2021/22 concert season at Brighton Dome
Concert programme
Principal Conductor Edward Gardner Principal Guest Conductor Karina Canellakis Conductor Emeritus Vladimir Jurowski Patron HRH The Duke of Kent KG Artistic Director Elena Dubinets Chief Executive David Burke Leader Pieter Schoeman supported by Neil Westreich
Brighton Dome Concert Hall Saturday 9 October 2021 | 7.30pm
From the Depths Brahms Tragic Overture, Op. 81 (13’) Mozart Piano Concerto No. 20 in D minor, K466 (28’) Interval (20’) Brahms Symphony No. 4 in E minor, Op. 98 (40’) Robin Ticciati conductor Leon McCawley piano
The Steinway concert piano chosen and hired by the London Philharmonic Orchestra for this performance is supplied and maintained by Steinway & Sons, London.
The timings shown are not precise and are given only as a guide. CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA IN ASSOCIATION WITH BRIGHTON DOME
Contents 2 Welcome 3 Programme notes 8 Robin Ticciati 9 Leon McCawley 10 London Philharmonic Orchestra 11 Leader: Pieter Schoeman 12 On stage tonight 13 Next concerts 14 Thank you 16 LPO administration
London Philharmonic Orchestra • 9 October 2021 • From the Depths
Welcome to Brighton Dome
LPO news
Chief Executive Andrew Comben
LPO concerts on Marquee TV We are delighted that a selection of concerts from our 2021/22 Royal Festival Hall season will be filmed and broadcast on Marquee TV this autumn.
We hope you enjoy the performance and your visit to Brighton Dome. For your comfort and safety, please note the following:
Concerts will be available for a limited period to watch for free without a Marquee TV subscription; however if you would like to subscribe for unlimited access to Marquee TV’s extensive range of music, opera, theatre and dance productions, you can enjoy 50% off with code LPO2021.
LATECOMERS may not be admitted until a suitable break in the performance. Some performances may contain no suitable breaks. SMOKING Brighton Dome is a no-smoking venue.
Visit marquee.tv/LPO2021 to find out more, enjoy a free trial or subscribe.
INTERVAL DRINKS may be ordered in advance at the bar to avoid queues. PHOTOGRAPHY is not allowed in the auditorium.
Welcome Elena Dubinets: our new Artistic Director
RECORDING is not allowed in the auditorium. MOBILES AND WATCHES should be switched off before entering the auditorium.
Following the departure of Cristina Rocca due to personal circumstances, we were delighted to welcome Elena Dubinets, the Orchestra’s new Artistic Director, last month. A high-profile artistic leader and music scholar, Elena joins us from the USA, having previously held top artistic planning positions at the Atlanta and Seattle symphony orchestras.
Thank you for your co-operation. The concert at Brighton Dome on 9 October 2021is presented by the London Philharmonic Orchestra in association with Brighton Dome. Brighton Dome gratefully acknowledges the support of Brighton & Hove City Council and Arts Council England.
Autumn tours After the travel restrictions of the last 18 months, we’re delighted that last month saw the return of international touring for the Orchestra. We were invited to perform at the George Enescu Festival in Bucharest on 8 & 9 September, giving two concerts with conductor Edward Gardner, violinist Patricia Kopatchinskaja and cellist Nicolas Altstaedt.
Brighton Dome is managed by Brighton Dome and Brighton Festival, which also runs the annual three-week Brighton Festival in May. brightondome.org brightonfestival.org
In November we travel to Germany for a busy week of concerts across the country, again with Edward Gardner along with pianist Jan Lisiecki. We return to Germany in December, this time with Vladimir Jurowski in his new role as Conductor Emeritus, before a final concert at the Théâtre des Champs-Elysées in Paris.
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London Philharmonic Orchestra • 9 October 2021 • From the Depths
Programme notes Johannes Brahms 1833–97
Tragic Overture, Op. 81 1880
Typically, Brahms provided no clues as to any specific ‘tragedy’ – literary or personal – that might have inspired his Tragic Overture. At the time he wrote this work, ‘programme music’ – music illustrating a story or depicting a specific mood or moods – was all the rage in the German-speaking countries; but Brahms was careful to distance himself from this sort of thing. For him, music was ultimately music: it should speak for itself, not rely on external props to make its point. Not long before he wrote the Overture in 1880, Brahms had contemplated writing incidental music for a production of Goethe’s verse drama Faust at the Vienna Burgtheater. It is possible that ideas for that project found their way into the Tragic Overture, but if so, Brahms was in no hurry to point them out.
