LPO concert programme: 13 Apr 2022 - Julia Fischer plays Elgar (Vladimir Jurowski, conductor)

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

Concert programme

Principal Conductor Edward Gardner supported by Aud Jebsen Principal Guest Conductor Karina Canellakis Conductor Emeritus Vladimir Jurowski Patron HRH The Duke of Kent KG Artistic Director Elena Dubinets Chief Executive David Burke Leader Pieter Schoeman supported by Neil Westreich

Southbank Centre’s Royal Festival Hall Wednesday 13 April 2022 | 7.30pm

Julia Fischer plays Elgar Elgar Violin Concerto in B minor, Op. 61 (45’) Interval (20’) Enescu Symphony No. 2 in A major, Op. 17 (53’)

Contents 2 4 5 6 7 8 9 12 13 14 16

Welcome LPO 2022/23 season London Philharmonic Orchestra Leader: Pieter Schoeman Vladimir Jurowski Julia Fischer On stage tonight Programme notes Recommended recordings Sound Futures donors Thank you LPO administration

Vladimir Jurowski conductor Julia Fischer violin

Free pre-concert performance: LPO Junior Artists 6.00pm | Royal Festival Hall | All welcome The LPO Junior Artists Programme supports exceptionally talented teenage instrumentalists from backgrounds currently under-represented in the UK professional orchestral sector.

This concert, conducted by Gabriella Teychenné, showcases the talent and achievement of current and past LPO Junior Artists, performing alongside LPO musicians.

Applications for LPO Junior Artists 2022/23 are now open.

Visit lpo.org.uk/juniorartists for more information.

The timings shown are not precise and are given only as a guide.

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

This concert is being recorded

by BBC Radio 3 for broadcast on Wednesday 27 April 2022 at 7.30pm. It will subsequently be available for 30 days on BBC Sounds: bbc.co.uk/sounds/brand/ b03q8r97

London Philharmonic Orchestra • 13 April 2022 • Julia Fischer plays Elgar

Welcome to the Southbank Centre

LPO 2022/23 season

We hope you enjoy your visit. We have a Duty Manager available at all times. If you need any information or help, please ask a member of staff.

Our new concert season: On sale now

Eating, drinking and shopping? Take in the views over food and drinks at the Riverside Terrace Cafe, Level 2, Royal Festival Hall. Visit our shops for products inspired by our great cultural experiences, iconic buildings and central London location.

Our new season of Royal Festival Hall concerts, from September 2022–May 2023, is now on sale.

Entitled ‘A place to call home’, the season’s recurring themes are belonging and displacement. What is the concept of home to people who have experienced exile, homelessness or despair as a result of wars, political instability or racism – conditions that have forced countless refugees to to flee their native countries?

For an artist, a sense of home can be central to finding an individual voice – to the stories they tell, and the language in which they tell them. We will survey music by composers such as the Austrians Erich Korngold and Paul Hindemith, the Hungarian Béla Bartók, the Cuban Tania León, the Ukrainian Victoria Vita Polevá and the Syrian Kinan Azmeh.

Explore across the site with Beany Green, Côte Brasserie, Foyles, Giraffe, Honest Burger, Las Iguanas, Le Pain Quotidien, Ping Pong, Pret, Strada, Skylon, Spiritland, wagamama and Wahaca.

If you would like to get in touch with us following your visit, please write to: Visitor Contact Team, Southbank Centre, Belvedere Road, London SE1 8XX, or email hello@southbankcentre.co.uk We look forward to seeing you again soon.

A few points to note for your comfort and enjoyment:

Celebrating the Orchestra’s 90th season, we will perform some now-indispensable music written especially for the LPO, including Vaughan Williams’s Serenade to Music and Tippett’s A Child of Our Time. A focus on British composers sees performances of both symphonies by Elgar, music by Tippett and Thomas Adès, as well as four major works by Vaughan Williams in celebration of his 150th anniversary.

Photography is not allowed in the auditorium.

Latecomers will only be admitted to the auditorium if there is a suitable break in the performance.

Recording is not permitted in the auditorium without the prior consent of the Southbank Centre. The Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended.

