LPO/Marquee TV digital concert programme: Mahler's Fifth - 24 June 2023

2022/23 concert season

Filmed live at the Southbank Centre’s Royal Festival Hall

Mahler’s Fifth

Broadcast Saturday 24 June 2023

Digital concert programme

Mahler Symphony No. 5

Edward Gardner conductor Generously supported by Aud Jebsen

Click on the headings to jump to a section

3 On stage

4 London Philharmonic Orchestra

5 Leader: Pieter Schoeman

6 Edward Gardner

7 Programme notes

9 Marquee TV

10 LPO 2023/24 season – now on sale

11 LPO 90th Birthday Appeal

12 Thank you 14 Sound Futures donors

15 LPO administration

Concert performed at the Southbank Centre’s Royal Festival Hall on 26 April 2023 and filmed by Intersection. Supported by Cockayne - Grants for the Arts, a donor advised fund held at The London Community Foundation.

On stage

First Violins

Pieter Schoeman* Leader

Chair supported by Neil Westreich

Alice Ivy-Pemberton Co-Leader

Kate Oswin

Chair supported by Eric Tomsett

Lasma Taimina

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

Minn Majoe

Katalin Varnagy

Chair supported by Sonja Drexler

Martin Höhmann

Yang Zhang

Thomas Eisner

Nilufar Alimaksumova

Sophie Phillips

Ronald Long

Gabriela Opacka

Eleanor Bartlett

Alice Apreda Howell

Second Violins

Tania Mazzetti Principal

Emma Oldfield Co-Principal

Vera Beumer

Nynke Hijlkema

Claudia Tarrant-Matthews

Kate Birchall

Ashley Stevens

Sioni Williams

Kate Cole

Sheila Law

Caroline Heard

Nicole Stokes

Fiona Higham

Chair supported by David & Yi Buckley

Lyrit Milgram

Alice Hall

Violas

James Heron Guest Principal

Laura Vallejo

Martin Wray

Lucia Ortiz Sauco

Katharine Leek

Julia Doukakis

Toby Warr

Raquel López Bolívar

Stanislav Popov

Kim Becker

Kate De Campos

Cellos

Kristina Blaumane Principal

Chair supported by Bianca & Stuart

Roden

Ariana Kashefi

Francis Bucknall

David Lale

Helen Thomas

George Hoult

Sibylle Hentschel

Iain Ward

Jane Lindsay

Hee Yeon Cho

Double Basses

Sebastian Pennar Principal

Hugh Kluger

Laura Murphy

Charlotte Kerbegian

Lowri Morgan

Catherine Ricketts

Elen Roberts

Tom Morgan

Flutes

Juliette Bausor Principal

Brontë Hudnott

Clare Childs

Stewart McIlwham*

Piccolos

Stewart McIlwham* Principal

Juliette Bausor

Brontë Hudnott

Clare Childs

Oboes

Ian Hardwick* Principal

Alice Munday

Sue Böhling*

Cor Anglais

Sue Böhling* Principal Chair supported by Dr Barry Grimaldi

Clarinets

Thomas Watmough Principal

Chair supported by Roger Greenwood

Emma Burgess

Paul Richards*

Bass Clarinet

Paul Richards* Principal

E-flat Clarinet

Emma Burgess

Bassoons

Jonathan Davies Principal

Chair supported by Sir Simon Robey

Dominic Tyler

Simon Estell*

Contrabassoon

Simon Estell* Principal

Horns

Annemarie Federle Principal

John Ryan* Principal

Martin Hobbs

Mark Vines Co-Principal

Gareth Mollison

Duncan Fuller

Oliver Johnson

Trumpets

Paul Beniston* Principal

Tom Nielsen Co-Principal

Anne McAneney*

Tony Cross

David Hilton

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 Gill & Garf Collins

Tom Pritchard

James Crook

Oliver Butterworth

Harp

Rachel Masters Principal

Assistant Conductor

Matthew Lynch

* Holds a professorial appointment in London

The LPO also acknowledges the following chair supporters whose player is not present at this concert:

Caroline, Jamie & Zander Sharp

Click here to meet our members

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

Sharing the wonder

You’ll find us online, on streaming platforms, on social media and through our broadcast partnership with Marquee TV. During the pandemic period we launched ‘LPOnline’: over 100 videos of performances, insights and introductions to playlists, which led to us being named runner-up in the Digital Classical Music Awards 2020. During 2023/24 we’ll once again be working with Marquee TV to broadcast selected live concerts, so you can share or relive the wonder from your own living room.