Brahms in 1889 Photo © Royal College of Music, London
Fortunately for us, the Tragic Overture really does speak for itself. It begins with two stark fortissimo chords, which Brahms’s biographer Malcolm MacDonald aptly calls ‘a veritable hammer-blow of fate’. From then on the Overture can be enjoyed as a logical but darkly impassioned symphonic demonstration of that ‘fate’ in action. The unmistakably tragic first theme leads, via a mysterious transition – veiled bustling string figures and hushed bass brass – to a warmly consoling second theme, led by violins. At the point where we might expect a stormy ‘development’ section to begin, the tempo halves, and a ghostly processional emerges, based on motifs from earlier in the Overture. Another mysterious transition – all romantic shadows and half-lights – leads to a return of the consoling second theme. But eventually the initial mood of tragic striving returns and intensifies, building at last to a grimly emphatic ending in the minor key. We may not know the identity of Brahms’s hero, but we can guess how his story ends. Programme note © Stephen Johnson
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London Philharmonic Orchestra • 9 October 2021 • From the Depths
Programme notes Wolfgang Amadeus Mozart 1756–91
Piano Concerto No. 20 in D minor, K466 1785 Leon McCawley piano 1 Allegro 2 Romance 3 Rondo [Allegro assai] On 10 February 1785, Leopold Mozart arrived in Vienna to stay with his son and daughter-in-law. A lot depended on this visit. Wolfgang Mozart’s relations with his father had been severely strained since he had engineered his dismissal (in Mozart’s own words, ‘with a kick in the arse’) from the services of the Archbishop of Salzburg in 1781 and settled in the Austrian capital with no firm professional prospects. Things had got worse when he married the singer Constanze Weber in August 1782, a union of which Leopold sternly disapproved. Mozart’s letters show how deeply he yearned for his father’s blessing, and how painful it was for him when this was withheld. In 1785, however, Mozart did manage to persuade Leopold to visit him in Vienna and hear him give the first performance of his new piano concerto, K466. Leopold takes up the story in a letter to Mozart’s sister: ‘We arrived at one o’clock ... The copyist was still copying the Concerto when we arrived, and your brother did not even have time to play through the Rondo, as he had to supervise the copying ... On the same evening we drove to the subscription concert, at which a great many members of the aristocracy were present ... The concert was magnificent and the orchestra played splendidly. In addition to the symphonies, a female singer from the Italian theatre sang two arias. Then we had the new and very fine Concerto.’
Wolfgang Amadeus Mozart Courtesy of the Royal College of Music, London
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London Philharmonic Orchestra • 9 October 2021 • From the Depths
Mozart couldn’t have chosen a better occasion to show his father that he’d chosen the right path. Here he was, the darling of the Viennese aristocracy, composing as he’d never composed before. To cap it all, the following day Leopold took part with his son in performances of three of Mozart’s new string quartets. The guest of honour was Joseph Haydn, who afterwards told Leopold, ‘Before God and as an honest man, I tell you that your son is the greatest composer known to me either in person or by name.’
Have you checked out our LPO podcast, LPO Offstage, yet? Throughout the series, presenter YolanDa Brown chats with members of the Orchestra about their lives off the concert stage. Tune in to hear about brutal conductor takedowns, why you might want to pour water over your double bass, where to get a great post-concert beer, and lots more.
Today Mozart is often labelled as a product of the so-called ‘Classical era’, but for some of his contemporaries he was really a young Romantic, and the D minor Concerto shows why. The first movement is brooding, turbulent, its melodies and harmonies full of intense chromatic expression. Mozart used minor keys more rarely than any other great composer, but when he did, he exploited the drama and pathos of the minor mode to special effect. If the opening theme of the Romance suggests classical poise, or at least rococo elegance, this is swept aside by the agitated minorkey middle section, and it’s no surprise when into this almost Byronic urgency breaks out again in the finale. Some 19th-century Romantic critics complained that the Concerto’s last-minute switch to a D major ‘happy ending’ was unconvincing, but it clearly impressed Beethoven, who imitated it in his own C minor Concerto (No. 3), and who wrote solo cadenzas for K466 – which tonight’s soloist Leon McCawley has chosen to play this evening. Alas, Mozart’s own cadenzas (mentioned in family correspondence) haven’t survived.
Series 1 and 2 are available to download free on Apple Podcasts, Spotify, Acast, or wherever you listen. Watch out for Series 3 coming soon! • Highly commended in the 2020 Digital Classical Music Awards • The Sunday Times ‘Pick of the Best Podcasts’ ‘Thank you for a truly wonderful insight into the various aspects of the working and ‘social’ life in the LPO. It has been a true pleasure hearing all the wonderful stories and musical matters you have to negotiate before a single note is played!’
Programme note © Stephen Johnson
– From a listener, via email
lpo.org.uk/podcast
Interval – 20 minutes An announcement will be made five minutes before the end of the interval.
YolanDa Brown
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London Philharmonic Orchestra • 9 October 2021 • From the Depths
Programme notes Johannes Brahms 1833–97
Symphony No. 4 in E minor, Op. 98 1884–5
1 Allegro non troppo 2 Andante moderato 3 Allegro giocoso 4 Allegro energico e passionato Brahms was well into his forties by the time he completed a symphony; like many 19th-century composers he found the idea of following in the footsteps of Beethoven a daunting one. Yet having laboured on and off for 15 years to produce the First Symphony in 1876, he summoned the next three in only nine years, the expressive and formal inhibitions that had previously dogged him now seemingly cast off. Indeed, by the time he came to compose the Fourth Symphony in 1884–5 he had acquired new freedom and daring, as his friend the conductor and pianist Hans von Bülow noted during preparations for the premiere in Meiningen in October 1885: ‘Just back from rehearsal. No. 4 stupendous, quite original, quite new, individual and rock-like. Breathes incomparable energy from start to finish.’
to hear – including that chromatic alteration in the form of a prominent sharpening of the fifth note – in the extraordinary passacaglia finale of this symphony, a movement which, by turning to a formal model from Baroque times, finds a new solution to the problem of how to conclude a big and powerful symphonic work. But it is not just this granitic statement that makes the Fourth one of the greatest of Romantic symphonies. There is the tightly motivic first movement, whose marking of Allegro non troppo is realised not just in the restless poetic beauty of the first theme but in the way that the second theme, a surging, passionate cello melody heralded by brass fanfares, serves to increase the sense of forward motion rather than (as was more customary) relax it. Perhaps for the same reason, there is no repeat of the exposition, though the central development does start out as if it were one with a clear return to the opening theme. By contrast, the moment of recapitulation is disguised, the opening figure being heard slowed down on woodwind amid a cloud of string flourishes, before the first theme resumes its course as if nothing had happened. A substantial and impassioned coda then drives the movement to a stormy finish.
