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

Concert programme

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

Southbank Centre’s Royal Festival Hall Wednesday 1 December 2021 | 7.30pm

Poetry and Defiance Beethoven Piano Concerto No. 3 in C minor, Op. 37 (34’) Interval (20’) Shostakovich Symphony No. 10 in E minor (46’) Karina Canellakis conductor Stephen Hough piano With the support of

This concert is dedicated to the memory of Bernard Haitink, LPO Principal Conductor 1967–79.

The timings shown are not precise and are given only as a guide. CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Contents 2 Welcome 3 On stage tonight 4 Bernard Haitink 1929–2021 6 London Philharmonic Orchestra 7 Leader: Pieter Schoeman 8 Karina Canellakis 9 Stephen Hough 10 Programme notes 13 Recommended recordings 14 Shostakovich on the LPO Label 15 Future concerts 17 Sound Futures donors 18 Thank you 20 LPO administration

London Philharmonic Orchestra • 1 December 2021 • Poetry and Defiance

Welcome to the Southbank Centre

Welcome

We hope you enjoy your visit. We have a Duty Manager available at all times. If you need any information or help, please ask a member of staff. Eating, drinking and shopping? Take in the views over food and drinks at the Riverside Terrace Cafe, Level 2, Royal Festival Hall. Visit our shops for products inspired by our great cultural experiences, iconic buildings and central London location. Explore across the site with Beany Green, Côte Brasserie, Foyles, Giraffe, Honest Burger, Las Iguanas, Le Pain Quotidien, Ping Pong, Pret, Strada, Skylon, Slice, Spiritland, wagamama and Wahaca. If you would like to get in touch with us following your visit, please write to: Visitor Contact Team, Southbank Centre, Belvedere Road, London SE1 8XX, or email customer@southbankcentre.co.uk We look forward to seeing you again soon.

A warm welcome to this evening's concert, dedicated to the memory of Bernard Haitink, LPO Principal Conductor 1967–79, who died on 21 October 2021. This concert seems a particularly appropriate tribute, as Shostakovich's symphonies featured frequently in the LPO's concerts during Haitink's tenure, and in 2008 the Orchestra released on its own label a live recording of the Tenth Symphony from the 1986 BBC Proms with him.

A few points to note for your comfort and enjoyment: Photography is not allowed in the auditorium. Latecomers will only be admitted to the auditorium if there is a suitable break in the performance. Recording is not permitted in the auditorium without the prior consent of the Southbank Centre. The Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended.

Tonight's conductor, LPO Principal Guest Conductor Karina Canellakis, was privileged to have enjoyed a direct relationship with Haitink during some of the formative years of her career: ‘I am deeply saddened by the passing of Bernard Haitink, one of the greatest and most inspiring conductors of all time, and also an incredibly generous and kind man. I was lucky enough to play under him as a violinist many times, most unforgettably Bruckner and Mahler symphonies, and then to have the chance to study with him as a conductor in both New York and Lucerne, where he was always warm, supportive and helpful. His musicianship and influence will remain in my heart forever.’

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

Enjoying your visit safely As we continue our 2021/22 LPO season, the health and wellbeing of our audiences, musicians and staff remains our top priority, and all concerts and events will have appropriate safety measures in place in accordance with Government guidelines: the Southbank Centre’s website will be kept up-todate with all the latest information. To find out more, visit southbankcentre.co.uk/visit or speak to a member of Southbank Centre staff.

On pages 4–5 some former and current LPO members share their memories of this most distinguished of conductors, who was much loved and respected by musicians and audiences alike. If you have any memories of Haitink’s concerts that you'd like to share, please do get in touch at admin@lpo.org.uk – we would love to read them.

Out of respect for our staff and visitors, we ask that you continue to wear a face covering inside our venues if you are able to do so. Thank you.

We hope you enjoy tonight's concert.

