LPO/Marquee TV digital concert programme: Exiles and Dreamers - 22 October 2022

On stage

First Violins

Pieter Schoeman* Leader Chair supported by Neil Westreich Ania Safonova Kate Oswin Lasma Taimina Chair supported by Irina Gofman & Mr Rodrik V. G. Cave Minn Majoe Thomas Eisner Yang Zhang Chair supported by Eric Tomsett Sophie Phillips Joseph Devalle Elizaveta Tyun Alice Apreda Howell Nilufar Alimaksumova Alice Hall

Rasa Zukauskaite Eleanor Bartlett Gabriela Opacka

Second Violins

Tania Mazzetti Principal Chair supported by Countess Dominique Loredan Emma Oldfield Co-Principal Helena Smart Claudia Tarrant-Matthews Nancy Elan Nynke Hijlkema Joseph Maher Lyrit Milgram Ashley Stevens Kate Cole Sioni Williams Charlie MacClure Georgina Leo Matthew Bain

Violas

Rebecca Chambers Guest Principal Katharine Leek Martin Wray Kate De Campos Jisu Song Stanislav Popov Shiry Rashkovsky Toby Warr Raquel López Bolívar James Heron Rachel Robson Julia Doukakis

Cellos

Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden

Pei-Jee Ng Co-Principal Chair supported by The Candide Trust Francis Bucknall David Lale Susanna Riddell Tom Roff Helen Thomas George Hoult Sibylle Hentschel Jane Lindsay

Double Basses

Kevin Rundell* Principal Hugh Kluger George Peniston Laura Murphy Charlotte Kerbegian David Johnson Cathy Colwell Nickie Dixon

Flutes

Juliette Bausor Principal

Clare Childs Stewart McIlwham*

Piccolo

Stewart McIlwham* Principal Oboes

Christopher Cowie Guest Principal Alice Munday

Cor Anglais

Sue Böhling* Principal Chair supported by Dr Barry Grimaldi

Clarinets

Benjamin Mellefont Principal Thomas Watmough Chair supported by Roger Greenwood Bassoons

Jonathan Davies Principal Chair supported by Sir Simon Robey Dominic Tyler Horns

John Ryan* Principal James Pillai Guest Principal Martin Hobbs

Mark Vines Co-Principal Gareth Mollison

Trumpets

Toby Street Guest Principal Anne McAneney*

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 Friends of the Orchestra

Timpani

Simon Carrington* Principal Chair supported by Victoria Robey OBE Percussion

Andrew Barclay* Principal Chair supported by Garf & Gill Collins James Larter

Harp

Rachel Masters Principal Assistant Conductor James Ham

* Holds a professorial appointment in London

The LPO also acknowledges the following chair supporters whose players are not present at this performance: David & Yi Buckley

Sonja Drexler

Caroline, Jamie & Zander Sharp

London Philharmonic Orchestra

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

Our home is at the Southbank’s Royal Festival Hall, where we’re at the beating heart of London’s cultural life. You’ll also find us at our resident venues in Brighton, Eastbourne and Saffron Walden, and on tour throughout the UK and internationally, performing to sell-out audiences worldwide. Each summer we’re resident at Glyndebourne Festival Opera, combining the magic of opera with Glyndebourne’s glorious setting in the Sussex countryside.

Sharing the wonder

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

Our conductors

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

Soundtrack to key moments

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

We also release live, studio and archive recordings on our own label, and are the world’s most-streamed orchestra, with over 15 million plays of our content each month. Recent releases include music by Richard Strauss under Klaus Tennstedt with legendary soprano Jessye Norman; the first volume of a Stravinsky series

© Mark Allan

Pieter Schoeman Leader

with Vladimir Jurowski including The Rite of Spring and The Firebird; and Tippett’s complete opera

The Midsummer Marriage under Edward Gardner, captured in his first concert as LPO Principal Conductor in September 2021.

Next generations

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

2022/23 and beyond

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

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, Jean-Guihen Queyras, Yannick Nézet-Séguin, Martin Helmchen and Julia Fischer.

Pieter has performed numerous times as a soloist with the London Philharmonic Orchestra. Highlights have included an appearance as both conductor and soloist in Vivaldi’s Four Seasons at the Royal Festival Hall, the Brahms Double Concerto with Kristina Blaumane, and the Britten Double Concerto with Alexander Zemtsov, which was recorded and released on the LPO Label to great critical acclaim.

