LPO programme: 15 Oct 2023 Brighton - Beethoven & Mozart (James Henshaw/Annemarie Federle)

2023/24 concert season at Brighton Dome

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

Brighton Dome Concert Hall

Sunday 15 October 2023 | 3.00pm

Beethoven & Mozart

Mozart

Overture, The Marriage of Figaro, K492 (4’)

Mozart

Horn Concerto No. 4 in E flat major, K495 (16’)

Interval (20’)

Beethoven

Symphony No. 5 in C minor, Op. 67 (36’)

James Henshaw conductor

Annemarie Federle horn

Pre-concert events

2.00pm & 2.25pm | The Founders Room

Join us for a free interactive session exploring Beethoven’s iconic Fifth Symphony in a fun, immersive and hands-on way. These sessions are drop-in, suitable for all ages, and no musical experience is necessary.

2.40pm | Musicians performing from the Mezzanine

Enjoy the sound of local young talent, as musicians from Create Music, the music education hub for Brighton & Hove and East Sussex, give a special free performance in the Brighton Dome foyer.

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

Concert presented by the London Philharmonic Orchestra in association with Brighton Dome

Contents

2

3

5 Leader: Pieter Schoeman

6 James Henshaw

8 Programme notes

12 Recommended recordings

13 Next concerts

Welcome to Brighton Dome LPO news

Today’s pre-concert activities

Welcome to the first concert of the London Philharmonic Orchestra’s 2023/24 season at Brighton Dome. We hope you enjoy the performance and your visit here. For your comfort and safety, please note the following: thank you for your co-operation.

Latecomers may not be admitted until a suitable break in the performance. Some performances may contain no suitable breaks.

Interval drinks may be ordered in advance at the bar to avoid queues.

Photography is not allowed in the auditorium. Recording is not allowed in the auditorium. Mobiles and watches should be switched off before entering the auditorium.

The concert at Brighton Dome on 15 October 2023 is presented by the London Philharmonic Orchestra in association with Brighton Dome.

Brighton Dome gratefully acknowledges the support of Brighton & Hove City Council and Arts Council England.

We are delighted to welcome young musicians from Create Music, who join us today. Create Music is the music hub lead for Brighton and East Sussex, offering high-quality, inclusive music and arts education for children, young people and adults in the area. You will have heard some of these young people performing from the mezzanine before today’s concert, alongside some of our LPO brass musicians. The group also had the chance to talk with our players, to find out what it’s like to be a professional musician.

We would also like to thank all those who joined our free pre-concert audience workshops, where animateur Fraser Trainer unpacked some of the musical features in Beethoven’s Symphony No. 5 in fun and immersive sessions. We hope everyone who took part enjoyed themselves and learned a little bit more about the piece ahead of our performance today!

createmusic.org.uk

Tour adventures

Just a couple of days ago the Orchestra returned from an exciting tour of South Korea and Taiwan with Principal Conductor Edward Gardner. We gave concerts in Daegu, Bucheon and Seoul with violinist Christian Tetzlaff, and in Taipei with violinist William Wei. Follow us on socials to see all the photos and behind-the-scenes tour action!

Brighton Dome is managed by Brighton Dome & Brighton Festival, which also runs the annual threeweek Brighton Festival in May. brightondome.org | brightonfestival.org

Enjoyed today’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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LPO Conductor Fellowship –applications open now

We are inviting applications for our 2024/25 LPO Conducting Fellowship – an initiative to promote diversity and inclusivity in the classical music industry by developing outstanding early-career conductors from backgrounds currently under-represented in the profession. The closing date for applications is 27 October 2023. For more information, visit lpo.org.uk/conductingfellowship