London Philharmonic Orchestra • 1 December 2021 • Poetry and Defiance

On stage tonight First Violins

Pieter Schoeman* Leader Chair supported by Neil Westreich

Vesselin Gellev Sub-Leader Lasma Taimina Chair supported by Irina Gofman & Mr Rodrik V. G. Cave

Kate Oswin

Chair supported by Friends of the Orchestra

Thomas Eisner Martin Höhmann

Chair supported by Chris Aldren

Katalin Varnagy

Chair supported by Sonja Drexler

Yang Zhang

Chair supported by Eric Tomsett

Tina Gruenberg Greta Mutlu Ronald Long Joseph Devalle Deborah Gruman Non Peters Gabriela Opacka Ricky Gore

Second Violins

Tania Mazzetti Principal Chair supported by Countess Dominique Loredan

Nandor Farkas Emma Oldfield Helena Smart Kate Birchall Fiona Higham

Chair supported by David & Yi Buckley

Ashley Stevens Clarice Curradi Nynke Hijlkema Sioni Williams Joseph Maher Sarah Thornett Lyrit Milgram Nilufar Alimaksumova

Violas

Oboes

David Quiggle Principal Richard Waters Co-Principal Katharine Leek Benedetto Pollani Laura Vallejo Alistair Scahill Daniel Cornford Michelle Bruil Stanislav Popov Shiry Rashkovsky Lucia Ortiz Sauco Raquel Bolivar

Ian Hardwick* Principal Alice Munday Sue Böhling*

Cor Anglais

Sue Böhling* Principal Chair supported by Dr Barry Grimaldi

Clarinets

Benjamin Mellefont Principal Thomas Watmough Paul Richards*

Cellos

E flat Clarinet

Pei-Jee Ng Principal Elisabeth Wiklander David Lale Laura Donoghue Gregory Walmsley Susanna Riddell Helen Rathbone George Hoult Sibylle Hentschel

Thomas Watmough Principal

Chair supported by Roger Greenwood

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 OBE

Percussion

Andrew Barclay* Principal Chair supported by Gill & Garf Collins

Bassoons

Jonathan Davies Principal Chair supported by Sir Simon Robey

Gareth Newman Simon Estell*

Double Basses

Henry Baldwin Co-Principal Keith Millar Jeremy Cornes * Holds a professorial appointment in London

Contrabassoon

Kevin Rundell* Principal Hugh Kluger George Peniston Tom Walley Laura Murphy Lowri Morgan Adam Wynter Colin Paris

Simon Estell* Principal

Horns

John Ryan* Principal Diego Incertis Sánchez Guest Principal

Martin Hobbs Mark Vines Co-Principal Gareth Mollison

Flutes

Juliette Bausor Principal Chair supported by Caroline, Jamie & Zander Sharp

Trumpets

Hannah Grayson Stewart McIlwham*

Paul Beniston* Principal James Fountain* Principal Anne McAneney

Piccolos

Stewart McIlwham* Principal Hannah Grayson

The London Philharmonic Orchestra also acknowledges the following chair supporter whose player is not present at this concert: Bianca & Stuart Roden

London Philharmonic Orchestra • 1 December 2021 • Poetry and Defiance

Bernard Haitink 1929–2021 Tonight's concert is dedicated to the memory of Bernard Haitink, the London Philharmonic Orchestra's Principal Conductor from 1967–79, who died on 21 October 2021 aged 92. As Principal Conductor, Haitink presided over some of the LPO's most memorable and exciting years, enjoying a relationship with the Orchestra that spanned over five decades: one of the greatest partnerships in London’s musical history. This evening some former and current members of the Orchestra share their memories of this most distinguished of conductors, known and respected as much for his modesty and humility as his superlative musicianship.

Rodney Friend MBE FRAM FRCM FRMCM , Leader 1964–76

Christopher Seaman, Principal Timpanist 1964–68

I was Leader of the London Philharmonic Orchestra during the first nine years of Bernard Haitink’s tenure with the LPO, until my appointment as Leader of the New York Philharmonic. With these two orchestras I was privileged to work with the greatest conductors of the second half of the 20th century, and if I were to make a list as to who constantly produced the highest level of uniform orchestral energy and respect, Haitink would without question be first on my list. He received, through his powerful yet modest personality, a clarity and atmosphere of total respect from all the musicians as he expected and received our very best efforts. Rehearsals were free of lectures as he had complete trust in our instrumental level. I missed him very much when I left the LPO – his honesty, modesty, loyalty, friendship and sense of humour – but most of all I missed playing the great literature with him.

