LPO concert programme: 16 Jan 2022 Eastbourne - Beethoven’s Pastoral Symphony (Coorey/MacGregor)

2021/22 concert season at Congress Theatre

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

Congress Theatre, Eastbourne Sunday 16 January 2022 | 3.00pm

Beethoven’s Pastoral Symphony Beethoven Overture, Fidelio (6’) Beethoven Piano Concerto No. 4 in G major, Op. 58 (34’) Interval (20’) Beethoven Symphony No. 6 in F major, Op. 68 (Pastoral) (40’) Matthew Coorey conductor Joanna MacGregor piano

The Steinway concert piano chosen and hired by the London Philharmonic Orchestra for this performance is supplied and maintained by Steinway & Sons, London.

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

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA IN ASSOCIATION WITH EASTBOURNE BOROUGH COUNCIL

Contents 2 Welcome

LPO news 3 On stage today 4 London Philharmonic Orchestra 6 Matthew Coorey 7 Joanna MacGregor 8 Programme notes 11 Beethoven on the LPO Label 12 LPO Annual Appeal 2022 13 Next concerts 14 Thank you 16 LPO administration

London Philharmonic Orchestra • 16 January 2022 • Beethoven’s Pastoral Symphony

Welcome to the Congress Theatre

LPO news

Theatre Director Chris Jordan

LPO concerts on Marquee TV Welcome to this afternoon’s performance. We are pleased to welcome back the London Philharmonic Orchestra and its patrons to the Congress Theatre.

We are delighted that a selection of concerts from our 2021/22 Royal Festival Hall season will be filmed and broadcast on Marquee TV during 2022.

Concerts will be available for a limited period to watch for free without a Marquee TV subscription; however if you would like to subscribe for unlimited access to Marquee TV’s extensive range of music, opera, theatre and dance productions, you can enjoy 50% off with code LPO2021.

The London Philharmonic Orchestra gave the first ever performance at this Grade II listed building when it originally opened in 1963. This historic building was purpose-built as a theatre and conference venue designed by Bryan and Norman Westwood Architects.

What makes the theatre unique is that it is conceived to be a perfect cube, and has fantastic acoustics to enhance your experience of live music. We thank you for continuing to support the concert series.

Visit marquee.tv/LPO2021 to find out more, enjoy a free trial or subscribe.

Glyndebourne Festival 2022

Please sit back in your seats and enjoy the concert and your visit here. As a courtesy to others, please ensure mobile phones are switched off during the performance.

Thank you.

This summer’s Glyndebourne Festival will run from 21 May–28 August. Opening the Festival in May is The Wreckers by the pioneering feminist English composer Ethel Smyth (1858–1944). A powerful psychodrama set on the Cornish coast, The Wreckers will be the first Festival performance of an opera by a female composer, and will be conducted by Glyndebourne Music Director Robin Ticciati with the LPO. Other productions with the LPO this summer are Mozart’s Le nozze di Figaro in a revival of Michael Grandage’s five-star production, conducted by Giancarlo Andretta and Nicholas Carter; Puccini’s La bohème under Jordan de Souza; and a Poulenc double-bill of La voix humaine and Les Mamelles de Tirésias, again conducted by Robin Ticciati. Public booking opens on Sunday 6 March. glyndebourne.com

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.

Thank you.

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London Philharmonic Orchestra • 16 January 2022 • Beethoven’s Pastoral Symphony

On stage today First Violins

Vesselin Gellev Leader Lasma Taimina

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

Martin Höhmann

Chair supported by Chris Aldren

Katalin Varnagy

Chair supported by Sonja Drexler

Yang Zhang

Chair supported by Eric Tomsett

Sophie Phillips Amanda Smith Deborah Gruman Ronald Long

Second Violins

Tania Mazzetti Principal

Chair supported by Countess Dominique Loredan

Emma Oldfield Helena Smart Nancy Elan Joseph Maher Kate Birchall Ashley Stevens Sheila Law Fiona Higham

Chair supported by David & Yi Buckley

Violas

Richard Waters Principal

Chair supported by Caroline, Jamie & Zander Sharp

Katharine Leek Benedetto Pollani Stanislav Popov Elitsa Bogdanova Jennifer Coombes Charles Cross