Chief Executive Andrew Comben

On stage today

First Violins

Pieter Schoeman* Leader

Chair supported by Neil Westreich

Lasma Taimina

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

Minn Majoe

Martin Höhmann

Katalin Varnagy

Chair supported by Sonja Drexler

Cassandra Hamilton

Elizaveta Tyun

Eleanor Bartlett

Amanda Smith

Katherine Waller

Maeve Jenkinson

Alison Strange

Alice Hall

Ronald Long

Second Violins

Claudia Tarrant-Matthews Principal

Chair supported by Friends of the Orchestra

Helena Smart

Joseph Maher

Nynke Hijlkema

Ashley Stevens

Nancy Elan

Fiona Higham

Chair supported by David & Yi Buckley

Jessica Coleman

Sioni Williams

Sarah Thornett

Anna Croad

Caroline Heard

Violas

Jon Thorne Guest Principal

Martin Wray

Benedetto Pollani

Laura Vallejo

Toby Warr

Julia Doukakis

Anita Kurowska

Daniel Cornford

Rachel Robson

Stanislav Popov

Cellos

Kate Gould Guest Principal

Francis Bucknall

Tom Roff

Leo Melvin

Auriol Evans

Colin Alexander

Jane Lindsay

Double Basses

Kevin Rundell* Principal

Tom Walley

Chair supported by William & Alex

de Winton

Colin Paris

Lowri Morgan

Charlotte Kerbegian

Cathy Colwell

Flutes

Juliette Bausor Principal

Fiona Sweeney

Piccolo

Stewart McIlwham* Principal

Oboes

Peter Facer Guest Principal

Eleanor Sullivan

Clarinets

Benjamin Mellefont Principal

Thomas Watmough

Chair supported by Roger Greenwood

Bassoons

John McDougall Guest Principal

Emma Harding

Contrabassoon

Simon Estell* Principal

Horns

John Ryan* Principal

Martin Hobbs

Duncan Fuller

Elise Campbell

Trumpets

Paul Beniston* Principal

Tom Nielsen Co-Principal

Anne McAneney*

Trombones

David Whitehouse Principal

Merin Rhyd

Bass Trombone

Lyndon Meredith Principal

Timpani

Simon Carrington* Principal

Chair supported by Victoria Robey OBE

*Holds a professorship at a London conservatoire

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

Gill & Garf Collins

Mr B C Fairhall

Dr Barry Grimaldi

Sir Simon Robey

Bianca & Stuart Roden

Caroline, Jamie & Zander Sharp

Eric Tomsett

London Philharmonic Orchestra

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

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

Sharing the wonder

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

Our conductors

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

Soundtrack to key moments

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

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

© Mark Allan

Pieter Schoeman Leader

Next generations

There’s nothing we love more than seeing the joy of children and families enjoying their first musical moments, and we’re passionate about equipping schools and teachers through schools’ concerts, resources and training. Reflecting our values of collaboration and inclusivity, our OrchLab and Open Sound Ensemble projects offer music-making opportunities for adults and young people with special educational needs and disabilities.

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

Looking forward

The centrepiece of our 2023/24 season is our spring 2024 festival The Music in You. Reflecting our adventurous spirit, the festival embraces all kinds of expression – dance, music theatre, and audience participation. We’ll collaborate with artists from across the creative spectrum, and give premieres by composers including Tania León, Julian Joseph, Daniel Kidane, Victoria Vita Polevá, Luís Tinoco and John Williams.

Rising stars making their debuts with us in 2023/24 include conductors Tianyi Lu, Oksana Lyniv, Jonathon Heyward and Natalia Ponomarchuk, accordionist João Barradas and organist Anna Lapwood. We also present the long-awaited conclusion of Conductor Emeritus Vladimir Jurowski’s Wagner Ring Cycle, Götterdämmerung, and, as well as our titled conductors Edward Gardner and Karina Canellakis, we welcome back classical stars including Anne-Sophie Mutter, Robin Ticciati, Christian Tetzlaff and Danielle de Niese. lpo.org.uk

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

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

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

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

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

© Benjamin Ealovega

James Henshaw conductor

During James’s time at ENO, he made his London Coliseum debut as second conductor in Birtwistle’s The Mask of Orpheus, for which he received an Olivier Award nomination. He conducted the UK premiere of Jonathan Dove’s The Day After – named by The Guardian as one of ‘Classical Music’s Top 10 Best Things in 2017’ – and Britten’s Paul Bunyan at Alexandra Palace, and was due to conduct the final three performances of a new production of The Marriage of Figaro in April 2020 until the run of performances was cut short by the Covid-19 crisis.

