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

Welcome

Welcome to the Southbank Centre

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.

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.

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.

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.

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!

LPO news

Karina Canellakis extends her LPO contract

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.

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.

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!

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.

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

First Violins

Pieter Schoeman* Leader

Chair supported by Neil Westreich

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

On stage tonight

Cellos

Kristina Blaumane Principal

Chair supported by Bianca & Stuart

Roden

Waynne Kwon

David Lale

Francis Bucknall

Sue Sutherley

Helen Thomas

Sibylle Hentschel

Auriol Evans

Double Basses

Sebastian Pennar Principal

George Peniston

Lowri Estell

Adam Wynter

Laura Murphy

Michael Fuller

Flutes

Juliette Bausor Principal

Oliver Roberts

Stewart McIlwham*

Piccolo

Stewart McIlwham* Principal

Oboes

Ian Hardwick* Principal

Alice Munday

Ben Marshall

Clarinets

Benjamin Mellefont* Principal

Chair supported by Sir Nigel Boardman & Prof. Lynda Gratton

Thomas Watmough

Chair supported by Roger Greenwood

Paul Richards*

Bass Clarinet

Paul Richards* Principal

Bassoons

Jonathan Davies* Principal

Chair supported by Sir Simon Robey

Helen Storey

Simon Estell*

Horns

John Ryan* Principal

Martin Hobbs

Gareth Mollison

Duncan Fuller

Trumpets

Paul Beniston* Principal

Tom Nielsen Co-Principal

Anne McAneney*

Trombones

Mark Templeton* Principal

Chair supported by William & Alex de Winton

David Whitehouse

Bass Trombone

Lyndon Meredith Principal

Tuba

Lee Tsarmaklis* Principal

Timpani

Simon Carrington* Principal Chair supported by Victoria Robey CBE

Percussion

Andrew Barclay* Principal Chair supported by Gill & Garf Collins

Matthew Brett

Harp

Sue Blair

Piano/Chamber Organ

Catherine Edwards

Celeste

Philip Moore

Assistant Conductor

Luis Castillo-Briceño

*Professor at a London conservatoire

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

Mr B C Fairhall

Dr Barry Grimaldi

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.

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.

‘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.

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

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.

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.

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.

THE MUSIC IN YOU

2–16 MARCH 2024

lpo.org.uk/themusicinyou

Haydn’s Creation

Saturday 2 March | 7.30pm

Southbank Centre’s Royal Festival Hall

Haydn The Creation

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).

Dance Re-imagined

Wednesday 6 March | 7.30pm

Southbank Centre’s

Royal Festival Hall

Tania León Raíces (Origins) (world premiere)*

Ravel La valse

Wayne McGregor & Ben Cullen Williams

A Body for Harnasie (based on Szymanowski’s Harnasie)**

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. Project partner: Concertgebouw Brugge.

Seven Deadly Sins

Wednesday 13 March 6.30pm & 8.15pm

Battersea Arts Centre

Luís Tinoco Accordion Concerto (UK premiere)

Weill The Seven Deadly Sins

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.

The Gift of Youth

Saturday 16 March | 7.30pm

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.

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

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

Our home is 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.

Sharing the wonder

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

Our conductors

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

Soundtrack to key moments

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

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

© Mark Allan

Next generations

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

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

Looking forward

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

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

Pieter Schoeman Leader

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

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

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

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

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

© Benjamin Ealovega

Edward Gardner

Principal Conductor, London Philharmonic Orchestra

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

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.

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.

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

© Photographer London

Julia Fischer violin

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.

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.

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 Hyesang Park soprano

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.

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.

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

© Bruno Grandi

Nardus Williams

soprano

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.

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.

This is her 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.

Rupert Charlesworth tenor

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

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 his concert debut with the London Philharmonic Orchestra.

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.

© Bertie Watson

© Dan Clarke

Ashley Riches

bass-baritone

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.

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.

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.

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

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.

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

LA MER

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

ROMEO AND JULIET

Friday 22 March 2024 | 7.30pm

Tchaikovsky Romeo Mozart

Prokofiev

Gemma New

Randall Goosby

JÄRVI CONDUCTS BRUCKNER

Saturday 6 April 2024 | 7.30pm Stravinsky

© Debbie Scanlon

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

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.

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.

