LPO/Marquee TV digital concert programme: A German Requiem - 7 May 2022 by London Philharmonic Orchestra

2021/22 concert season Filmed live at the Southbank Centre’s Royal Festival Hall

Digital concert programme A German Requiem

Broadcast Saturday 7 May 2022

Brahms A German Requiem Edward Gardner conductor Generously supported by Aud Jebsen

Christiane Karg soprano Roderick Williams baritone London Philharmonic Choir Artistic Director: Neville Creed

The Rodolfus Choir

Artistic Director: Ralph Allwood

London Philharmonic Orchestra on Marquee TV • 7 May 2022 • A German Requiem

Contents Click on the headings to jump to a section

3 On stage 4 London Philharmonic Orchestra 5 Leader: Pieter Schoeman 6 Edward Gardner 7 Tonight’s soloists 8 London Philharmonic Choir 10 The Rodolfus Choir 11 Programme notes 13 Text & translation 16 LPO 2022/23 concert season: now on sale 17 Marquee TV 18 Thank you 20 Sound Futures donors 21 LPO administration Concert performed at the Southbank Centre’s Royal Festival Hall on 2 April 2022 and filmed by Intersection. The London Philharmonic Choir’s performance is dedicated to the memory of John Wood and Geoffrey Clare. The LPO would like to acknowledge the generosity of all of its members, supporters and donors. Thank you for your support. This performance has been made possible through a grant from the Cultural Recovery Fund from the Department of Digital, Culture, Media and Sport. #HereForCulture

London Philharmonic Orchestra on Marquee TV • 7 May 2022 • A German Requiem

On stage First Violins

Pieter Schoeman* Leader Chair supported by Neil Westreich

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 Katalin Varnagy

Chair supported by Sonja Drexler

Martin Höhmann

Chair supported by Chris Aldren

Alice Ivy-Pemberton Thomas Eisner Nilufar Alimaksumova Catherine Craig John Dickinson Thea Spiers Amanda Smith Joseph Devalle Alice Hall

Second Violins

Tania Mazzetti Principal Chair supported by Countess Dominique Loredan

Helena Smart Nancy Elan Joseph Maher Kate Birchall Fiona Higham

Chair supported by David & Yi Buckley

Nynke Hijlkema Erzsébet Rácz Marie-Anne Mairesse Charlie MacClure Ashley Stevens Emma Crossley Margaret Jackson Alison Strange

Violas

Flutes

Richard Waters Principal

Charlotte Ashton Guest Principal

Chair supported by Caroline, Jamie & Zander Sharp

Hannah Grayson

Ting-Ru Lai Benedetto Pollani Katharine Leek Michelle Bruil Alistair Scahill Daniel Cornford Mabon Llŷr Rhyd Charles Cross Rachel Robson James Heron Anita Kurowska

Piccolo

Stewart McIlwham* Principal

Oboes

Ian Hardwick* Principal Alice Munday

Clarinets

Benjamin Mellefont Principal Thomas Watmough

Cellos

Chair supported by Roger Greenwood

Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden

David Lale Laura Donoghue Francis Bucknall Gregory Walmsley Susanna Riddell Helen Thomas George Hoult Sibylle Hentschel Jane Lindsay

Bassoons

Double Basses

John Ryan* Principal Alexander Edmundson

Jonathan Davies Principal Chair supported by Sir Simon Robey

Gareth Newman

Contrabassoon Fraser Gordon

Horns

Sebastian Pennar* Principal Hugh Kluger George Peniston Tom Walley

Guest Principal

Martin Hobbs Mark Vines Co-Principal Gareth Mollison

Chair supported by William & Alex de Winton

Laura Murphy Sam Rice Colin Paris Tom Morgan

Trumpets

Paul Beniston* Principal Anne McAneney*

Trombones

Mark Templeton* Principal Chair supported by William & Alex de Winton

David Whitehouse

Bass Trombone

Lyndon Meredith Principal

Tuba

Stuart Beard Guest Principal

Timpani

Simon Carrington* Principal Chair supported by Victoria Robey OBE

Harps

Rachel Masters Principal Tamara Young

Organ

Richard Gowers

Assistant Conductor Toby Thatcher

* Holds a professorial appointment in London

The LPO also acknowledges the following chair supporters whose players are not present at this performance: The Candide Trust Gill & Garf Collins Dr Barry Grimaldi Eric Tomsett

London Philharmonic Orchestra on Marquee TV • 7 May 2022 • A German Requiem

London Philharmonic Orchestra

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.

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 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; a commemorative box set of historic recordings with former Principal Conductor Sir Adrian Boult; and works by Richard Strauss under Klaus Tennstedt, featuring soprano Jessye Norman.

