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2024/25 concert season

Filmed live at the Southbank Centre’s Royal Festival Hall

Benjamin Grosvenor plays Mozart

Broadcast Saturday 26 July 2025

Digital concert programme

Mozart Piano Concerto No. 21, K467

Tchaikovsky Symphony No. 4

Andrey Boreyko conductor

Benjamin Grosvenor piano

Concert performed at the Southbank Centre’s Royal Festival Hall on 29 January 2025 and filmed by Intersection. This version of the performance will be available to stream on Marquee TV for 30 days from 26 July 2025. After this, Benjamin Grosvenor’s performance of Mozart’s Piano Concerto No. 21 will be replaced by Sibelius’s En Saga See page 14 for more information. Benjamin Grosvenor appears courtesy of Decca Classics. This concert was generously supported by Victoria Robey CBE.

The LPO would like to acknowledge the generosity of all of its members, supporters and donors. Thank you for your support.

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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

Chair supported by Dr Alex & Maria

Chan

Martin Höhmann

Thomas Eisner

Chair supported by Ryze Power

Katalin Varnagy

Sylvain Vasseur

Ricky Gore

Helen Ayres

Alice Apreda Howell

Alice Hall

Jamie Hutchinson

Daniel Pukach

Rasa Zukauskaite

Second Violins

Emma Oldfield Principal

Claudia Tarrant-Matthews

Kate Birchall

Nancy Elan

Nynke Hijlkema

Ashley Stevens

Marie-Anne Mairesse

Joseph Maher

Kate Cole

Beatriz Carbonell

Vera Beumer

Sheila Law

José Nuno Cabrita Matias

Olivia Ziani

Violas

Samuel Burstin

Guest Principal

Martin Wray

Chair supported by David & Bettina

Harden

Lucia Ortiz Sauco

Laura Vallejo

Benedetto Pollani

Jill Valentine

Toby Warr

Anita Kurowska

Richard Cookson

Hannah Roberts

Jennifer Coombes

Sarah Malcolm

Cellos

Kristina Blaumane Principal

Chair supported by Bianca & Stuart

Roden

Waynne Kwon

David Lale

Daniel Hammersley

Helen Thomas

Jane Lindsay

Pedro Silva

Julia Morneweg

Francis Bucknall

Hee Yeon Cho

Double Basses

Sebastian Pennar* Principal

George Peniston

Tom Walley

Chair supported by William & Alex de Winton

Charlotte Kerbegian

Elen Roberts

Catherine Ricketts

Cathy Colwell

Sam Rice

Flutes

Juliette Bausor Principal

Jack Welch

Stewart McIlwham*

Piccolo

Stewart McIlwham* Principal

Oboes

Tom Blomfield

Guest Principal Alice Munday

Clarinets

Benjamin Mellefont* Principal

Chair supported by Sir Nigel Boardman & Prof. Lynda Gratton

Thomas Watmough

Chair supported by Roger Greenwood

Bassoons

Jonathan Davies* Principal

Chair supported by Sir Simon Robey

Helen Storey*

Chair supported by Friends of the Orchestra

Horns

John Ryan* Principal Martin Hobbs

Mark Vines Co-Principal

Gareth Mollison

Duncan Fuller

Trumpets

Paul Beniston* Principal Chair supported by the Williams family in memory of Grenville Williams

Tom Nielsen Principal Anne McAneney* Chair supported in memory of Peter Coe

Trombones

Mark Templeton* Principal

Chair supported by William & Alex de Winton

David Whitehouse

Bass Trombone

Lyndon Meredith Principal

Tuba

Lee Tsarmaklis* Principal

Chair supported by William & Alex de Winton

Timpani

Simon Carrington*

Principal

Chair supported by Victoria Robey CBE

Percussion

Andrew Barclay* Principal Chair supported by Gill & Garf Collins

Karen Hutt Co-Principal

Feargus Brennan

Assistant Conductor

Juya Shin

*Professor at a London conservatoire

The LPO also acknowledges the following chair supporters whose players are not present at this concert:

David & Yi Buckley

The Candide Trust

Ian Ferguson & Susan Tranter

Dr Barry Grimaldi

© Mark Allan

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. Our mission is to share wonder with the modern world through the power of orchestral music, which we accomplish through live performances, online, and an extensive education and community programme, cementing our position as a leading orchestra for the 21st century.