Bernard exceeded my highest expectations when I first played for him. The two main works were Mahler's First Symphony and Beethoven's ‘Eroica’. He had a remarkable combination of solidity and artistic flexibility. You felt you could trust him and this brought out the best in all of us. He knew what he wanted and was able to convey it in a collegial manner, but there was no doubt that he was going to get what he wanted! He had great warmth and a quiet sense of humour. I remember at one rehearsal the violins played a passage with great schmaltz. He stopped and said, ‘Please – I am only Dutch!’. As I moved towards conducting, Bernard allowed me to attend his rehearsals in Amsterdam and to meet and answer questions which showed he was an absolute ‘natural’. He was most supportive after I left the LPO and would encourage me if he liked one of my broadcasts. I feel privileged to have known and worked with him and only wish he could have enjoyed a longer retirement.

Haitink and the LPO in rehearsal at the Berlin Festival, 1972

London Philharmonic Orchestra • 1 December 2021 • Poetry and Defiance

David Marcou, 2nd Violin, Chairman, twice Interim Managing Director, then Deputy Managing Director 1967–95 I first played for Bernard in 1967 and count myself extremely fortunate to have known and worked with him for over 50 years. Our relationship, professional and personal, matured slowly. It deepened through my time as LPO Chair and moved to a new level during the Southbank Centre residency negotiations, at the end of which he agreed to become the Orchestra’s President. Bernard’s musical integrity and generosity of spirit is well documented; less publicly celebrated were his kindness, warmth and generous support for individuals away from the podium, something I experienced at first hand.

Michael Boyle, 2nd Bassoon 1962–89 I was in the LPO when Bernard Haitink’s LPO career began in the BBC’s Maida Vale’s Studio No. 1, where the young Dutchman conjured an insightful recording of Bruckner’s Third Symphony with the entire Orchestra breaking into spontaneous applause after the red light went out. Within a few months he was approached to become the next Principal Conductor, and during the following 12 years he transformed the Orchestra’s reputation, with subsequent years at Glyndebourne confirming it before finally becoming its most distinguished guest conductor.

Haitink conducting the LPO at the Lyric Theatre in Baltimore, during the Orchestra’s first ever US tour in 1970 (Photo © Colin Busby)

Thomas Eisner, 1st Violin 1986–present My very first concerts as a new member of the LPO were with Haitink; they were two Proms concerts, one was Ein Heldenleben; the other Shostakovich 10. I recall feeling slightly anxious – having been used to life in the provinces, I was suddenly playing in a world-famous venue, in a big-time orchestra, with a renowned conductor. Starting the Symphony, any angst I had was quickly dispelled by Haitink’s benign smile. I sensed he knew what I was going through; indeed he had a unique ability to make everyone feel essential, and above all needed. He was one of my absolute favourites.

Patrick Garvey, 2nd Horn 1973–85 I was the youngest and least experienced member of the LPO when I joined it, and could feel Bernard’s support through the ether as I learned the repertoire. Playing for him was akin to making chamber music, with everything going up so many levels as he became excited or, in more reflective music, took himself to some other celestial place. It was also the Orchestra’s joy to support him at Glyndebourne as he moved into and developed his work in opera. It was a privilege to be a very tiny part in what he achieved in life.

London Philharmonic Orchestra • 1 December 2021 • Poetry and Defiance

London Philharmonic Orchestra

the Orchestra takes up its annual residency at Glyndebourne Festival Opera, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra.

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

The London Philharmonic Orchestra has recorded many blockbuster film scores, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 100 releases available on CD and to download. Recent highlights include Shostakovich’s Symphony No. 11 and Mahler’s Symphony No. 8 under Vladimir Jurowski, and a commemorative box set of historic recordings with former Principal Conductor Sir Adrian Boult.

The Orchestra was founded by Sir Thomas Beecham in 1932, and has since been headed by many great conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. In September 2021 Edward Gardner became the Orchestra’s Principal Conductor, succeeding Vladimir Jurowski, who became Conductor Emeritus in recognition of his transformative impact on the Orchestra as Principal Conductor from 2007–21. Karina Canellakis is the Orchestra’s current Principal Guest Conductor and Brett Dean is the Orchestra’s current Composer-in-Residence.

In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Music Award for Ensemble.

