LPO programme: 16 Mar 2024 - The Gift of Youth

2023/24 concert season at the Southbank Centre

Free 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 Saturday 16 March 2024 | 7.30pm

The Gift of Youth Mozart Overture, The Magic Flute (6’) Daniel Kidane Aloud, for violin and orchestra (world premiere)* (25’) Interval (20’) Mozart Mass in C minor (53’)

Edward Gardner conductor

Generously supported by Aud Jebsen

Julia Fischer violin Hera Hyesang Park soprano Nardus Williams soprano† Rupert Charlesworth tenor† Ashley Riches bass-baritone London Philharmonic Choir Artistic Director: Neville Creed

*Commissioned by the London Philharmonic Orchestra †Please note change of artist from previously advertised

Concert generously supported by Aline Foriel-Destezet

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

Concert presented by the London Philharmonic Orchestra

Contents 2

Welcome LPO news 3 On stage tonight 4 The Music in You: 2–16 March 2024 6 London Philharmonic Orchestra 7 Leader: Pieter Schoeman 8 Edward Gardner 9 Tonight’s soloists 11 Next concerts 12 London Philharmonic Choir 13 Programme notes 19 Mass in C minor: Text & translation 20 Recommended recordings 21 Sound Futures donors 22 Thank you 24 LPO administration

London Philharmonic Orchestra • 16 March 2024 • The Gift of Youth

Welcome

LPO news

Welcome to the Southbank Centre

Karina Canellakis extends her LPO contract

We’re the largest arts centre in the UK and one of the nation’s top visitor attractions, showcasing the world’s most exciting artists at our venues in the heart of London. We’re here to present great cultural experiences that bring people together, and open up the arts to everyone.

We’re delighted to announce that our Principal Guest Conductor, Karina Canellakis, has extended her contract with the LPO until 2027. Over the next three years Karina will continue to regularly perform with the Orchestra both in the UK and on tour.

The Southbank Centre is made up of the Royal Festival Hall, Queen Elizabeth Hall, Purcell Room, Hayward Gallery, National Poetry Library and Arts Council Collection. We’re one of London’s favourite meeting spots, with lots of free events and places to relax, eat and shop next to the Thames.

Karina took up the post in September 2021 and has enjoyed many highlights so far, including conducting the UK premiere of Tania León’s Horizons in October 2023. Her October 2022 performance of Dvořák, Brett Dean and Brahms earned a 4* review in The Times, in which she was praised for her ‘organised and crystal-clear direction’ allowing ‘virtuosic performances’ from the LPO musicians. Her concert in March 2023 with Vadym Kholodenko performing Prokofiev’s Piano Concerto No. 3 sold out the Royal Festival Hall, and last month she conducted a programme of Mussorgsky, Shostakovich and Brahms at the Royal Festival Hall – which will be broadcast on Marquee TV on 23 March – before touring with the Orchestra to Germany and Austria.

We hope you enjoy your visit. If you need any information or help, please ask a member of staff.

You can also write to us at Southbank Centre, Belvedere Road, London SE1 8XX, or email hello@southbankcentre.co.uk Subscribers to our email updates are the first to hear about new events, offers and competitions.

Just head to our website to sign up.

Off the concert platform, Karina has also been involved in ensuring the pipeline of talent into the industry by working with our LPO Junior Artists. We’ve thoroughly enjoyed working with Karina so far, and look forward to what our continuing partnership will bring!

Drinks You are welcome to bring drinks from the venue’s bars and cafés into the Royal Festival Hall to enjoy during tonight’s concert. Please be considerate to fellow audience members by keeping noise during the concert to a minimum, and please take your glasses with you for recycling afterwards.

Thank you.

Glyndebourne Festival 2024: on sale now After our London concert season comes to a close in May, the stage is set for our annual summer residency at Glyndebourne Festival Opera. This summer we’ll perform in a new production of Bizet’s Carmen with conductors Robin Ticciati and Anja Bihlmaier; Glyndebourne’s first ever full staging of Lehár’s The Merry Widow, with John Wilson conducting and Danielle de Niese in the title role; and Wagner’s Tristan und Isolde, again under Robin Ticciati and starring Stuart Skelton as Tristan.

We’d love to hear from you We hope you enjoy tonight’s concert.

Could you spare a few moments afterwards to complete a short survey about your experience?

Your feedback is invaluable to us and will help to shape our future plans.

Just scan the QR code to begin the survey.

Thank you!

The 2024 Festival runs from 16 May to 25 August, and booking is open now: glyndebourne.com/festival

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London Philharmonic Orchestra • 16 March 2024 • The Gift of Youth

On stage tonight First Violins

Cellos

Chair supported by Neil Westreich

Chair supported by Bianca & Stuart Roden

Pieter Schoeman* Leader

Vesselin Gellev Sub-Leader Kate Oswin Chair supported by Eric Tomsett

Lasma Taimina

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

Minn Majoe Cassandra Hamilton Thomas Eisner

Chair supported by Ryze Power

Martin Höhmann Yang Zhang Elizaveta Tyun Katalin Varnagy

Chair supported by Sonja Drexler

Nilufar Alimaksumova Emma Lisney Katherine Waller

Second Violins

Tania Mazzetti Principal Emma Oldfield Co-Principal Helena Smart Kate Birchall Nancy Elan Fiona Higham Chair supported by David & Yi Buckley

Nynke Hijlkema Claudia Tarrant-Matthews Chair supported by Friends of the Orchestra

Joseph Maher Marie-Anne Mairesse Ashley Stevens Sioni Williams

Violas

Karolina Errera

Guest Principal

Laura Vallejo Benedetto Pollani Martin Wray Lucia Ortiz Sauco Katharine Leek James Heron Raquel López Bolívar Jisu Song Julia Doukakis

Horns

Kristina Blaumane Principal

John Ryan* Principal Martin Hobbs Gareth Mollison Duncan Fuller

Waynne Kwon David Lale Francis Bucknall Sue Sutherley Helen Thomas Sibylle Hentschel Auriol Evans

Trumpets

Paul Beniston* Principal Tom Nielsen Co-Principal Anne McAneney*

The LPO also acknowledges the following chair supporters whose players are not present at this concert: Mr B C Fairhall Dr Barry Grimaldi

Trombones

Double Basses

Mark Templeton* Principal

Sebastian Pennar Principal George Peniston Lowri Estell Adam Wynter Laura Murphy Michael Fuller

Chair supported by William & Alex de Winton

David Whitehouse

Bass Trombone

Lyndon Meredith Principal

Flutes

Tuba

Juliette Bausor Principal Oliver Roberts Stewart McIlwham*

Lee Tsarmaklis* Principal

Timpani

Piccolo

Simon Carrington*

Stewart McIlwham*

Principal

Principal

Chair supported by Victoria Robey CBE

Oboes

Percussion

Ian Hardwick* Principal Alice Munday Ben Marshall

Andrew Barclay* Principal Chair supported by Gill & Garf Collins

Matthew Brett

Clarinets

Benjamin Mellefont*

Harp

Principal

Sue Blair

Chair supported by Sir Nigel Boardman & Prof. Lynda Gratton

Thomas Watmough

Piano/Chamber Organ

Chair supported by Roger Greenwood

Catherine Edwards

Paul Richards*

Celeste

Bass Clarinet

Philip Moore

Paul Richards* Principal

Assistant Conductor

Bassoons

Luis Castillo-Briceño

Jonathan Davies* Principal

Chair supported by Sir Simon Robey

*Professor at a London conservatoire

Helen Storey Simon Estell*

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A warm welcome to Waynne Kwon, who has joined the Orchestra this month as Sub-Principal Cello.