Our home is at the Southbank Centre’s Royal Festival Hall, where we’re at the beating heart of London’s cultural life. You’ll also find us at our resident venues in Brighton, Eastbourne and Saffron Walden, and on tour worldwide. In 2024 we celebrated 60 years as Resident Symphony Orchestra at Glyndebourne Festival Opera, combining the magic of opera with Glyndebourne’s glorious setting in the Sussex countryside.

Soundtrack to key moments

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

Sharing the wonder worldwide

We’re one of the world’s most-streamed orchestras, with over 15 million plays of our content each month. In 2023 we were the most successful orchestra worldwide on YouTube, TikTok and Instagram, and in 2024 we featured in a TV documentary series on Sky Arts: ‘Backstage with the London Philharmonic Orchestra’, which was nominated for a 2025 BAFTA. During 2025/26 we’re once again working with Marquee TV to broadcast selected live concerts to enjoy at home.

Our conductors

Our Principal Conductors have included some of the greatest historic names like Sir Adrian Boult, Bernard Haitink, Klaus Tennstedt and Kurt Masur. In 2021 Edward Gardner became our 13th Principal Conductor, and Vladimir Jurowski became Conductor Emeritus. Karina Canellakis is our current Principal Guest Conductor, and Sir George Benjamin succeeds Tania León as Composer-in-Residence from September 2025.

Next generations

We’re committed to nurturing the next generation of musicians and music-lovers: we love seeing the joy of children and families experiencing their first musical moments, and we’re passionate about inspiring schools and teachers through dedicated concerts, workshops, resources and training. Reflecting our values of

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collaboration and inclusivity, our OrchLab and Open Sound Ensemble projects offer music-making opportunities for adults and young people with disabilities and special educational needs.

Today’s young instrumentalists are the orchestra members of the future, and we have a number of opportunities to support their progression. Our LPO Junior Artists programme leads the way in creating pathways into the profession for young artists from under-represented communities, and our LPO Young Composers and Foyle Future Firsts schemes support the next generation of professional musicians, bridging the transition from education to professional careers. We also recently launched the LPO Conducting Fellowship, supporting the development of two outstanding early-career conductors from backgrounds under-represented in the profession.

2025/26 season

Next season’s theme, Harmony with Nature, explores humanity’s bond with the natural world through works by Beethoven, Sibelius, Mendelssohn, Elgar and Dvořák; masterpieces of an era that saw nature as a mirror of human emotion. Closer to our own time, we’ll hear from composers as diverse as Duke Ellington, John Luther Adams and Anna Thorvaldsdottir, who have all found a source of creative energy in the processes of nature.

Highlights with Principal Conductor Edward Gardner include symphonies by Tchaikovsky, Mahler, Brahms and Rachmaninov; a pair of concerts spotlighting 20th-century Central European composers; an evening dedicated to Elgar; and a performance of Berg’s Wozzeck to end the season. We’ll also welcome back Karina Canellakis and Vladimir Jurowski, as well as guest conductors including Robin Ticciati, Kirill Karabits, Mark Elder and Elim Chan. Our lineup of soloists includes violinists Anne-Sophie Mutter, Alina Ibragimova, James Ehnes and Himari; cellist Sheku Kanneh-Mason; and pianists Yefim Bronfman, Alexandre Kantorow and Tomoko Mukaiyama. The season features nine world and UK premieres, including Tan Dun’s choral ‘Ode to Peace’ Nine, and A Tale of God’s Will (A Requiem for Katrina) by jazz icon Terence Blanchard.

We’re also looking forward to tours to South Korea and across Europe, as well as another season bursting with performances and community events in our Brighton, Eastbourne and Saffron Walden residencies.

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Pieter Schoeman Leader

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

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

Pieter has performed numerous times as a soloist with the London Philharmonic Orchestra. Highlights have included an appearance as both conductor and soloist in Vivaldi’s Four Seasons at the Royal Festival Hall, the Brahms Double Concerto with Kristina Blaumane, Florence Price’s Violin Concerto No. 2, and the Britten Double Concerto with Alexander Zemtsov, which was recorded and released on the LPO Label to great critical acclaim.