No-one could deny that, though there were others among Brahms’s friends – including three of his closest supporters in Clara Schumann, Elisabeth von Herzogenberg and the critic Eduard Hanslick – who were initially baffled and disappointed by the work’s unusual nature and form. Bülow, however, had had an insight into its most striking innovation a few years earlier when Brahms showed him a chorus from Bach’s church cantata Nach dir, Herr, verlanget mich (BWV150), consisting of variations over a repeating, rising bassline. ‘What would you think of a symphonic movement written on this theme one day?’ Brahms had asked. ‘But it is too heavy, too straightforward. It would have to be chromatically altered in some way.’ The result is there
The elegiac and delicately scored Andante moderato gains depth by playing off the emotional distance of a modally inflected main theme against the warmth of a more conventionally major-key second. The reappearance of the latter on full strings in the second half of the movement forms a rich climax, before the music subsides to the sombre mood of the opening.
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London Philharmonic Orchestra • 9 October 2021 • From the Depths
Programme notes The third movement, the only one among Brahms’s symphonies to qualify as a scherzo, is taut and vigorous – powerful enough in its material, it has often been said, to form a finale in itself. Interestingly, it was the last of the Symphony’s movements to be composed, which suggests that its terse energy and ebullience (it was not often that Brahms called for a triangle) were precisely calculated to prepare the way for the stern majesty of the finale.
On the LPO Label
The form and genesis of that finale have already been described, but not its effect. Following the example of Bach’s D minor Chaconne for solo violin (a work that Brahms admired greatly), the 30 variations over the eight-note bass-line are shepherded into contrasting sections which give the music a broad emotional contour that prevents it from succumbing to repetitiveness. Indeed, the effect is of implacable momentum and controlled strength, so that by the time the variations have been crowned by a vehement coda, we have witnessed a rare spectacle: a 19th-century symphony that ends not in triumph but convincingly in tragedy.
Brahms Symphonies Nos. 3 & 4 Vladimir Jurowski conductor London Philharmonic Orchestra £9.99 | LPO–0075
Programme note © Lindsay Kemp
Recorded live at the Southbank Centre’s Royal Festival Hall on 27 October 2010 (No. 3) & 28 May 2011 (No. 4)
‘An outstanding disc, strong in momentum and passionately detailed.’ The Sunday Times
All LPO Label releases are available on CD from all good retailers, and to download or stream via Spotify, Apple Music, Idagio and others.
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London Philharmonic Orchestra • 9 October 2021 • From the Depths
Robin Ticciati conductor
No. 1. In summer 2020 he conducted the Orchestra in a series of outdoor garden concerts at Glyndebourne, and in April 2021 a programme of Beethoven and Sibelius streamed from the Royal Festival Hall and broadcast on Marquee TV. In June and July 2021 he curated and conducted three concerts with the LPO on the Glyndebourne stage as part of the Festival’s summer concert series showcasing its resident orchestras. © Giorgia Bertazzi
Robin Ticciati’s highly acclaimed discography includes Berlioz with the Swedish Radio Symphony Orchestra; Haydn, Schumann, Berlioz and Brahms with the Scottish Chamber Orchestra; Dvořák, Bruckner and Brahms with the Bamberg Symphony Orchestra; and Debussy, Duruflé, Duparc, Fauré, Ravel and Bruckner with the Deutsches Symphonie-Orchester Berlin.
Robin Ticciati OBE has been Music Director of the Deutsches Symphonie-Orchester Berlin since 2017 and Music Director of Glyndebourne Festival Opera since 2014. He was Principal Conductor of the Scottish Chamber Orchestra from 2009–18.
Born in London, Robin Ticciati is a violinist, pianist and percussionist by training. He was a member of the National Youth Orchestra of Great Britain when, aged 15, he turned to conducting under the guidance of Sir Colin Davis and Sir Simon Rattle. He holds the position of ‘Sir Colin Davis Fellow of Conducting’ at the Royal Academy of Music. Robin was awarded an OBE for services to music in the Queen’s Birthday Honours (2019).