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

London Philharmonic Orchestra on Marquee TV • 7 May 2022 • A German Requiem

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.

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, Martin Helmchen and Julia Fischer.

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. Looking ahead to its 2022/23 season, 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; the Rotterdam and BBC Philharmonic orchestras; and the Leipzig Gewandhaus Orchestra. Pieter’s chair in the LPO is generously supported by Neil Westreich.

London Philharmonic Orchestra on Marquee TV • 7 May 2022 • A German Requiem

Edward Gardner Principal Conductor, London Philharmonic Orchestra

In demand as a guest conductor, recent seasons have seen Edward debut with the Bavarian Radio Symphony Orchestra, New York Philharmonic, Chicago Symphony Orchestra, Philadelphia Orchestra, San Francisco Symphony, Rundfunk-Sinfonieorchester Berlin, Royal Stockholm Philharmonic and Vienna Symphony. He also continues his longstanding collaborations with the City of Birmingham Symphony Orchestra, where he was Principal Guest Conductor from 2010–16, and the BBC Symphony Orchestra, whom he has conducted at both the First and Last Night of the BBC Proms. Music Director of English National Opera for ten years (2006–15), Edward has an ongoing relationship with New York’s Metropolitan Opera, where he has conducted productions of La damnation de 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. The 2021/22 season saw Edward make his debut with the Bayerische Staatsoper in a new production of Peter Grimes. Elsewhere, he has conducted at La Scala, Chicago Lyric Opera, Den Norske Opera and Ballet, Glyndebourne Festival Opera and Opéra National de Paris.

Edward Gardner began his tenure as Principal Conductor of the London Philharmonic Orchestra in September 2021; he is also Chief Conductor of the Bergen Philharmonic, a position he has held since 2015. From February 2022 he also became Artistic Advisor at the Norwegian Opera & Ballet, and will take up the position of Music Director in August 2024. During the 2021/22 season Edward conducted the London Philharmonic Orchestra in eleven concerts at the Royal Festival Hall, opening with an acclaimed performance of Tippett’s The Midsummer Marriage in which the London Philharmonic Choir was joined by the ENO Chorus. On 31 August he conducts the Orchestra in Elgar’s The Dream of Gerontius at the BBC Proms, with the LPC and the Hallé Choir. He returns to the Royal Festival Hall on 24 September to open the Orchestra’s 2022/23 season with Schoenberg’s Gurrelieder. Other LPO programmes next season include Mendelssohn’s ‘Reformation’ Symphony, Lutosławski’s Fourth Symphony, Stravinsky’s The Rite of Spring, Mahler’s Fifth Symphony, an Elgar symphony cycle, and – with the London Philharmonic Choir – Janáček’s Glagolitic Mass and Berlioz’s Damnation of Faust.

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 receiving an OBE for Services to Music in the Queen’s Birthday Honours (2012).

Edward opened the Bergen Philharmonic’s 2021/22 season with a performance of John Adams’s Harmonium. Further highlights include an all-Stravinsky programme and new commissions by Thomas Larcher, Ryan Wigglesworth and Rebecka Ahvenniemi. Following recent tours to Berlin, Munich, Amsterdam and at the BBC Proms and Edinburgh International Festival, the orchestra performs in Barcelona and Paris this season.

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

London Philharmonic Orchestra on Marquee TV • 7 May 2022 • A German Requiem

Roderick Williams

soprano

baritone

Christiane Karg

Born to a family of confectioners in Bavaria, Christiane Karg studied singing at the Salzburg Mozarteum and at the International Opera Studio in Hamburg, before joining the ensemble of the Frankfurt Opera. An outstanding recitalist and concert artist, in 2018 she was awarded the prestigious Brahms Prize.

Roderick Williams is one of the most sought-after baritones of his generation. He performs a wide repertoire from Baroque to contemporary music in the opera house and on the concert platform, and is in demand as a recitalist worldwide. He enjoys relationships with all the major UK opera houses and has sung opera world premieres by David Sawer, Sally Beamish, Michel van der Aa, Robert Saxton and Alexander Knaifel. Recent and future engagements include the title role in Eugene Onegin for Garsington Opera; the title role in Billy Budd for Opera North; Papageno for Covent Garden; and productions with Cologne Opera, English National Opera and Dutch National Opera.