James Henshaw is an Olivier-nominated opera, choral and orchestral conductor based in Berlin, where he enjoys a varied life as both a coach and freelance conductor. He studied music at Clare College, Cambridge, where he was a choral scholar and award winner as both conductor and pianist. He then went on to study repetiteuring at the Guildhall School of Music & Drama. James has worked at many of the world’s top opera houses including Glyndebourne Festival Opera, Bavarian State Opera, Hamburg State Opera, English National Opera and L’Opera de Rouen, and has conducted performances for Scottish Opera, Garsington Festival Opera, English Touring Opera and Longborough Festival Opera.

Today’s concert is James’s LPO concert debut. At the 2022 Glyndebourne Festival he was Assistant Conductor for La bohème with the LPO, and in 2023 was Assistant Conductor for Don Giovanni with the Orchestra of the Age of Enlightenment.

Having graduated from Guildhall with Distinction, James immediately went on to assist Mark Wigglesworth at the Aldeburgh Music Festival and at the 2014 BBC Proms with the BBC National Orchestra of Wales. That same year he was Chorusmaster for Monteverdi’s Orfeo at the Bavarian State Opera with Ivor Bolton. He joined English National Opera in 2015 and became ENO’s youngest ever Chorus Master in 2016. During his tenure, the ENO Chorus won a 2016 Olivier Award for ‘Outstanding Achievement in Opera’, and ‘Best Chorus’ at the International Opera Awards.

Since Covid-19, James has been based in Berlin. He made his German conducting debut at the Hamburg Hochschule with a new piece, Penelope, die, a feminist look at the character of Orpheus’s wife Penelope. He returned to Hamburg in early 2023 to assist on a new production of Puccini’s Il trittico.

James runs his own orchestra, The Outcry Ensemble, based in London. The orchestra performs new music in each of its concerts and has performed works by Kate Whitley, Joel Rust, Laurence Osborn, Josephine Stephenson and Freya Waley-Cohen. In 2021 they performed a complete cycle of Beethoven symphonies to raise money for young freelance musicians. Following a 2022 performance of Brahms’s Requiem, James returned to Smith Square for Outcry’s Brahms festival, with four concerts in February and March 2023.

James has conducted operas for many of the UK’s professional opera companies. In 2015 he made his professional conducting debut with four performances of La bohème for English Touring Opera, and he has since made his debut with Longborough Festival Opera and Garsington Opera, with productions of The Magic Flute assisting Anthony Negus and Christian Curnyn respectively and conducting a performance with both companies. He has also been Assistant Conductor to Stuart Stratford at Scottish Opera, with two performances of Johnathan Dove’s Flight

© Clare Park

Annemarie Federle horn

Originally from Cambridge, Annemarie studies the French horn at the Royal Academy of Music with David Pyatt, Richard Watkins, Michael Thompson and Martin Owen.

Aside from solo and orchestral playing, Annemarie regularly plays chamber music, such as with Tom Poster and his Kaleidoscope Chamber Collective at Wigmore Hall in 2022. She is also a founding member of the group Trio Arisonto (Ezo Dem Sarici, violin, and Harry Rylance, piano), with whom she is looking forward to playing in recitals across the UK in the upcoming season.

Annemarie Federle was appointed Principal Horn of the LPO in January 2023, and we are delighted to welcome her to step out of the Orchestra as soloist today.

In April 2022 Annemarie stepped in at short notice to perform Oliver Knussen’s Horn Concerto with the LPO at the Royal Festival Hall, conducted by Edward Gardner. In the same year, she performed at the Ryedale Festival and recorded chamber music with Three World Records. Other highlights include winning joint first prize at the Gianni Bergamo Classic Music Award in 2021, and performing Mozart’s Horn Concerto No. 4 with the Munich Chamber Orchestra at the ARD International Music Competition. This season she performs concertos and recitals across the UK and Europe, including at the KKL Lucerne.