Robin is a regular guest conductor with the London Philharmonic Orchestra, London Symphony Orchestra, Symphonieorchester des Bayerischen Rundfunks, Budapest Festival Orchestra and Chamber Orchestra of Europe. Guest conducting highlights in recent years also include the Wiener Philharmoniker, Czech Philharmonic, Swedish Radio Symphony, Royal Concertgebouw Orchestra, Orchestre National de France, Philadelphia Orchestra, Cleveland Orchestra, Gewandhausorchester Leipzig and Staatskapelle Dresden. Since becoming Music Director at Glyndebourne, Robin has conducted new productions of Berlioz’s La damnation de Faust, Debussy’s Pelléas et Mélisande and Strauss’s Der Rosenkavalier, all with the LPO, as well as Mozart’s Die Entführung aus dem Serail and La clemenza di Tito. Highlights as a guest opera conductor include Peter Grimes at La Scala, Le nozze di Figaro at the Salzburg Festival, and Eugene Onegin at both the Royal Opera House and the Metropolitan Opera. On 11 March 2020 Robin Ticciati conducted the London Philharmonic Orchestra in its last Royal Festival Hall concert with a live audience, just before the first 2020 lockdown. The programme included Beethoven’s Triple Concerto with Anne-Sophie Mutter, Khatia Buniatishvili and Pablo Ferrández, as well as Mahler’s Symphony
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London Philharmonic Orchestra • 9 October 2021 • From the Depths
Leon McCawley piano
with the BBC Concert Orchestra under Bramwell Tovey, televised on BBC4. Further afield, he has made concerto appearances with, amongst others, the Cincinnati, Dallas, RTÉ National and St Petersburg symphony orchestras; the Malaysian and Netherlands Philharmonic orchestras; The Philadelphia Orchestra; and the Orquesta Sinfónica del Principado de Asturias, and has worked with conductors such as Hans Graf, Miguel Harth-Bedoya, Domingo Hindoyan, Andrew Litton, Kurt Masur, Rossen Milanov and Sakari Oramo. © Sheila Rock
As a collaborative musician, he has performed at many prestigious concert venues including BBC Proms Chamber Series, BBC Radio 3 Lunchtime Series at Wigmore Hall and Aldeburgh, Brighton, Cheltenham, Edinburgh, Galway and Westport festivals.
Praised for his unfailingly communicative playing, British pianist Leon McCawley has been delighting audiences worldwide since winning First Prize in the 1993 International Beethoven Piano Competition in Vienna and Second Prize at the Leeds International Piano Competition the same year. His many concert performances and extensive discography have established him as a pianist of great integrity and variety, bringing freshness and vitality to Classical, Romantic and 20th-century repertoire.
Highlights of the 2021/22 season include an Artist-inResidence series of four recitals at Wigmore Hall celebrating the late works of Haydn, Mozart and Schubert, and his debut recital at the Singapore International Piano Festival. Leon studied at Chetham’s School of Music, Manchester with Heather Slade-Lipkin before continuing his studies at the Curtis Institute of Music, Philadelphia with Eleanor Sokoloff. He also received invaluable guidance from Nina Milkina in London.
An acclaimed exponent of Mozart, Leon has performed and recorded for Avie Records the complete cycle of Mozart piano sonatas in winning interpretations: ‘There’s absolutely no vanity in his playing. In his hands the Mozartian oeuvre emerged with striking vividness.’ (International Piano). Notable recitals in past seasons include the London Piano Series at Wigmore Hall (where he is a regular performer), four invitations to the International Piano Series at the Southbank Centre, New York’s Lincoln Center, the Hong Kong Arts Festival and the Phillips Collection in Washington, DC. He can be frequently heard on BBC Radio 3, both in performance and interview, with recent broadcasts including In Tune, the Wigmore Hall Lunchtime Series, and Performance on 3.
McCawley’s discography includes Schumann Piano Music (Avie Records), which was an Editor’s Choice in Gramophone; The Complete Piano Works of Hans Gál (Avie), also a Gramophone Editor’s Choice; The Complete Mozart Piano Sonatas (Avie), awarded a Diapason d’Or; Barber Piano Music (SOMM), a Critic’s Choice in Gramophone; Beethoven’s Choral Fantasy with the RPO and City of London Choir under Hilary Davan Wetton (Naxos); Brahms Piano Music (SOMM), selected as Classic FM’s CD of the Week; Vaughan Williams’s Double Piano Concerto with John Lenehan and the RSNO under Martin Yates (Dutton Epoch), awarded five stars by BBC Music Magazine; Haydn Sonatas and Variations (SOMM), awarded a Diapason d’Or; and two further volumes of Haydn Sonatas with SOMM. His tenth disc for SOMM, Haydn Sonatas Volume IV, will be released in November 2021.
As a concerto soloist, Leon performs with many leading British orchestras including the London Philharmonic, Royal Philharmonic, BBC Philharmonic, Royal Scottish National and Ulster orchestras; the Bournemouth and City of Birmingham symphony orchestras; and the Royal Northern Sinfonia. He made his sixth appearance at the BBC Proms in 2019 performing Ireland’s Piano Concerto
Leon McCawley is a Professor of Piano at London’s Royal College of Music. He is married to the painter Anna Hyunsook Paik.
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London Philharmonic Orchestra • 9 October 2021 • From the Depths
© Benjamin Ealovega
London Philharmonic Orchestra
One of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with its reputation as one of the UK’s most forward-looking ensembles. As well as its concert performances, the Orchestra also records film soundtracks, releases CDs and downloads on its own label, and reaches thousands of people every year through activities for families, schools and local communities.
the Orchestra takes up its annual residency at Glyndebourne Festival Opera, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra. The London Philharmonic Orchestra has recorded many blockbuster film scores, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 100 releases available on CD and to download. Recent highlights include Shostakovich’s Symphony No. 11 and Mahler’s Symphony No. 8 under Vladimir Jurowski, and a commemorative box set of historic recordings with former Principal Conductor Sir Adrian Boult.