Glorious on stage, she has received tremendous accolades for her interpretations of Mélisande, Blanche, Pamina, Susanna, Fiordiligi, Countess, Sophie, Zdenka and Micaëla, amongst others. Highlights of Christiane’s 2021/22 season include a tour of Mozart arias with Leif Ove Andsnes and the Mahler Chamber Orchestra; Beethoven’s Symphony No. 9 with Andris Nelsons and the Leipzig Gewandhaus Orchestra; Ravel’s Shéhérazade with Jonathan Nott and the Orchestre de la Suisse Romande; a tour of Mahler’s Symphony No. 4 and concert performances of Wagner’s Das Rheingold with Yannick Nézet-Séguin and the Rotterdam Philharmonic Orchestra; and selected songs from Mahler’s Des Knaben Wunderhorn with Ivor Bolton and the Sinfonieorchester Basel. A prolific recitalist, she sings at London’s Wigmore Hall, in Stuttgart, Feuchtwangen and Santiago de Compostela.

Roderick is a regular guest of the London Philharmonic Orchestra: his most recent concert engagement was in December 2021, when he sang in the world premiere of James MacMillan's Christmas Oratorio at the Royal Festival Hall under Mark Elder. He also sings regularly with all the BBC and major UK orchestras, as well as with the Berlin and New York Philharmonic orchestras, the Deutsches Symphonie-Orchester Berlin, the Orchestre Philharmonique de Radio France, the Ensemble Orchestral de Paris, the Accademia Nazionale di Santa Cecilia in Rome, the Cincinnati Symphony, and the Bach Collegium Japan amongst others. His many festival appearances include the BBC Proms (including the Last Night in 2014) and the Edinburgh, Cheltenham, Bath, Aldeburgh and Melbourne festivals.

Following the release of her acclaimed first solo recital disc with Harmonia Mundi, Erinnerung, featuring Lieder by Mahler in 2020, Christiane released her second disc for the label, Licht der Welt, in November 2021. This concert is Christiane Karg's London Philharmonic Orchestra debut.

London Philharmonic Orchestra on Marquee TV • 7 May 2022 • A German Requiem

London Philharmonic Choir Patron HRH Princess Alexandra President Sir Mark Elder Artistic Director Neville Creed Chairman Tessa Bartley Choir Manager Bethea Hanson-Jones Accompanist Jonathan Beatty

Founded in 1947 as the chorus for the London Philharmonic Orchestra, the London Philharmonic Choir is widely regarded as one of Britain’s finest choirs. For the last seven decades the Choir has performed under leading conductors, consistently meeting with critical acclaim and recording regularly for television and radio.

The Choir appears annually at the BBC Proms, and performances have included the UK premieres of Mark-Anthony Turnage’s A Relic of Memory and Goldie’s Sine Tempore in the Evolution! Prom. In recent years the Choir has also given performances of works by Beethoven, Elgar, Howells, Liszt, Orff, Vaughan Williams, Verdi and Walton.

Enjoying a close relationship with the London Philharmonic Orchestra, the Choir frequently joins it for concerts in the UK and abroad. Recent highlights have included Tippett’s A Midsummer Marriage under Edward Gardner in his inaugural concert as LPO Principal Conductor; Mozart’s Requiem under Ádám Fischer; the UK premiere of James MacMillan’s Christmas Oratorio with the Choir’s President, Sir Mark Elder; Walton’s Belshazzar’s Feast with Marin Alsop; Mahler’s Symphonies Nos. 2 & 8 and Tallis’s Spem in alium with Vladimir Jurowski; Verdi’s Requiem with Edward Gardner; Beethoven’s Missa Solemnis with Sir Mark Elder; and Haydn’s The Creation with Sir Roger Norrington.

A well-travelled choir, it has visited numerous European countries and performed in Kuala Lumpur, Hong Kong and Australia. The Choir has appeared twice at the Touquet International Music Masters Festival and was delighted to travel to the Théâtre des Champs-Elysées, Paris, in December 2017 to perform Bach’s Christmas Oratorio with the London Philharmonic Orchestra. The Choir prides itself on achieving first-class performances from its members, who are volunteers from all walks of life. Supported by

Photographs © Louise Kragh Photography

The London Philharmonic Choir’s performance tonight is dedicated to the memory of John Wood and Geoffrey Clare.

London Philharmonic Orchestra on Marquee TV • 7 May 2022 • A German Requiem

London Philharmonic Choir Looking forward after 75 years

Central to this is our policy of inclusivity and accessibility. We are proud to have a rich history of LGBTQ+ members and supporters and have recently taken greater steps for greater inclusivity beyond lip service and friendship: we only categorise people by voice part, not gender; we have changed our dress code to all black (shirts and trousers or full-length dresses) which not only allows all members to be able to choose what they wear (without standing out, blending into one is the goal of any choir!) regardless of their voice part or where they stand, but also enables greater economic accessibility: good quality dinner jackets don’t come cheap. We ensure a range of dressing rooms at concerts: Male, Female and Inclusive so that every single member can feel comfortable backstage. And this is just the beginning: we want to be proactive rather than reactive in ensuring inclusivity and I’m happy to have been appointed Diversity and Wellbeing Officer, ready to report members' ideas and thoughts to the Board. As much as celebrating our achievements in this anniversary year is important, so too is encouraging and nurturing the next generation of choral singers so that we can continue for at least another 75 years. Our recent work with the London Youth Choirs and the Rodolfus Choir does just that: making links with younger singers to create quality music is one of our big projects of recent years and allows us to increase the representation of a diverse London on the classical platform, as does working alongside choirs in 2022/23 such as the London Adventist Chorale and the London Chinese Philharmonic Choir.