Our conductors

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

Soundtrack to key moments

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

We also release live, studio and archive recordings on our own label, and are the world’s most-streamed orchestra, with over 15 million plays of our content each month.

© Mark Allan

Pieter Schoeman Leader

Next generations

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.

Our LPO Junior Artists programme is leading the way in creating pathways into the profession for young artists from under-represented communities, and our LPO Young Composers and Foyle Future Firsts schemes support the next generation of professional musicians, bridging the transition from education to professional careers. We also recently launched the LPO Conducting Fellowship, supporting the development of outstanding early-career conductors from backgrounds currently under-represented in the profession.

Looking forward

This season we’ve been exploring themes of belonging and displacement in our series ‘A place to call home’. As we celebrate our 90th anniversary we’ve performed works premiered by the Orchestra during its illustrious history. Our commitment to everything new and creative has included premieres by Brett Dean and Heiner Goebbels, as well as new commissions from composers from around the world.

The centrepiece of next season is our spring 2024 festival The Music in You. Reflecting our adventurous spirit, the festival embraces all kinds of expression –dance, music theatre, and audience participation. We’ll collaborate with artists from across the creative spectrum, and give premieres by composers including Tania León, Julian Joseph, Daniel Kidane, Victoria Vita Polevá, Luís Tinoco and John Williams. Rising stars making their debuts with us in 2023/24 include conductors Tianyi Lu, Oksana Lyniv, Jonathon Heyward and Natalia Ponomarchuk, accordionist João Barradas and organist Anna Lapwood. We also present the longawaited conclusion of Conductor Emeritus Vladimir Jurowski’s Wagner Ring Cycle, Götterdämmerung, and, as well as our titled conductors Edward Gardner and Karina Canellakis, we welcome back classical stars including Anne-Sophie Mutter, Robin Ticciati, Christian Tetzlaff and Danielle de Niese. lpo.org.uk

Pieter Schoeman was appointed Leader of the London Philharmonic Orchestra in 2008, having previously been Co-Leader since 2002. He is also a Professor of Violin at Trinity Laban Conservatoire of Music & Dance.

Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and the Southbank Centre’s Royal Festival Hall. As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. His chamber music partners have included Anne-Sophie Mutter, Veronika Eberle, Patricia Kopatchinskaja, Boris Garlitsky, Jean-Guihen Queyras, Yannick Nézet-Séguin, Martin Helmchen and Julia Fischer.

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

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

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

© Benjamin Ealovega

Edward Gardner

Principal Conductor, London Philharmonic Orchestra

performance of Wagner’s Parsifal. Following recent tours to Berlin, Munich and Amsterdam, and appearances at the BBC Proms and Edinburgh International Festival, the orchestra looks forward to touring projects in Germany and Belgium. In demand as a guest conductor, Edward will also return to the Cleveland and Chicago symphony orchestras, and conduct the Staatskapelle Berlin in its Sommerkonzert. Following the announcement of Edward’s appointment at the Norwegian Opera and Ballet, the 2022/23 season will see him conduct a new production of Verdi’s Un ballo in maschera alongside two concert performances of Berlioz’s Damnation of Faust. He will also conduct the Norwegian National Opera Orchestra in a programme of Dvořák and Rachmaninoff.

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

During the 2022/23 season Edward has led the London Philharmonic Orchestra in celebrating its 90th anniversary. He opened the season with Schoenberg’s Gurrelieder, bringing the Orchestra and soloists together with the London Philharmonic Choir and London Symphony Chorus. Other highlights this season include Mahler’s Fifth Symphony, an Elgar symphony cycle and Berlioz’s Damnation of Faust, as well as tours throughout the UK, Benelux and Germany.

On 11 August 2023 Edward will conduct the London Philharmonic Orchestra at the BBC Proms in a concert featuring Ligeti’s Requiem and Lux Aeterna with the Edvard Grieg Choir, and Strauss’s Also sprach Zarathustra. He will open the LPO’s 2023/24 season on 23 September with Mahler’s monumental ‘Resurrection’ Symphony at the Southbank Centre’s Royal Festival Hall with the London Philharmonic Choir. Later in the season he will return with more highlights including Holst’s The Planets, Haydn’s The Creation, Stravinsky’s Petrushka and Tippett’s Symphony No. 2.