Annemarie has enjoyed freelancing orchestrally across the UK, appearing as Guest Principal with the London Symphony, Royal Philharmonic, Philharmonia and BBC Scottish Symphony orchestras. In October 2022 she was appointed as Principal Horn of the Aurora Orchestra, before joining the LPO in the same position in January 2023. Annemarie also regularly takes part in recording sessions with Isobel Griffiths Ltd, playing on soundtracks for films and TV series.

At the age of 17, Annemarie won the Brass Category Final of the 2020 BBC Young Musician competition. She went on to secure a place at the Final at Bridgewater Hall, where she performed Ruth Gipps’s Horn Concerto with the BBC Philharmonic conducted by Mark Wigglesworth, broadcast on BBC Radio 3 and BBC Four TV.

© Olivia Da Costa

Programme notes

Wolfgang Amadeus Mozart

1756–91

Overture, The Marriage of Figaro, K492 1786

There are moments in artists’ lives when, quite simply, the time is right – when maturing talent, glowing opportunity and countless other happy circumstances unite to create the perfect conditions for something special. There can be little doubt that the second half of 1785, when Mozart began work on Le nozze di Figaro (‘The Marriage of Figaro’) was such a moment.

It was his first opera for three years. His previous effort, Die Entführung aus dem Serail, had been a comedy in German, but even within months of its successful premiere he was telling his father in a letter: ‘I should dearly like to show what I can do in an Italian opera’. Now, some four years after moving to Vienna, exposure to the Imperial capital’s stimulating musical and artistic environment had brought a new richness to his music. A great series of piano concertos, composed for himself to play, was making him a celebrity, while marriage had brought contentment and stability in his domestic life. The final piece in the jigsaw came in the person of Lorenzo da Ponte, a new librettist for Mozart whose creative brilliance and instinctive dramatic genius were perfect matches for his own. Together, in The Marriage of Figaro, premiered at Vienna’s Burgtheater on 1 May 1786, they produced one of the great masterpieces of opera, a work of unsurpassed sophistication and psychological penetration, couched in words and music of typically untouchable grace and beauty.

The opera depicts the outwitting by his servants, led by the valet Figaro, of a nobleman’s attempts to exercise droit de seigneur, but while there is perhaps a hint in the Overture’s unusual opening of the intrigues to follow, all that really need concern us in this concert context is the exciting surge of energy this little piece represents, right through to the drawn-out crescendo with which it ends.

Programme notes

Wolfgang Amadeus Mozart

1756–91

Horn Concerto No. 4 in E flat major, K495 1786

Annemarie Federle horn

1 Allegro maestoso

2 Romance: Andante cantabile

3 Rondo: Allegro vivace

Mozart’s time in Vienna – his last ten years – was one of enormous growth and fulfilment. It was also one in which friendships with other musicians were hugely important to him both on a personal and professional level. There was Haydn of course, the ‘dearest friend’ to whom he dedicated six string quartets; there were opera singers such as Nancy Storace (the first Susanna in Figaro); and there were instrumental virtuosi such as the clarinettist Anton Stadler (for whom the Clarinet Concerto was composed) and the horn player Joseph Leutgeb, who was lucky enough to be the recipient of no fewer than four beautifully made concertos.

Of these friends, only Leutgeb had been known to Mozart before he came to Vienna, since from 1763–77 he had been a member of the Salzburg court orchestra, and thus a colleague of the much younger Mozart. Indeed, as Leutgeb is listed in one archive as a horn player and violinist, they may even have sat together during Mozart’s time as the orchestra’s Konzertmeister. The horn was his real instrument, however; Leutgeb was a master of the relatively new ‘hand-stopping’ technique (which had greatly extended the range of notes available on the 18th-century horn), while his performances at Paris’s prestigious Concert Spirituel in 1770 had drawn praise for his ability to ‘sing an adagio as perfectly as the most mellow, interesting and accurate voice’.