The London Philharmonic Choir is turning 75 this year. Since 1947 the LPC has worked under some of the greatest conductors in the world and has established itself as one of the finest choirs in the country. Musical excellence is something that we always have and always will aspire to: it is the reason for the Choir’s existence. But society, choral singing and London itself are all very different in 2022 and we don’t just want to create the best music, we want to do it whilst representing the whole of London on the classical and choral platform.

If classical choral music is to flourish, then it needs to be representative of our modern, diverse, exciting city. The LPC wants to be right at the heart of it, to 2097 and beyond. To mark our 75th anniversary we asked our members to tell us what being in LPC means to them and have combined their feedback into the word cloud above, illustrating perfectly the abiding themes of an inclusive community of friends filled with fun and joy delivering professional music-making with the LPO. This is who we are and who we will continue to be for the next 75 years. If you’re interested in singing with the LPC, please contact our Membership team: lpc.org.uk/join-us

The benefits of singing on positive mental health and wellbeing are well-documented. Many of our members will attest to this. Coming to a rehearsal after a long working day is the tonic that many of us need, and losing regular singing is something that we all struggled with during the long period of lockdown. It is therefore paramount that all members of the Choir feel a sense of belonging and inclusion within the community of the Choir and that we work hard to ensure that there is a place for every individual. In order for the whole of London to be represented by our choir, we need to make sure we are attracting the whole of London into it.

Charlotte Cantrell, Diversity and Wellbeing Officer

London Philharmonic Orchestra on Marquee TV • 7 May 2022 • A German Requiem

The Rodolfus Choir Artistic Director Ralph Allwood Assistant Director Elinor Cooper Rehearsal Accompanist Robert Scarmadella

The Rodolfus Choir has established itself firmly over a period of 30 years as one of the leading young choirs in the United Kingdom, offering professional, high-quality choral singing opportunities to its members. Many of its singers are alumni of the Rodolfus Choral Courses, and are drawn by audition from some of the finest singers in the country aged 16–23. Under the leadership of founder and Artistic Director Ralph Allwood, the Choir has become renowned for imaginative programming, innovative and exciting performances, as well as an extensive array of prestigious recordings. The Choir has established artistically fulfilling relationships with such world-class organisations as the Philharmonia Orchestra, the Philharmonia Voices, the London Handel Festival and the Three Choirs Festival, and regularly broadcasts BBC Radio 3 evensongs from churches around the country. Throughout the pandemic the Choir continued to function through a series of online projects including a sight-singing programme led by Ralph Allwood, a virtual evensong, and an ongoing partnership with the exclusively online Choir of the Earth.

Soprano 1

Tenor

Ruby Alexander Lingling Bao-Smith Abigail Barker Constance Budgen Evelyn Byford Diane Comon Tilly Dawes Martha Dowland Nasreen Gill Lilian Hopper Erin Horne Catherine James Isabel Lesser Kizzy Lumley-Edwards Olivia Naylor Jemima Price Jess Quigley Habina Seo Ruby Skilbeck

Oscar Bowen-Hill Sam Britner Sebastian Evans Tom Klafkowski Patrick Maxwell Peter Ostrovsky Mylan Richmond Oliver Simpson

Soprano 2 Sofia Bagulho Rachael Best-Babayeju Emily Budgen Alyssa Chan Lucy Horder Emilia Jaques Arielle Loewinger Lara Maylor-Wrout Lydia Reid

The Rodolfus Choir is part of The Rodolfus Foundation, which seeks to educate and support young singers to experience the excitement of musical teamwork. The Choir supports the Foundation’s wider aims through workshops with school choirs, including with our partner schools in Hackney and Kennington, and a longstanding relationship with schools participating in the Barnes Music Festival. Singers keen to get involved with the Foundation are encouraged to come on a choral course, for which there is no prerequisite other than a love of singing.