The Orchestra’s commitment to everything new and creative includes world premieres of Mark Simpson’s Piano Concerto and Composer-in- Residence Brett Dean’s In spe contra spem, as well as the UK premiere of Heiner Goebbels’s immersive spectacle A House of Call.

We have also commissioned new works from a diverse range of composers from around the world including Agata Zubel, Elena Langer and Vijay Iyer.

Mobiles and watches should be switched off before the performance begins.

We are joined in these explorations by our Principal Conductor Edward Gardner, Principal Guest Conductor Karina Canellakis and Conductor Emeritus Vladimir Jurowski, plus, as always, world-renowned guest artists including Víkingur Ólafsson, Danielle de Niese, Miloš Karadaglić, Beatrice Rana, Randall Goosby, Gil Shaham, Leif Ove Andsnes and many others.

We welcome you to join us at the Royal Festival Hall for a season of adventure! Browse the full season and book online at lpo.org.uk/2223season or via the LPO Ticket Office on 020 7840 4242.

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

A place to call home Where music takes you

On sale now Book online lpo.org.uk Ticket Office 020 7840 4242

London Philharmonic Orchestra • 13 April 2022 • Julia Fischer plays Elgar

© Mark Allan

London Philharmonic Orchestra

One of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with its reputation as one of the UK’s most forward-looking ensembles. As well as its concert performances, the Orchestra also records film soundtracks, releases CDs and downloads on its own label, and reaches thousands of people every year through activities for families, schools and local communities.

the Orchestra takes up its annual residency at Glyndebourne Festival Opera, where it has been Resident Symphony Orchestra for over 50 years.

The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra.

The London Philharmonic Orchestra has recorded many blockbuster film scores, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World.

It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 100 releases available on CD and to download.

Recent highlights include Shostakovich’s Symphony No. 11 and Mahler’s Symphony No. 8 under Vladimir Jurowski; 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

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London Philharmonic Orchestra • 13 April 2022 • Julia Fischer plays Elgar

Pieter Schoeman

The London Philharmonic Orchestra is committed to inspiring the next generation of musicians, and recently celebrated the 30th anniversary of its Education and Community department, whose work over three decades has introduced so many people of all ages to orchestral music and created opportunities for people of all backgrounds to fulfil their creative potential.

Its dynamic and wide-ranging programme provides first musical experiences for children and families; offers creative projects and professional development opportunities for schools and teachers; inspires talented teenage instrumentalists to progress their skills; and develops the next generation of professional musicians.

The Orchestra’s work at the forefront of digital technology has enabled it to reach millions of people worldwide. Over the pandemic period the LPO further developed its relationship with UK and international audiences through its ‘LPOnline’ digital content: over 100 videos of performances, insights, and introductions to playlists, which collectively received over 3 million views worldwide and led to the LPO being named runner-up in the Digital Classical Music Awards 2020.

From Autumn 2020 the Orchestra was delighted to be able to return to its Southbank Centre home to perform a season of concerts filmed live and streamed free of charge via Marquee TV.

© Benjamin Ealovega

Leader

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

Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and London’s Royal Festival Hall.

As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. His chamber music partners have included Anne-Sophie Mutter, Veronika Eberle, Patricia Kopatchinskaja, Boris Garlitsky, JeanGuihen Queyras, Yannick Nézet-Séguin and Martin Helmchen.

September 2021 saw the opening of a new live concert season at the Royal Festival Hall, featuring many of the world’s leading musicians including Sheku KannehMason, Klaus Mäkelä, Renée Fleming, Bryn Terfel and this season’s Artist-in-Residence, Julia Fischer.

The Orchestra is delighted to be continuing to offer digital streams to selected concerts throughout the season through its ongoing partnership with Intersection and Marquee TV.