Born in South Korea and raised in Australia, Waynne studied at the Royal Northern College of Music, and since graduating has appeared as Guest Principal with the LPO, as well as with the Philharmonia Orchestra and Manchester Camerata.

It’s great to welcome him as a member!

Congratulations too to David Lale, who has been promoted to the position of No. 4 Cello.

London Philharmonic Orchestra • 16 March 2024 • The Gift of Youth Welcome to tonight’s concert – the final event in our festival ‘The Music in You’. Reflecting our adventurous spirit, throughout March the festival has embraced all kinds of expression – from dance, to music theatre and even audience participation.

Tonight we’ll be the first to hear a new violin concerto written specially for Julia Fischer by the young British composer Daniel Kidane. This comes between two works by Mozart – the joyful overture to his opera The Magic Flute, and his mighty Mass in C minor, in which the Orchestra, conductor Edward Gardner and a magnificent team of soloists are joined by the London Philharmonic Choir. We hope you enjoy it!

Genius. Creator. Mastermind. When an artist makes something incredible, it’s tempting to describe them with words like these – as though creativity is some sort of superpower, and famous artists are somehow more than human. But everyone can be creative, and we all have the potential to demonstrate and develop our creativity.

Music comes from gifted composers and talented performers, but it’s nothing without receptive listeners.

human and digital intelligence, taking the form of a kinetic, sculptural video installation. Opening the concert was Raíces (‘Origins’): the first new commission written specially for the LPO by Composer-in-Residence Tania León, who also joined Elena Dubinets for a free preconcert talk before the evening’s performance.

On 12 March we broke out of the concert hall for ‘An Imagination Shared’: an immersive performance at St John’s Church Waterloo. In this 6.30pm ‘rush-hour’ concert led by LPO Fellow Conductors Charlotte Politi and Luis Castillo-Briceño, British-Chinese composer Alex Ho invited us to Breathe and Draw, before American composer Ryan Carter created a concerto in which the audience becomes the soloist. 13 March saw more new music, this time at Battersea Arts Centre – the first UK performance of Luís Tinoco’s new accordion concerto, written for and performed by accordion sensation João Barradas, which, paired with Kurt Weill’s satirical, theatrical Seven Deadly Sins (starring Danielle de Niese), demonstrated that artistry is no respecter of rigid musical genres.

‘If you think about it, each of us is a creative personality’, says LPO Artistic Director Elena Dubinets. ‘Every human being has the need to express themselves creatively, and everyone has a gift and the power to do so. It’s just that we sometimes apply our creativity differently.’

So this month, the LPO aims to liberate and celebrate the music in you. The goal is to demonstrate that each one of us – a professional composer, an orchestral musician, an audience member – can have a chance to express ourselves through music.

At the Royal Festival Hall we’ll be performing music from across four centuries and many different countries that demonstrates the infinite possibilities of creativity unchained. Haydn’s oratorio The Creation – which opened the festival on 2 March – seems like an obvious choice, but in fact this gloriously optimistic work was composed to cross linguistic and cultural barriers, conveying a message that even the humblest living creature shares in a universal creative spirit.

In tonight’s closing concert, ‘The Gift of Youth’, Mozart’s C minor Mass – composed by one of music’s most famous former child prodigies – reminds us that creativity knows no boundaries of age, or social convention. It’s programmed alongside the world premiere of a violin concerto, titled Aloud, by another talented young composer – Daniel Kidane – performed

by Julia Fischer.

On 3 March, young concertgoers became performers and co-creators in Clarice Assad’s É Gol!, as part of a football-themed FUNharmonics family concert.

And 6 March saw us throwing ourselves open to other artforms in ‘Dance Re-imagined’, a daring multimedia collaboration with choreographer Wayne McGregor.

His digitally enhanced choreographic storytelling opened a portal to a new expressive world, reimagining Szymanowski’s ballet Harnasie through the use of

But The Music in You doesn’t stop there – ‘We must inspire, challenge, provoke and transform by celebrating communal creativity and removing barriers to participation’, says Elena. ‘That’s why we are talking about music in us, in all of us’. Join us and listen to that inner music this season – you might be excited at what you hear.

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THE MUSIC IN YOU 2–16 MARCH 2024 lpo.org.uk/themusicinyou Haydn’s Creation

Dance Re-imagined

Seven Deadly Sins

Haydn The Creation

Tania León Raíces (Origins) (world premiere)* Ravel La valse Wayne McGregor & Ben Cullen Williams A Body for Harnasie (based on Szymanowski’s Harnasie)**

Luís Tinoco Accordion Concerto (UK premiere) Weill The Seven Deadly Sins

Saturday 2 March | 7.30pm Southbank Centre’s Royal Festival Hall Sung in English

Edward Gardner conductor Louise Alder soprano Allan Clayton tenor Michael Mofidian bass-baritone London Philharmonic Choir Concert generously supported by Victoria Robey CBE.

FUNharmonics Family Concert: Goal!

Sunday 3 March | 12 noon Southbank Centre’s Royal Festival Hall Charlotte Politi conductor Clarice Assad presenter Join the LPO for the European premiere of É Gol! by Brazilian-American composer Clarice Assad, imagining a day in the life of legendary Brazilian footballer Marta Vieira da Silva as she gets ready for the big game.

Created for orchestra and audience, this piece offers the whole family a chance to perform with the LPO throughout, using your voices, breath and body percussion.

So grab your favourite football shirt and join us for this fun, participatory concert, culminating in a football match soundtrack finale!

Join in the free pre-concert foyer activities from 10am–12 noon (concert ticket-holders only).

Wednesday 6 March | 7.30pm Southbank Centre’s Royal Festival Hall

Edward Gardner conductor Robert Murray tenor Flemish Radio Choir * Co-commissioned by the London Philharmonic Orchestra and Concertgebouw Brugge. ** An original co-production of NOSPR The Polish National Radio Symphony Orchestra in Katowice (initiator), London Philharmonic Orchestra (with support from the Adam Mickiewicz Institute), conceived and produced by Studio Wayne McGregor.

Wednesday 13 March 6.30pm & 8.15pm Battersea Arts Centre

Edward Gardner conductor João Barradas accordion Danielle de Niese Anna Ross Ramgobin Brother Callum Thorpe Mother Adam Gilbert Father Amar Muchhala Brother Dominic Dromgoole director * These performances are funded in part by the Kurt Weill Foundation for Music, Inc., New York, NY.

Project partner: Concertgebouw Brugge.

The Gift of Youth Concert generously supported by Victoria Robey CBE.

6.15–6.45pm | Free pre-concert event Royal Festival Hall LPO Artistic Director Elena Dubinets discusses the evening’s programme with Tania León.

An Imagination Shared Tuesday 12 March | 6.30pm St John’s Church Waterloo

Alex Ho Breathe and Draw (for sinfonietta, two conductors and audience participation) Ryan Carter Concerto Molto Grosso (for audience and orchestra) (UK premiere) Ligeti Poème symphonique for 100 metronomes Charlotte Politi conductor* Luis Castillo-Briceño conductor* *Inaugural participants in the LPO Conducting Fellowship programme. This programme is generously supported by Patricia Haitink with additional support from Gini and Richard Gabbertas.