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

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

© Benjamin Ealovega

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Andrey Boreyko

conductor

Andrey Boreyko recently concluded his successful tenure as Music & Artistic Director of the Warsaw Philharmonic Orchestra and Choir. Over the last five seasons, his inspiring leadership has raised the standard and profile of the orchestra, with whom he toured extensively across Europe, Asia and the US, in addition to regular appearances at the Penderecki Festival, Beethoven Easter Festival, and Chopin & His Europe Festival. Their numerous recording projects include an interesting variety of lesser-known repertoire, such as Kancheli’s Libera me (QuasiRequiem), Penderecki’s Christmas Symphony (No. 2), Kletzki’s Sinfonietta in E minor, and Szymanowski’s Mythes and Masques

In November 2024 Andrey Boreyko conducted the London Philharmonic Orchestra at the Royal Festival Hall in a concert that included Shostakovich’s Symphony No. 13 (Babi Yar). In March 2023 he conducted them in a Royal Festival Hall concert including Shostakovich’s Symphony No. 5, alongside the UK premiere of Victoria Vita Polevá’s Nova and the world premiere of Elena Langer’s The Dong with a Luminous Nose. The latter was released on the LPO Label in February 2025 In 2014 Boreyko conducted the Orchestra in the posthumous world premiere of Górecki’s Symphony No. 4, subsequently released on the Nonesuch label.

Highlights of the 2024/25 season included performances with the Vienna Symphony Orchestra and violinist Julia Fischer, including concerts at the Vienna Konzerthaus and the Festival der Nationen in Bad Wörishofen. With the Antwerp Symphony, Andrey Boreyko celebrated Giya Kancheli’s 90th anniversary in a special subscription programme featuring the

composer’s Libera me (Quasi-Requiem) and Prokofiev’s Symphony No. 3. Guest engagements elsewhere included with the Aarhus Symphony Orchestra, Hamburg State Philharmonic Orchestra, Polish Radio Symphony Orchestra, Stuttgart Philharmonic, and Vancouver Symphony Orchestra, with whom Andrey conducted Zemlinsky’s The Mermaid alongside Mahler songs with baritone Thomas Hampson. Following the success of his recent Asia tour with the Warsaw Philharmonic, he returned to Tokyo in June 2025 to conduct Shostakovich’s Symphony No. 11 with the New Japan Philharmonic.

Andrey Boreyko remains a popular guest of orchestras such as the ORF Vienna Radio Symphony, appearing with them regularly at the Vienna Konzerthaus. He also enjoys good relationships with the Prague Symphony, RTVE Spanish Radio Symphony and Royal Scottish National orchestras. Highlights of recent seasons include returns to the Berlin Radio Symphony Orchestra, Gürzenich Orchestra Cologne, Montreal Symphony, and Orquesta Sinfónica de Galicia. During his tenure as Resident Conductor of the Orchestra Sinfonica di Milano from 2022–24, Andrey conducted numerous high-profile subscription concerts including their season openers at the Teatro alla Scala, and Mahler’s ‘Resurrection’ Symphony at the Mahler Festival.

In 2022, Andrey Boreyko concluded his eighth and final season as Music Director of Artis–Naples. His previous appointments include Music Director of the Jenaer Philharmonic, the Hamburg Symphony, Bern Symphony, Düsseldorf Symphony and Winnipeg Symphony orchestras, and the Belgian National Orchestra.

© Michał Zagórny

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Benjamin Grosvenor

piano

British pianist Benjamin Grosvenor is internationally recognised for his sonorous lyricism and understated brilliance at the keyboard. His virtuosic interpretations are underpinned by a unique balance of technical mastery and intense musicality. He is regarded as one of the most important pianists to emerge in several decades, with Gramophone acknowledging him as one of the top 50 pianists ever on record.