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

lpo.org.uk

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

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

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London Philharmonic Orchestra • 13 April 2022 • Julia Fischer plays Elgar

Vladimir Jurowski conductor Conductor Emeritus, London Philharmonic Orchestra

© Drew Kelley

A committed operatic conductor, Vladimir’s recent highlights include semi-staged performances of Wagner’s Das Rheingold, Die Walküre and Siegfried with the London Philharmonic Orchestra at the Royal Festival Hall; Strauss’s Die Frau ohne Schatten in Berlin and Bucharest with the Berlin Radio Symphony Orchestra; Wozzeck, Der Rosenkavalier and Prokofiev’s The Fiery Angel at the Bavarian State Opera; Henze’s The Bassarids and Schoenberg’s Moses und Aron at the Komische Oper Berlin; his acclaimed debut at the Salzburg Festival with Wozzeck; and his first return to Glyndebourne as a guest conductor, in the world premiere production of Brett Dean’s Hamlet with the LPO. He has conducted Parsifal at Welsh National Opera, War and Peace at the Opera National de Paris, Eugene Onegin at the Teatro alla Scala Milan, Ruslan and Ludmila at the Bolshoi Theatre, and Tchaikovsky’s Iolanta and Penderecki’s Der Teufel von Loudon at the Semperoper Dresden, as well as Die Zauberflöte, La Cenerentola, Otello, Macbeth, Falstaff, Tristan und Isolde, Die Meistersinger von Nürnberg, Don Giovanni, The Rake’s Progress, The Cunning Little Vixen, Ariadne auf Naxos and Peter Eötvös’s Love and Other Demons at Glyndebourne Festival Opera.

Vladimir Jurowski became the London Philharmonic Orchestra’s Conductor Emeritus in September 2021, following 14 years as Principal Conductor, during which his creative energy and artistic rigour were central to the Orchestra’s success. At the BBC Proms concert with the LPO on 12 August 2021 – his final official concert as Principal Conductor – he received the Royal Philharmonic Society Gold Medal, one of the highest international honours in music.

In the 2021/22 season Jurowski returns to the Staatskapelle Dresden; conducts new productions of Shostakovich’s The Nose and Penderecki’s Die Teufel von Loudun at the Bavarian State Opera; and showcases a wealth of symphonic repertoire from Mozart, Liszt, Enescu and Elgar to Suk, Britten, Marko Nikodijevic and Elena Firsova, with particular focuses on Stravinsky, Prokofiev and Bruckner with the Berlin Radio Symphony Orchestra, and Shostakovich and Mahler with the Bavarian State Orchestra.

In September 2021 Vladimir became Music Director at the Bavarian State Opera in Munich. Since 2017 he has been Chief Conductor and Artistic Director of the Berlin Radio Symphony Orchestra. He is also Principal Artist of the Orchestra of the Age of Enlightenment, and in 2021 stepped down from his decade as Artistic Director of the Russian State Academic Symphony Orchestra to become its Honorary Conductor. He has previously held the positions of First Kapellmeister of the Komische Oper, Berlin (1997–2001); Principal Guest Conductor of the Teatro Comunale di Bologna (2000–03); Principal Guest Conductor of the Russian National Orchestra (2005–09); and Music Director of Glyndebourne Festival Opera (2001–13).

The LPO has released a wide selection of Vladimir Jurowski’s live recordings with the Orchestra on its own label, including the complete symphonies of Brahms and Tchaikovsky; Mahler’s Symphonies Nos. 1, 2, 4 & 8; works by Shostakovich, Stravinsky, Beethoven, Rachmaninoff, Strauss, Mozart, Vaughan Williams, Julian Anderson and, most recently, Vladimir Martynov’s Utopia. In 2017 the Orchestra released a 7-CD box set of Jurowski’s LPO recordings in celebration of his 10th anniversary as Principal Conductor.

Vladimir enjoys close relationships with the world’s most distinguished artistic institutions, collaborating with many of the world’s leading orchestras including the Royal Concertgebouw Orchestra, the Chamber Orchestra of Europe, the Staatskapelle Dresden, the Gewandhausorchester Leipzig, the Cleveland and Philadelphia orchestras, the New York Philharmonic and the Chicago and Boston symphony orchestras.