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Saturday 16 March | 7.30pm Southbank Centre’s Royal Festival Hall Mozart Overture, The Magic Flute Daniel Kidane Aloud, for violin and orchestra (world premiere)* Mozart Mass in C minor Edward Gardner conductor Julia Fischer violin Hera Hyesang Park soprano Nardus Williams soprano Rupert Charlesworth tenor Ashley Riches bass-baritone London Philharmonic Choir * Commissioned by the London Philharmonic Orchestra.

Concert generously supported by Aline Foriel-Destezet.

London Philharmonic Orchestra • 16 March 2024 • The Gift of Youth

© Mark Allan

London Philharmonic Orchestra

Our conductors

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 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.

Our home is here 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.

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.

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.

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.

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London Philharmonic Orchestra • 16 March 2024 • The Gift of Youth

Pieter Schoeman Leader

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.

© Benjamin Ealovega

Next generations

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.

Looking forward

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.

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.

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

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

lpo.org.uk

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

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London Philharmonic Orchestra • 16 March 2024 • The Gift of Youth

Edward Gardner Principal Conductor, London Philharmonic Orchestra

© Photographer London

In demand as a guest conductor, recent seasons have seen Edward make debuts with the Cleveland Symphony, Staatskapelle Berlin, Bavarian Radio Symphony, New York Philharmonic, Philadelphia, San Francisco Symphony, Berlin Radio Symphony and Vienna Symphony orchestras; while returns have included engagements with the Chicago Symphony, Montreal Symphony and Philharmonia orchestras, the Gewandhausorchester Leipzig, the Deutsches Symphonie-Orchester Berlin, and the Orchestra del Teatro alla Scala di Milano. He also continued his longstanding collaboration with the City of Birmingham Symphony Orchestra, where he was Principal Guest Conductor from 2010–16, and with the BBC Symphony Orchestra, whom he has conducted at both the First and Last Nights of the BBC Proms.

Music Director of English National Opera for eight years (2007–15), Edward has also built a strong relationship with New York’s Metropolitan Opera, where he has conducted productions of The Damnation of Faust, Carmen, Don Giovanni, Der Rosenkavalier and Werther.

In London he made his Royal Opera House debut in 2019 in a new production of Káťa Kabanová, followed by Werther a season later. Elsewhere, he has conducted at the Bavarian State Opera, La Scala, Chicago Lyric Opera, Glyndebourne Festival Opera and Opéra National de Paris, and this season he will conduct a double-bill of Bartók’s Bluebeard’s Castle and Poulenc's La voix humaine at Teatro di San Carlo.

Edward Gardner has been Principal Conductor of the London Philharmonic Orchestra since September 2021.

He is also Chief Conductor of the Bergen Philharmonic, a position he will relinquish at the end of the 2023/24 season. From August 2024 he will undertake the Music Directorship of the Norwegian Opera and Ballet, having been their Artistic Advisor since February 2022.

This season Edward conducts the LPO in ten concerts at the Southbank Centre’s Royal Festival Hall. In October 2023 he toured with the Orchestra to South Korea and Taiwan, and this season will also take them to major European cities including Paris, Munich, Frankfurt, Hamburg and Bruges. As part of the LPO's cross-arts festival ‘The Music in You’ in March 2024, Edward conducts concerts including Haydn’s The Creation; a reinvention of Szymanowski’s ballet Harnasie in collaboration with choreographer Wayne McGregor; Weill’s Seven Deadly Sins; and Mozart’s Mass in C minor.

Other highlights with the Orchestra this season include Holst’s The Planets and Stravinsky’s Petrushka.

A passionate supporter of young talent, Edward founded the Hallé Youth Orchestra in 2002 and regularly conducts the National Youth Orchestra of Great Britain.

He has a close relationship with The Juilliard School of Music and with the Royal Academy of Music, which appointed him its inaugural Sir Charles Mackerras Conducting Chair in 2014.

Born in Gloucester in 1974, Edward was educated at Cambridge and the Royal Academy of Music. He went on to become Assistant Conductor of the Hallé and Music Director of Glyndebourne Touring Opera.

His many accolades include being named Royal Philharmonic Society Award Conductor of the Year (2008), an Olivier Award for Outstanding Achievement in Opera (2009), and an OBE for Services to Music in The Queen’s Birthday Honours (2012).

Edward opened the Bergen Philharmonic season in September with Mahler’s Symphony No. 1. He completes his tenure as Chief Conductor at the closing of next summer's Bergen International Festival, conducting Mahler’s Symphony No. 8. The orchestra will be joined by several choirs, including the Edvard Grieg Kor, of which Edward is the Principal Conductor.

As Artistic Advisor of the Norwegian National Opera and Ballet, this season Edward will conduct a triple-bill of Schumann’s Frauen-Liebe und Leben, Bartók’s Bluebeard’s Castle and Zemlinsky’s A Florentine Tragedy. Future plans with the company include a Wagner Ring Cycle commencing in spring 2026.

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

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London Philharmonic Orchestra • 16 March 2024 • The Gift of Youth

Hera Hyesang Park

violin

soprano

© Bruno Grandi

Julia Fischer

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 music teacher. Born in Munich to German-Slovakian parents, Julia studied with the renowned violin professor Ana Chumachenco, later becoming her successor at the University of Munich. Winning First Prize at the 1995 Yehudi Menuhin Competition was one of the milestones of her early career and she has since performed with top orchestras worldwide, frequently collaborating with renowned conductors such as Herbert Blomstedt, Alan Gilbert, Jakub Hrůša, Vladimir Jurowski, Juanjo Mena, Riccardo Muti, Vasily Petrenko, Esa-Pekka Salonen, Thomas Søndergård, Yuri Temirkanov, Christian Thielemann, Michael Tilson Thomas and Franz Welser-Möst.

With ‘brilliant tone’ and ‘a sense of pure joy and excitement’ (OperaWire), Hera Hyesang Park is celebrated not only for her exquisite voice and stagecraft, but for the deeper ideas embodied in her work. Originally from South Korea and trained at The Juilliard School, she blends her Korean roots and Western life experience in a cosmopolitan approach to life and art. Her lyric coloratura voice carries both immaculate technique and a seemingly infinite variety of tonal colours, combining in a fearless and captivating stage presence. Tonight is her debut with the London Philharmonic Orchestra.

Last month saw the release of Hera’s second album, Breathe, on Deutsche Grammophon. She performs repertoire from Breathe at 2024 Seoul Fashion Week and in recital at Seoul’s Lotte Concert Hall. Other highlights this season include a gala concert with the New York Philharmonic, conducted by Gustavo Dudamel. She later sings the role of Despina in Così fan tutte at the Paris Opera, and performs recitals with pianist Andrés Sarre in Mexico, and with pianist Bretton Brown in the UK.

During spring 2022 Julia was Artist-in-Residence with the London Philharmonic Orchestra, performing Elgar and Mozart concertos, play-directing a Mozart programme, and joining LPO Principal players in a chamber concert. In March 2019 Julia embarked on a major tour of China, Taiwan and South Korea with the LPO under Vladimir Jurowski.

Hera Hyesang Park has appeared in operatic roles at the Metropolitan Opera, Glyndebourne Festival, Paris Opera, Berlin State Opera and Bavarian State Opera, and with the Munich Radio Orchestra. She has also performed as a soloist with the New York Philharmonic and Los Angeles Opera. Her first album, I am Hera, was released on Deutsche Grammophon in 2020.