Cellos

Horns

Double Basses

Trumpets

Francis Bucknall Principal David Lale Gregory Walmsley Helen Rathbone Sibylle Hentschel

Kevin Rundell* Principal Sebastian Pennar Co-Principal Hugh Kluger George Peniston

John Ryan* Principal Nicholas Mooney Guest Principal Martin Hobbs Mark Vines Co-Principal Gareth Mollison

Paul Beniston* Principal Anne McAneney

Trombones

Mark Templeton* Principal

Flutes

Chair supported by William & Alex de Winton

Katie Bedford Guest Principal Hannah Grayson

David Whitehouse

Piccolo

Simon Carrington* Principal

Timpani

Stewart McIlwham* Principal

Chair supported by Victoria Robey OBE

Oboes

* Holds a professorial appointment in London

Ian Hardwick* Principal Alice Munday

Clarinets

Thomas Watmough Principal Chair supported by Roger Greenwood

James Maltby

Bassoons

Jonathan Davies Principal

Chair supported by Sir Simon Robey

Simon Estell*

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The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: The Candide Trust Gill & Garf Collins Friends of the Orchestra Dr Barry Grimaldi Bianca & Stuart Roden Neil Westreich

London Philharmonic Orchestra • 16 January 2022 • Beethoven’s Pastoral Symphony

© Mark Allan

London Philharmonic Orchestra

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

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

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

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

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

Recent highlights include Shostakovich’s Symphony No. 11 and Mahler’s Symphony No. 8 under Vladimir Jurowski, and a commemorative box set of historic recordings with former Principal Conductor Sir Adrian Boult.

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 • 16 January 2022 • Beethoven’s Pastoral Symphony

Today’s Leader

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

Vesselin Gellev

Bulgarian violinist Vesselin Gellev has been the London Philharmonic Orchestra’s Sub-Leader since 2007.

Praised by the New York Times for his ‘warmth and virtuosic brilliance’, Vesselin has been a featured soloist with the London Philharmonic Orchestra, Spoleto Festival Orchestra, New Haven Symphony Orchestra and Juilliard Orchestra, among others. He won First Prize at the Concert Artists Guild Competition in New York as a member of the Antares Quartet, and has recorded several albums and toured worldwide as Concertmaster of Kristjan Järvi’s Grammy-nominated Absolute Ensemble.

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.

Prior to joining the LPO, Vesselin was Leader of the New Haven Symphony Orchestra in the USA and the Spoleto Festival Orchestra in Italy. He performs regularly as Guest Leader with numerous orchestras in the UK and abroad including the Royal Philharmonic Orchestra, City of Birmingham Symphony Orchestra, Royal Scottish National Orchestra, BBC National Orchestra of Wales, Mahler Chamber Orchestra, MDR Leipzig Radio Symphony Orchestra, Stavanger Symphony Orchestra, Accademia Nazionale di Santa Cecilia and Orchestra of the Deutsche Oper Berlin.

lpo.org.uk

Vesselin received Bachelor and Master of Music degrees from The Juilliard School, New York, as a student of Robert Mann. He has served on the violin and chamber music faculties of Cornell University in Ithaca, NY and the Eleazar de Carvalho Music Festival in Fortaleza, Brazil.

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London Philharmonic Orchestra • 16 January 2022 • Beethoven’s Pastoral Symphony

Matthew Coorey conductor

Matthew has a great interest in all forms of music and art forms and has collaborated with Rosas Dance Company and Ictus Ensemble, innovative rock bands These New Puritans and Efterklang, and has worked with Wynton Marsalis and the Lincoln Center Jazz Orchestra.

Matthew has a strong commitment to working with younger musicians and regularly conducts and teaches at the Royal Northern College of Music. He has also worked with the orchestras of the Royal College of Music London, the Felix Mendelssohn Hochshule Leipzig, the Trinity-Laban Orchestra London, the Sydney Youth Orchestra, the National Youth Orchestra of Great Britain, the Australian National Academy of Music and the Australian Youth Orchestra.

Matthew began his musical career as a horn player and after studying at the Sydney Conservatorium of Music performed regularly with the Australian Chamber Orchestra, the Brandenburg Orchestra, the Tasmanian Symphony and the Sydney Symphony.