Pieter has appeared as Guest Leader with the BBC, Barcelona, Bordeaux, Lyon and Baltimore symphony orchestras; the Rotterdam and BBC Philharmonic orchestras; and the Leipzig Gewandhaus Orchestra.

Pieter’s chair in the LPO is generously supported by Neil Westreich.

© Benjamin Ealovega

Edward Gardner Principal Conductor, London Philharmonic Orchestra

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

This season Edward will lead the London Philharmonic Orchestra in celebrating its 90th anniversary with music originally written for the LPO, including Vaughan Williams’s Serenade to Music and Tippett’s A Child of Our Time. He opened the Orchestra’s season last month with Schoenberg’s Gurrelieder, bringing the Orchestra and soloists together with the London Philharmonic Choir and London Symphony Chorus. Future highlights this season include Lutosławski’s Fourth Symphony, Stravinsky’s The Rite of Spring, Mahler’s Fifth Symphony, an Elgar symphony cycle, Janáček’s Glagolitic Mass and Berlioz’s Damnation of Faust. He will premiere works by Mark Simpson, LPO Composer-in-Residence Brett Dean, Vijay Iyer and Agata Zubel, and will tour with the Orchestra throughout the UK and Benelux as well as undertaking an extensive tour of Germany.

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

Edward opened the Bergen Philharmonic season with Beethoven’s Symphony No. 3 (Eroica); further

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

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

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

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

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

© Benjamin Ealovega

Marquee TV

Marquee TV is the place to be for arts lovers. Watch opera, theatre, classical music and more on demand. With a carefully curated selection of performances from arts organisations around the world, Marquee TV is your key to seeing more of what you love.

Described by the Financial Times as ‘ Netflix for the arts’, Marquee TV is home to performances from some of the world’s most renowned organisations like the London Philharmonic Orchestra, the Royal Opera House, the Australian Ballet, Teatro alla Scala, the Royal Shakespeare Company, and so many more.

Marquee TV is available online, on iOS and Android apps, Amazon Prime, Amazon Fire, Apple TV, Android TV, Comcast X1, Cox, Roku, and Samsung TV. Subscriptions start at just £8.99 per month and are available for purchase at marquee.tv

Follow @MarqueeartsTV on Instagram, Facebook, and Twitter to stay up to date on the latest launches.

Programme notes

Pyotr Ilyich Tchaikovsky

Romeo and Juliet (Fantasy Overture)

For all the brilliance of his musical imagination and evident depth of feeling, Tchaikovsky was terribly prone to self-criticism. But in the long run that could work to his advantage. In 1869 he sent a copy of the score of his new tone-poem Fatum (‘Fate’) to the great father-figure of Russian national music, the composer Mily Balakirev, hoping for approval. Balakirev was characteristically blunt. He had performed Fatum, but it didn’t go down well, ‘probably because of the appalling cacophony at the end’. Moreover the writing was ‘slapdash’, and ‘the seams show ... Above all the form just does not work’. Naturally Tchaikovsky was hurt, but he had to concede that Balakirev had a point. The two composers began a correspondence, in which Balakirev suggested that Tchaikovsky compose an orchestral work based on Shakespeare’s Romeo and Juliet. Typically, Balakirev didn’t stop there: he laid out examples of the kind of structure Tchaikovsky might use, how he might deploy the themes associated with the main characters, even which keys to use.

Although Tchaikovsky privately confessed that Balakirev made him uneasy, he clearly welcomed this kind of fatherly intervention. The result – after two substantial revisions – is one of the glories of

the Russian Romantic repertoire, a masterpiece Balakirev himself was never able to match. Tchaikovsky designated his Romeo and Juliet as a ‘Fantasy Overture’, but it is a true symphonic poem. The poetic element is clear enough in the sense that the music conveys the feelings of the lovers, the conflict between their two warring families, the Capulets and the Montagues, and the tragic ending so vividly that anyone who knows the story of the play can make them out easily. At the same time there’s a highly effective framing device in the dignified, solemn hymntune associated with the wise and compassionate Friar Lawrence. But Romeo and Juliet is also symphonic in that the form is so well balanced, the musical argument so convincingly engineered, that it’s possible to enjoy it simply as a gripping symphonic statement – it doesn’t need any kind of programmatic crutch to prop it up.