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London Philharmonic Orchestra • 13 April 2022 • Julia Fischer plays Elgar

Julia Fischer violin LPO Artist-in-Residence Spring 2022

During the 2020/21 season Julia Fischer appeared in concert with the Elbphilharmonie Hamburg and Alan Gilbert, the Svetlanov Symphony Orchestra and Vladimir Jurowski and the Bamberg Symphony under Jakub Hrůša, and premiered a new piece by Pascal Zavaro with the Orchestre national de France under Cristian Măcelaru.

In 2011 Julia Fischer founded her own Quartet with Alexander Sitkovetsky, Nils Mönkemeyer and Benjamin Nyffenegger, and continues to tour extensively in this formation. Her concert at the Alte Oper Frankfurt in 2010 marked her debut as a pianist: she performed Grieg’s Piano Concerto in the second half of the concert, having played Saint-Saëns’s Violin Concerto No. 3 in the first half. The performance is available on a Decca-released DVD. Teaching is another integral part of Julia’s musical life, as she continues to nurture and guide young talent including performances alongside her students. She regularly gives masterclasses at Musikferien at Lake Starnberg (Starnberger See). In 2019 she founded a children’s orchestra, the Kindersinfoniker, teaming up with conductor Johannes X. Schachtner and pianist Henri Bonamy in her hometown of Munich.

One of the world’s leading violinists, Julia Fischer is a versatile musician also known for her extraordinary abilities as a concert pianist, chamber musician and violin teacher.

Born in Munich to German-Slovakian parents, she received her first violin lessons at the age of three and her first piano lessons shortly after from her mother, Viera Fischer. At the age of nine she started studying with renowned violin professor Ana Chumachenco, later becoming her successor. Winning First Prize at the Yehudi Menuhin International Competition in 1995 was one of the milestones in her early career and she has since performed with top orchestras worldwide.

Over the course of her artistic career Julia Fischer has released numerous critically acclaimed and awarded CD and DVD recordings, first under the Pentatone label and later under Decca. Breaking new ground in the classical music market, in 2017 she launched her own music platform, the JF CLUB, which offers exclusive audio and video footage and previews of her new recordings as well as personal insights into music and her work. Franck’s Sonata in A major, Szymanowski’s Sonata in D minor and Beethoven’s String Trio in C minor are all available exclusively on JF CLUB. In August 2021 Julia Fischer released a limited vinyl recording of Ysaÿe’s Sonatas as an exclusive JF CLUB edition in collaboration with Hänssler Classic.

In March 2019 Julia embarked on a major tour of China, Taiwan and South Korea with the London Philharmonic Orchestra under Vladimir Jurowski, and in September 2019 performed Britten’s Violin Concerto with the Orchestra, again under Jurowski, at the Royal Festival Hall and Saffron Hall. This spring she is Artist-in-Residence with the Orchestra, performing Mozart’s Concertos with Thomas Søndergård, as well as play-directing a Mozart programme and joining LPO Principal players in a chamber music concert.

Julia Fischer holds numerous awards including the Federal Cross of Merit, a Gramophone Award and the German Culture Prize. She plays a violin by Giovanni Battista Guadagnini (1742) as well as an instrument made by Phillipp Augustin (2018).

This season Julia also embarks on an extensive tour with the Academy of St Martin in the Fields, an ensemble with whom she has enjoyed a long-standing relationship. Other tours include with the Royal Philharmonic and Vasily Petrenko, and the Berlin Radio Symphony Orchestra with Vladimir Jurowski. Julia also collaborates with the Lucerne Symphony under its new Chief Conductor Thomas Sanderling, and the Bavarian Radio Symphony Orchestra under Michael Tilson Thomas. She embarks on a recital tour of major European venues with pianist Yulianna Avdeeva, as well as with her own Julia Fischer Quartet.

juliafischer.com/club

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London Philharmonic Orchestra • 13 April 2022 • Julia Fischer plays Elgar

On stage tonight First Violins

Pieter Schoeman* Leader

Chair supported by Neil Westreich

Kate Oswin

Chair supported by Friends of the Orchestra

Lasma Taimina

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

Alice Apreda Howell Minn Majoe Nilufar Alimaksumova Yang Zhang

Chair supported by Eric Tomsett

Ricky Gore Katalin Varnagy

Chair supported by Sonja Drexler

Morane Cohen-Lamberger Catherine Craig Gavin Davies Thomas Eisner John Dickinson Amanda Smith Ronald Long Maria Fiore Mazzarini Sophie Phillips