Matthew Coorey began his conducting career in 2003 when he was appointed Assistant Conductor to the Royal Liverpool Philharmonic Orchestra. This initial yearlong contract then became a three-year commitment when he was appointed the RLPO’s first Conductor-inResidence.

Initially self-taught as a conductor, Matthew auditioned for Seiji Ozawa and was invited to the Tanglewood Music Festival where he worked with Jorma Panula, who became his principal conducting teacher. The following year he attended the Aspen Music Festival, where he studied with David Zinman. For two years Matthew was Junior Fellow in Conducting – under Sir Mark Elder – at the Royal Northern College of Music. He was a finalist in the Maazel-Vilar Conducting Competition, a fellow of the Allianz International Conductors’ Academy and a prizewinner at the Georg Solti Conducting Competition.

Debuts soon followed with the London Philharmonic Orchestra, the Sydney Symphony, the Philharmonia, the Hallé, Ensemble 10:10 and the London Mozart Players – all of whom offered further invitations. In 2012 Matthew stepped in at short notice for an indisposed Yannick Nézet-Séguin to conduct the LPO in Mahler’s Symphony No. 9 at the Royal Festival Hall.

Matthew has also appeared with the London Symphony Orchestra, BBC Symphony Orchestra, City of Birmingham Symphony Orchestra, Bournemouth Symphony Orchestra, National Orchestra of Ireland and at the BBC Proms. Recent highlights include debuts with the Royal Philharmonic Orchestra, Polish National Radio Orchestra, Slovenian Radio Orchestra, Adelaide Symphony Orchestra and Auckland Philharmonia, as well as an appearance at the London Festival of Contemporary Music and return engagements with the London Philharmonic Orchestra, Philharmonia Orchestra, Royal Northern Sinfonia, Wrocław Philharmonic, Stuttgart Radio Orchestra, Sydney Symphony Orchestra, Melbourne Symphony Orchestra, New Zealand Symphony Orchestra, Trinity-Laban Orchestra, Royal Liverpool Philharmonic Orchestra, Ensemble 10:10, and a tour of the Far East with the Palestine National Orchestra.

He has collaborated with artists such as Sarah Chang, Freddy Kempff, Steven Osborne, Yevgeny Sudbin, the Jussen Brothers, Roderick Williams, Emma Matthews, Elena Tokar and Pieter Wispelwey, and has recorded for Classic FM and Naxos Records.

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London Philharmonic Orchestra • 16 January 2022 • Beethoven’s Pastoral Symphony

Joanna MacGregor piano

Gewandhaus, the Concertgebouw in Amsterdam and the Mozarteum in Salzburg.

© Pål Hansen

Joanna is a regular broadcaster, making numerous appearances at the BBC Proms. Known for her interpretations of Bach, she was invited by Sir John Eliot Gardiner to perform the Goldberg Variations at the Royal Albert Hall in 2013, broadcast live. She made her conducting debut in 2002 and has directed concerts with the Royal Philharmonic Orchestra, the Royal Liverpool Philharmonic Orchestra, Manchester Camerata and the Hallé. She has also enjoyed a close artistic partnership with the Britten Sinfonia for more than 15 years; amongst the many artists with whom she has collaborated are the soprano Carolyn Sampson, cellist Adrian Brendel, folk artist Kathryn Tickell, Brian Eno, and the writer Marina Warner. She was seen on BBC’s recent Civilisations series with the Wayne McGregor Dance Company.

Joanna MacGregor CBE is one of the world’s most innovative musicians, appearing as a concert pianist, curator and conductor. Head of Piano at the Royal Academy of Music and Professor at the University of London, Joanna MacGregor was the Artistic Director of Dartington International Summer School & Festival from 2014–19 and Artistic Director of the Bath International Music Festival from 2006–12, and curated the multi-arts Deloitte Ignite Festival at the Royal Opera House, as well as Aventures+, an orchestral series for the Luxembourg Philharmonie. She runs an annual Summer Piano Festival at the Royal Academy, involving over 100 young musicians playing core repertoire as well as collaborating with composers, actors, visual artists, writers and filmmakers. Joanna has recently been appointed Music Director and Principal Conductor of the Brighton Philharmonic Orchestra, as it approaches its centenary in 2025.