Edward opened the Bergen Philharmonic’s 2022/23 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

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

Programme notes

Gustav Mahler

1860–1911

Symphony No. 5

1901–02

Part I

Trauermarsch: In gemessenem Schritt. Streng. Wie ein Kondukt

[Funeral March: At a measured pace. Strict. Like a cortège]

Stürmisch bewegt. Mit grösster Vehemenz [Tempestuously. With utmost vehemence]

Part II

Scherzo: Kräftig, nicht zu schnell [Sturdy, not too fast]

Part III

Adagietto: Sehr langsam [Very slow]

Rondo-Finale: Allegro – Allegro giocoso

When Gustav Mahler began work on his Fifth Symphony in the summer of 1901, he must have felt that he’d survived an emotional assault course. In February, after a near-fatal haemorrhage and a life-threatening operation, he had resigned as conductor of the Vienna Philharmonic Orchestra – a position that, for all its prestige, had brought him into conflict with the musicians (Mahler was a hard taskmaster) and attracted plenty of adverse criticism, some of it unambiguously anti-Semitic. Yet at about the same time Mahler met, and fell passionately in love with, the woman who was soon to become his wife: the highly gifted and (for men) magnetic Alma Schindler. Mahler was the kind of artist whose life and work were inextricably, often painfully interlinked, and it’s no surprise to find the Fifth Symphony showing the imprint of recent experiences throughout its complex five-movement structure.

But as Mahler was keen to point out, none of this ‘explains’ the Fifth Symphony. Musical meaning, he insisted, transcends rationalisation in words, nor

Programme notes

should it be read simply as autobiography in sound. When he first began writing symphonies, Mahler provided them with elaborate literary programmes, but by the time he came to write the Fifth he’d lost faith in such props – people would insist on taking his words at face value, rather than listening for the kind of messages music alone can convey. Here, for the first time in a symphony, Mahler neither used sung texts nor provided a written programme note. There are, however, clues to deeper meanings for those who know his music well – especially his songs.

The first movement is unmistakably a grim Funeral March in the unusual key of C sharp minor – the effect of slight strangeness that imparts is fully intentional. It opens with a trumpet fanfare, quiet at first but with growing menace. At its height, the full orchestra thunders in with a massive funereal tread. Shuddering string trills and deep, rasping horn notes evoke Death in full grotesque pomp. But the quieter march theme that follows on strings is clearly related to a song Mahler wrote around the same time, ‘Der Tambourg’sell’ (‘The Drummer Lad’), which tells of a very young army deserter facing execution. So here are two very different images of death: one majestic and terrifying, the other wretched and desolate.

The second movement plunges immediately into something else: a turbulent, anguished, full-on drama, as though Mahler were now struggling to put thoughts of Death behind him. The shrill three-note woodwind figure heard at the start gradually comes to embody the idea of striving. Several times aspiration falls back into melancholic reverie, with echoes of the Funeral March. At long last the striving culminates in a triumphant brass hymn, in a radiant D major, with ecstatic interjections from the rest of the orchestra. Is the answer to Death to be found in religious consolation – Faith? But the mood doesn’t last long enough to achieve full resolution; affirmation collapses, and the movement quickly fades into darkness. It seems nothing has been achieved.

Now comes a real surprise. The Scherzo bursts onto the scene with a wild horn fanfare. The musical landscape is unmistakably Viennese – a kind of manic waltz. Mahler’s acutely mixed feelings about what his friend Arnold Schoenberg called ‘our beloved, hated Vienna’ evidently found outlet in this music. But the change of mood here has baffled some listeners: the Fifth Symphony has even been labelled ‘schizophrenic’, but ‘manic depressive’ might be nearer the mark. Some psychologists believe that the over-elated manic phase represents a desperate mental flight from unbearable

thoughts or situations, and there are certainly parts of this movement where the gaiety sounds forced, if not downright crazy – especially at the end. Mahler himself wondered what people would say ‘to this primeval music, this foaming, roaring, raging sea of sound, to these dancing stars, to these breathtaking iridescent and flashing breakers?’