The Orchestra was founded by Sir Thomas Beecham in 1932, and has since been headed by many great conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. In September 2021 Edward Gardner became the Orchestra’s Principal Conductor, succeeding Vladimir Jurowski, who became Conductor Emeritus in recognition of his transformative impact on the Orchestra as Principal Conductor from 2007–21. Karina Canellakis is the Orchestra’s current Principal Guest Conductor and Brett Dean is the Orchestra’s current Composer-in-Residence.
In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Music Award for Ensemble.
The Orchestra is resident at the Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. It also enjoys flourishing residencies in Brighton, Eastbourne and Saffron Walden, and performs regularly around the UK. Each summer
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London Philharmonic Orchestra • 9 October 2021 • From the Depths
Pieter Schoeman
The London Philharmonic Orchestra is committed to inspiring the next generation of musicians, and recently celebrated the 30th anniversary of its Education and Community department, whose work over three decades has introduced so many people of all ages to orchestral music and created opportunities for people of all backgrounds to fulfil their creative potential. Its dynamic and wide-ranging programme provides first musical experiences for children and families; offers creative projects and professional development opportunities for schools and teachers; inspires talented teenage instrumentalists to progress their skills; and develops the next generation of professional musicians. The Orchestra’s work at the forefront of digital technology has enabled it to reach millions of people worldwide. Over the pandemic period the LPO further developed its relationship with UK and international audiences through its ‘LPOnline’ digital content: over 100 videos of performances, insights, and introductions to playlists, which collectively received over 3 million views worldwide and led to the LPO being named runner-up in the Digital Classical Music Awards 2020. From Autumn 2020 the Orchestra was delighted to be able to return to its Southbank Centre home to perform a season of concerts filmed live and streamed free of charge via Marquee TV.
© Benjamin Ealovega
Leader
Pieter Schoeman was appointed Leader of the London Philharmonic Orchestra in 2008, having previously been Co-Leader since 2002. He is also a Professor of Violin at Trinity Laban Conservatoire of Music & Dance. Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and London’s Royal Festival Hall. As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. His chamber music partners have included Anne-Sophie Mutter, Veronika Eberle, Patricia Kopatchinskaja, Boris Garlitsky, JeanGuihen Queyras, Yannick Nézet-Séguin and Martin Helmchen.
September 2021 saw the opening of a new live concert season at the Royal Festival Hall, featuring many of the world’s leading musicians including Sheku KannehMason, Klaus Mäkelä, Renée Fleming, Bryn Terfel and this season’s Artist-in-Residence, Julia Fischer. The Orchestra is delighted to be continuing to offer digital streams to selected concerts throughout the season through its ongoing partnership with Intersection and Marquee TV.
Pieter has performed numerous times as a soloist with the London Philharmonic Orchestra. Highlights have included an appearance as both conductor and soloist in Vivaldi’s Four Seasons at the Royal Festival Hall, the Brahms Double Concerto with Kristina Blaumane, and the Britten Double Concerto with Alexander Zemtsov, which was recorded and released on the LPO Label to great critical acclaim.
lpo.org.uk
Pieter has appeared as Guest Leader with the BBC, Barcelona, Bordeaux, Lyon and Baltimore symphony orchestras, and the Rotterdam and BBC Philharmonic orchestras. Pieter’s chair in the LPO is generously supported by Neil Westreich.
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London Philharmonic Orchestra • 9 October 2021 • From the Depths
On stage tonight First Violins
Cellos
Chair supported by Neil Westreich
Chair supported by Bianca & Stuart Roden
Pieter Schoeman* Leader Vesselin Gellev Sub-Leader Kate Oswin Chair supported by Friends of the Orchestra
Lasma Taimina
Chair supported by Irina Gofman & Mr Rodrik V. G. Cave
Minn Majoe Catherine Craig Thomas Eisner Martin Höhmann
Chair supported by Chris Aldren
Katalin Varnagy
Chair supported by Sonja Drexler
Yang Zhang
Chair supported by Eric Tomsett
Tina Gruenberg Ruth Schulten Amanda Smith Rasa Zukauskaite
Second Violins
Tania Mazzetti Principal Chair supported by Countess Dominique Loredan
Emma Oldfield Kate Birchall Nancy Elan Fiona Higham
Chair supported by David & Yi Buckley
Nynke Hijlkema Joseph Maher Ashley Stevens Alison Strange
Violas
David Quiggle Principal Richard Waters Co-Principal Ting-Ru Lai Benedetto Pollani Laura Vallejo Martin Wray Joseph Fisher Alistair Scahill Raquel Bolivar Richard Cookson
Kristina Blaumane Principal Pei-Jee Ng Co-Principal Francis Bucknall David Lale Gregory Walmsley Tom Roff Helen Rathbone Sibylle Hentschel
Double Basses