As a recording artist Joanna is a veteran of over 40 solo recordings, ranging from Bach and Scarlatti to jazz and John Cage. Her own record label, SoundCircus, was founded in 1998 and has released many highly successful recordings, including the complete Chopin Mazurkas, the Mercury Prize-nominated Play, Bach’s Goldberg Variations (recorded at the Mozarteum in Salzburg) and ‘Live in Buenos Aires’ with the Britten Sinfonia. Jazz recordings include Sidewalk Dances – music by the New York street musician Moondog – and Deep River, inspired by the Deep South, with saxophonist Andy Sheppard.

Joanna MacGregor was awarded a CBE for services to music in The Queen’s Birthday Honours in 2019. She was Visiting Musician at Oriel College Oxford, and in 2016 was awarded an Honorary Doctorate from the University of Cambridge. She has received Honorary Doctorates from Bath University, Bath Spa University and the Open University, as well as Fellowships from the Royal Academy of Music, Trinity College of Music and Murray Edwards College, Cambridge. She makes regular appearances on television, and was the subject of The South Bank Show; her ongoing series of music books, PianoWorld, has been hailed as ‘a new series for the Millennium’. She is currently Chair of the Paul Hamlyn Music Awards, and was a 2019 Booker Prize Judge.

As a solo artist Joanna has performed in over 80 countries and appeared with many eminent conductors – Pierre Boulez, Colin Davis, Valery Gergiev, Simon Rattle and Michael Tilson Thomas amongst them – and orchestras, including the London Symphony and Sydney Symphony orchestras, the Chicago, Melbourne and Oslo Philharmonic orchestras, the Berlin Symphony Orchestra and Salzburg Camerata.

Joanna has premiered many landmark compositions ranging from Harrison Birtwistle and Django Bates to John Adams and James MacMillan. She performs regularly at major venues throughout the world, including Wigmore Hall, the Southbank Centre and the Barbican Centre in London, the Sydney Opera House, the Leipzig

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London Philharmonic Orchestra • 16 January 2022 • Beethoven’s Pastoral Symphony

Programme notes Ludwig van Beethoven 1770–1827

Overture, Fidelio 1814

In all of Beethoven’s output, nothing was subjected to quite the same torturous process of composition as the overture to his only opera, Fidelio. As he later lamented to his biographer Anton Schindler, the opera was a challenge in itself: ‘Of all my children, this is the one that cost me the worst birth-pangs and brought me the most sorrow; and for that reason it is the one most dear to me.’ But the overture was more problematic still. It was only after eight years and three abandoned attempts that the version we hear today was completed. To complicate matters further, this version of the overture – the ‘definitive’ overture in Beethoven’s eyes – features none of the themes from the opera itself, and it is not the version preferred by concertgoers (that honour falls to the Leonore Overture No. 3, which retains the opera’s original title).

It is, however, a magnificent curtain-raiser. Abandoning the opera’s themes altogether affords Beethoven a creative freedom more befitting an overture’s function – which is to set the stage for, rather than pre-empt, the drama to follow. It is compact, punchy, and full of suspense, pairing grandiose melodies and sinuous lyricism with dramatic fanfares and pregnant pauses.

Though the score may have undergone several false starts, it has all the ingredients of a perfect overture.

Ludwig van Beethoven Photo courtesy of the Royal College of Music, London

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London Philharmonic Orchestra • 16 January 2022 • Beethoven’s Pastoral Symphony

Programme notes Ludwig van Beethoven 1770–1827

Piano Concerto No. 4 in G major, Op. 58 1805–06 Joanna MacGregor piano 1 Allegro moderato 2 Andante con moto 3 Rondo (Vivace) Rather than a gradually diminishing ability to perceive sound, Beethoven was plagued by an intense form of tinnitus, in which a loud ringing in his ears obscured all external sounds. Although the effects were erratic and varied from day to day, by 1816 Beethoven was left with almost no hearing at all. While Beethoven continued to compose prolifically throughout these years, his hearing problems had other implications for performances of his works. Although he himself had given the premieres of his first three piano concertos, by the time the fourth concerto came to be premiered, his hearing had worsened to such an extent that he was forced to seek out an alternative soloist. Despite asking a number of renowned pianists to perform the work, each of them refused and, left with little choice, Beethoven was forced to give the work’s premiere himself: first in a private concert to his patron Prince Lobkowitz in March 1807, and later in its public premiere in Vienna in December 1808.

however, it was not a particularly happy occasion: the music was greatly under-rehearsed, the hall itself cold and uncomfortable, and Beethoven’s own performance was, according to reports, close to a shambles. This undoubtedly did little to endear the audience to Beethoven’s grand new works.