All the same, it helps to have the outlines of Tchaikovsky’s musical story. The slow introduction presents Friar Lawrence’s wind hymn-tune, while anxious strings convey his forebodings. A tense, later explosive Allegro portrayed the hair-trigger hostility of the Montagues and Capulets, with rhythmic cymbal clashes depicting furious swordplay. Eventually the music calms down, and the famous love theme begins: apparently the cor anglais and violas are meant to evoke Romeo’s voice, while the flute and oboes that follow are Juliet’s. The way Tchaikovsky manages to convey the lovers’ emotions, the beauty of the night and an underlying sense of ease is particularly impressive. Conflict returns, and eventually so does the love theme, but it now feels embattled, and the driven Allegro music sweeps back in, this time leading to an unmistakably tragic denouement (low strings and bassoons and a loud drum-roll, fading to nothing). A ghost of the love theme hovers above funereal drums, Friar Lawrence comments for the last time, then the love theme returns, radiantly transfigured. Love itself, it seems to say, is stronger than death.

Programme note © Stephen Johnson

Programme notes

Antonín Dvořák

No. 7 in D minor, Op. 70

Allegro maestoso

Poco adagio

vivace

Finale: Allegro

The Seventh might not be Dvořák’s most popular symphony, but it’s arguably his best. In the composer’s own mind, he simply had to deliver something special for the London Philharmonic Society, who had commissioned the piece in 1884. His career was at a crossroads: success had finally come, offers were being made, and contacts were putting themselves forward. Brahms and others were urging Dvořák to consider a move from his hometown of Prague to Vienna or Berlin. All Dvořák had to do – in his own mind – was prove that he could write first-class symphonic music already; music that didn’t rely overtly on indigenous Czech folk themes and that demonstrated a firm grasp of symphonic thought.

On that front, Dvořák more than succeeded with his Seventh Symphony. It was first performed on 22 April 1885 in St James’s Hall, London, and was immediately hailed as a masterpiece. As a symphony it’s near flawless, and certainly Dvořák’s most organic and wellargued. For that, the composer had Brahms to thank. Dvořák had recently heard Brahms’s Third Symphony, whose taut, concise and clear-cut structure is wholly evident here. There are also a good few points of direct comparison: both symphonies contain radiant horn solos (you’ll hear Dvořák’s in his second movement) and both are stalked by a sense of underlying darkness.

That darkness – perhaps ‘severity’ is a better word – had been uncommon in Dvořák’s music up to this point. The Seventh was the composer’s first symphony written in a minor key and it only rarely finds the major.

Programme notes

Even so, the joy and bustle associated with Dvořák’s music is somehow ever-present – either fighting to be heard or peering through the composer’s minor-key colourings. Perhaps it’s the composer’s profusion of rich melodies that keeps the Symphony so consistently radiant even when resolutely rooted in the minor (as in the demonic dance of the Scherzo, for example).

So organic and rich in cross-referencing is the Seventh’s music that an analysis of its themes and their origins is best left for academics. What’s worth listening out for in the first movement, however, is the restlessness of Dvořák’s lower strings, which helps create a feeling of impending stormy weather; throughout, instruments enter in a fragmentary fashion, each seeming to stride into the conversation with a conflicting view.

Dvořák’s second movement is a continuous, river-like flow of inspired melodies opening with what sounds like an ancient chorale in a serene F major, the key that also closes the movement. The aforementioned horn solo that comes later represents one of the Symphony’s

only moments of warmth; a sudden appearance of the sun between clouds. Though the third movement features an idyllic Trio section, it’s surrounded by a demonic dance built from an insistent, syncopated figure that combines duple and triple time in reference to the furiant, a Czech folk dance.

Dvořák didn’t want to over-egg his use of devices and themes from Czech folk music in the Symphony, and uses them similarly fleetingly and subtly in his finale. This movement is a fierce tussle, relieved only by its bright secondary idea cast in a major key and first heard on cellos, supported by lightly ornamenting violins. Dvořák seems to triumph over the movement’s nervous energy as he introduces a theme of distinctly Czech character on the flutes. In a dramatic coda, the Symphony’s final paragraph, the music finally finds victory as it discovers the warmth of D major.

Programme note © Andrew Mellor

OFFSTAGE

Now in its fifth series, our weekly podcast, LPO Offstage, hosted by MOBO Award-winning saxophonist and presenter YolanDa Brown, takes a look behind-the-scenes of the LPO, bringing you closer than ever to the world of orchestral music.

Find LPO Offstage free on Apple Podcasts, Spotify, Acast, or wherever you listen.

place to

Dvořák's Symphony No. 7 on the LPO Label

Dvořák:

Available

Recorded

at

Festival Hall on

NEW LPO LABEL RELEASE

TIPPETT

THE MIDSUMMER MARRIAGE

melodies sing, the music-making is unexaggerated, the spirit is joyous. Recommended.’