The Orchestra is resident at the Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. It also enjoys flourishing residencies in Brighton, Eastbourne and Saffron Walden, and performs regularly around the UK. Each summer

London Philharmonic Orchestra • 1 December 2021 • Poetry and Defiance

Pieter Schoeman

The London Philharmonic Orchestra is committed to inspiring the next generation of musicians, and recently celebrated the 30th anniversary of its Education and Community department, whose work over three decades has introduced so many people of all ages to orchestral music and created opportunities for people of all backgrounds to fulfil their creative potential. Its dynamic and wide-ranging programme provides first musical experiences for children and families; offers creative projects and professional development opportunities for schools and teachers; inspires talented teenage instrumentalists to progress their skills; and develops the next generation of professional musicians. The Orchestra’s work at the forefront of digital technology has enabled it to reach millions of people worldwide. Over the pandemic period the LPO further developed its relationship with UK and international audiences through its ‘LPOnline’ digital content: over 100 videos of performances, insights, and introductions to playlists, which collectively received over 3 million views worldwide and led to the LPO being named runner-up in the Digital Classical Music Awards 2020. From Autumn 2020 the Orchestra was delighted to be able to return to its Southbank Centre home to perform a season of concerts filmed live and streamed free of charge via Marquee TV.

Leader

Pieter Schoeman was appointed Leader of the London Philharmonic Orchestra in 2008, having previously been Co-Leader since 2002. He is also a Professor of Violin at Trinity Laban Conservatoire of Music & Dance. Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and London’s Royal Festival Hall. As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. His chamber music partners have included Anne-Sophie Mutter, Veronika Eberle, Patricia Kopatchinskaja, Boris Garlitsky, JeanGuihen Queyras, Yannick Nézet-Séguin and Martin Helmchen.

September 2021 saw the opening of a new live concert season at the Royal Festival Hall, featuring many of the world’s leading musicians including Sheku KannehMason, Klaus Mäkelä, Renée Fleming, Bryn Terfel and this season’s Artist-in-Residence, Julia Fischer. The Orchestra is delighted to be continuing to offer digital streams to selected concerts throughout the season through its ongoing partnership with Intersection and Marquee TV.

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

lpo.org.uk

Pieter has appeared as Guest Leader with the BBC, Barcelona, Bordeaux, Lyon and Baltimore symphony orchestras, and the Rotterdam and BBC Philharmonic orchestras. Pieter’s chair in the LPO is generously supported by Neil Westreich.

London Philharmonic Orchestra • 1 December 2021 • Poetry and Defiance

Karina Canellakis Principal Guest Conductor, London Philharmonic Orchestra

Symphony at the Bregenzer Festspiele in the third act of Wagner’s Siegfried. In the past few seasons she has conducted critically acclaimed productions of Mozart’s Don Giovanni, Die Zauberflöte and Le nozze di Figaro, David Lang’s the loser and Peter Maxwell Davies’s The Hogboon.

Since winning the Sir Georg Solti Conducting Award in 2016, Karina has become a guest conductor with leading orchestras around the world including the London Symphony Orchestra, Philadelphia Orchestra, NDR Elbphilharmonie Orchestra, Orchestre Symphonique de Montréal, and the symphony orchestras of Melbourne, Sydney, Toronto, Cincinnati, Minnesota and Detroit. She made an immediate impact on the players of the LPO when she made her debut with them in October 2018 in a concert of Sibelius, Dvořák and Bartók at the Royal Festival Hall. Karina was the first woman to conduct the First Night of the BBC Proms in 2019, with the BBC Symphony Orchestra. She was also the first woman to ever conduct the Nobel Prize Concert with the Royal Stockholm Philharmonic in 2018.

Karina Canellakis became the London Philharmonic Orchestra’s Principal Guest Conductor in September 2020. Internationally acclaimed for her emotionally charged performances, technical command and interpretive depth, Karina has become one of the most in-demand conductors of her generation. She is also Chief Conductor of the Netherlands Radio Philharmonic Orchestra and Principal Guest Conductor of the Rundfunk-Sinfonieorchester Berlin (RSB).

Already known to many in the classical music world for her virtuoso violin playing, Karina was initially encouraged to pursue conducting by Sir Simon Rattle while she was playing regularly in the Berlin Philharmonic for two years as a member of its Orchester-Akademie. She performed for many years as a soloist, guest leader and chamber musician, spending her summers at the Marlboro Music Festival, until conducting eventually became her focus. Karina was born and raised in New York City.

