Yard Remedies
OneWelbeck
Sipsmith
Steinway & Sons
In-kind Sponsor
Google Inc
Trusts and Foundations
ABO Trust
Art Mentor Foundation Lucerne
BlueSpark Foundation
The Boltini Trust
Candide Trust
Cockayne Grants for the Arts in London
Dunard Fund
Ernst von Siemens Music Foundation
Foyle Foundation
Garfield Weston Foundation
Garrick Charitable Trust
The Golsoncott Foundation
Jerwood Foundation
John Coates Charitable Trust
John Horniman’s Children’s Trust
John Thaw Foundation
Idlewild Trust
Institute Adam Mickiewicz
Kirby Laing Foundation
The John S Cohen Foundation
The Lennox Hannay Charitable Trust
Kurt Weill Foundation
Lord and Lady Lurgan Trust
Lucille Graham Trust
The Marchus Trust
Maria Bjӧrnson Memorial Fund
PRS Foundation
The R K Charitable Trust
The Radcliffe Trust
Rivers Foundation
Rothschild Foundation
Scops Arts Trust
TIOC Foundation
Vaughan Williams Foundation
The Victoria Wood Foundation
The Viney Family
The Barbara Whatmore Charitable Trust
and all others who wish to remain anonymous.
Board of the American Friends of the LPO
We are grateful to the Board of the American Friends of the London Philharmonic Orchestra, who assist with fundraising for our activities in the United States of America:
Simon Freakley Chairman
Kara Boyle
Jon Carter
Jay Goffman
Alexandra Jupin
Natalie Pray MBE
Damien Vanderwilt
Marc Wassermann
Elizabeth Winter
Catherine Høgel Hon. Director
LPO International Board of Governors
Natasha Tsukanova Chair
Mrs Irina Andreeva
Steven M. Berzin
Shashank Bhagat
Irina Gofman
Olivia Ma
George Ramishvili
Florian Wunderlich
London Philharmonic Orchestra Administration
Board of Directors
Dr Catherine C. Høgel Chair
Nigel Boardman Vice-Chair
Mark Vines* President
Kate Birchall* Vice-President
Emily Benn
David Buckley
David Burke
Michelle Crowe Hernandez
Deborah Dolce
Elena Dubinets
Simon Estell*
Tanya Joseph
Katherine Leek*
Minn Majoe*
Tania Mazzetti*
Jamie Njoku-Goodwin
Neil Westreich
David Whitehouse*
Simon Freakley (Ex officio –
Chairman of the American Friends of the LPO)
*Player-Director
Advisory Council
Roger Barron Chairman
Christopher Aldren
Kate Birchall
Richard Brass
Helen Brocklebank
YolanDa Brown OBE
David Burke
Simon Burke
Simon Callow CBE
Desmond Cecil CMG
Jane Coulson
Andrew Davenport
Guillaume Descottes
Cameron Doley
Elena Dubinets
Lena Fankhauser
Christopher Fraser OBE
Jenny Goldie-Scot
Jonathan Harris CBE FRICS
Nicholas Hely-Hutchinson DL
Dr Catherine C. Høgel
Martin Höhmann
Jamie Korner
Andrew Neill
Nadya Powell
Sir Bernard Rix
Victoria Robey CBE
Baroness Shackleton
Thomas Sharpe KC
Julian Simmonds
Daisuke Tsuchiya
Mark Vines
Chris Viney
Laurence Watt
Elizabeth Winter
New Generation Board
Ellie Ajao
Peter De Souza
Vivek Haria
Rianna Henriques
Pasha Orleans-Foli
Zerlina Vulliamy
General Administration
Elena Dubinets
Artistic Director
David Burke
Chief Executive
Ineza Grabowska
PA to the Executive & Office Manager
Concert Management
Roanna Gibson
Concerts & Planning Director
Graham Wood
Concerts & Recordings Manager
Maddy Clarke Tours Manager
Madeleine Ridout
Glyndebourne & Projects Manager
Alison Jones
Concerts & Artists Co-ordinator
Dora Kmezić
Concerts & Recordings Co-ordinator
Tom Cameron
Concerts & Tours Assistant
Matthew Freeman
Recordings Consultant
Andrew Chenery
Orchestra Personnel Manager
Helen Phipps
Orchestra & Auditions Manager
Sarah Thomas
Martin Sargeson Librarians
Laura Kitson
Stage & Operations Manager
Stephen O’Flaherty
Deputy Operations Manager
Benjamin Wakley
Deputy Stage Manager
Finance
Frances Slack
Finance Director
Dayse Guilherme Finance Manager
Jean-Paul Ramotar Finance & IT Officer
Education & Community
Talia Lash
Education & Community Director
Lowri Davies
Eleanor Jones
Education & Community Project Managers
Hannah Smith
Education & Community Co-ordinator
Claudia Clarkson
Regional Partnerships Manager
Development
Laura Willis
Development Director
Rosie Morden
Individual Giving Manager
Owen Mortimer Corporate Relations Manager
Anna Quillin
Trusts & Foundations Manager
Eleanor Conroy
Development Events Manager
Al Levin
Development Co-ordinator
Holly Eagles Development Assistant
Nick Jackman
Campaigns & Projects Director
Kirstin Peltonen
Development Associate
Marketing
Kath Trout
Marketing & Communications Director
Sophie Lonergan (née Harvey) Marketing Manager
Rachel Williams
Publications Manager
Gavin Miller
Sales & Ticketing Manager
Josh Clark
Data, Insights & CRM Manager
Georgie Blyth
Press & PR Manager
Greg Felton
Digital Creative
Alicia Hartley
Digital & Marketing Co-ordinator
Isobel Jones
Marketing Co-ordinator
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
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