Kevin Rundell* Principal Sebastian Pennar Co-Principal George Peniston Tom Walley Laura Murphy Charlotte Kerbegian
Horns
John Ryan* Principal Martin Hobbs Mark Vines Co-Principal Gareth Mollison
Trumpets
Paul Beniston* Principal James Fountain* Principal Anne McAneney*
Trombones
Mark Templeton* Principal Chair supported by William & Alex de Winton
David Whitehouse
Bass Trombone
Lyndon Meredith Principal
Flutes
Juliette Bausor Principal Chair supported by Caroline, Jamie & Zander Sharp
Sue Thomas* Stewart McIlwham*
Tuba
Lee Tsarmaklis* Principal
Timpani
Simon Carrington* Principal
Oboes
Ian Hardwick* Principal Alice Munday Sue Böhling* Chair supported by Dr Barry Grimaldi
Clarinets
Benjamin Mellefont Principal Thomas Watmough
Chair supported by Victoria Robey OBE
Percussion
Andrew Barclay* Principal Henry Baldwin Co-Principal Keith Millar
Harp
Chair supported by Roger Greenwood
Rachel Masters Principal
Bassoons
* Holds a professorial appointment in London
Paul Richards*
Gareth Newman Principal Simon Estell*
The London Philharmonic Orchestra also acknowledges the following chair supporter whose player is not present at this concert: Sir Simon Robey
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Next LPO concerts at Brighton Dome
Stormclouds and Spring Flowers
Daydreams and Fantasies
Saturday 29 January 2022 7.30pm
Saturday 12 March 2022 7.30pm
Debussy Printemps (Symphonic Suite) Copland Clarinet Concerto Debussy Première rhapsodie Dvořák Symphony No. 7
Williams Fantasia on Welsh Nursery Rhymes Rachmaninoff Rhapsody on a Theme of Paganini Tchaikovsky Symphony No. 1 (Winter Daydreams)
Kazushi Ono conductor Andreas Ottensamer clarinet
Magical Tales Saturday 23 April 2022 7.30pm Mussorgsky Night on a Bare Mountain Glazunov Concerto for Saxophone Ravel Ma mère l’Oye Ravel Boléro Finnegan Downie-Dear conductor Jess Gillam saxophone
Holly Mathieson conductor Martin James Bartlett piano
Book online brightondome.org Brighton Dome Ticket Office 01273 709709
London Philharmonic Orchestra • 9 October 2021 • From the Depths
Thank you We are extremely grateful to all donors who have given generously to the LPO over the past year. Your generosity helps maintain the breadth and depth of the LPO’s activities, as well as supporting the Orchestra both on and off the concert platform.
Artistic Director’s Circle Anonymous donors Mrs Aline Foriel-Destezet Mrs Christina Lang Assael Sir Simon & Lady Robey OBE
Orchestra Circle The Candide Trust William & Alex de Winton Mr & Mrs Philip Kan Neil Westreich The American Friends of the London Philharmonic Orchestra
Principal Associates An anonymous donor Richard Buxton Gill & Garf Collins In memory of Brenda Lyndoe Casbon In memory of Ann Marguerite Collins Hamish & Sophie Forsyth The Tsukanov Family
Associates Anonymous donors Steven M. Berzin Ms Veronika BorovikKhilchevskaya Irina Gofman & Mr Rodrik V. G. Cave The Lambert Family Charitable Trust Countess Dominique Loredan Mr & Mrs Makharinsky George Ramishvili Stuart & Bianca Roden Julian & Gill Simmonds In memory of Hazel Amy Smith Deanie & Jay Stein
Gold Patrons An anonymous donor Chris Aldren David & Yi Buckley David Burke & Valerie Graham David & Elizabeth Challen In memory of Allner Mavis Channing Sonja Drexler Peter & Fiona Espenhahn Marie-Laure Favre-Gilly de Varennes de Beuill Mr Roger Greenwood Malcolm Herring
Nicholas & Felicity Lyons Geoff & Meg Mann Harriet & Michael Maunsell Marianne Parsons Dr Wiebke Pekrull Mr Gerald Pettit Mr Roger Phillimore Gillian Pole Mr Michael Posen Mr Christopher Querée Sir Bernard Rix Mr Robert Ross Priscylla Shaw Patrick & Belinda Snowball Charlotte Stevenson Mr Robert Swannell Tony & Hilary Vines Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Marina Vaizey Jenny Watson CBE Mr John Weekes Christopher Williams
John & Angela Kessler Dame Theresa Sackler Scott & Kathleen Simpson Eric Tomsett Andrew & Rosemary Tusa The Viney Family Guy & Utti Whittaker
Silver Patrons Mrs A Beare The Rt Hon. The Lord Burns GCB Bruno De Kegel Jan & Leni Du Plessis Ulrike & Benno Engelmann Simon & Meg Freakley Pehr G Gyllenhammar The Jeniffer & Jonathan Harris Charitable Trust Catherine Høgel & Ben Mardle Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Sofiya Machulskaya Mrs Elizabeth Meshkvicheva The Metherell Family Andrew Neill Peter & Lucy Noble Marianne Parsons Tom & Phillis Sharpe Laurence Watt Grenville & Krysia Williams
Principal Supporters Anonymous donors Dr R M Aickin Mr Mark Astaire Sir John Baker Tessa Bartley Mr Geoffrey Bateman Mrs Julia Beine Mr Anthony Boswood Dr Carlos Carreno Mr Julien Chilcott-Monk Mr & Mrs Stewart Cohen David & Liz Conway Mr Alistair Corbett Andrew Davenport Mr Simon Douglas Mr Richard Fernyhough Mrs Janet Flynn Mrs Ash Frisby Mr Stephen Goldring Mr Daniel Goldstein Mr Milton Grundy Nerissa Guest & David Foreman Michael & Christine Henry Ivan Hurry Per Jonsson Alexandra Jupin & John Bean Richard & Briony Linsell Paul & Brigitta Lock Mr Peter Mace Nicholas & Lindsay Merriman Andrew T Mills Simon & Fiona Mortimore Mr James Pickford Michael & Carolyn Portillo Mr David Russell