Alto/Countertenor Katrina Bedford Amy Bolster Georgia Burr Emily Cassidy Ella Couldridge Alannah Enskat Amy Goodsall Katie Hastings Karol Jozwik Robert Kendrick Emmylou Lloyd-Tucker Morgen Michel Honey Millard-Clothier Romi Sharp Olivia Skellern

For more information visit the Choir’s website: therodolfusfoundation.org.uk

Bass 1 Tom Fesmer James Gooding Henry Liu Sebastian Middleton Joseph Morris John Scholey Benjamin Staniforth Joseph Ward Peter Waters Richie Zhang

Bass 2 Riccardo Conci Peter Evans Matthew Fesmer Conrad Geake Alexander Goodbody James Gordon Alex Hardy Joseph Hornsby Orlando Oliver Tom Thiselton

London Philharmonic Orchestra on Marquee TV • 7 May 2022 • A German Requiem

Programme notes Johannes Brahms 1833–97

A German Requiem, Op. 45 1866 Christiane Karg soprano Roderick Williams baritone London Philharmonic Choir The Rodolfus Choir

1 Selig sind, die da Leid tragen • Blessed are they that mourn 2 Denn alles Fleisch, es ist wie Gras • For all flesh is as grass 3 Herr, lehre doch mich • Lord, let me know mine end 4 Wie lieblich sind deine Wohnungen • How lovely are thy dwellings 5 Ihr habt nun Traurigkeit • And ye now therefore have sorrow 6 Denn wir haben keine bleibende Statt • For here have we no abiding city 7 Selig sind die Toten • Blessed are the dead The texts and translations begin on page 13. ‘If he will only point his magic wand to where the powers amassed in the orchestra and chorus lend him their might’, said Robert Schumann of Johannes Brahms, ‘yet more wonderful glimpses into the mysteries of the spirit world would await us’. Schumann believed a large-scale choral-cum-orchestral work from his young acolyte’s pen would prove a masterpiece. But Brahms needed more than verbal inspiration, and he soon got it: months later, Schumann unsuccessfully attempted suicide and was admitted to an asylum. Two years after that he died, his wife Clara, with Brahms, at his bedside. Brahms’s reaction to the loss of his artistic guiding star was the sketching of a symphony that never saw the light of day. Instead, some ten years later, Brahms reused some of the material as the starting point for a Requiem

(other chunks made their way into the D minor Piano Concerto). The tragedy of Schumann’s death would doubtless have haunted him still, but there was another deadly blow coming Brahms’s way: the death of his mother, to whom he had been particularly close, in 1865. And so the creation of A German Requiem began in earnest, Brahms sending two completed movements to Schumann’s widow Clara just months after his mother’s passing. In the summer of 1866 it was complete; Schumann’s wish for a musical glimpse of the heavens from Brahms’s pen had been posthumously granted. But despite the backdrop of death against which it was created, Brahms’s Requiem was a very hopeful one, and, indeed a very German one: a piece that captures a

London Philharmonic Orchestra on Marquee TV • 7 May 2022 • A German Requiem

Programme notes In addition to these references to the compositional past, Brahms also turns to the ‘contrapuntal’ technique of fugue, long associated with sacred music. The second, third and sixth movements of the Requiem are capped by fugal codas, though heard in a fully Brahmsian idiom using chromatic, expressive melodic shapes that are never virtuosic or awkwardly archaic. Indeed, Brahms’s music is all his own, and whilst he may himself have described the piece as being as much a ‘human’ as a ‘German’ Requiem, it is also a deeply personal one.

cultural rather than dogmatic view of Brahms’s Germany, carrying the gift of spiritual comfort rather than the threat of impending judgement. The first performance proper of A German Requiem – then for baritone soloist, chorus and orchestra – came in Bremen on Good Friday 1868. The composer subsequently added the fifth movement with soprano soloist, and the newly completed piece was first heard in Leipzig in February 1869, soon thereafter being recognised as the first major masterpiece of a mature composer. What Brahms wrote was not only exquisite and profoundly moving, but also largely unprecedented. It includes no direct reference to Christ, and sets not the words of the Requiem Mass (or even their Lutheran equivalent), but a selection of biblical excerpts from the books of Psalms, Revelation, Ecclesiasticus, Isaiah and Hebrews, the epistles of St Paul and the gospels of St Matthew and St John, among others.