The 2021/22 season includes concerts with some of the finest European and US orchestras, including her debuts with the Gewandhausorchester Leipzig, the Chicago Symphony Orchestra and the HR-Sinfonieorchester (Frankfurt Radio), and returns to the Bavarian Radio Symphony Orchestra, Los Angeles Philharmonic, San Francisco Symphony and Orchestre de Paris. During summer 2021 she made debuts with the Boston Symphony at Tanglewood, the Cleveland Orchestra at the Blossom Festival and the Orchestre National de France at the St Denis Festival, and performed Beethoven’s Symphony No. 9 with the Vienna Symphony as the culminating performance of ‘Nine Beethoven Symphonies from nine European cities’ live on the TV channel ARTE.

Karina returns to the London Philharmonic Orchestra for two further concerts at the Royal Festival Hall this season: see page 15 for details.

On the operatic stage this season, Karina will conduct a new production of Tchaikovsky’s Eugene Onegin at the Théâtre des Champs-Élysées with the Orchestre National de France. She enjoys conducting opera-inconcert and will lead the Netherlands Radio Orchestra at the Concertgebouw in Janáček’s Kát’a Kabanová, the Royal Stockholm Philharmonic in the second act of Wagner’s Tristan und Isolde, and the Vienna

London Philharmonic Orchestra • 1 December 2021 • Poetry and Defiance

Stephen Hough piano

earlier that year. Recital highlights in 2021/22 include a return to the Royal Festival Hall, as well as Caramoor, Toronto, Tallinn, Gstaad, and Manchester’s Bridgewater Hall.

Hough’s extensive discography of around 70 CDs has garnered international awards including the Diapason d’Or de l’Année, several Grammy nominations, and eight Gramophone Awards including Record of the Year and the Gold Disc. Recent releases include Beethoven’s complete piano concertos (with the Finnish Radio Symphony Orchestra under Hannu Lintu), ’The Final Piano Pieces’ of Brahms, a Schumann recital, and Elgar’s Violin Sonata with Renaud Capuçon (for Warner Classics). Forthcoming releases include the complete Chopin Nocturnes and the Brahms Clarinet Sonatas with Michael Collins. His award-winning iPad app, ‘The Liszt Sonata’, was released by Touch Press in 2013.

Named by The Economist as one of ‘Twenty Living Polymaths’, Stephen Hough combines a distinguished career as a pianist with those of composer and writer. He was the first classical performer to be awarded a MacArthur Fellowship and was made a Commander of the Order of the British Empire (CBE) in the New Year’s Honours 2014.

As a composer, Stephen Hough’s String Quartet No. 1, Les Six Rencontres, commissioned for the Takács Quartet, will receive its world premiere later this month, followed by a recording for Hyperion Records and the European premiere in January 2022 at Wigmore Hall. Stephen has also written the commissioned work for the 2022 Van Cliburn International Piano Competition, to be performed by all 30 competitors. He has been commissioned by the Musée du Louvre, London’s National Gallery, Westminster Abbey, Westminster Cathedral, the Genesis Foundation, Gilmore International Keyboard Festival, the Walter W. Naumburg Foundation, the Cliburn Foundation, the Orquesta Sinfónica de Euskadi and the Berlin Philharmonic Wind Quintet.

This season Stephen will perform with the Royal Concertgebouw Orchestra, the Orchestre National de France, the BBC Symphony Orchestra, the Royal Liverpool Philharmonic Orchestra, the Dallas and Atlanta Symphony orchestras, the Dortmund Philharmonic, and the Tonkünstler-Orchester Niederösterreich. He is the BBC Philharmonic’s 2021/22 Artist-in-Residence, and in spring 2022 returns to the Far East to perform with the China Philharmonic, Guangzhou Symphony and Singapore Symphony orchestras. Recent concerto highlights include the New York Philharmonic, Minnesota Symphony, Toronto Symphony, Vienna Symphony, Finnish Radio Symphony, City of Birmingham Symphony, Philharmonia and Royal Philharmonic orchestras. Stephen’s last appearance with the London Philharmonic Orchestra was in May 2021, when he performed Brahms’s Piano Concerto No. 1 in an online concert streamed from the Royal Festival Hall on Marquee TV.