Bronze Patrons Anonymous donors Michael Allen Dr Manon Antoniazzi Julian & Annette Armstrong Roger & Clare Barron Mr Philip Bathard-Smith Sir Peter Bazalgette Mikhail Noskov & Vasilina Bindley Mr Bernard Bradbury Sally Bridgeland In memory of Julie Bromley Desmond & Ruth Cecil Mr John H Cook Howard & Veronika Covington John & Sam Dawson Cameron & Kathryn Doley David Ellen Christopher Fraser OBE Virginia Gabbertas MBE David & Jane Gosman Mr Gavin Graham Mrs Dorothy Hambleton J Douglas Home The Jackman Family Jamie & Julia Korner Rose & Dudley Leigh Drs Frank & Gek Lim
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Colin Senneck & the Hartley and District LPO Group Nigel Silby Mr Brian Smith Martin & Cheryl Southgate Mr & Mrs G Stein Dr Peter Stephenson Mr Ian Tegner Dr June Wakefield Howard & Sheelagh Watson Roger Woodhouse Mr John Wright
Supporters Anonymous donors Ralph & Elizabeth Aldwinckle Alexander & Rachel Antelme Julian & Annette Armstrong Lindsay Badenoch Mr Mark Bagshaw & Mr Ian Walker Mr John Barnard Mr John D Barnard Damaris, Richard & Friends Mr David Barrett Diana Barrett Mr Simon Baynham Nick & Rebecca Beresford Mr Paul Bland Mr Keith Bolderson Mr Andrew Botterill Julian & Margaret Bowden & Mr Paul Michel Richard & Jo Brass Mr & Mrs Shaun Brown Mr Alan C Butler Lady Cecilia Cadbury Mrs Marilyn Casford Alison Clarke & Leo Pilkington J Clay Mr Joshua Coger Mr Martin Compton Mr Martin Connelly Mr Stephen Connock Miss Tessa Cowie Mr David Davies Mr Roderick Davies Mr David Devons Anthony & Jo Diamond Miss Sylvia Dowle Mr Andrew Dyke Mr Declan Eardly Mrs Maureen Erskine Mr Peter Faulk Mr Joe Field Ms Chrisine Louise Fluker Mr Kevin Fogarty Mr Richard France Mr Bernard Freudenthal Mrs Adele Friedland & Friends Will Gold
London Philharmonic Orchestra • 9 October 2021 • From the Depths
Thank you
Mrs Alison Goulter Mr Andrew Gunn Mr K Haines Mr Martin Hale Roger Hampson Mr Graham Hart Mr & Mrs Nevile Henderson The Jackman Family Mr Ian Kapur Martin Kettle Mr Justin Kitson Ms Yvonne Lock Mrs Sally Manning Belinda Miles Dr Joe Mooney Christopher & Diane Morcom Dame Jane Newell DBE Oliver & Josie Ogg Mr Stephen Olton Mr David Peters Nadya Powell Ms Caroline Priday Mr Richard Rolls Mr Richard Rowland Mr & Mrs Alan Senior Tom Sharpe Mr Kenneth Shaw Ruth Silvestre Barry & Gillian Smith Mr David Southern Ms Mary Stacey Mr Simon Starr Mrs Margaret Thompson Philip & Katie Thonemann Mr Owen Toller Mrs Rose Tremain Ms Mary Stacey Ms Caroline Tate Mr Peter Thierfeldt Dr Ann Turrall Michael & Katie Urmston Dr June Wakefield Mr Dominic Wallis Mrs C Willaims Joanna Williams Mr Kevin Willmering Mr David Woodhead
Hon. Benefactor Elliott Bernerd
Hon. Life Members Alfonso Aijón Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Mrs Jackie Rosenfeld OBE Laurence Watt
LPO International Board of Governors Natasha Tsukanova Chair Steven M. Berzin (USA) Veronika Borovik-Khilchevskaya (Cyprus) Marie-Laure Favre Gilly de Varennes de Bueil (France) Aline Foriel-Destezet (France) Irina Gofman (Russia) Countess Dominique Loredan (Italy) Olivia Ma (Greater China Area) Olga Makharinsky (Russia) George Ramishvili (Georgia) Victoria Robey OBE (USA) Jay Stein (USA)
Corporate Donors
Trusts and Foundations
Barclays CHANEL Fund for Women in the Arts and Culture Pictet Bank
The Boltini Trust Borrows Charitable Trust Boshier-Hinton Foundation The Candide Trust Cockayne – Grants for the Arts The London Community Foundation The David Solomons Charitable Trust The D’Oyly Carte Charitable Trust Dunard Fund Ernst von Siemens Music Foundation The Fidelio Charitable Trust Foyle Foundation Garrick Charitable Trust The Leche Trust Lucille Graham Trust John Horniman’s Children’s Trust John Thaw Foundation The Idlewild Trust Kirby Laing Foundation Adam Mickiewicz Institute PRS Foundation The Radcliffe Trust Rivers Foundation The R K Charitable Trust Romanian Cultural Institute Rothschild Foundation RVW Trust Schroder Charity Trust Serge Rachmaninoff Foundation Souter Charitable Trust The Stanley Picker Trust The Thomas Deane Trust The Thriplow Charitable Trust The Vaughan Williams Charitable Trust The Victoria Wood Foundation The Viney Family The Barbara Whatmore Charitable Trust The William Alwyn Foundation
LPO Corporate Circle Leader freuds Sunshine
Principal Berenberg Bloomberg Carter-Ruck French Chamber of Commerce
Thomas Beecham Group Members
Tutti Lazard Russo-British Chamber of Commerce Walpole
Chris Aldren David & Yi Buckley Gill & Garf Collins William & Alex de Winton Sonja Drexler The Friends of the LPO Irina Gofman Roger Greenwood Dr Barry Grimaldi Mr & Mrs Philip Kan John & Angela Kessler Countess Dominique Loredan Sir Simon Robey Victoria Robey OBE Bianca & Stuart Roden Caroline, Jamie & Zander Sharp Julian & Gill Simmonds Eric Tomsett Neil Westreich Guy & Utti Whittaker
Preferred Partners Gusbourne Estate Lidl Lindt & Sprüngli Ltd London Orthopaedic Clinic Steinway
In-kind Sponsor Google Inc
We are grateful to the Board of the American Friends of the London Philharmonic Orchestra, who assist with fundraising for our activities in the United States of America:
and all others who wish to remain anonymous. The LPO would also like to acknowledge all those who have made donations to the Play On Appeal and who have supported the Orchestra during the COVID-19 pandemic.