Programme note © Andrew Mellor

Despite the abstracted, humanist qualities of much of his chosen texts, Brahms’s musical inspirations were more traditionally sacred and ritualistic. Schumann had instilled in him a fascination for music of the Renaissance and Baroque eras, a characteristic both composers shared with Felix Mendelssohn. The spirit of such music shines through much of A German Requiem; its sense of balance, its instrumental and choral colours, its musical painting of words and its watertight cohesion (the latter itself a Brahmsian hallmark). So just how did Brahms fashion a work that seems to rest contented upon its performers like a rock-steady faith? Well, partly through his reliance on two motifs, each movement taking either one as its basis. The first of these is the Bach chorale theme ‘Wer nur den lieben Gott lässt walten’, which is detectable in Brahms’s second movement funeral march, and also steers the work’s opening bars (recurring, therefore, as Brahms recalls his opening material at the work’s conclusion – another act of reassurance). The second is a simple 1–3–4 idea (think of the first three notes of the carol ‘Once in Royal David’s City’) which features consistently in the other movements as both a thematic ‘motto’ and an incidental gesture. Soon, therefore, the music feels familiar; the movements, though different, referencing one another’s sentiments rather than providing the traditional thematic contrast between eternal damnation and eternal paradise.

London Philharmonic Orchestra on Marquee TV • 7 May 2022 • A German Requiem

Brahms: A German Requiem Text & translation 1

Selig sind, die da Leid tragen

Blessed are they that mourn

Selig sind, die da Leid tragen, denn sie sollen getröstet werden. Die mit Tränen säen, werden mit Freuden ernten. Sie gehen hin und weinen, und tragen edlen Samen, und kommen mit Freuden und bringen ihre Garben.

Blessed are they that mourn, for they shall be comforted. They that sow in tears shall reap in joy. He that goeth forth and weepeth, bearing precious seed, shall doubtless come again with rejoicing, bringing his sheaves with him.

2 Denn alles Fleisch es ist wie Gras

For all flesh is as grass

Denn alles Fleisch es ist wie Gras und alle Herrlichkeit des Menschen wie des Grases Blumen. Das Gras ist verdorret und die Blume abgefallen.

For all flesh is as grass, and all the glory of man as the flower of grass. The grass withereth, and the flower thereof falleth away.

So seid nun geduldig, lieben Brüder, bis auf die Zukunft des Herrn. Siehe, ein Ackermann wartet auf die köstliche Frucht der Erde, und ist geduldig darüber, bis er empfange den Morgenregen und Abendregen. Aber des Herrn Wort bleibet in Ewigkeit.

Be patient therefore, brethren, unto the coming of the Lord. Behold, the husbandman waiteth for the precious fruit of the earth, and hath long patience for it, until he receive the early and latter rain.

Die Erlöseten des Herrn werden wiederkommen, und gen Zion kommen mit Jauchzen; Freude, ewige Freude wird über ihrem Haupte sein; Freude und Wonne werden sie ergreifen, und Schmerz und Seufzen wird weg müssen.

And the ransomed of the Lord shall return, and come to Zion with songs and everlasting joy upon their heads; they shall obtain joy and gladness, and sorrow and sighing shall flee away.

3 Herr, lehre doch mich

Lord, let me know mine end

Herr, lehre doch mich, dass ein Ende mit mir haben muss, und mein Leben ein Ziel hat, und ich davon muss. Siehe, meine Tage sind einer Handbreit vor dir, und mein Leben ist wie nichts vor dir. Ach, wie gar nichts sind alle Menschen, die doch so sicher leben. Sie gehen daher wie ein Schemen,

Lord, let me know mine end, and the measure of my days, what it is; that I may know how frail I am. Behold, thou hast made my days as an handbreadth; and mine age is as nothing before thee; verily every man at his best state is altogether vanity. Surely every man walketh in a vain show; surely they are disquieted in vain;

But the word of the Lord endureth for ever.

London Philharmonic Orchestra on Marquee TV • 7 May 2022 • A German Requiem

Brahms: A German Requiem Text & translation und machen ihnen viel vergebliche Unruhe; sie sammeln und wissen nicht wer es kriegen wird.

he heapeth up riches, and knoweth not who shall gather them.

Nun, Herr, was soll ich mich trösten? Ich hoffe auf dich. Der Gerechten Seelen sind in Gottes Hand, und keine Qual rühret sie an.

And now, Lord, what wait I for? My hope is in thee. But the souls of the righteous are in the hand of God, and there shall no torment touch them.

4 Wie lieblich sind deine Wohnungen

How lovely are thy dwellings

Wie lieblich sind deine Wohnungen, Herr Zebaoth! Meine Seele verlanget und sehnet sich nach den Vorhöfen des Herrn; mein Leib und Seele freuen sich in dem lebendigen Gott. Wohl denen, die in deinem Hause wohnen, die loben dich immerdar.

How lovely are thy dwellings, O Lord of hosts! My soul longeth, yea, even fainteth for the courts of the Lord; my heart and my flesh crieth out for the living God. Blessed are they that dwell in thy house; they will be still praising thee.