Benjamin has appeared regularly with the London Philharmonic Orchestra, most recently at Saffron Hall in September 2024, and at the 2024 BBC Proms, where he performed Busoni’s monumental Piano Concerto under Edward Gardner. As well as performances with the LPO and Karina Canellakis in Nottingham, London and Bristol, other concerto highlights of his 2024/25 season include debuts with the Bamberg and NHK symphony orchestras, and returns to the Montreal, Utah, Seattle, Bern, Dallas, BBC, and City of Birmingham symphony orchestras, as well as to the Royal Northern Sinfonia. Benjamin is also a featured artist at the Théâtre des Champs-Elysées in Paris, giving both concerto and solo recital performances during the same week in February 2025.

A celebrated recitalist, this season Benjamin performs across the world a programme featuring Mussorgsky’s Pictures at an Exhibition including at Shanghai Symphony Hall, Muza Kawasaki, the National Concert Hall in Taipei, Princeton University Concerts, Unione Musicale de Torino and London’s Wigmore Hall.

Highlights of recent seasons include successful debuts with the Chicago Symphony and Cleveland orchestras, the Deutsches Symphonie-Orchester Berlin, and the Vienna Radio Symphony at the BBC Proms; Beethoven’s

Piano Concertos Nos. 3 & 4 with the Scottish Chamber Orchestra under Maxim Emelyanychev at the Festival Radio France; and varied projects as Artist-inResidence at Sage Gateshead in the 2022/23 season, Wigmore Hall in 2021/22, and Radio France in 2020/21.

A keen chamber musician, Benjamin regularly works with renowned ensembles – the Modigliani Quartet and Doric Quartet amongst them. He also enjoys chamber collaborations with esteemed soloists Kian Soltani, Timothy Ridout and Hyeyoon Park. The quartet recently embarked on a European tour, performing piano quartet works by Strauss and Brahms at the Luxembourg Philharmonie, the Southbank Centre, and the Palau de la Música in Barcelona.

In 2011 Benjamin signed to Decca Classics, becoming the youngest British musician ever – and the first British pianist in almost 60 years – to do so. His recent solo release of Schumann and Brahms, featuring Kreisleriana, was praised as a ‘masterpiece’ (Le Devoir), selected as Gramophone Editor’s Choice, and awarded a Diapason d’or de l’année and a CHOC Classica de l’année 2023. The renewal of his partnership with Decca in 2021 coincided with the release of Benjamin’s album of Liszt, awarded Chocs de l’année and the Prix de Caecilia. The most recent addition to Benjamin’s impressive discography includes Beethoven’s Triple Concerto alongside Nicola Benedetti and Sheku Kanneh-Mason, and folksong settings with baritone Gerald Finley.

Benjamin Grosvenor was invited to perform at the First Night of the 2011 BBC Proms with the BBC Symphony Orchestra, where he has since become a regular over the last decades, including at the Last Night of the Proms with Marin Alsop and the BBC Symphony Orchestra in 2015.

Benjamin Grosvenor has received Gramophone’s Young Artist of the Year, a Classic BRIT Critics’ Award, the UK Critics’ Circle Award for Exceptional Young Talent, and a Diapason d’Or Jeune Talent Award. He has been featured in two BBC television documentaries, on BBC Breakfast, Front Row, and CNN’s ‘Human to Hero’ series.

Following studies at London’s Royal Academy of Music, Benjamin graduated in 2012 with the Queen’s Commendation for Excellence, and in 2016 was awarded a RAM Fellowship. He is an Ambassador of Music Masters, a charity dedicated to making music education accessible to all children regardless of their background, championing diversity and inclusion.

© Andrej Grilc

Programme notes

Wolfgang Amadeus Mozart

1756–91

Piano Concerto No. 21 in C, K467 1785 with cadenzas by Robert Casadesus

Benjamin Grosvenor piano

1 Allegro maestoso

2 Andante

3 Allegro vivace assai

This is one of the great series of piano concertos which Mozart wrote for himself to play at his subscription concerts in Vienna between 1784 and 1786. It was completed on 9 March 1785, less than a month after its predecessor, the dramatic D minor, K466. The orchestra is a large one, with trumpets and timpani added in the outer movements to flute, oboes, bassoons, horns and strings. As usual in these Viennese concertos, the woodwind instruments play an important role as carriers of the melodic line, frequently in chamber-music-like dialogue with the soloist.