Second Violins

Tania Mazzetti Principal Chair supported by Countess Dominique Loredan

Emma Oldfield Ashley Stevens Kate Birchall Nancy Elan Erzsébet Rácz Fiona Higham

Chair supported by David & Yi Buckley

Claudia Tarrant-Matthews Sheila Law Jessica Coleman Sioni Williams Anna Croad Joseph Maher Charlie MacClure Nicole Stokes Emma Martin

Violas

Flutes

David Quiggle Principal Richard Waters Co-Principal

Fiona Kelly Guest Principal Hannah Grayson Stewart McIlwham*

Chair supported by Caroline, Jamie & Zander Sharp

Ting-Ru Lai Katharine Leek Benedetto Pollani Laura Vallejo Michelle Bruil Joseph Fisher Stanislav Popov Daniel Cornford Mark Gibbs Julia Doukakis Raquel López Bolívar Mabon Llŷr Rhyd

Piccolo

Cellos

Clarinets

Stewart McIlwham* Principal

Oboes

Chair supported by Victoria Robey OBE

Percussion

Andrew Barclay* Principal

Chair supported by Gill & Garf Collins

Karen Hutt Feargus Brennan Laura Bradford

Sue Blair Guest Principal

Chair supported by Roger Greenwood

Catherine Edwards

Piano

Jonathan Davies Principal

Celeste

Gareth Newman Luke Whitehead

Harmonium

Contrabassoon Luke Whitehead

Horns

John Ryan* Principal Mark Vines Co-Principal Martin Hobbs Oliver Johnson Gareth Mollison

Trumpets

Paul Beniston* Principal Chris Evans Guest Principal Anne McAneney* Kaitlin Wild

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Timpani

E-flat Clarinet

Chair supported by Sir Simon Robey

Laura Murphy Sam Rice Charlotte Kerbegian David Johnson Andy Marshall Ben Havinden-Williams

Tuba

Harp

Bassoons

Chair supported by William & Alex de Winton

Lyndon Meredith Principal

Paul Richards* Principal Thomas Watmough Principal

Sebastian Pennar Principal Hugh Kluger George Peniston Tom Walley

Bass Trombone

Simon Carrington* Principal

Bass Clarinet

Double Basses

David Whitehouse

Cor Anglais

Benjamin Mellefont Principal Thomas Watmough Paul Richards*

Francis Bucknall Gregory Walmsley David Lale Susanna Riddell Tom Roff Sibylle Hentschel Iain Ward Auriol Evans Tamaki Sugimoto Jane Lindsay

Chair supported by William & Alex de Winton

Lee Tsarmaklis* Principal

Chair supported by Dr Barry Grimaldi

Chair supported by The Candide Trust

Mark Templeton* Principal

Ian Hardwick* Principal Alice Munday Sue Böhling* Principal

Pei-Jee Ng Principal

Trombones

Clíodna Shanahan Richard Gowers

Assistant Conductor Gabriella Teychenné

* Holds a professorial appointment in London The LPO also acknowledges the following chair supporters whose players are not present at this concert: Chris Aldren Bianca & Stuart Roden

London Philharmonic Orchestra • 13 April 2022 • Julia Fischer plays Elgar

Programme notes Edward Elgar 1857–1934

Violin Concerto in B minor, Op. 61 1910 Julia Fischer violin 1 Allegro 2 Andante 3 Allegro molto On 10 November 1910 Elgar conducted the premiere of his Violin Concerto in London’s Queen’s Hall. The soloist, and dedicatee of the Concerto, was the great Austrian virtuoso Fritz Kreisler (1875–1962). Dora Penny (the subject of ‘Variation X’ from the Enigma Variations) recalled the occasion: ‘The place was simply packed.