Indeed, although today it is celebrated as a turning-point in Beethoven’s concerto writing, listeners at the premiere of the Fourth Piano Concerto found its innovative structure and radical departure from traditional techniques somewhat alienating. In an unusual structural twist, the Concerto breaks with the tradition of orchestral introductions and opens with a pulsating melody for solo piano. This lyrical opening sets the tone for the Concerto which, although at times vibrant and dramatic, is governed by a sense of calm and tranquillity. The pervading dolce tones of the first movement are broken at the opening of the slow movement, however, by gruff, accented outbursts from the strings, who begin to initiate a musical argument. Yet these interruptions are met by a calm response from the soloist, who, through a dramatic dialogue over the course of the movement, gradually pacifies the strings and hushes them into submission.

Their compliance is rewarded in the finale, with a huge release of energy and a sparkling duet for soloist and orchestra that brings the work to a witty conclusion.

In fact, the 1808 concert proved to be one of the most memorable of Beethoven’s life: not only was it Beethoven’s last appearance as a soloist in public, the four-hour long concert also saw the premieres of his Symphonies Nos. 5 and 6, the Fantasia in C minor for piano, orchestra and chorus, the aria Ah! Perfido, the Fantasia in G minor for solo piano, and two sections of the Mass in C minor. Despite the promising programme,

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

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London Philharmonic Orchestra • 16 January 2022 • Beethoven’s Pastoral Symphony

Programme notes Ludwig van Beethoven 1770–1827

Symphony No. 6 in F major, Op. 68 (Pastoral) 1808

1 Allegro ma non troppo (Awakening of happy feelings on arriving in the country) 2 Andante molto moto (Scene by the Brook) 3 Allegro (Peasant’s merrymaking) 4 Allegro (The storm) 5 Allegretto (Shepherds’ song. Joyous thanksgiving after the storm) If Beethoven’s audiences were shocked by the vehemence of his Fifth Symphony at its 1808 premiere, then they must have been confounded by the softness of the Sixth Symphony, which premiered alongside it. For those who herald Beethoven as the swarthy figure presented in so many of his portraits, all doom, gloom and pessimism, the Sixth Symphony is difficult to reconcile. It is, in so many ways, just as radical as anything he composed either before or after, but its unmistakeably gentle nature has seen it singled out in Beethoven’s oeuvre, an anomaly in a symphonic output that is thought to be characterised by its heroic, teleological drive. The long-fêted, catchy categorisation of his symphonies – odd-numbered versus even, forward-facing versus nostalgic – has done the Sixth a disservice. Beethoven not only presented the Fifth and Sixth to the public alongside one another, he composed them together too. As a pair, they carried the symphony further into the future than any other work in history, drilling down into the very essence of symphonic composition.

radical. But to early 18th-century audiences it was groundbreaking. While Beethoven was far from the first to experiment with programmatic ideas in music – think of Vivaldi’s Four Seasons or the Pastoral in Handel’s Messiah – he did so in a way that had never before been explored in the symphony. The Sixth is not just a walk through the countryside in musical form, it is – in Beethoven’s own words – ‘more an expression of feeling than painting’.

What separates the Sixth from mere musical storytelling is its reversal of symphonic priorities. In an age where thematic development and harmonic transformation were understood as the key tenets of symphonic structure, Beethoven composed a symphony that thrives on repetition. In the opening Allegro, usually the site of the work’s drive and ambition, Beethoven spends some 50 bars idling away on the same harmony, repeating the same motif we heard in the first two bars of the Symphony over and over. Donald Tovey went so far as to call it ‘lazy’. At any rate, it becomes almost hypnotic, as though Beethoven were actively willing us to slow down and take in the symphonic world around us in all its splendour, just as he does nature. ‘No one can love the country as much as I do’, he wrote to a friend in 1810.