As an author, Stephen’s collection of essays Rough Ideas: Reflections on Music and More, published by Faber & Faber in 2019, won a 2020 Royal Philharmonic Society Award and was named one of The Financial Times’s Books of the Year 2019. His first novel, The Final Retreat, was published by Sylph Editions in 2018. He has been published by The New York Times, The Telegraph, The Times, The Guardian and the Evening Standard. He is an Honorary Bencher of the Middle Temple; an Honorary Member of the Royal Philharmonic Society; a Visiting Fellow at Lady Margaret Hall, Oxford; a Visiting Professor at the Royal Academy of Music; the International Chair of Piano Studies at the Royal Northern College of Music (of which he was made a Companion in 2019), and is on the faculty of The Juilliard School in New York.

Stephen Hough is a regular guest at festivals such as Salzburg, Mostly Mozart, Edinburgh, La Roqued’Anthéron, Aldeburgh, and the BBC Proms, where he made his 29th appearance in 2020 with the BBC Scottish Symphony Orchestra. In June 2020 he returned to Wigmore Hall to give the UK’s first live classical music concert in a major venue since the nationwide lockdown

London Philharmonic Orchestra • 1 December 2021 • Poetry and Defiance

Programme notes Ludwig van Beethoven 1770–1827

Piano Concerto No. 3 in C minor, Op. 37 1800 Stephen Hough piano 1 Allegro con brio 2 Largo 3 Rondo: Allegro As turning points go, this one was big. While some ideas in Beethoven’s Third Piano Concerto date from the late 1790s, the piece – completed in 1800 – is effectively his first large-scale orchestral creation of the 19th century. More significant than the calendar date, however, was the Concerto’s timing in the composer’s own life journey. Beethoven was at work on the piece as he began to realise that the problems with his hearing weren’t going to improve; that they were, in fact, likely to develop into complete deafness. That realisation had a cataclysmic effect on Beethoven as a person and shot entirely new sentiments and concepts into his music, starting with this piece. One of the most obvious implications of the composerpianist’s impending deafness – one he knew about all too well – was his potential inability to perform and improvise on stage with an orchestra. The soloist’s part in the Third Concerto, therefore, is that bit more defined. The pianist takes on a noticeably more individual, imposing and energetic role. Cadenzas (the passages in which the soloist would traditionally improvise to demonstrate prowess) are written out in full: instructions for future pianists to obey to the letter long after Beethoven himself could no longer issue demonstration performances. The pianist’s more controlling role is also felt in the first movement’s coda, its ‘last word’. Here, Beethoven’s

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

London Philharmonic Orchestra • 1 December 2021 • Poetry and Defiance

Programme notes solo piano joins the orchestra, a strikingly presumptuous act with only one tentative precedent, in a concerto by Mozart. In fact, Mozart’s K491 Concerto looms over many aspects of Beethoven’s Third – its key, the first movement shape and the use of themes built on ‘thirds’, to name but a few. But the feelings of heroic conflict and tension in this piece are entirely new. In Beethoven’s Concerto, the piano initiates a stand-off against the orchestra in a manner unusual even for this composer. Major keys tussle with minor ones throughout the opening Allegro. In the slow movement, Beethoven reaches for expressive tools that can only be described, in aesthetic terms, as Romantic. The key (E major) is radiant but, together with its G major successor, quite distant from the C minor ‘home’ key. Moreover, the meditative qualities of the movement’s main ideas conjure a picture of Beethoven clinging on dearly to the music’s beauty as if he knew he’d soon not be able to hear at all.

Have you checked out our LPO podcast, LPO Offstage yet? Now in its third series, each weekly episode takes a look at a different aspect of behind-the-scenes life in the LPO, bringing you closer than ever to the world of orchestral music. Hosted by MOBO Award-winning saxophonist and presenter YolanDa Brown, in conversation with LPO musicians and staff.

The composer does his listeners the service, though, of sending them out with a gregarious final movement. Impish and witty this may sound, but its main theme, stated initially by the piano and immediately thereafter by the oboe, clarinet and horn, actually stretches to a whole eight bars, making it the longest Beethoven used in any of his concertos. That feels appropriate for a concerto longer than any that had gone before it, one that unequivocally heralds one of music history’s most potent revolutions.