Kreisler came on looking white as a sheet – even for a player of his great experience it must have been a nervous moment – but he played superbly. E.E. was also, obviously, very strung up, but all went well and the ovation at the end was tremendous.’ Kreisler was unequivocal in his enthusiasm for the Concerto: ‘You have written an immortal work’, he told Elgar after spending some of the autumn of 1910 in the composer’s company.

family were staying near Rome. Back at their home in Hereford, Lady (Alice) Elgar noted that her husband ‘was possessed with his music for the Violin Concerto’.

Although he learnt the violin and for some time taught the instrument, Elgar was wise enough to seek advice about fingering and structure from W H (Billy) Reed, the leader of the London Symphony Orchestra. Kreisler, who attended the 1910 Gloucester Three Choirs Festival, met with Elgar and they went through the Concerto together before an invited audience. Reed, who was present, described the event as ‘a wonderful artistic experience’.

Another witness wrote: ‘Kreisler stood, splendidly dignified as always, fiddle in hand. At one moment Kreisler would edge Elgar off the piano stool while he himself took the composer’s place, and, with a deprecatory remark: “Na, na, Edward”, and in an appeal to us the audience, would attempt to show the composer his idea of the right and proper manner in which the music should go. Of course Elgar would lift him from the piano stool laughingly and say: “Na, na Fritz, this is how I want it played”.’

Elgar had begun a violin concerto in the 1890s, but destroyed the sketches. It was after meeting Kreisler at the Leeds Festival in 1904 that he gave serious consideration to composing a concerto, and the following year Kreisler began to exert pressure through an interview in the Hereford Times: ‘If you want to know whom I consider to be the greatest living composer, I say without hesitation Elgar … I say this to please no one; it is my own conviction … I wish Elgar would write something for the violin. He could do so, and it would be certainly something effective’. However, The Kingdom (1906) and the First Symphony (1908) would come before Elgar settled down to the serious business of composing the Violin Concerto in the spring of 1909, while the Elgar

One of the inspirations behind the Concerto was Mrs Alice Stuart-Wortley, daughter of the painter Sir John Everett Millais. A close relationship had developed between the Elgars and the Stuart-Wortleys, and Elgar had nicknamed Alice ‘Windflower’ after the white anemone nemerosa, a flower that meant much to them. Elgar would refer in correspondence with this

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London Philharmonic Orchestra • 13 April 2022 • Julia Fischer plays Elgar

Programme notes ‘other’ Alice to the themes in the Concerto as ‘Windflower’. At the head of the score, Elgar quotes, in Spanish, from the novel Gil Blas by the 17th-century French novelist Alain-René Lesage, the following: ‘Aqui está encerrada el alma de . . . . .’ (Herein is enshrined the soul of . . . . .’). The five dots, as Elgar made clear, stood for a woman’s name.

The substantial opening tutti states the main themes of the movement before a single horn heralds the entrance of the violin, which emerges from the orchestral texture playing the second part of the first subject. Soloist and orchestra explore the material before the beguiling second subject follows, surely a statement of Elgar’s feelings for his ‘Windflower’. Elgar then develops the material, his mastery complete, as the soloist rhapsodises on the various themes. As the movement moves to the recapitulation, the intensity increases, the dialogue between the violin and orchestra becoming more complex before the final bars. In contrast, the Andante opens quietly in the key of B flat, the opening theme given to the orchestra. The violin introduces a new theme and, as the movement develops, the soloist is ‘enshrined’ in music of subtle nobility. It is also a world of great intimacy, the listener seeming to intrude, before the movement ends with soloist and orchestra communing together in a hushed reverie. Elgar once said of the ending of the Andante: ‘This is where two souls merge and melt into one another.’

In the third movement, the violin leaps away in rising passages before the orchestra states the principal theme (Vivace). Elgar moves from the virtuosic to the lyrical almost from bar to bar, but a change to Allegro (marked ‘nobilmente’) settles the music before arriving at the key of B major and a theme from the Andante. Then the soloist embarks on the most original part of the Concerto, the accompanied cadenza and its pizzicato tremolando. Elgar asks the stringed instruments of the orchestra ‘to be “thrummed” with the soft part of three or four fingers across the strings.’ Material from previous movements is considered by the violin and orchestra before a coda leads to the Concerto’s triumphant ending.