During 2023/24 Julia embarks on several tours of Europe, including with the Academy of St Martin in the Fields, which she play-directs, and with the Royal Philharmonic Orchestra and Vasily Petrenko; as well as recital tours with pianist Yulianna Avdeeva and with the Julia Fischer Quartet. She also holds a residency in Prague, performing chamber music with members of the Czech Philharmonic in addition to a recital and a quartet programme.

Hera studied at Seoul National University before earning her two-year Artist Diploma in Opera Studies at The Juilliard School in 2015.

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London Philharmonic Orchestra • 16 March 2024 • The Gift of Youth

Rupert Charlesworth

soprano

tenor

© Dan Clarke

© Bertie Watson

Nardus Williams

Winner of the Rising Talent award at the 2022 International Opera Awards, Nardus Williams has established herself as one of the most exciting and versatile young British singers of her generation.

Upcoming highlights of the 2023/24 season include a return to Opéra de Rouen Normandie as Donna Anna in concert performances of Don Giovanni; a return to the role of Belinda in Errollyn Wallen’s Dido’s Ghost with Philharmonia Baroque; performances of Fauré’s Requiem with the Toronto Symphony Orchestra; tours with Dunedin Consort, Europa Galante and the Orchestra of the Eighteenth Century; a return to the Wigmore Hall; and her debut album of Handel’s Italian Cantatas for Linn Records, with the Dunedin Consort.

Rupert Charlesworth enjoys a busy career at the opera theatre and on stage. Earlier this year he sang the role of Henry Stuart in Thea Musgrave’s Mary, Queen of Scots at Oper Leipzig. At Glyndebourne Festival Opera he appeared as Sellem in Stravinsky’s The Rake’s Progress with the LPO under Robin Ticciati in summer 2023, and as Madame Beurrefondue in Offenbach’s In the Market for Love in 2020. He has sung Oronte in Alcina for the Royal Opera House and Opéra de Paris; and Prinz in Prokofiev’s The Love for Three Oranges and Jonathan in Saul, both at the Komische Oper Berlin.

For the 2019/20 season Rupert joined the ensemble of the Staatsoper Hannover, in which he performed Tamino in Die Zauberflöte and Narraboth in Salome.

Last season Nardus made her house debut at Opéra de Rouen Normandie as Helena in A Midsummer Night’s Dream. She also sang the role of Countess in Le nozze di Figaro for the Glyndebourne on Tour, and returned to the Glyndebourne Festival as Adina in L’elisir d’amore with the LPO under Ben Gernon.

On the concert stage, Nardus returned to Wigmore Hall; continued her fond collaboration with the Dunedin Consort, performing programmes of Handel and Bach; and performed in Tippett’s A Child of Our Time with the Royal Liverpool Philharmonic Orchestra, and Mozart’s Mass in C minor at the BBC Proms with Dunedin Consort.

Other operatic roles include Laertes in Brett Dean’s Hamlet for Glyndebourne Touring Opera; Marzio in Mitridate at the Royal Opera House; Bob Boles in Peter Grimes at the Theater an der Wien; Emilio in Partenope at English National Opera; and Tanzmeister in Ariadne auf Naxos, Lysander in A Midsummer Night’s Dream and Damon in Acis and Galatea, all for the Aix-enProvence Festival. In concert he has appeared as Narrator in Monteverdi’s Il combattimento di Tancredi e Clorinda with the Orquestra Barroca Casa da Música in Porto, as well as Third Angel and John in George Benjamin’s Written on Skin with the Gulbenkian Foundation Orchestra.

This is her concert debut with the London Philharmonic Orchestra.

This is his concert debut with the London Philharmonic Orchestra.

The originally advertised soloist, Elizabeth Watts, is unwell and unable to perform in this concert.

We are very grateful to Nardus Williams for stepping in at short notice.

The originally advertised soloist, Pavel Kolgatin, is indisposed and unable to perform in this concert.

We are very grateful to Rupert Charlesworth for stepping in at short notice.

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London Philharmonic Orchestra • 16 March 2024 • The Gift of Youth

Ashley Riches bass-baritone

Next LPO concerts at the Southbank Centre’s Royal Festival Hall LA MER

© Debbie Scanlon

Wednesday 20 March 2024 | 7.30pm Prokofiev Symphony No. 1 (Classical) R Strauss Burleske Sibelius The Oceanides Debussy La mer Dima Slobodeniouk conductor Martin Helmchen piano

Bass-baritone Ashley Riches studied at King’s College, Cambridge and the Guildhall School of Music & Drama.

He was a Jette Parker Young Artist at the Royal Opera House and a BBC Radio 3 New Generation Artist.

ROMEO AND JULIET

An extremely versatile artist, Ashley’s 2023/24 season includes a return to the Royal Opera House as Roucher in Andrea Chénier, Beethoven’s Missa Solemnis with David Afkham in Madrid, Verdi’s Requiem with the City of Birmingham Symphony Orchestra and Kazuki Yamada, Rheinberg in Wallace’s Lurline in Dublin with John Wilson, Handel’s Messiah in concert at Glyndebourne, and Purcell’s King Arthur with Paul McCreesh in Lyon and Lausanne.

Friday 22 March 2024 | 7.30pm

Tchaikovsky Romeo and Juliet (Fantasy Overture) Mozart Violin Concerto No. 3 Prokofiev Romeo and Juliet (excerpts) Gemma New conductor Randall Goosby violin

His broad repertoire ranges from Baroque to contemporary, and last season he made his debut at the Bavarian State Opera in Munich as Silvano in La Calisto.

Other recent highlights include Purcell’s Odes and Handel’s Dixit Dominus and Nisi Dominus with The English Concert and Harry Bicket; Schumann’s Das Paradies und die Peri with Daniel Harding and the Czech Philharmonic; Angelotti in Tosca with Edward Gardner and the Bergen Philharmonic; Messiaen’s St François d’Assise with Ryan Wigglesworth and the BBC Scottish Symphony Orchestra; and the world premiere of Ian Fletcher’s Jonah at London’s Cadogan Hall.

JÄRVI CONDUCTS BRUCKNER

Saturday 6 April 2024 | 7.30pm Stravinsky Violin Concerto Bruckner Symphony No. 7 Paavo Järvi conductor Leila Josefowicz violin

An accomplished recitalist, Ashley released his debut solo recital recording, A Musical Zoo, in 2021.

LPO.ORG.UK

Ashley made his LPO debut as King Fisher in Tippett’s The Midsummer Marriage with Edward Gardner in September 2021, later released on the LPO Label and winner of a Gramophone Award.

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London Philharmonic Orchestra • 16 March 2024 • The Gift of Youth

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

Sopranos

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

Altos

David Hoare

The Choir prides itself on its inclusive culture, achieving first-class performances from its members, who are volunteers from all walks of life.