In 1777 Leutgeb left Salzburg for Vienna, there to combine his musical occupation with the profession of cheese- and sausage-monger, and so it must have been with some pleasure (and perhaps amusement) that Mozart met up with him again following his own arrival in the Imperial capital. The fact that the manuscript of the first horn concerto he wrote for him in 1783 bears an inscription claiming that the composer had ‘taken pity on Leutgeb, ass, ox and fool’, and that the second carries even more ribald remarks at the soloist’s expense, suggests that friendship was re-established on fairly robust lines.

This second concerto, K495, was for a long time thought to have been the last, and is still known for convenience’s sake as No. 4. Its date of composition has always been known, since Mozart entered it in his own catalogue of works on 26 June 1786, but the concertos known as Nos. 1 and 3 are now believed to have been composed after it rather than before. ‘No. 4’ is probably the best-loved, for its delightful ‘hunting’ finale if nothing else, though its other movements are no less worthy of affection. The first is a model of urbane elegance, a world away from the traditional outdoor associations of the instrument, while the second-movement Romance shows typically exquisite Mozartian lyricism and grace. Whether or not the composer truly considered Leutgeb an ass, on this evidence he surely respected his artistry.

Interval – 20 minutes

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

Programme notes

Ludwig van Beethoven

1770–1827

Symphony No. 5 in C minor, Op. 67 1808

1 Allegro con brio

2 Andante con moto

3 Scherzo: Allegro –

4 Allegro

Whatever Beethoven’s Fifth Symphony was to its earliest audiences, it was not comfortable. Those who took their seats in Vienna’s Theater an der Wien on 22 December 1808 for the concert at which the work was first performed would doubtless have had some idea what to expect. Anyone who had already heard the ‘Eroica’, or indeed the ‘Pastoral’ Symphony, which was also premiered earlier in the same concert, would have known that Beethoven had greatly expanded the timescale of the symphonic form, raised its level of seriousness and expressive weight, and brought to it an increasingly theatrical, even narrative strain. But few can have been prepared for the brusque, almost visceral assault this unique work was to make on their senses.

Where did it come from? Well, Beethoven was a revolutionary of course, but he was one who worked within an established tradition, and who was subject to his fair share of influences. Several of these come together in the Fifth Symphony. One was Mozart, with whom he shared a special feeling for the expressive power of the key of C minor; another was the largescale, open-heartedly bombastic music composed for the public celebrations of Revolutionary France; and a third was Haydn, his teacher, who time and time again had shown in his string quartets and symphonies how to construct whole movements from small but highly pregnant thematic cells.

This last influence is undoubtedly at its most potent in the highly dramatic first movement, totally dominated as it is by its famous four-note opening motif. Not

Programme notes

that it sounds in any way like Haydn. The music here is astonishingly terse, pared down to the melodic minimum, and the second theme, a relaxed horn-call expansion of the main motif answered by a reassuring embrace from the violins and woodwind, is quickly upon us. Yet it is this consolatory theme which, after a combative development section, reappears in swirling, nightmarish transformation in the movement’s long and turbulent coda.

There is more than a hint of Haydn’s influence, too, in the slow second movement, which has the overall shape of one of his favourite forms, the ‘double variation set’ in which two themes are varied in alternation. The second of Beethoven’s themes provides occasional brief foretastes of the exultant mood of the finale, but at the end of this particular movement it is the more graceful first theme that wins the day.

As in the Fourth Symphony, Beethoven did not call the third movement a ‘scherzo’, though in form and function it is one. If there is humour here, however, it is of a grim cast and beset by uncertainty. When a sturdier theme emerges, it is brief and troubled, dominated by a balefully intoned horn-call transformation of the fournote motif from the first movement. The mood lightens in the scurryingly fugal major-key ‘trio’ section (heard twice), but at its second reappearance the first theme, played pizzicato and pianissimo, takes on a stealthy, nocturnal character, before leading us to the most celebrated passage in the whole Symphony.