The first movement is of a recognisably Mozartian type, that of a kind of idealised march: listen, for example, to the first entry of the wind section, with brisk dotted rhythms, and timpani providing the bass line. The same kind of movement opens Mozart’s last C major Piano Concerto, K503 – and also, incidentally, Beethoven’s Piano Concerto in the same key, which begins in the same way as this work, with a quiet, almost stealthy statement by the strings alone. As it goes on, the first movement of this Concerto explores a great variety of material and moods; at one point, never repeated, there is even a distinct anticipation, in the appropriate key, of the opening of Mozart’s great G minor Symphony of 1788.

The F major slow movement is less easily categorised than the first: it is unique, and in many ways Mozart’s

Programme notes

closest approach to the spirit of Romanticism (as the Swedish director Bo Widerberg recognised when he pillaged it for his film Elvira Madigan in 1967, the echo-chamber on the soundtrack corresponding to the soft-focus on the screen). Its special atmosphere stems partly from the colouring of muted upper strings; partly from the seamless flow of melody which obscures the usual divisions of the sonata form; partly from the continuous murmur of accompanying triplets, sometimes in the inner strings, sometimes in the wind, sometimes in the soloist’s left hand, which is stilled only at the magical turn to the unexpected key of A-flat major for the start of the recapitulation; and partly from the contrast between the harsh and complex dissonances of the second subject and the cloudless simplicity of the first subject and, in due course, of the ending.

The finale is based on a gavotte-like principal theme, though at a very fast and un-gavotte-like tempo. Between statements of this main theme, the first episode introduces a couple of contrasting ideas, the second (again anticipating Beethoven) is an intensive development section, and the third is a recapitulation of the first. The final rondo statement is preceded by a pause for a cadenza (though, alas, Mozart seems never to have written any cadenzas down for this work – tonight, Benjamin Grosvenor has chosen to play the cadenzas by Robert Casadesus), followed by a tiny but brilliant coda.

Programme note © Anthony Burton

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Programme notes

Pyotr Ilyich Tchaikovsky 1840–93

Symphony No. 4 in F minor, Op. 36

1877–78

1 Andante sostenuto – Moderato con anima

2 Andantino in modo di canzona

3 Scherzo (Pizzicato ostinato): Allegro

4 Finale: Allegro con fuoco

The years 1876 and 1877 were traumatic ones for Tchaikovsky. He was suffering increasingly from feelings of guilt over his homosexuality, and considerable mental torment from the fear of its discovery. As a result he underwent a personal crisis that eventually drove him not just to an illadvised marriage to a young student (a disastrous affair which lasted only a few weeks in the summer of 1877), but also to near-madness and a pitiable suicide attempt.

Two orchestral works of this time clearly reflect Tchaikovsky’s disturbed state of mind. The first was the tone-poem Francesca da Rimini, composed in the autumn of 1876 and depicting the eternal damnation of Francesca and her lover Paolo, condemned in Dante’s Inferno to the second circle of Hell for their helpless but illicit passion. The second was the Fourth Symphony, composed the following year, which confronted another spectre that had been haunting Tchaikovsky: the destructive nature of Fate. The seeds may well have been sown by a performance of Carmen that the composer saw in Paris in early 1875, but they were undoubtedly brought to fruition by the harrowing events of the following two years. From these Tchaikovsky emerged with a stronger-than-ever conviction of the power of ‘the fateful force that prevents the impulse to happiness from achieving

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Programme notes

its goal ... which hangs over your head like the sword of Damocles’.

Tchaikovsky wrote these words in a letter to his patroness, Nadezhda von Meck, to describe the stark motto theme that opens the Symphony. The letter goes on to outline for von Meck the feelings underlying the rest of the work, a useful guide to its comprehension even now, though only after it has been borne in mind that it was written after the music had been completed. Thus we learn that the oppressive waltz-tune that opens the fast section of the first movement signifies resignation in the face of Fate’s supremacy, and the lilting second theme (announced on clarinet) the desire to ‘turn away from reality and submerge oneself in daydreams’. But though the music strives for happiness, it is Fate that gains the upper hand, with the motto theme returning to dominate the later stages of the movement.