Simon Freakley Chairman Jay Goffman Alexandra Jupin William A. Kerr Kristina McPhee Natalie Pray Damien Vanderwilt Elizabeth Winter Victoria Robey OBE Hon. Director Jenifer L. Keiser, CPA, EisnerAmper LLP
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London Philharmonic Orchestra • 9 October 2021 • From the Depths
London Philharmonic Orchestra Administration Board of Directors Victoria Robey OBE Chairman Martin Höhmann* President Dr Catherine C. Høgel Vice-Chairman Henry Baldwin* Vice-President Kate Birchall* David Buckley David Burke Bruno De Kegel Deborah Dolce Tanya Joseph Hugh Kluger* Al MacCuish Tania Mazzetti* Stewart McIlwham* Jamie Njoku-Goodwin Andrew Tusa Mark Vines* Neil Westreich *Player-Director
Advisory Council Martin Höhmann Chairman Robert Adediran Christopher Aldren Dr Manon Antoniazzi Roger Barron Richard Brass Helen Brocklebank Simon Callow CBE Desmond Cecil CMG Sir Alan Collins KCVO CMG Andrew Davenport Guillaume Descottes Cameron Doley Christopher Fraser OBE Lord Hall of Birkenhead CBE Jonathan Harris CBE FRICS Marianna Hay MBE Amanda Hill Rehmet Kassim-Lakha Jamie Korner Geoff Mann Clive Marks OBE FCA Stewart McIlwham Andrew Neill Nadya Powell Sir Bernard Rix Victoria Robey OBE Baroness Shackleton Thomas Sharpe QC Julian Simmonds Barry Smith Martin Southgate Andrew Swarbrick Chris Viney
Laurence Watt Elizabeth Winter
Education and Community
General Administration
Talia Lash Interim Education and Community Director
Elena Dubinets Artistic Director David Burke Chief Executive Chantelle Vircavs PA to the Executive
Rebecca Parslow Education and Community Project Manager Hannah Foakes Tilly Gugenheim Education and Community Project Co-ordinators
Concert Management Roanna Gibson Concerts Director
Development Laura Willis Development Director
Graham Wood Concerts and Recordings Manager
Vicky Moran Development Events Manager
Fabio Sarlo Glyndebourne and Projects Manager
Stef Woodford Corporate Relations Manager
Grace Ko Tours Manager
Rosie Morden Individual Giving Manager
Alison Jones Concerts and Recordings Co-ordinator
Anna Quillin Trusts and Foundations Manager
Christina Perrin Concerts and Tours Assistant
Izzy Keig Priya Radhakrishnan Development Assistants
Matthew Freeman Recordings Consultant
~ Nick Jackman Campaigns and Projects Director
Andrew Chenery Orchestra Personnel Manager Sarah Holmes Martin Sargeson Librarians
Kirstin Peltonen Development Associate
Laura Kitson Stephen O’Flaherty Stage Managers
Marketing Kath Trout Marketing Director
Damian Davis Transport Manager
Mairi Warren Marketing Manager
Felix Lo Orchestra and Auditions Manager
Alexandra Lloyd Projects and Residencies Marketing Manager
Finance
Rachel Williams Publications Manager
Frances Slack Finance Director
Harrie Mayhew Website Manager
Dayse Guilherme Finance Manager
Gavin Miller Box Office Manager
Jean-Paul Ramotar Finance and IT Officer
Ruth Knight Press and PR Manager
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Greg Felton Digital Creative Sophie Harvey Marketing and Digital Officer
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 Brian Cohen Mr Simon Owen-Johnstone Honorary Orthopaedic Surgeons
London Philharmonic Orchestra 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Box Office: 020 7840 4242 Email: admin@lpo.org.uk
lpo.org.uk Cover artwork Photographer James Wicks 2021/22 season identity JMG Studio Printer John Good Ltd