Yehudi Menuhin and Elgar on the steps of Abbey Road Studios before the 16-year-old violinist began recording the Concerto on 14 July 1932.

Programme note © Andrew Neill

Interval – 20 minutes An announcement will be made five minutes before the end of the interval.

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London Philharmonic Orchestra • 13 April 2022 • Julia Fischer plays Elgar

Programme notes George Enescu 1881–1955

Symphony No. 2 in A major, Op. 17 1912–14

1 Vivace, ma non troppo 2 Andante giusto 3 Un poco lento, marziale – Allegro vivace, marziale Schoenberg’s Gurrelieder or a tone-poem by Richard Strauss. In addition to one or more harps, a glockenspiel, celeste and piano, the percussion section is extensive: timpani, triangle, snare and bass drums, cymbals, castanets, tam-tam and tambourine, several of which are only used in the last movement. The score is littered with indications of mood that underline the expressive qualities desired: such as mormorando (‘murmuring’), lusingando (‘flattering’), bisbigliando (‘whispering’) and con grazia (‘gracefully’).

George Enescu, Romania’s greatest composer, reluctantly fitted his writing around the demands of a multifaceted career as one of the 20th century’s finest concert violinists, as an assured conductor, piano accompanist and a sought-after violin teacher, whose pupils included Yehudi Menuhin and Ida Haendel.

Prior to starting this Symphony in 1912, Enescu had written four ‘school’ symphonies that were influenced

by Brahms and Wagner whilst a student at the Paris Conservatoire. His first mature symphony was completed in 1905. The premiere of that work was conducted in Paris by Édouard Colonne, to whom the Second Symphony is dedicated. Enescu laboured on it for two years and completed it weeks before the Second World War began. It was the only work he completed during this time.

In 1915, Enescu conducted the Symphony in Bucharest, which was the only time it was performed in his lifetime.

Critics at the time seemed to share Enescu’s opinion of his Symphony, with some referring to it as ‘impressionistic’, ‘futuristic’, ‘strange’ and even ‘foreignsounding’. It is unlikely that these opinions referred to the Symphony’s structure, as it is cast in three relatively conventional movements, with the last consisting of two distinct but connected sections. Rather, those early criticisms are more likely to have been concerned with the complexity of Enescu’s musical language, particularly within the Symphony’s last movement.

Any plans to revise the Symphony were put on hold.

In 1917, the Romanian government sent a consignment of national treasures to Russia for safe-keeping during the First World War. This included a crate of Enescu’s manuscripts which included the Symphony’s manuscript. The crate was presumed lost, until 1924, when it was returned to Enescu via the conductor Bruno Walter. Conductor Iosif Conta, who led the Symphony’s revival in 1961, said: ‘Technically, it’s a very complicated, difficult work.’

Enescu told the French music critic Bernard Gavoty in 1952: ‘Twice in my life I have been without a piano. Not having an instrument, I composed almost the whole of the Second Symphony at my desk. I imposed an enormous effort on myself and swore that I would go back to it, as it is far from finished, since the work does not fully satisfy me.’ Bearing these comments in mind, whilst listening to the work, one must surely be left in awe of the quality of Enescu’s inner ear for instrumental sonorities. Furthermore, Enescu may have misjudged the quality of this Symphony.

Scored for a large orchestra, Enescu stipulates string, woodwind and brass forces that are appropriate to a soundscape of late Romantic grandeur. Think of

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London Philharmonic Orchestra • 13 April 2022 • Julia Fischer plays Elgar

Programme notes The opening movement is written in sonata form. There are noticeable influences upon the Romantic nature and scope of the writing, most strongly from Richard Strauss’s Ein Heldenleben (‘A Hero’s Life’). However, Enescu’s writing has a greater sense of urgency in the first theme. This is stated by the strings, reinforced by the repeated woodwind chords, emphatic brass and even solo violin lines. From this is derived much of the chromatic and polyphonic intricacy that unfolds throughout the movement. The second theme, graceful in its articulation, is initially heard against a grounding pedal note. Through a series of elaborations, the music searches in vain for the unbridled positivity that the first theme had so blatantly exhibited.

handle transitions and frequent juxtapositions of timbre, to balance and mix instruments in order to prevent the movement from descending into an episodic patchwork of jewel-laden effects. In the movement’s lengthy coda, Enescu gathers several themes together in order to deliver the triumphant resolution that had remained absent from the Symphony’s opening movement.