‘For surely woods, trees, and rocks produce the echo which man desires to hear.’ This, then, is Beethoven’s echo, a work that ricochets and resonates in a single, perfect sphere. From the babbling brook and birdsong of the second movement to the merry peasant dancing of

While the Fifth is built upon meticulous thematicism, examining in infinite detail the building blocks of form, the Sixth explores the symphony as a piece of narrative art. Where the Fifth is fuelled by transformation, the Sixth dares to stand still. To our 21st-century ears, well accustomed now to the idea of programmatic music and even to musical impressionism, the idea of rendering the outside world onto a symphonic canvas is hardly

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London Philharmonic Orchestra • 16 January 2022 • Beethoven’s Pastoral Symphony

Programme notes the third, Beethoven offers us the perfect idyll, if only we will tarry long enough to enjoy it. The dancing, however, is cut short by a powerful storm. ‘It is no longer merely a wind and rainstorm’, Berlioz wrote, ‘it is a frightful cataclysm, the universal deluge, the end of the world.’

But this sudden deluge abates almost as quickly as it began, the relief palpable as the sun bursts through and illuminates the world anew. As the shepherds yodel their thanks, and the Shepherd’s Song returns us to a state of carefree repetition, it is as though Beethoven were prefiguring the Elysium of his Ninth Symphony – and what could be more forward-facing than that?

Programme notes © Jo Kirkbride Our LPO podcast, LPO Offstage, is now in its third series! Hosted by presenter and MOBO Award-winning saxophonist YolanDa Brown, the weekly podcast takes you behind-the-scenes of the LPO, bringing you closer than ever to the world of orchestral music.

On the LPO Label

Episodes this series include insights into sharing a desk as a string player, the role of the Orchestra’s Librarians, and a look at how streamed concerts come together for broadcast.

Find LPO Offstage on Apple Podcasts, Spotify, Acast, or wherever you listen.

• Highly commended in the 2020 Digital Classical Music Awards

Beethoven: Egmont Overture, Op. 84 Symphony No. 6, Op. 68 (Pastoral)

• The Sunday Times ‘Pick of the Best Podcasts’

Klaus Tennstedt conductor London Philharmonic Orchestra LPO-0085 | £6.99

lpo.org.uk/podcast YolanDa Brown

All LPO Label releases are available on CD from all good retailers, and to download or stream via Spotify, Apple Music, Idagio and others.

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LPO ANNUAL APPEAL 2022

OPEN THE DOORS WE ARE ALL REDISCOVERING THE JOY OF LIVE MUSIC From the roar of appreciation as the baton is lowered; the goosebumps of a beautiful solo to the visceral power of the full orchestra. This shared experience creates a unique energy.

NOW, AFTER SUCH A LONG WAIT, WE ARE THROWING OPEN THE DOORS TO OUR CONCERTS We believe passionately that everyone should have the opportunity to experience them and we are committed to reaching as many people as we can.

TO THE DONATE TO ‘OPEN THE DOORS’ AND HELP US TO CONNECT NEW AUDIENCES WITH WHAT WE DO BY MAKING TICKETS ACCESSIBLE Your gift will enable us to offer affordable tickets to those who may not otherwise attend a concert. It will help us to touch more people and to share the wonder of a live musical experience with the classical music lovers of today and tomorrow.

HELP US OPEN THE DOORS TO MORE PEOPLE, AND SHARE THE MUSIC YOU LOVE. DONATE ONLINE AT LPO.ORG.UK/OPENTHEDOORS, OR CALL THE INDIVIDUAL GIVING TEAM ON 020 7840 4212 OR 020 7840 4225.

THANK YOU.