Stephen Hodges Anna-Maria Susannah James Hopper Achilleos Bellingham Patrick Hughes Annette Argent Alison Biedron Alex Marshall Tessa Bartley Sally Brien Daisy Rushton Hilary Bates Jenny Burdett Christopher Stuart Amy Brewster Andrei Caracoti Callum Sullivan Laura Buntine Lara Carim Don Tallon Emma Butler Noel Chow Tony Valsamidis Carole Cameron Pat Dixon Olivia Carter Sarah Finkemeyer Mikolaj Walczak Toby Wilson Paula Chessell Kitty Howse Jenni Cresswell Joanna James Basses Megan Cunnington Julia King Issy Davies Andrea Lane Martyn Atkins Jessica Dixon Ethel Livermore Jonathon Bird Kathryn Flood Lisa MacDonald Peter Blamire Rachel Gibbon Laetitia Malan Nathan Chu Rosie Grigalis Ian Maxwell Marcus Daniels Jane Hanson Nicola Mooney Myrddin Edwards Vicki Holdway Rebecca Morgan Ellie Fayle Mary Beth Jones Caroline Morris Ian Fletcher Ashley Jordan Anna Mulroney Dominic Foord Joy Lee Anna Munoz Gary Freer Martha MacBean Rachel Murray Ian Frost Amanda May Beth O’Brien Angel Gensen Meg McClure Kathryn O’Leary John Graham Harriet Murray Rosie Raikes Christopher Harvey Linda Park Carolyn Saunders David Hodgson Danielle ReeceRima Sereikiene Rylan Holey Greenhalgh Annette Strzedulla Michael Jenkins Danielle Roman Muriel Swijghuisen David Kent Emma Secher Reigersberg Nigel Ledgerwood Holly Shannon Catherine Travers Christopher Victoria Smith Mackay Katie Stuffelbeam Tenors Maurice Lucy Taylor MacSweeney Geir Andreassen Susan Thomas John D Morris Tim Appleby Rachel Topham John G Morris Hugh Bennett Sarah Walker Will Parsons Andrew Chavez Sze Ying Chan Johannes Pieters Kline Simon Potter Kevin Cheng John Salmon Gary Cupido Philip Tait Robert Geary Geoff Walker Alan Glover Peter Wood Iain Handyside

Supported by

lpc.org.uk

Enjoying a close relationship with the London Philharmonic Orchestra, the Choir frequently joins it for concerts in the UK and abroad. Recent highlights have included Mahler’s Symphony No. 2, Tippett’s The Midsummer Marriage and A Child of Our Time, Janáček’s Glagolitic Mass, Schoenberg’s Gurrelieder, Berlioz’s Damnation of Faust and Haydn’s Creation, all under LPO Principal Conductor Edward Gardner; Mahler’s Symphony No. 3 with Robin Ticciati; the UK premieres of James MacMillan’s Christmas Oratorio with the Choir’s President, Sir Mark Elder, and Tan Dun’s Buddha Passion; Walton’s Belshazzar’s Feast with Marin Alsop; Mahler’s Symphonies Nos. 2 & 8 and Tallis’s Spem in alium with Vladimir Jurowski; and Beethoven’s Missa Solemnis with Sir Mark Elder.

The Choir appears annually at the BBC Proms, and performances have included the UK premieres of Mark-Anthony Turnage’s A Relic of Memory and Goldie’s Sine Tempore in the Evolution! Prom. In recent years the Choir has also given performances of works by Beethoven, Elgar, Howells, Liszt, Orff, Vaughan Williams, Verdi and Walton. This year for the first time, the Choir has taken part in the ‘Films in Concert’ series at the Royal Albert Hall, performing the score for Amadeus.

A well-travelled choir, it has visited numerous European countries and performed in Kuala Lumpur, Hong Kong and Australia. The Choir has appeared twice at the Touquet International Music Masters Festival and was delighted to travel to the Théâtre des Champs-Elysées, Paris, in December 2017 to perform Bach’s Christmas Oratorio with the London Philharmonic Orchestra.

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London Philharmonic Orchestra • 16 March 2024 • The Gift of Youth

Programme notes Wolfgang Amadeus Mozart 1756–91

Overture, The Magic Flute, K620 1791

Five proud chords; three ceremonial knocks on the door.

It’s a suitably noble opening for a drama that deals with some of the loftiest ideals of humanist philosophy. But any of Mozart’s brother-members of the Masonic lodge ‘Zur neugekrönten Hoffnung’ (‘New-Crowned Hope’) who were in the audience for his new opera Die Zauberflöte (‘The Magic Flute’) during the autumn of 1791 would have recognised the precise rhythm that a Mason of the rank of Fellow Craft had to knock during Lodge ceremonies. Just to make it absolutely clear, Mozart repeats his chords in the middle of the Overture, backed by trombones – the instrument that the 18th century associated with all that was solemn and sacred.

A serious business. You could easily forget that The Magic Flute is also – in one sense – the brightest, sweetest and downright silliest comedy that Mozart ever wrote: practically a pantomime, if you believe some commentators. The Magic Flute isn’t just about the wisdom of Sarastro, the courage of Pamina, or Prince Tamino’s quest for truth, knowledge and love. The playful humour of the birdcatcher Papageno is every bit as vital. To write a flying fugal Allegro, as Mozart well knew, took supreme craft. But to make it laugh and dance as joyfully as the Overture to The Magic Flute takes something more: enlightenment.

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London Philharmonic Orchestra • 16 March 2024 • The Gift of Youth

Programme notes Daniel Kidane born 1986

Aloud, for violin and orchestra (world premiere)

Julia Fischer violin

‘Aloud was written with the want to explore drive and energy between the violin and orchestra. As a former violinist, I had the idea of writing something lively for the pairing for quite some time. Whilst writing Aloud, I was also disturbed by world events, namely the ongoing war between Russia and Ukraine – countries that I have close familial links with.

With the latter on my mind, I was drawn to an old Cossack folk song ‘Чёрный Ворон’ (transliterated as ‘Cherniy Voron’, meaning ‘Black Raven’). The song begins with lyrics that describe a raven circling above an injured Cossack, who says to the raven: “Why are you circling over me? Ever will your prey elude you. Black Raven, I am not yours”.

© Kaupo Kikkas

Apart from being a beautiful folk song, the fighting spirit of the words resonated with me, because the plight and suffering of ordinary people is so often lost to the noise of political rhetoric. A veiled form of the folk tune, which is heard at the very start of Aloud, becomes the kernel within my work for the struggle for life, and an energetic musical opposition to the scourge of war.’

Daniel Kidane, February 2024

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London Philharmonic Orchestra • 16 March 2024 • The Gift of Youth

Programme notes Daniel Kidane on Aloud Did you have Julia Fischer in mind when you wrote it?

Obviously I knew of her amazing playing and her virtuosity, and that brought me back to this idea of the piece for violin and orchestra. I’d been listening to Per Nørgård’s Helle Nacht, and my idea was to have a piece where the virtuosity of the violin and of the orchestra almost blend into each other. There’s always this fluctuation between the two.

Born in Britain to a Russian mother and an Eritrean father, Daniel Kidane grew up in London, where he started playing the violin at the age of eight. He studied composition at the Royal College of Music Junior School and with Gary Carpenter and David Horne at the Royal Northern College of Music, as well as a period of study with Sergei Slonimsky in St Petersburg. Since participating in the LPO’s Young Composers’ Programme in 2012/13, his music has been performed by some of the UK and Europe’s leading orchestras: Sun Poem was premiered by the London Symphony Orchestra and Sir Simon Rattle at the 2022 Edinburgh International Festival, and Woke reached a global audience of millions as part of the 2019 Last Night of the Proms.

The orchestration looks very colourful: celeste, harp, piano and lots of percussion. Was that always part of your plan?

Well, I thought why not? Either go big or go home!

This is another reason why it’s not quite a typical violin concerto. It comes off the back of writing Sun Poem for large orchestra; obviously, it’s easier to write with fewer instruments so that the violin can be heard, but to create the sort of energy that I was after, I felt it was necessary to have a fuller complement. These are battles that go on in a composer’s mind.

We asked Daniel about the genesis of Aloud, his new LPO commission for violin and orchestra: How did this commission come about?