After his Second Symphony, Enescu would go on to write a Third Symphony for full orchestra – the seeds of which can be detected in the Second Symphony’s closing pages – and a Chamber Symphony for 12 instruments. Two further symphonies were left incomplete, though these have both been subsequently completed by Pascal Bentoiu, whose own eight symphonies and other compositions await recognition outside Romania.

The middle movement is simultaneously opulent in its scoring and tender in its initial outlook. Constructed largely from new thematic material, we hear the movement’s first theme initially as a clarinet solo.

The theme’s sinuous quality is extended across the movement, contrasted with a disjointed second theme and veiled references to material from the preceding movement. The movement’s closing pages provide the first hint towards the sombre soundscape which follows.

Programme note © Evan Dickerson

Recommended recordings of tonight’s works

The last movement is the Symphony’s most complex in terms of its structure and multi-layered scoring. This has led the composer Pascal Bentoiu to sensibly maintain that this Symphony marks a significant stage in the development of Enescu’s symphonic writing. Here, Enescu first employed the heterophonic technique, which is the simultaneous overlaying of several different and contrasting instrumental motifs. This technique would be increasingly utilised in later works, particularly his only opera, Oedipe.

by Laurie Watt Elgar: Violin Concerto Nicola Benedetti | London Philharmonic Orchestra Vladimir Jurowski (Decca) or Ida Haendel | City of Birmingham Symphony Orchestra | Simon Rattle (Testament) Enescu: Symphony No 2 Tampere Philharmonic Orchestra | Hannu Lintu (Ondine)

The movement begins with a slow introduction, which is written as a march of foreboding, even menacing, character. This march, derived from transformations of material heard at the start of the opening movement, underlines Enescu’s desire to impose a cyclical design upon the Symphony as a whole. This cyclical design continues within the main part of the movement, which is written as a vivacious march. The clarinet theme from the preceding movement is recalled, varied and augmented at will. Nothing, however, is arbitrary given Enescu’s increasing reliance upon heterophony as a means of building his musical argument. This adds texture and sustains interest throughout the movement.

Key challenges for the conductor are to judiciously

Enjoyed tonight’s concert?

Help us to share the wonder of the LPO by making a donation today. Use the QR code to donate via the LPO website, or visit lpo.org.uk/donate. Thank you.

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London Philharmonic Orchestra • 13 April 2022 • Julia Fischer plays Elgar

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

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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 • 13 April 2022 • Julia Fischer plays Elgar

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

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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 • 13 April 2022 • Julia Fischer plays Elgar

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.

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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 • 13 April 2022 • Julia Fischer plays Elgar

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

General Administration

Jean-Paul Ramotar Finance and IT Officer

Frances Slack Finance Director 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 Matthew Freeman Recordings Consultant Andrew Chenery Orchestra Personnel Manager

Felix Lo Orchestra and Auditions 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 Simon Owen-Johnstone Hon. Orthopaedic Surgeon

Kirstin Peltonen Development Associate

Marketing Kath Trout Marketing and Communications Director Mairi Warren Marketing Manager Rachel Williams Publications Manager

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Sophie Harvey Digital and Residencies Marketing Manager

Rosie Morden Individual Giving Manager

Nick Jackman Campaigns and Projects Director

Freddie Jackson Assistant Stage Manager

Ruth Haines (née Knight) Press and PR Manager

Mr Chris Aldren Honorary ENT Surgeon

Priya Radhakrishnan Georgia Wiltshire Development Assistants

Laura Kitson Stephen O’Flaherty Stage Managers

Gavin Miller Sales and Ticketing Manager

Siân Jenkins Corporate Relations Manager

Anna Quillin Trusts and Foundations Manager

Sarah Thomas Martin Sargeson Librarians

Harrie Mayhew Website Manager

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 Printer John Good Ltd