5 Ihr habt nun Traurigkeit

And ye now therefore have sorrow

Ihr habt nun Traurigkeit; aber ich will euch wieder sehen, und euer Herz soll sich freuen, und eure Freude soll niemand von euch nehmen. Ich will euch trösten wie einen seine Mutter tröstet. Sehet mich an: ich habe eine kleine Zeit Mühe und Arbeit gehabt, und habe grossen Trost gefunden.

And ye now therefore have sorrow; but I will see you again, and your heart shall rejoice, and your joy no man taketh from you. As one whom his mother comforteth, so will I comfort you. Behold with your eyes, how that I laboured but a little, and found for myself much rest.

6 Denn wir haben keine bleibende Statt

For here have we no abiding city

Denn wir haben keine bleibende Statt, sondern die zukünftige suchen wir. Siehe, ich sage euch ein Geheimnis: wir werden nicht alle entschlafen, wir werden aber alle verwandelt werden; und dasselbige plötzlich, in einem Augenblick, zu der Zeit der letzten Posaune. Denn es wird die Posaune schallen, und die Toten werden auferstehen unverweslich,

For here have we no abiding city, but we seek one to come. Behold, I show you a mystery: we shall not all sleep, but we shall all be changed; in a moment, in the twinkling of an eye, at the last trump; for the trumpet shall sound, and the dead shall be raised incorruptible,

London Philharmonic Orchestra on Marquee TV • 7 May 2022 • A German Requiem

Brahms: A German Requiem Text & translation und wir werden verwandelt werden. Dann wird erfüllet warden das Wort, das geschrieben steht: Der Tod ist verschlungen in den Sieg. Tod, wo ist dein Stachel? Hölle, wo ist dein Sieg? Herr, du bist würdig zu nehmen Preis und Ehre und Kraft, denn du hast alle Dinge erschaffen, und durch deinen Willen haben sie das Wesen und sind geschaffen.

and we shall be changed. Then shall be brought to pass the saying that is written: Death is swallowed up in victory. O death, where is thy sting? O grave, where is thy victory? Thou art worthy, O Lord, to receive glory and honour and power, for thou hast created all things, and for thy pleasure they are and were created.

7 Selig sind die Toten

Blessed are the dead

Selig sind die Toten die in dem Herren sterben, von nun an. Ja, der Geist spricht dass sie ruhen von ihrer Arbeit, denn ihre Werke folgen ihnen nach.

Blessed are the dead which die in the Lord from henceforth. Yea, saith the Spirit, that they may rest from their labours, and their works do follow them.

Brahms's German Requiem on the LPO Label Brahms: A German Requiem Yannick Nézet-Séguin conductor Elizabeth Watts soprano Stéphane Degout baritone London Philharmonic Orchestra & Choir £9.99 | LPO-0045 Recorded live at Southbank Centre’s Royal Festival Hall on 4 April 2009

‘A German Requiem that doesn’t rush and achieves a remarkable inwardness ... I found so many things to enjoy about this recording.' Peter Quantrill, Gramophone, August 2010 All LPO Label releases are available on CD from all good retailers, and to download or stream via Spotify, Apple Music, Idagio and others.

2022/23 concert season at the Southbank Centre’s Royal Festival Hall

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London Philharmonic Orchestra on Marquee TV • 7 May 2022 • A German Requiem

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London Philharmonic Orchestra on Marquee TV • 7 May 2022 • A German Requiem

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 In memory of Mrs Rita Reay Sir Simon & Lady Robey OBE

Orchestra Circle

The Candide Trust William & Alex de Winton Aud Jebsen 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 Mrs Irina Andreeva In memory of Len & Edna Beech 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 The Vernon Ellis Foundation Peter & Fiona Espenhahn Marie-Laure Favre-Gilly de Varennes de Beuill Mr Roger Greenwood Malcolm Herring 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

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 Mr & Mrs Ralph Kanza Jamie & Julia Korner Rose & Dudley Leigh Drs Frank & Gek Lim 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 Joe Topley Tony & Hilary Vines Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Marina Vaizey Jenny Watson CBE Mr John Weekes Christopher 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 Anthony Buckland Dr Carlos Carreno Mr Julien Chilcott-Monk Mr & Mrs Stewart Cohen David & Liz Conway Mr Alistair Corbett Andrew Davenport Mr Simon Douglas Mr B C Fairhall Mr Richard Fernyhough Mrs Janet Flynn Mrs Ash Frisby