Sound Futures donors

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

Masur Circle

Arts Council England Dunard Fund

Victoria Robey OBE Emmanuel & Barrie Roman The Underwood Trust

Welser-Möst Circle

William & Alex de Winton John Ireland Charitable Trust The Tsukanov Family Foundation Neil Westreich

Tennstedt Circle

Valentina & Dmitry Aksenov Richard Buxton

The Candide Trust

Michael & Elena Kroupeev Kirby Laing Foundation

Mr & Mrs Makharinsky Alexey & Anastasia Reznikovich Sir Simon Robey Bianca & Stuart Roden Simon & Vero Turner

The late Mr K Twyman

Solti Patrons

Ageas

John & Manon Antoniazzi Gabor Beyer, through BTO Management Consulting AG

Jon Claydon

Mrs Mina Goodman & Miss Suzanne Goodman Roddy & April Gow

The Jeniffer & Jonathan Harris Charitable Trust

Mr James R.D. Korner Christoph Ladanyi & Dr Sophia Ladanyi-Czernin Robert Markwick & Kasia Robinski

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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

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TFS Loans Limited Marina Vaizey Jenny Watson Guy & Utti Whittaker

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Dr Anthony Buckland Paul Collins

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The HA.SH Foundation

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Mr & Mrs David Malpas

Dr David McGibney Michael & Patricia McLaren-Turner

Mr & Mrs Andrew Neill

Mr Christopher Querée

The Rosalyn & Nicholas Springer Charitable Trust Timothy Walker CBE AM Christopher Williams Peter Wilson Smith

Mr Anthony Yolland

and all other donors who wish to remain anonymous

Thank you

We are extremely grateful to all donors who have given generously to the LPO over the past year. Your generosity helps maintain the breadth and depth of the LPO’s activities, as well as supporting the Orchestra both on and off the concert platform.

Artistic Director’s Circle

Anonymous donors

Mrs Aline Foriel-Destezet

Aud Jebsen

In memory of Mrs Rita Reay

Sir Simon & Lady Robey OBE

Orchestra Circle

William & Alex de Winton

Mr & Mrs Philip Kan

Neil Westreich

The American Friends of the London Philharmonic Orchestra

Principal Associates

Richard Buxton

Gill & Garf Collins

In memory of Brenda Lyndoe Casbon

In memory of Ann Marguerite Collins

Sally Groves MBE George Ramishvili

Associates

Mrs Irina Andreeva

In memory of Len & Edna Beech Steven M. Berzin

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The Candide Trust

Irina Gofman & Mr Rodrik V. G. Cave

Patricia Haitink

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Countess Dominique Loredan Stuart & Bianca Roden

In memory of Hazel Amy Smith

The Tsukanov Family

The Viney Family

Gold Patrons

An anonymous donor

Chris Aldren

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In memory of Allner Mavis Channing

Sonja Drexler

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The Vernon Ellis Foundation

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Silver Patrons

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Anonymous donors Michael Allen Mr Mark Astaire Nicholas & Christine Beale Mikhail Noskov & Vasilina Bindley Mr Anthony Blaiklock Lorna & Christopher Bown Mr Bernard Bradbury Simon Burke & Rupert King Desmond & Ruth Cecil Mr Evgeny Chichvarkin Mr John H Cook

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Principal Supporters

Anonymous donors

Dr Manon Antoniazzi

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Supporters

Anonymous donors

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Hon. Benefactor

Elliott Bernerd

Hon. Life Members

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Thomas Beecham Group Members

David & Yi Buckley

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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

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Thank you

Trusts and Foundations

ABO Trust

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Cockayne – Grants for the Arts

The London Community Foundation

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Ernst von Siemens Music Foundation

Foyle Foundation

Garrick Charitable Trust John Horniman’s Children’s Trust John Thaw Foundation Institute Adam Mickiewicz Kirby Laing Foundation

The Marchus Trust

The Radcliffe Trust Rivers Foundation Rothschild Foundation RVW Trust Scops Arts Trust Sir William Boremans' Foundation

The John S Cohen Foundation

The Stanley Picker Trust

The Thriplow Charitable Trust

The Vaughan Williams Charitable Trust

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 Jon Carter Jay Goffman Alexandra Jupin Natalie Pray Damien Vanderwilt Elizabeth Winter