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

Supported by

Sopranos

Anna-Maria Achilleos

Annette Argent

Tessa Bartley

Hilary Bates

Amy Brewster

Laura Buntine

Emma Butler

Carole Cameron

Olivia Carter

Paula Chessell

Jenni Cresswell

Megan Cunnington

Issy Davies

Jessica Dixon

Kathryn Flood

Rachel Gibbon

Rosie Grigalis

Jane Hanson

Vicki Holdway

Mary Beth Jones

Ashley Jordan

Joy Lee

Martha MacBean

Amanda May

Meg McClure

Harriet Murray

Linda Park

Danielle ReeceGreenhalgh

Danielle Roman

Emma Secher

Holly Shannon

Victoria Smith

Katie Stuffelbeam

Lucy Taylor

Susan Thomas

Rachel Topham

Sarah Walker

Sze Ying Chan

Altos

Susannah Bellingham

Alison Biedron

Sally Brien

Jenny Burdett

Andrei Caracoti

Lara Carim

Noel Chow

Pat Dixon

Sarah Finkemeyer

Kitty Howse

Joanna James

Julia King

Andrea Lane

Ethel Livermore

Lisa MacDonald

Laetitia Malan

Ian Maxwell

Nicola Mooney

Rebecca Morgan

Caroline Morris

Anna Mulroney

Anna Munoz

Rachel Murray

Beth O’Brien

Kathryn O’Leary

Rosie Raikes

Carolyn Saunders

Rima Sereikiene

Annette Strzedulla

Muriel Swijghuisen Reigersberg

Catherine Travers

Tenors

Geir Andreassen

Tim Appleby

Hugh Bennett

Andrew Chavez Kline

Kevin Cheng

Gary Cupido

Robert Geary

Alan Glover

Iain Handyside

David Hoare

Stephen Hodges

James Hopper

Patrick Hughes

Alex Marshall

Daisy Rushton

Christopher Stuart

Callum Sullivan

Don Tallon

Tony Valsamidis

Mikolaj Walczak

Toby Wilson

Basses

Martyn Atkins

Jonathon Bird

Peter Blamire

Nathan Chu

Marcus Daniels

Myrddin Edwards

Ellie Fayle

Ian Fletcher

Dominic Foord

Gary Freer

Ian Frost

Angel Gensen

John Graham

Christopher Harvey

David Hodgson

Rylan Holey

Michael Jenkins

David Kent

Nigel Ledgerwood

Christopher Mackay

Maurice MacSweeney

John D Morris

John G Morris

Will Parsons

Johannes Pieters

Simon Potter

John Salmon

Philip Tait

Geoff Walker

Peter Wood

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.

Programme notes

Daniel Kidane

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”.

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

born 1986

©

Programme notes

Daniel Kidane on Aloud

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.

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.

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.

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.

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.

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!

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.

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:

G loria 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

Programme notes

The text begins on page 19.

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:

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.

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.

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

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.

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.

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’.

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.

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

Programme notes

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 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.

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

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’.

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!’.

Programme note © Richard Bratby

Text & translation

Kyrie (Chorus and soprano)

Kyrie eleison.

Christe eleison.

Kyrie eleison.

Gloria

Gloria in excelsis Deo (Chorus)

Gloria in excelsis Deo.

Et in terra pax hominibus bonae voluntatis.

Laudamus te (Soprano)

Laudamus te

Benedicimus te.

Adoramus te.

Glorificamus te.

Gratias agimus tibi (Chorus)

Gratias agimus tibi propter magnam gloriam tuam.

Domine Deus (Sopranos)

Domine Deus, Rex caelestis, Deus Pater omnipotens.

Domine Fili unigenite, Jesu Christe.

Domine Deus, Agnus Dei, Filius Patris

Qui tollis (Chorus)

Qui tollis peccata mundi, miserere nobis.

Qui tollis peccata mundi, suscipe deprecationem nostram.

Qui sedes ad dexteram Patris, miserere nobis.

Quoniam tu solus (Sopranos and tenor)

Quoniam tu solus Sanctus.

Tu solus Dominus.

Tu solus Altissimus

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

Cum Sancto Spiritu in gloria

Dei Patris, Amen.

Lord, have mercy upon us. Christ, have mercy upon us. Lord, have mercy upon us

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

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

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

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.

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.

Because You alone are holy. You alone are the Lord. You alone are the highest

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

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.

Et incarnatus est (Soprano)

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

Sanctus (Chorus)

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!

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.

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

Holy, Holy, Holy, Lord God of hosts, the heavens and earth are filled with Your glory. Hosanna in the highest

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)

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

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Mrs Philip Kan

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Miss Jeanette Martin

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Charitable Trust

Dr Karen Morton

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The Reed Foundation

The Rind Foundation

Sir Bernard Rix

David Ross & Line Forestier (Canada)

Carolina & Martin Schwab

Dr Brian Smith

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TFS Loans Limited

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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

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

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In memory of Hazel Amy Smith

Gold Patrons

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In memory of Allner Mavis Channing