Now comes the famous Adagietto, for strings and harp alone, and with it another profound change of mood. Mahler, the great Lieder composer, clearly intended this movement as a kind of wordless love-song to his future wife, Alma. In the movement’s last great climatic sigh he quotes from one of his greatest songs, ‘Ich bin der Welt abhanden gekommen’ (‘I am lost to the world’) from his Rückert-Lieder, which ends with the phrase ‘I live alone in my heaven, in my love, in my song’. Alma would have recognised that, and read its meaning – or at least Mahler would have hoped she would. (She was quite capable of reading her own messages into her husband’s music – not least in the case of this Symphony!)

This invocation of human love and song is the spiritual turning point in the Fifth Symphony – after this there are no more obvious echoes of the death-haunted Part I. The finale is a vigorous, joyous contrapuntal display, with motifs from the Adagietto eventually drawn into the bustling textures. Finally, after a long and exciting buildup, the second movement’s brass chorale returns in splendour in D major, now revealed as the Symphony’s real home key. Is this, then, the triumph of Faith, Hope and, above all, Love? Not everyone finds this ending convincing: Alma Mahler had her doubts from the start. But one can hear it either way – as ringing affirmation or as forced triumphalism masking lingering unease – and still be moved by it. For all his apparent late-Romanticism, Mahler was also a very modern composer: even in his most positive statements there is room for doubt.

Programme note © Stephen Johnson

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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.

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and all others who wish to remain anonymous.

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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:

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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

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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

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 Burke

Deborah Dolce

Elena Dubinets

Tanya Joseph

Hugh Kluger*

Katherine Leek*

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

Roger Barron Chairman

Christopher Aldren

Richard Brass

Helen Brocklebank

YolanDa Brown OBE

David Buckley

Simon Burke

Simon Callow CBE

Desmond Cecil CMG

Sir Alan Collins KCVO CMG

Andrew Davenport

Guillaume Descottes

Cameron Doley

Christopher Fraser OBE

Jenny Goldie-Scot

Jonathan Harris CBE FRICS

Marianna Hay MBE

Nicholas Hely-Hutchinson DL

Amanda Hill

Martin Höhmann

Rehmet Kassim-Lakha

Jamie Korner

Geoff Mann

Clive Marks OBE FCA

Stewart McIlwham

Andrew Neill

Nadya Powell

Sir Bernard Rix

Victoria Robey OBE

Baroness Shackleton

Thomas Sharpe KC

Julian Simmonds

Barry Smith

Martin Southgate

Chris Viney

Laurence Watt

Elizabeth Winter

General Administration

Elena Dubinets

Artistic Director

David Burke Chief Executive

Chantelle Vircavs PA to the Executive

Concert Management

Roanna Gibson Concerts and Planning Director

Graham Wood Concerts and Recordings Manager

Maddy Clarke Tours Manager

Madeleine Ridout Glyndebourne and Projects Manager

Alison Jones

Concerts and Recordings Co-ordinator

Robert Winup

Concerts and Tours Assistant

Matthew Freeman Recordings Consultant

Andrew Chenery

Orchestra Personnel Manager

Sarah Thomas

Martin Sargeson

Librarians

Laura Kitson Stage and Operations Manager

Stephen O’Flaherty

Deputy Operations Manager

Felix Lo Orchestra and Auditions Manager

Finance

Frances Slack

Finance Director

Dayse Guilherme

Finance Manager

Jean-Paul Ramotar Finance and IT Officer

Education and Community

Talia Lash

Education and Community Director

Lowri Davies

Hannah Foakes

Education and Community Project Managers

Hannah Smith Education and Community Co-ordinator

Claudia Clarkson Regional Partnerships Manager

Development

Laura Willis

Development Director

Rosie Morden

Individual Giving Manager

Siân Jenkins

Corporate Relations Manager

Anna Quillin

Trusts and Foundations Manager

Katurah Morrish

Development Events Manager

Eleanor Conroy

Al Levin

Development Assistants

Nick Jackman

Campaigns and Projects Director

Kirstin Peltonen

Development Associate

Marketing

Kath Trout

Marketing and Communications Director

Sophie Harvey

Marketing Manager

Rachel Williams

Publications Manager

Gavin Miller

Sales and Ticketing Manager

Ruth Haines

Press and PR Manager

Hayley Kim Residencies and Projects

Marketing Manager

Greg Felton

Digital Creative

Alicia Hartley

Digital 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

Cover photo

Silent Studio © James Wicks