Ed [Gardner] conducted a piece of mine called Sirens with the LPO in 2022, and he and the Orchestra both enjoyed doing that, so we spoke about a commission and this idea came up. I used to be a violinist – I’ve played the Bruch and Mendelsohn concertos, and Lalo’s Symphonie espagnole – so it was a piece that was potentially on the horizon for me to write. A medley of coincidences.

Should we read anything into the title?

This is almost an anti-war piece, but I wouldn’t draw direct conclusions about the symbolism of the Cossack song or the crow. Unfortunately, global politics are much more complicated than that. My mother is Russian, but my wife was born in Estonia, her parents are Ukrainian, and our son is mixed Eritrean, Russian, Ukrainian, Estonian and British!

Aloud is being described as a violin concerto – is that strictly correct?

I wouldn’t quite call it a violin concerto because in my eyes, it doesn’t follow the standard violin concerto set-up, even though I love the existing repertoire.

The orchestra has its own moments of virtuosity; there are passages where it takes over and there’s fighting or arguing between the orchestra and violin.

If you like, it’s more like a concerto for both violin and orchestra.

For me, what resonates is the suffering of ordinary people. I don’t know if it was a combination of world politics and the way the arts are going in this country, but frustration was boiling up in me and I just wanted to write something where there was an outburst – almost like Munch’s The Scream! Maybe not quite the same, but it was a similar sort of feeling in my head. It’s a fight for energy, for moving forward – a fight for life.

Daniel Kidane was talking to Richard Bratby.

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

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London Philharmonic Orchestra • 16 March 2024 • The Gift of Youth

Programme notes Wolfgang Amadeus Mozart 1756–91

Mass in C minor, K427 1782 Hera Hyesang Park soprano Nardus Williams soprano Rupert Charlesworth tenor Ashley Riches bass-baritone London Philharmonic Choir

Kyrie Gloria: Gloria in excelsis Deo Laudamus te Gratias agimus tibi Domine Deus Qui tollis Quoniam tu solus Jesu Christe – Cum Sancto Spiritu

Credo: Credo in unum Deum Et incarnatus est

Sanctus Benedictus

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London Philharmonic Orchestra • 16 March 2024 • The Gift of Youth

Programme notes The text begins on page 19.

Hannibal-Platz. On 23 October Nannerl attended ‘the Kapellhaus for the rehearsal of my brother’s Mass, in which my sister-in-law is singing the solos’. And on Sunday 26 October 1783, the completed section of the C minor Mass was performed for the only time in the composer’s lifetime, in the Abbey Church of St Peter.

A promise On 4 August 1782, Wolfgang Amadeus Mozart and Constanze Weber were married in St Stephen’s Cathedral, Vienna. Their engagement had been marred by disapproval and suspicion from both sets of future in-laws; only the couple themselves, it seems, behaved with much generosity of spirit. Once married, Mozart reached for excuse after excuse to postpone the necessary visit to Salzburg – and the potentially fraught business of introducing Constanze to his father Leopold:

Mozart almost always wrote with a specific performance in mind, and the music of the Mass was shaped by the likely choice of performers. Foremost amongst these was Constanze herself. It seems likely that all the soprano solos were sung by Constanze, and Mozart – who famously remarked that he tailored arias to singers ‘like a well-cut suit’ – shaped them precisely to her range and abilities. ‘All the court musicians were there’ remarked Nannerl; this would have included choral singers to supplement the Abbey’s own choir of ten.

Vienna 4th January 1783 Mon Très Cher Père! … It is quite true about my moral obligation …

I made the promise in my heart of hearts, and hope to be able to keep it. When I made it, my wife was not yet married … but, as you know, time and circumstances made our journey impossible.

The score of half a Mass, which is still lying here waiting to be finished, is the best proof that I really made the promise.

A Mass for St Peter’s Almost as important was the venue. Two years after Mozart had quit Colloredo’s service in a volley of personal abuse (‘I hate the Archbishop to madness’), there could be no question of using the Cathedral.

The Benedictine Abbey of St Peter’s lay outside the Archbishop’s jurisdiction, and the Mozarts had many friends within the monastic community. Indeed, the future Abbot Dominicus Hagenauer was the son of the Mozarts’ landlord and the 13-year-old Wolfgang had written his Mass K66 to celebrate Dominicus’s entry into the Order in 1769. On that occasion the Abbot, Beda Seeauer, had commented admiringly on Mozart’s ‘splendid and ingenious music’.

The exact nature of that ‘promise’ is unknown. The implication is that at some point during that difficult courtship, Mozart had promised to have a Mass sung should he ever bring his new wife home to his family in Salzburg. Some 40 years later, Constanze told her second husband that Mozart had intended the Mass as an act of thanksgiving for the safe birth of the Mozarts’ first child. Either version would make sense: in any case, a month after the birth of their son Raimund, in the final week of July 1783, Wolfgang and Constanze set out for Salzburg. In their luggage was the incomplete manuscript of the work we know as the Mass in C minor, K427.

Seeauer was at loggerheads with Colloredo, who opposed superfluous ornamentation both in churches and in church music. Fugal writing and arias were forbidden, and no Mass setting was to exceed 40 minutes in duration. Mozart’s Mass – even in its incomplete form – defies Colloredo’s strictures as flagrantly and as on as magnificent a scale as the Abbey Church itself. It’s hard to imagine a more powerful musical snub to the Archbishop, or a more dramatic illustration of how completely Mozart had now transcended the limitations of Salzburg musical life.

A homecoming Mozart had good reason to be apprehensive about his return to Salzburg. He was still technically in breach of contract with his former employer Hieronymus Colloredo, the Archbishop of Salzburg, who would have been well within his rights to have the prodigal arrested.

In the event, Mozart seems to have slipped quickly back into the unofficial musical life of the city; his sister Nannerl’s diary recounts walks in the Mirabell Gardens and regular musical evenings at the family home on

The day after the performance, Mozart left Salzburg for the final time. The Mass was to be his last major sacred work before the Requiem of 1791, and it would never be completed (although much of it would be recycled in 1785 as the cantata Davidde penitente, K469).

Numerous attempts to ‘complete’ the Mass have run up

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London Philharmonic Orchestra • 16 March 2024 • The Gift of Youth

Programme notes accompaniment for the Archbishop’s excellent oboes and brass. Likewise, Mozart completed the soprano, woodwind and bass lines (including the exquisite fourpart cadenza) of the Et incarnatus, but seems never to have heard it performed. He would have expected one of the oboists to play the solo flute part in this rapturous soprano aria modelled on Constanze’s favourite number from Idomeneo, ‘Se il padre perdei’.

against one simple problem: any further performance in Mozart’s lifetime (had there been one) would surely have prompted the composer to rewrite and adapt it to the circumstances of that particular occasion. Yet as it stands, its musical, emotional and spiritual perfection generates its own significance. Put aside the practical difficulties, the small-town politicking and the theological disputes, and the C minor Mass is the work of a 27-year-old who has attained maturity and mastery, both as a creative artist and as a human being. The root of this music – like the faith it expresses – is love.

The Sanctus opens with another massive choral fanfare, illuminated by glittering string flourishes; the prelude to a vigorous fugue for double chorus on the words ‘Osanna in excelsis’. And at the last, in a movement comparable to one of Mozart’s great operatic ensemble finales, the four soloists repeat the blessing of the Benedictus before the full orchestra and chorus cascade into a reprise of the closing bars of the Osanna.

Trumpets and timpani accompany the final words: ‘Hosanna in the highest!’.