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Charitable Trust

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Bindley

Tom & Phillis Sharpe

Mr Joe Topley & Ms Tracey Countryman

Andrew & Rosemary Tusa

Jenny Watson CBE

Laurence Watt

Bronze Patrons

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

Rose & Dudley Leigh

Wg. Cdr. & Mrs M T Liddiard OBE

JP RAF

Drs Frank & Gek Lim

Mr & Mrs Makharinsky

Mr Gordon McNair

Andrew T Mills

Denis & Yulia Nagy

Andrew Neill

Jamie Njoku-Goodwin

Peter & Lucy Noble

Oliver & Josie Ogg

Mr Stephen Olton

Simon & Lucy Owen-Johnstone

Andrew & Cindy Peck

Mr Roger Phillimore

Mr Michael Posen

Saskia Roberts

John Romeo

Priscylla Shaw

Mr & Mrs John C Tucker

Mr & Mrs John & Susi Underwood

Karina Varivoda

Grenville & Krysia Williams

Joanna Williams

Principal Supporters

Anonymous donors

Ralph & Elizabeth Aldwinckle

Mr John D Barnard

Roger & Clare Barron

Dr 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

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

Thomas Beecham Group Members

David & Yi Buckley

Gill & Garf Collins

William & Alex de Winton

Sonja Drexler

Mr B C Fairhall

The Friends of the LPO

Roger Greenwood

Dr Barry Grimaldi

Mr & Mrs Philip Kan

John & Angela Kessler

Sir Simon Robey

Victoria Robey 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

German-British Chamber of Industry & Commerce

Lazard

Natixis Corporate Investment Banking

Walpole

Preferred Partners

Jeroboams

Lindt & Sprüngli Ltd

Neal’s Yard

OneWelbeck

Sipsmith

Steinway

In-kind Sponsor

Google Inc

Thank you

Trusts and Foundations

ABO Trust

The Barbara Whatmore Charitable Trust

BlueSpark Foundation

The Boltini Trust

Borrows Charitable Trust

Cockayne – Grants for the Arts

The London Community Foundation

Dunard Fund

Ernst von Siemens Music Foundation

Foyle Foundation

Garrick Charitable Trust

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

and all others who wish to remain anonymous.

Board of the American Friends of the LPO

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

Simon Freakley Chairman

Kara Boyle

Jon Carter

Jay Goffman

Alexandra Jupin

Natalie Pray 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

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

General Administration

Elena Dubinets

Artistic Director

David Burke Chief Executive

Chantelle Vircavs

PA to the Executive and Employee Relations Manager

Concert Management

Roanna Gibson

Concerts and Planning Director

Graham Wood

Concerts and Recordings Manager

Maddy Clarke Tours Manager

Madeleine Ridout

Glyndebourne and Projects Manager

Alison Jones

Concerts and Recordings Co-ordinator

Robert Winup

Concerts and Tours Assistant

Matthew Freeman

Recordings Consultant

Andrew Chenery

Orchestra Personnel Manager

Sarah Thomas

Martin Sargeson Librarians

Laura Kitson

Stage and Operations Manager

Stephen O’Flaherty

Deputy Operations Manager

Benjamin Wakley

Assistant Stage Manager

Felix Lo

Orchestra and Auditions Manager

Finance

Frances Slack Finance Director

Dayse Guilherme Finance Manager

Jean-Paul Ramotar

Finance and IT Officer

Education and Community

Talia Lash

Education and Community Director

Lowri Davies

Eleanor Jones

Education and Community Project Managers

Hannah Smith

Education and Community Co-ordinator

Claudia Clarkson Regional Partnerships Manager

Development

Laura Willis

Development Director

Rosie Morden

Individual Giving Manager

Siân Jenkins

Corporate Relations Manager

Anna Quillin

Trusts and Foundations Manager

Katurah Morrish

Development Events Manager

Eleanor Conroy

Al Levin

Development Co-ordinators

Nick Jackman

Campaigns and Projects Director

Kirstin Peltonen Development Associate

Marketing

Kath Trout

Marketing and Communications Director

Sophie Harvey Marketing Manager

Rachel Williams

Publications Manager

Gavin Miller

Sales and Ticketing Manager

Ruth Haines

Press and PR Manager

Hayley Kim

Residencies and Projects Marketing Manager

Greg Felton

Digital Creative

Alicia Hartley

Digital and Marketing Co-ordinator

Isobel Jones

Marketing Assistant

Archives

Philip Stuart Discographer

Gillian Pole Recordings Archive

Professional Services

Charles Russell Speechlys Solicitors

Crowe Clark Whitehill LLP Auditors

Dr Barry Grimaldi Honorary Doctor

Mr Chris Aldren

Honorary ENT Surgeon

Mr Simon Owen-Johnstone

Hon. Orthopaedic Surgeon

London Philharmonic Orchestra

89 Albert Embankment

London SE1 7TP

Tel: 020 7840 4200

Box Office: 020 7840 4242

Email: admin@lpo.org.uk lpo.org.uk

The Music in You design & 2023/24 season identity

JMG Studio

Printer John Good Ltd