Next LPO concerts at the Congress Theatre Sheku Kanneh-Mason plays Shostakovich

Spirit of the City

Sunday 20 February 2022 3.00pm

Coleridge-Taylor Ballade Bruch Violin Concerto No. 1 Vaughan Williams Symphony No. 2 (London)

Mussorgsky Khovanschina: Introduction ‘Dawn of the Moscow River’ Shostakovich Cello Concerto No. 2 Borodin Symphony No. 2

Sunday 24 April 2022 3.00pm

Tom Gauterin conductor Daniel Pioro violin

Jonathan Bloxham conductor Sheku Kanneh-Mason cello

Daydreams and Fantasies Sunday 13 March 2022 3.00pm Williams Fantasia on Welsh Nursery Rhymes Rachmaninoff Rhapsody on a Theme of Paganini Tchaikovsky Symphony No. 1 (Winter Daydreams) Holly Mathieson conductor Martin James Bartlett piano

Book online eastbournetheatres.co.uk Ticket Office 01323 412000

London Philharmonic Orchestra • 16 January 2022 • Beethoven’s Pastoral Symphony

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 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

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 Tony & Hilary Vines Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Marina Vaizey Jenny Watson CBE Mr John Weekes Christopher Williams

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

Principal Supporters

Anonymous donors Dr R M Aickin Mr Mark Astaire Sir John Baker Tessa Bartley Mr Geoffrey Bateman Mrs Julia Beine Mr Anthony Boswood Dr Anthony Buckland Dr Carlos Carreno Mr Julien Chilcott-Monk Mr & Mrs Stewart Cohen David & Liz Conway Mr Alistair Corbett Andrew Davenport Mr Simon Douglas Mr B C Fairhall Mr Richard Fernyhough Mrs Janet Flynn Mrs Ash Frisby Jason George Mr Stephen Goldring Mr Daniel Goldstein Mr Milton Grundy Prof. Emeritus John Gruzelier Nerissa Guest & David Foreman Michael & Christine Henry Mark & Sarah Holford Ivan Hurry Per Jonsson Alexandra Jupin & John Bean 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

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

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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 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 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

London Philharmonic Orchestra • 16 January 2022 • Beethoven’s Pastoral Symphony

Thank you

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 Mr Ian Kapur 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 Mr David Peters Nadya Powell Ms Caroline Priday Mr Richard Rolls Mr Richard Rowland Mr & Mrs Alan Senior Tom Sharpe Mr Kenneth Shaw 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

Hon. Benefactor Elliott Bernerd

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

LPO International Board of Governors

Corporate Donors

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

Natasha Tsukanova Chair 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)

LPO Corporate Circle Leader freuds Sunshine

Principal Berenberg Bloomberg Carter-Ruck French Chamber of Commerce

Thomas Beecham Group Members

Tutti Lazard Russo-British Chamber of Commerce Walpole

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

Trialist Allianz Musical Insurance

Preferred Partners Gusbourne Estate Lidl Lindt & Sprüngli Ltd OneWelbeck Steinway

In-kind Sponsor Google Inc

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:

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 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.

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

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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London Philharmonic Orchestra • 16 January 2022 • Beethoven’s Pastoral Symphony

London Philharmonic Orchestra Administration Board of Directors Victoria Robey OBE Chairman Martin Höhmann* President Dr Catherine C. Høgel Vice-Chairman Kate Birchall* David Buckley David Burke Bruno De Kegel Deborah Dolce Tanya Joseph Hugh Kluger* Al MacCuish Tania Mazzetti* Stewart McIlwham* Jamie Njoku-Goodwin Andrew Tusa Mark Vines* 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

Finance

Martin Southgate Chris Viney Laurence Watt Elizabeth Winter

Frances Slack Finance Director Dayse Guilherme Finance Manager

General Administration

Jean-Paul Ramotar Finance and IT Officer

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 Graham Wood Concerts and Recordings Manager

Hannah Foakes Tilly Gugenheim Education and Community Project Co-ordinators

Fabio Sarlo Glyndebourne and Projects Manager

Development

Grace Ko Tours Manager

Laura Willis Development Director

Alison Jones Concerts and Recordings Co-ordinator

Scott Tucker Development Events Manager

Christina Perrin Concerts and Tours Assistant Matthew Freeman Recordings Consultant Andrew Chenery Orchestra Personnel Manager

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

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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

Felix Lo Orchestra and Auditions Manager

Sophie Harvey Digital and Residencies Marketing Manager

Rosie Morden Individual Giving Manager

Nick Jackman Campaigns and Projects Director

Freddie Jackson Assistant Stage Manager

Ruth 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

Stef Woodford 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