Here, over held string notes and sinister tappings from the timpani, wisps of the first theme are heard, leading us for the moment we know not where. Gradually the excitement rises, until with a last sudden rush we find ourselves propelled into the blazingly triumphant C major of the finale. It is one of the most upliftingly theatrical moments in all music, and the unequivocal joyfulness of the ensuing movement (almost unremittingly loud, by the way, and reinforced for the purpose by Beethoven with trombones, piccolo and double bassoon) is not even diverted by the brief, perhaps mocking reapparance about halfway through of the third movement’s main theme, now gloriously overcome.

Whether one feels the Fifth Symphony as a journey from darkness to light, a depiction of adversity overcome, or as an emergence from some sort of underworld, there is no doubt that it has an effect on the listener that goes beyond the appreciation of its

musical and formal niceties. Beethoven himself has left little clue as to what the Symphony is ‘about’, save for a possibly apocryphal remark to a friend about the first movement: ‘thus Fate knocks at the door’. Yet we know that he thought of many of his instrumental works in programmatic terms; whether or not we as listeners can guess them correctly, the fact that in his greatest symphonies we can sense them so strongly is proof of his success.

Programme notes © Lindsay Kemp

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Beethoven’s symphonies on the LPO Label

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Symphony No. 9

Klaus Tennstedt conductor

Lucia Popp | Ann Murray

Anthony Rolfe Johnson | René Pape

London Philharmonic Choir

Klaus Tennstedt conductor

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Vladimir Jurowski conductor

LPO-0096

Kurt Masur conductor

2023/24 season at Brighton Dome

TCHAIKOVSKY’S FOURTH

Saturday 4 November 2023 | 7.30pm

Dvořák Carnival Overture

Mozart Sinfonia Concertante

Tchaikovsky Symphony No. 4

Luis Castillo-Briceño conductor*

Benjamin Baker violin | Jordan Bak viola†

FAMILY TIES – THE SCHUMANNS AND THE MENDELSSOHNS

Saturday 20 January 2024 | 7.30pm

Fanny Mendelssohn Overture in C major

Clara Schumann Piano Concerto

Robert Schumann Introduction and Concert Allegro

Felix Mendelssohn Symphony No. 3 (Scottish)

Natalia Ponomarchuk conductor | Alexander Melnikov piano

PICTURES AT AN EXHIBITION

Saturday 10 February 2024 | 7.30pm

Brahms Violin Concerto

Mussorgsky Pictures at an Exhibition

Kahchun Wong conductor

Francesca Dego violin | Laura van der Heijden cello

Tickets from £16.50

Under-18s £8

brightondome.org

Ticket Office: 01273 709709

*Inaugural participant in the LPO Conducting Fellowship programme. The LPO Conducting Fellowship programme is generously supported by Patricia Haitink with additional support from Gini and Richard Gabbertas. †LPO Alexandra Jupin Award recipient: an annual award for an artist making their debut with the LPO