For Tchaikovsky the slow movement – with its haunting oboe melody – evoked ‘the melancholy feeling which comes in the evening when, weary from your labour, you are sitting alone. You take a book, but it falls from your hand. A whole host of memories comes ... It’s both sad, yet somehow

sweet to immerse yourself in the past.’ The ensuing Scherzo depicts less clearly defined emotions: Tchaikovsky refers vaguely to ‘capricious arabesques’, ‘drunken peasants’ and ‘a military procession’, but in truth a programme is irrelevant in this orchestral tour-de-force in which three themes – for pizzicato strings, woodwind and brass respectively – are first alternated, then wittily combined.

The Finale opens in a brilliant whirl of sounds which the sober Russian folk-tune ‘In the fields there stood a birch’ can only temporarily assuage. ‘If you find no reason for joy within yourself’, wrote Tchaikovsky, ‘go among the people. Observe how they can enjoy themselves, surrendering themselves wholeheartedly to joyful feelings.’ In the midst of the celebrations, however, the Fate theme from the first movement breaks in with an effect so devastating that the movement is brought to a standstill. But this time it cannot win. ‘You have only yourself to blame; do not say that everything in the world is sad. There are simple but strong joys’. The Symphony concludes in a blaze of glory, and the composer, for the time being at least, turns his back on Fate.

Programme note © Lindsay Kemp

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David & Bettina Harden

Mr & Mrs Philip Kan

Mr & Mrs John Kessler

Sir Simon Robey

Victoria Robey OBE

Stuart & Bianca Roden

Julian & Gill Simmonds

Eric Tomsett

Neil Westreich

Guy & Utti Whittaker

LPO Corporate Circle

Principal

Bloomberg

Carter-Ruck Solicitors

French Chamber of Commerce

Natixis Corporate & Investment

Banking

Ryze Power

Tutti

German-British Chamber of Industry & Commerce

Lazard

Walpole

Preferred Partners

Jeroboams

Lindt & Sprüngli Ltd

Mayer Brown

Neal’s Yard Remedies

OneWelbeck

Sipsmith

Steinway & Sons

In-kind Sponsor

Google Inc

Trusts and Foundations

ABO Trust

Art Mentor Foundation Lucerne

BlueSpark Foundation

The Boltini Trust

The Boshier-Hinton Foundation

Candide Trust

Cockayne Grants for the Arts in London

The David Solomons Charitable Trust

Dunard Fund

Ernst von Siemens Music Foundation

Foyle Foundation

Garfield Weston Foundation

Garrick Charitable Trust

The Golsoncott Foundation

Jerwood Foundation

John Coates Charitable Trust

John Horniman’s Children’s Trust

John Thaw Foundation

Idlewild Trust

Institute Adam Mickiewicz

Kirby Laing Foundation

The John S Cohen Foundation

The Lennox Hannay Charitable Trust

Kurt Weill Foundation

Lord and Lady Lurgan Trust

Lucille Graham Trust

The Marchus Trust

Maria Bjӧrnson Memorial Fund

The 29th May 1961 Charitable Trust

PRS Foundation

The R K Charitable Trust

The Radcliffe Trust

Rivers Foundation

Rothschild Foundation

Scops Arts Trust

Sir William Boreman’s Foundation

TIOC Foundation

Vaughan Williams Foundation

The Victoria Wood Foundation

The Viney Family

The Barbara Whatmore Charitable Trust

and all others who wish to remain anonymous.

Board of the American Friends of the LPO

We are grateful to the Board of the American Friends of the London Philharmonic Orchestra, who assist with fundraising for our activities in the United States of America:

Hannah Young Chair

Kara Boyle

Jon Carter

Jay Goffman

Alexandra Jupin

Natalie Pray MBE

Damien Vanderwilt

Marc Wassermann

Elizabeth Winter

Catherine Høgel Hon. Director

LPO International Board of Governors

Natasha Tsukanova Chair

Mrs Irina Andreeva

Steven M. Berzin

Shashank Bhagat

Irina Gofman

Olivia Ma

George Ramishvili Florian Wunderlich

Marquee TV – Streaming Platform

Marquee TV is the official streaming partner of the London Philharmonic Orchestra.