Jason George Mr Stephen Goldring Mr Daniel Goldstein Mr Milton Grundy Prof. Emeritus John Gruzelier Nerissa Guest & David Foreman Michael & Christine Henry Mark & Sarah Holford Ivan Hurry Per Jonsson Alexandra Jupin & John Bean Mr Ian Kapur Ms Kim J Koch Richard & Briony Linsell Paul & Brigitta Lock Mr Peter Mace Nicholas & Lindsay Merriman Andrew T Mills Simon & Fiona Mortimore Mrs Terry Neale John Nickson & Simon Rew Mr James Pickford Michael & Carolyn Portillo Mr David Russell Colin Senneck & the Hartley and District LPO Group Mr John Shinton Nigel Silby Mr Brian Smith Martin & Cheryl Southgate Mr & Mrs G Stein Dr Peter Stephenson Mr Ian Tegner Dr June Wakefield Howard & Sheelagh Watson Joanna Williams 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 Harvey Bengen 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 Miss Yousun Chae 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 Patricia Dreyfus 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 Mrs Alison Goulter Mr Andrew Gunn Mr K Haines Mr Martin Hale Roger Hampson Mr Graham Hart Mr & Mrs Nevile Henderson The Jackman Family 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 Mari Payne Mr David Peters Nadya Powell Ms Caroline Priday Mr Richard Rolls Mr Richard Rowland Mr & Mrs Alan Senior Tom Sharpe Mr Kenneth Shaw

London Philharmonic Orchestra on Marquee TV • 7 May 2022 • A German Requiem

Thank you

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

Corporate Donors

Hon. Benefactor

Tutti

Elliott Bernerd

Hon. Life Members Alfonso Aijón Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Mrs Jackie Rosenfeld OBE Laurence Watt

Thomas Beecham Group Members 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

Barclays CHANEL Fund for Women in the Arts and Culture Pictet Bank

LPO Corporate Circle Leader freuds Sunshine

Principal Berenberg Bloomberg Carter-Ruck French Chamber of Commerce Lazard Russo-British Chamber of Commerce Walpole

Trialist Allianz Musical Insurance Ogilvy UK Sciteb

Preferred Partners Gusbourne Estate Lidl Lindt & Sprüngli Ltd OneWelbeck Steinway

In-kind Sponsor Google Inc

Trusts and Foundations

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 The Marchus Trust 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 Scops Arts Trust Serge Rachmaninoff Foundation Sir William Boreman’s 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 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.

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 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

LPO International Board of Governors Natasha Tsukanova Co-Chair Martin Höhmann Co-Chair Mrs Irina Andreeva (Russia) 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)

London Philharmonic Orchestra on Marquee TV • 7 May 2022 • A German Requiem

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

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 QC 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 on Marquee TV • 7 May 2022 • A German Requiem

London Philharmonic Orchestra Administration Board of Directors Victoria Robey OBE Chairman Martin Höhmann* President Dr Catherine C. Høgel Vice-Chairman Mark Vines* Vice-President Kate Birchall* David Buckley David Burke Bruno De Kegel Deborah Dolce Elena Dubinets Tanya Joseph Hugh Kluger* Al MacCuish Tania Mazzetti* Stewart McIlwham* 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 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 Chris Viney Laurence Watt Elizabeth Winter

Finance

Marketing

Frances Slack Finance Director

Kath Trout Marketing and Communications Director

General Administration

Jean-Paul Ramotar Finance and IT Officer

Dayse Guilherme Finance Manager

Elena Dubinets Artistic Director David Burke Chief Executive Chantelle Vircavs PA to the Executive

Education and Community Talia Lash Interim Education and Community Director

Concert Management

Rebecca Parslow Education and Community Project Manager

Roanna Gibson Concerts Director

Hannah Foakes Tilly Gugenheim Education and Community Project Co-ordinators

Graham Wood Concerts and Recordings Manager Fabio Sarlo Glyndebourne and Projects Manager

Development Laura Willis Development Director

Grace Ko Tours Manager

Scott Tucker Development Events Manager

Alison Jones Concerts and Recordings Co-ordinator

Siân Jenkins Corporate Relations Manager

Matthew Freeman Recordings Consultant

Rosie Morden Individual Giving Manager

Andrew Chenery Orchestra Personnel Manager

Anna Quillin Trusts and Foundations Manager

Sarah Thomas Martin Sargeson Librarians

Priya Radhakrishnan Georgia Wiltshire Development Assistants

Laura Kitson Stephen O’Flaherty Stage Managers

Nick Jackman Campaigns and Projects Director

Freddie Jackson Assistant Stage Manager Felix Lo Orchestra and Auditions Manager

Kirstin Peltonen Development Associate

Mairi Warren Marketing Manager Rachel Williams Publications Manager Harrie Mayhew Website Manager Gavin Miller Sales and Ticketing Manager Ruth Haines (née Knight) Press and PR Manager Sophie Harvey Digital and Residencies Marketing Manager Greg Felton Digital Creative Kiera Lockard 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 James Wicks 2021/22 season identity JMG Studio