Thank you

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Jamie & Julia Korner

Rose & Dudley Leigh

Wg. Cdr. & Mrs M T Liddiard OBE

JP RAF

Drs Frank & Gek Lim

Mr & Mrs Makharinsky

Mr Gordon McNair

Andrew T Mills

Denis & Yulia Nagy

Andrew Neill

Jamie Njoku-Goodwin

Peter & Lucy Noble

Oliver & Josie Ogg

Mr Stephen Olton

Simon & Lucy Owen-Johnstone

Mr Roger Phillimore

Mr Michael Posen

Saskia Roberts

John Romeo

Priscylla Shaw

Mr & Mrs John C Tucker

Mr & Mrs John & Susi

Underwood

Karina Varivoda

Grenville & Krysia Williams

Joanna Williams

Principal Supporters

Anonymous donors

Ralph & Elizabeth Aldwinckle

Mr John D Barnard

Roger & Clare Barron

Dr Simona Cicero & Mr Mario Altieri

Mr Alistair Corbett

Guy Davies

David Devons

Igor & Lyuba Galkin

Prof. Erol & Mrs Deniz Gelenbe

In memory of Enid Gofton

Alexander Greaves

Prof. Emeritus John Gruzelier

Michael & Christine Henry

Mrs Maureen Hooft-Graafland

Per Jonsson

Mr Ian Kapur

Ms Elena Lojevsky

Pippa Mistry-Norman

Mrs Terry Neale

John Nickson & Simon Rew

Mr James Pickford

Filippo Poli

Mr Robert Ross

Martin & Cheryl Southgate

Mr & Mrs G Stein

Christopher Williams

Supporters

Anonymous donors

Mr Francesco Andronio

Julian & Annette Armstrong

Mr Philip Bathard-Smith

Emily Benn

Mr Julien Chilcott-Monk

Alison Clarke & Leo Pilkington

Mr Peter Coe

Mr Joshua Coger

Miss Tessa Cowie

Caroline Cox-Johnson

Mr Simon Edelsten

Will Gold

Mr Stephen Goldring

Mr & Mrs Graham & Jean Pugh

Mr Geordie Greig

Mr Peter Imhof

The Jackman Family

Mr David MacFarlane

Paul & Suzanne McKeown

Nick Merrifield

Dame Jane Newell DBE

Mr David Peters

Nicky Small

Mr Brian Smith

Mr Michael Timinis

Mr & Mrs Anthony Trahar

Tony & Hilary Vines

Mr John Weekes

Mr Roger Woodhouse

Mr C D Yates

Hon. Benefactor

Elliott Bernerd

Hon. Life Members

Alfonso Aijón

Kenneth Goode

Carol Colburn Grigor CBE

Pehr G Gyllenhammar

Robert Hill

Keith Millar

Victoria Robey OBE

Mrs Jackie Rosenfeld OBE

Timothy Walker CBE AM

Laurence Watt

Thomas Beecham Group Members

David & Yi Buckley

Gill & Garf Collins

William & Alex de Winton

Sonja Drexler

Mr B C Fairhall

The Friends of the LPO

Roger Greenwood

Dr Barry Grimaldi

Mr & Mrs Philip Kan

John & Angela Kessler

Sir Simon Robey

Victoria Robey OBE

Bianca & Stuart Roden

Caroline, Jamie & Zander Sharp

Julian & Gill Simmonds

Eric Tomsett

Neil Westreich

Guy & Utti Whittaker

Corporate Donor

Barclays

LPO Corporate Circle

Principal

Bloomberg

Carter-Ruck Solicitors

French Chamber of Commerce

Tutti

German-British Chamber of Industry & Commerce

Lazard

Natixis Corporate Investment

Banking

Sciteb Ltd

Walpole

Preferred Partners

Jeroboams

Lindt & Sprüngli Ltd

Neal’s Yard

OneWelbeck

Sipsmith Steinway

In-kind Sponsor

Google Inc

Thank you

Trusts and Foundations

ABO Trust

The Barbara Whatmore Charitable Trust

BlueSpark Foundation

The Boltini Trust

Borrows Charitable Trust

Cockayne – Grants for the Arts

The London Community Foundation

Dunard Fund

Ernst von Siemens Music Foundation

Foyle Foundation

Garrick Charitable Trust

Idlewild Trust

Institute Adam Mickiewicz

John Coates Charitable Trust

John Horniman’s Children’s Trust

John Thaw Foundation

Kirby Laing Foundation

The Kurt Weill Foundation for Music

Lord and Lady Lurgan Trust

Lucille Graham Trust

The Marchus Trust

PRS Foundation

The R K Charitable Trust

The Radcliffe Trust

Rivers Foundation

Rothschild Foundation

Scops Arts Trust

TIOC Foundation

The Thriplow Charitable Trust

Vaughan Williams Foundation

The Victoria Wood Foundation

The Viney Family

and all others who wish to remain anonymous.