With a carefully curated selection of performances from the world’s leading arts organisations, Marquee TV is your key to seeing more of what you love. Subscribe today and enjoy unlimited access to an extensive range of music, opera, jazz, theatre, dance and more. For 50% off an annual subscription, scan the QR code or visit discover.marquee.tv/50lpo

Available online, on iOS and Android apps, Amazon Prime, Amazon Fire, Apple TV, Android TV, Comcast X1, Cox, Roku, and Samsung TV. Follow @MarqueeartsTV on Instagram, Facebook and X to stay up to date on the latest launches.

Scan QR code. Use code 50LPO for 50% off.

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 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 on Marquee TV

London Philharmonic Orchestra Administration

Board of Directors

Dr Catherine C. Høgel Chair

Nigel Boardman Vice-Chair

Mark Vines* President

Kate Birchall* Vice-President

Emily Benn

David Buckley

David Burke

Simon Burke

Simon Carrington*

Michelle Crowe Hernandez

Deborah Dolce

Simon Estell*

Jesús Herrera

Tanya Joseph

Minn Majoe*

Tania Mazzetti*

Jamie Njoku-Goodwin OBE

Neil Westreich

David Whitehouse*

*Player-Director

Advisory Council

Roger Barron Chairman

Christopher Aldren

Kate Birchall

Richard Brass

Helen Brocklebank

YolanDa Brown OBE

David Burke

Simon Callow CBE

Desmond Cecil CMG

Jane Coulson

Andrew Davenport

Guillaume Descottes

Cameron Doley

Lena Fankhauser

Christopher Fraser OBE

Jenny Goldie-Scot

Jonathan Harris CBE FRICS

Nick Hely-Hutchinson DL

Jesús Herrera

Dr Catherine C. Høgel

Martin Höhmann

Jamie Korner OBE

Andrew Neill

Nadya Powell

Sir Bernard Rix

Victoria Robey CBE

Baroness Shackleton

Thomas Sharpe KC

Julian Simmonds

Daisuke Tsuchiya

Mark Vines

Chris Viney

Laurence Watt

Elizabeth Winter

New Generation Board

Ellie Ajao

Peter De Souza

Vivek Haria

Rianna Henriques

Zerlina Vulliamy

General Administration

Jesús Herrera

Artistic Director

David Burke

Chief Executive

Ineza Grabowska

PA to the Executive & Office Manager

Concert Management

Roanna Gibson

Concerts & Planning Director

Graham Wood Concerts & Recordings Manager

Maddy Clarke

Tours Manager

Madeleine Ridout

Glyndebourne & Projects Manager

Alison Jones

Concerts & Artists Co-ordinator

Dora Kmezić

Concerts & Recordings Co-ordinator

Matthew Freeman

Recordings Consultant

Andrew Chenery

Orchestra Personnel Manager

Helen Phipps Orchestra & Auditions Manager

Sarah Thomas Martin Sargeson Librarians

Laura Kitson

Stage & Operations Manager

Stephen O’Flaherty

Deputy Operations Manager

Benjamin Wakley

Deputy Stage Manager

Finance

Frances Slack

Finance Director

Dayse Guilherme Finance Manager

Jean-Paul Ramotar IT Manager & Finance Officer

Education & Community

Talia Lash

Education & Community Director

Eleanor Jones

Lowri Thomas (née Davies)

Education & Community

Project Managers

Ellie Leon

Education & Community Co-ordinator

Claudia Clarkson

Regional Partnerships Manager

Development

Laura Willis Development Director (maternity leave)

Olivia Highland Development Director (maternity cover)

Rosie Morden

Senior Development Manager

Eleanor Conroy

Development Events Manager

Owen Mortimer Corporate Relations Manager

Anna Quillin

Trusts & Foundations Manager

Al Levin

Development Co-ordinator

Holly Eagles Development Assistant

Nick Jackman Campaigns & Projects Director

Kirstin Peltonen Development Associate

Marketing & Communications

Kath Trout

Marketing & Communications Director

Sophie Lonergan Senior Marketing Manager

Georgie Blyth Press & PR Manager

Josh Clark

Data, Insights & CRM Manager

Greg Felton

Digital Creative

Alicia Hartley

Digital & Marketing Manager

Maria Ribalaygua

Sales & Ticketing Manager

Rachel Williams

Publications Manager

Isobel Jones

Marketing Co-ordinator