The Music The steady pace and hushed atmosphere of the Kyrie’s opening bars announce both the seriousness and scale of the work as a whole. It was common for the Christe eleison to be set to gentler music, but it’s hard not to read something more personal into the pleading simplicity of the solo soprano’s – Constanze’s – lovely first phrase. The Gloria opens in a blaze of major-key light, as the trumpets (borrowed from the Archbishop’s ceremonial establishment) peal out. And with beautiful appropriateness, Mozart sets the Laudamus te (‘We praise thee’) as an exuberant (but never flashy) soprano aria, complete with playful echoing phrases from the oboes, and the rushing violin accompaniment typical of South German church music in the mid-18th century.

Programme note © Richard Bratby

The mood shifts back to deep seriousness, and a fivepart chorus intones the Gratias over stark ceremonial rhythms. In the Domine Deus two sopranos soar and intertwine over an uneasy accompaniment; again, it’s possible to read something biographical into this statement of the relationship between God the Father and Son, as Mozart prepares the way for the mighty Qui tollis. Strings pound out a massive jagged rhythm, and as the trombones sound darkly in the background two choruses evoke (in the words of the German Mozart scholar Hermann Abert) ‘an immense procession of penitents crowding in heavy despair around the Cross’.

In its shadow, the Quoniam – an E minor trio for the two sopranos and tenor soloist over a bustling accompaniment – brings a release in tension, though not seriousness of tone.

Mozart sets the final words of the Quoniam to a majestic choral fanfare: the upbeat to a muscular and brilliant double fugue. Here, the completed music of the Mass breaks off. The Credo was drafted by Mozart but – judging from the surviving trombone and organ parts – never fully orchestrated. It’s a choral shout of affirmation, with a vigorous, almost martial

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London Philharmonic Orchestra • 16 March 2024 • The Gift of Youth

Text & translation Kyrie (Chorus and soprano) Lord, have mercy upon us.

Christ, have mercy upon us.

Lord, have mercy upon us

Kyrie eleison.

Christe eleison.

Kyrie eleison.

Gloria Gloria in excelsis Deo (Chorus) Gloria in excelsis Deo. Et in terra pax hominibus bonae voluntatis.

Glory to God in the highest. and on earth peace to all those of good will.

Laudamus te (Soprano) Laudamus te Benedicimus te.

Adoramus te.

Glorificamus te.

We praise You, We bless You, We adore You, We glorify You.

Gratias agimus tibi (Chorus) Gratias agimus tibi propter magnam gloriam tuam.

We give thanks to You, according to Your great glory.

Domine Deus (Sopranos) Domine Deus, Rex caelestis, Deus Pater omnipotens.

Domine Fili unigenite, Jesu Christe.

Domine Deus, Agnus Dei, Filius Patris

Lord God, king of heaven, God the almighty Father.

Lord Jesus Christ, the only begotten Son. Lord God, Lamb of God, Son of the Father.

Qui tollis (Chorus) Qui tollis peccata mundi, miserere nobis.

Qui tollis peccata mundi, suscipe deprecationem nostram.

Qui sedes ad dexteram Patris, miserere nobis.

You who remove the sins of the world, have mercy on us.

You who remove the sins of the world, receive our prayer.

You who sit at the right hand of the Father, have mercy on us.

Quoniam tu solus (Sopranos and tenor) Quoniam tu solus Sanctus.

Tu solus Dominus.

Tu solus Altissimus ...

Because You alone are holy.

You alone are the Lord.

You alone are the highest ...

Jesu Christe – Cum Sancto Spiritu (Chorus) ... Jesu Christe.

Cum Sancto Spiritu in gloria Dei Patris, Amen.

... Jesus Christ.

With the Holy Ghost in the glory of God the Father, Amen.

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London Philharmonic Orchestra • 16 March 2024 • The Gift of Youth

Text & translation Credo Credo in unum Deum (Chorus) Credo in unum Deum Patrem omnipotentem, factorem caeli et terrae, visibilium omnium, et invisibilium.

Et in unum Dominum Jesum Christum, Filium Dei unigenitum, et ex Patre natum ante omnia saecula.

Deum de Deo, lumen de lumine, Deum verum de Deo vero.

Genitum, non factum, consubstantialem Patri: per quem omnia facta sunt.

Qui propter nos homines, et propter nostram salutem descendit de caelis.

I believe in one God, the Almighty Father, maker of heaven and earth, and all things visible and invisible.

And I believe in one Lord Jesus Christ, the only begotton Son of God, and born of the Father before all ages.

God from God, light from light true God from true God. Begotten, not made, of one substance with the Father: by whom all things were made.

Who, for us and for our salvation, descended from the heavens.

Et incarnatus est (Soprano) Et incarnatus est de Spiritu Sancto ex Maria Virgine. Et homo factus est.

And was made flesh by the Holy Ghost from the Virgin Mary, and was made human.

Sanctus (Chorus) Holy, Holy, Holy, Lord God of hosts, the heavens and earth are filled with Your glory.

Hosanna in the highest

Sanctus, Sanctus, Sanctus, Domine Deus Sabaoth, pleni sunt caeli et terra gloria tua.

Osanna in excelsis!

Benedictus (Soloists and chorus) Benedictus qui venit in nomine Domini.

Osanna in excelsis!

Blessed is he who comes in the name of the Lord.

Hosanna in the highest!

Recommended recordings of tonight’s works

by Laurie Watt Mozart: Overture, The Magic Flute Staatskapelle Dresden | Colin Davis (RCA Red Seal) Mozart: Mass in C minor Carolyn Sampson | Olivia Vermeulen | Makoto Sakurada | Christian Immler | Bach Collegium Japan Masaaki Suzuki (BIS)

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London Philharmonic Orchestra • 16 March 2024 • The Gift of Youth

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 CBE Emmanuel & Barrie Roman The Underwood Trust

Welser-Möst Circle William & Alex de Winton John Ireland Charitable Trust The Tsukanov Family Foundation Neil Westreich

Tennstedt Circle Valentina & Dmitry Aksenov Richard Buxton The Candide Trust Michael & Elena Kroupeev Kirby Laing Foundation Mr & Mrs Makharinsky Alexey & Anastasia Reznikovich Sir Simon Robey Bianca & Stuart Roden Simon & Vero Turner The late Mr K Twyman

Solti Patrons Ageas John & Manon Antoniazzi Gabor Beyer, through BTO Management Consulting AG Jon Claydon Mrs Mina Goodman & Miss Suzanne Goodman Roddy & April Gow The Jeniffer & Jonathan Harris Charitable Trust Mr James R.D. Korner Christoph Ladanyi & Dr Sophia Ladanyi-Czernin Robert Markwick & Kasia Robinski The Maurice Marks Charitable Trust

Mr Paris Natar The Rothschild Foundation Tom & Phillis Sharpe The Viney Family

Haitink Patrons Mark & Elizabeth Adams Dr Christopher Aldren Mrs Pauline Baumgartner Lady Jane Berrill Mr Frederick Brittenden David & Yi Yao Buckley Mr Clive Butler Gill & Garf Collins Mr John H Cook Mr Alistair Corbett Bruno De Kegel Georgy Djaparidze David Ellen Christopher Fraser OBE David & Victoria Graham Fuller Goldman Sachs International Mr Gavin Graham Moya Greene Mrs Dorothy Hambleton Tony & Susie Hayes Malcolm Herring Catherine Høgel & Ben Mardle Mrs Philip Kan Rehmet Kassim-Lakha de Morixe Rose & Dudley Leigh Lady Roslyn Marion Lyons Miss Jeanette Martin Duncan Matthews KC Diana & Allan Morgenthau Charitable Trust Dr Karen Morton Mr Roger Phillimore Ruth Rattenbury The Reed Foundation The Rind Foundation Sir Bernard Rix David Ross & Line Forestier (Canada)