Board of the American Friends of the LPO

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

Simon Freakley Chairman

Kara Boyle

Jon Carter

Jay Goffman

Alexandra Jupin

Natalie Pray

Damien Vanderwilt

Marc Wassermann

Elizabeth Winter

Catherine Høgel Hon. Director

Jenifer L. Keiser, CPA, EisnerAmper LLP

LPO International Board of Governors

Natasha Tsukanova Co-Chair

Martin Höhmann Co-Chair

Mrs Irina Andreeva

Steven M. Berzin

Shashank Bhagat

HSH Dr Donatus, Prince of Hohenzollern

Aline Foriel-Destezet

Irina Gofman

Olivia Ma

George Ramishvili

Sophie Schÿler-Thierry

Florian Wunderlich

London Philharmonic Orchestra Administration

Board of Directors

Dr Catherine C. Høgel Chair

Lord Hall of Birkenhead CBE Vice-Chair

Martin Höhmann* President

Mark Vines* Vice-President

Emily Benn

Kate Birchall*

David Burke

Deborah Dolce

Elena Dubinets

Tanya Joseph

Hugh Kluger*

Katherine Leek*

Minn Majoe*

Tania Mazzetti*

Jamie Njoku-Goodwin

Andrew Tusa

Neil Westreich

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

*Player-Director

Advisory Council

Roger Barron Chairman

Christopher Aldren

Richard Brass

Helen Brocklebank

YolanDa Brown OBE

David Buckley

Simon Burke

Simon Callow CBE

Desmond Cecil CMG

Sir Alan Collins KCVO CMG

Andrew Davenport

Guillaume Descottes

Cameron Doley

Christopher Fraser OBE

Jenny Goldie-Scot

Jonathan Harris CBE FRICS

Marianna Hay MBE

Nicholas Hely-Hutchinson DL

Amanda Hill

Dr Catherine C. Høgel

Martin Höhmann

Rehmet Kassim-Lakha

Jamie Korner

Geoff Mann

Andrew Neill

Nadya Powell

Sir Bernard Rix

Victoria Robey OBE

Baroness Shackleton

Thomas Sharpe KC

Julian Simmonds

Barry Smith

Martin Southgate

Chris Viney

Laurence Watt

Elizabeth Winter

General Administration

Elena Dubinets

Artistic Director

David Burke Chief Executive

Chantelle Vircavs PA to the Executive

Concert Management

Roanna Gibson Concerts and Planning Director

Graham Wood

Concerts and Recordings Manager

Maddy Clarke

Tours Manager

Madeleine Ridout

Glyndebourne and Projects Manager

Alison Jones

Concerts and Recordings

Co-ordinator

Robert Winup

Concerts and Tours Assistant

Matthew Freeman

Recordings Consultant

Andrew Chenery

Orchestra Personnel Manager

Sarah Thomas

Martin Sargeson

Librarians

Laura Kitson

Stage and Operations Manager

Stephen O’Flaherty

Deputy Operations Manager

Benjamin Wakley

Assistant Stage Manager

Felix Lo

Orchestra and Auditions Manager

Finance

Frances Slack

Finance Director

Dayse Guilherme

Finance Manager

Jean-Paul Ramotar

Finance and IT Officer

Education and Community

Talia Lash

Education and Community Director

Lowri Davies

Hannah Foakes

Education and Community Project Managers

Hannah Smith

Education and Community Co-ordinator

Claudia Clarkson Regional Partnerships Manager

Development

Laura Willis

Development Director

Rosie Morden

Individual Giving Manager

Siân Jenkins

Corporate Relations Manager

Anna Quillin

Trusts and Foundations Manager

Katurah Morrish

Development Events Manager

Eleanor Conroy

Al Levin

Development Co-ordinators

Nick Jackman Campaigns and Projects Director

Kirstin Peltonen

Development Associate

Marketing

Kath Trout

Marketing and Communications Director

Sophie Harvey

Marketing Manager

Rachel Williams

Publications Manager

Gavin Miller

Sales and Ticketing Manager

Ruth Haines Press and PR Manager

Hayley Kim

Residencies and Projects

Marketing Manager

Greg Felton

Digital Creative

Alicia Hartley

Digital and Marketing

Co-ordinator

Isobel Jones

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 illustration

Selman Hoşgör

2023/24 season identity

JMG Studio

Printer John Good Ltd