Catherine Høgel Hon. Director Jenifer L. Keiser, CPA, EisnerAmper LLP

LPO International Board of Governors

Natasha Tsukanova Co-Chair Martin Höhmann Co-Chair Mrs Irina Andreeva Steven M. Berzin

Veronika Borovik-Khilchevskaya Marie-Laure Favre Gilly de Varennes de Bueil Aline Foriel-Destezet Irina Gofman Countess Dominique Loredan Olivia Ma George Ramishvili Jay Stein

London Philharmonic Orchestra Administration

Board of Directors

Dr Catherine C. Høgel Chair

Lord Hall of Birkenhead CBE Vice-Chair

Martin Höhmann* President Mark Vines* Vice-President Kate Birchall*

David Buckley

David Burke

Bruno De Kegel

Deborah Dolce

Elena Dubinets

Tanya Joseph Hugh Kluger*

Katherine Leek*

Al MacCuish

Minn Majoe*

Tania Mazzetti*

Jamie Njoku-Goodwin

Andrew Tusa

Neil Westreich Simon Freakley (Ex officio –Chairman of the American Friends of the London Philharmonic Orchestra)

*Player-Director

Advisory Council

Martin Höhmann Chairman Christopher Aldren

Dr Manon Antoniazzi

Roger Barron

Richard Brass

Helen Brocklebank YolanDa Brown

Simon Burke

Simon Callow CBE

Desmond Cecil CMG Sir Alan Collins KCVO CMG Andrew Davenport Guillaume Descottes

Cameron Doley

Christopher Fraser OBE

Jonathan Harris CBE FRICS Marianna Hay MBE Nicholas Hely-Hutchinson DL Amanda Hill

Rehmet Kassim-Lakha Jamie Korner

Geoff Mann Clive Marks OBE FCA Stewart McIlwham Andrew Neill

Nadya Powell

Sir Bernard Rix

Victoria Robey OBE Baroness Shackleton

Thomas Sharpe QC

Julian Simmonds

Barry Smith

Martin Southgate

Chris Viney

Laurence Watt Elizabeth Winter

General Administration

Elena Dubinets

Artistic Director

David Burke Chief Executive

Chantelle Vircavs PA to the Executive

Concert Management

Roanna Gibson Concerts and Planning Director

Graham Wood Concerts and Recordings Manager

Fabio Sarlo Glyndebourne and Projects Manager Maddy Clarke Tours Manager

Alison Jones Concerts and Recordings Co-ordinator Robert Winup Concerts and Tours Assistant Matthew Freeman Recordings Consultant Andrew Chenery Orchestra Personnel Manager

Sarah Thomas Martin Sargeson Librarians

Laura Kitson Stage and Operations Manager

Stephen O’Flaherty Deputy Operations Manager

Freddie Jackson Deputy Stage Manager

Felix Lo Orchestra and Auditions Manager

Finance Frances Slack

Finance Director

Dayse Guilherme Finance Manager

Jean-Paul Ramotar Finance and IT Officer

Education and Community

Talia Lash Education and Community Director

Hannah Foakes Rebecca Parslow Education and Community Project Managers

Lowri Davies Education and Community Co-ordinator Development

Laura Willis Development Director Rosie Morden Individual Giving Manager Siân Jenkins Corporate Relations Manager

Anna Quillin Trusts and Foundations Manager

Katurah Morrish Development Events Manager

Eleanor Conroy Al Levin

Development Assistants

Nick Jackman Campaigns and Projects Director

Kirstin Peltonen Development Associate Marketing

Kath Trout Marketing and Communications Director

Mairi Warren Marketing Manager

Rachel Williams Publications Manager

Harrie Mayhew

Website Manager

Gavin Miller Sales and Ticketing Manager

Ruth Haines

Press and PR Manager

Sophie Harvey Digital and Residencies Marketing Manager

Greg Felton Digital Creative Alicia Hartley

Marketing Assistant

Archives Philip Stuart Discographer

Gillian Pole

Recordings Archive

Professional Services

Charles Russell Speechlys Solicitors

Crowe Clark Whitehill LLP Auditors

Dr Barry Grimaldi

Honorary Doctor

Mr Chris Aldren

Honorary ENT Surgeon

Mr Simon Owen-Johnstone Hon. Orthopaedic Surgeon

London Philharmonic Orchestra

89 Albert Embankment

London SE1 7TP

Tel: 020 7840 4200

Box Office: 020 7840 4242

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

Cover photo

Silent Studio © James Wicks