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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 • 16 March 2024 • The Gift of Youth

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

The American Friends of the London Philharmonic Orchestra Anonymous donors Mrs Aline Foriel-Destezet Aud Jebsen In memory of Mrs Rita Reay Sir Simon & Lady Robey CBE

Orchestra Circle

William & Alex de Winton Edward Gardner & Sara Övinge Patricia Haitink Catherine Høgel & Ben Mardle Mr & Mrs Philip Kan Neil Westreich

Principal Associates

An anonymous donor Richard Buxton Gill & Garf Collins In memory of Brenda Lyndoe Casbon In memory of Ann Marguerite Collins Irina Gofman & Mr Rodrik V. G. Cave George Ramishvili The Tsukanov Family Mr Florian Wunderlich

Associates

Mrs Irina Andreeva In memory of Len & Edna Beech Steven M. Berzin Sir Nigel Boardman & Prof. Lynda Gratton The Candide Trust John & Sam Dawson HSH Dr Donatus, Prince of Hohenzollern Stuart & Bianca Roden In memory of Hazel Amy Smith

Gold Patrons

David & Yi Buckley In memory of Allner Mavis Channing Sonja Drexler Peter & Fiona Espenhahn Mr B C Fairhall Hamish & Sophie Forsyth Virginia Gabbertas MBE Jenny & Duncan Goldie-Scot Mr Roger Greenwood

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Malcolm Herring Julian & Gill Simmonds Eric Tomsett The Viney Family Guy & Utti Whittaker

Silver Patrons

Dame Colette Bowe David Burke & Valerie Graham Clive & Helena Butler Cameron & Kathryn Doley Ulrike & Benno Engelmann Dmitry & Ekaterina Gursky The Jeniffer & Jonathan Harris Charitable Trust John & Angela Kessler Mrs Elena & Mr Oleg Kolobova Mrs Elizabeth Meshkvicheva Mikhail Noskov & Vasilina Bindley Tom & Phillis Sharpe Mr Joe Topley & Ms Tracey Countryman Andrew & Rosemary Tusa Jenny Watson CBE Laurence Watt

Principal Supporters

Bronze Patrons

Anonymous donors Ralph & Elizabeth Aldwinckle Mr John D Barnard Roger & Clare Barron Dr Anthony Buckland 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 Dr Peter Mace Pippa Mistry-Norman Miss Rebecca Murray Mrs Terry Neale John Nickson & Simon Rew Mr James Pickford Filippo Poli Mr Robert Ross Martin & Cheryl Southgate Mr & Mrs G Stein

Anonymous donors Chris Aldren Michael Allen Mrs A Beare Mr Anthony Blaiklock Lorna & Christopher Bown Mr Bernard Bradbury Simon Burke & Rupert King Desmond & Ruth Cecil Mr John H Cook Deborah Dolce Ms Elena Dubinets David Ellen Cristina & Malcolm Fallen Christopher Fraser OBE Mr Daniel Goldstein David & Jane Gosman Mr Gavin Graham Lord & Lady Hall Mrs Dorothy Hambleton Iain & Alicia Hasnip Eugene & Allison Hayes J Douglas Home Molly Jackson Mrs Farrah Jamal Mr & Mrs Jan Mr & Mrs Ralph Kanza Mr Peter King Jamie & Julia Korner

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Mr Rodney Whittaker 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 In memory of Derek Gray Mr Geordie Greig Mr Peter Imhof The Jackman Family Mr David MacFarlane Paul & Suzanne McKeown Nick Merrifield Simon & Fiona Mortimore Dame Jane Newell DBE Mr David Peters Nicky Small Mr Brian Smith Mr Michael Timinis Mr & Mrs Anthony Trahar Tony & Hilary Vines Dr June Wakefield 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 CBE Mrs Jackie Rosenfeld OBE Timothy Walker CBE AM Laurence Watt

London Philharmonic Orchestra • 16 March 2024 • The Gift of Youth

Thank you

Thomas Beecham Group Members

Trusts and Foundations

German-British Chamber of Industry & Commerce Lazard Natixis Corporate Investment Banking Walpole

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 The Golsoncott Foundation 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 The Lennox Hannay Charitable Trust 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

Preferred Partners

and all others who wish to remain anonymous.

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 CBE 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 Ryze Power

Tutti

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 MBE 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

Jeroboams Lindt & Sprüngli Ltd Neal’s Yard OneWelbeck Sipsmith Steinway

In-kind Sponsor Google Inc

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London Philharmonic Orchestra • 16 March 2024 • The Gift of Youth

London Philharmonic Orchestra Administration Board of Directors Dr Catherine C. Høgel Chair Nigel Boardman Vice-Chair Martin Höhmann* President Mark Vines* Vice-President Emily Benn Kate Birchall* David Burke Michelle Crowe Hernandez Deborah Dolce Elena Dubinets Tanya Joseph Hugh Kluger* Katherine Leek* Minn Majoe* Tania Mazzetti* Jamie Njoku-Goodwin 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 Lena Fankhauser 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 CBE Baroness Shackleton Thomas Sharpe KC Julian Simmonds Barry Smith Martin Southgate

Chris Viney Laurence Watt Elizabeth Winter

Finance

General Administration

Dayse Guilherme Finance Manager

Frances Slack Finance Director

Elena Dubinets Artistic Director

Jean-Paul Ramotar Finance and IT Officer

David Burke Chief Executive Chantelle Vircavs PA to the Executive and Employee Relations Manager

Education and Community Talia Lash Education and Community Director

Concert Management

Lowri Davies Eleanor Jones Education and Community Project Managers

Roanna Gibson Concerts and Planning Director Graham Wood Concerts and Recordings Manager

Hannah Smith Education and Community Co-ordinator

Maddy Clarke Tours Manager

Claudia Clarkson Regional Partnerships Manager

Madeleine Ridout Glyndebourne and Projects 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

Alison Jones Concerts and Recordings Co-ordinator

Development

Charles Russell Speechlys Solicitors

Robert Winup Concerts and Tours Assistant

Laura Willis Development Director

Crowe Clark Whitehill LLP Auditors

Rosie Morden Individual Giving Manager

Dr Barry Grimaldi Honorary Doctor

Siân Jenkins Corporate Relations Manager

Mr Chris Aldren Honorary ENT Surgeon

Anna Quillin Trusts and Foundations Manager

Mr Simon Owen-Johnstone Hon. Orthopaedic Surgeon

Matthew Freeman Recordings Consultant Andrew Chenery Orchestra Personnel Manager Sarah Thomas Martin Sargeson Librarians

Katurah Morrish Development Events Manager

Laura Kitson Stage and Operations Manager

Eleanor Conroy Al Levin Development Co-ordinators

Stephen O’Flaherty Deputy Operations Manager

Nick Jackman Campaigns and Projects Director

Benjamin Wakley Assistant Stage Manager Felix Lo Orchestra and Auditions Manager

Kirstin Peltonen Development Associate

Marketing Kath Trout Marketing and Communications Director Sophie Harvey Marketing Manager

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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 The Music in You design & 2023/24 season identity JMG Studio Printer John Good Ltd