Find LPO Offstage free on Apple Podcasts, Spotify, Acast, or wherever you listen. lpo.org.uk/podcast

• Highly commended in the 2020 Digital Classical Music Awards

Programme note © Andrew Mellor

• The Sunday Times ‘Pick of the Best Podcasts’

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

YolanDa Brown

London Philharmonic Orchestra • 1 December 2021 • Poetry and Defiance

Programme notes Dmitri Shostakovich 1906–75

Symphony No. 10 in E minor 1953

1 Moderato 2 Allegro 3 Allegretto 4 Andante – Allegro Interpreting the ‘meaning’ of a Shostakovich symphony can be as hard today as it was for the Party officials whose job it was to determine the fitness of new works for public consumption in Stalin’s Russia. Shostakovich himself often left conflicting, perhaps deliberately obfuscatory accounts of what he meant to express. This isn’t surprising, in view of the two great savagings he received in the course of his career at the hands of the Soviet musical establishment, the first over his opera Lady Macbeth of Mtsensk in 1936, and the second a more general one in 1948 for not joining in the postwar victory celebrations with quite enough ideological zeal. (The wilfully frivolous character of the Ninth Symphony of 1945 can hardly have helped.) Shostakovich drew in his horns after that, keeping challenging works such as the First Violin Concerto private and showing his face in public mainly with film scores and patriotic cantatas.

depravity … an erroneous solution to the basic problems of life’ was one typical example. So while Shostakovich has been quoted as saying in later life that the Tenth was ‘about Stalin and the Stalin years’ (following on from an earlier characterisation of the Soviet leader as ‘a frog puffing himself up to the size of an ox’), his ‘official’ description of it at the time claimed nothing more than that he ‘wished to convey human feelings and emotions’. Yet if that was an explanation that risked little, there is no such ingenuous caution in the music itself. The Tenth is one of the major symphonies of the 20th century, for its architectural assurance and masterful balance of contrast and cohesion, but also for its emotional strength and honesty. It may ultimately be a work that mixes hope and uncertainty in the face of a new era, but a work of equivocation it is not. The first movement is the longest by far, a magnificent sonata structure built on two principal themes – the brooding, long-limbed one heard at the outset on low strings, and the cautiously lilting melody announced by solo flute. The central development section begins with a subterranean return of the first theme on bassoons, and, with the help of martial percussion, drives to a massive climax. After this the music subsides to a clarinet-duo restatement of the second theme that is then taken up by the strings before progressing to a calm coda based on the material of the opening.

There is evidence that he had begun sketching ideas for the Tenth as early as 1946, but the death of Stalin in March 1953 seems to have been the spur for work to begin on it in earnest the following month. Stalin’s passing clearly brought a sense of optimism and release for the composer, but only up to a point. It must have been difficult to know which way things would turn even in this new era of ‘thaw’, and certainly when the Symphony was premiered in Leningrad in December 1953, the critics were not ready yet to give up their politically trimmed opinions – ‘ideological

London Philharmonic Orchestra • 1 December 2021 • Poetry and Defiance

Programme notes In the book Testimony, Shostakovich described the second movement as ‘a musical portrait of Stalin, roughly speaking’, and the image is a believable one. As brief as the first movement was long, it is a biting and terrifying scherzo that screeches brutality and violence, enclosing within it a grotesquely strutting central section. The third movement is the most distinctive and structurally original of the four. The scale of the first movement has not left room for another full-blown slow one, so Shostakovich writes a medium-paced, dancelike intermezzo in which a coyly playful opening theme interacts with two musical cryptograms, each with a direct personal significance. The first is a motif based on the notes D–E flat–C–B: in German nomenclature D–S–C–H, representing the composer himself as D SCHostakovich. It is a musical monogram that Shostakovich made frequent use of in his later works, and here it has a curiously oriental flavour whose apparent lightheartedness is undermined by the fact that it heralds a crawling reminiscence of the Symphony’s opening bars. The other theme, repeatedly interposing itself enigmatically on the music’s progress, is a horn-call based on note-names (E–A–E–D–A) derived from the name of a young composer Elmira Nazirova, a young pianist, composer and former student who was the object of Shostakovich’s intense affections throughout the summer of 1953. The movement ends, however, with DSCH piped out in indecisive suspension.

Dmitri Shostakovich

The Andante opening of the finale recalls the atmosphere of the start of the symphony, but after unfolding wind solos have hinted at a Mahlerian reawakening, the music suddenly bursts into life. The mood now seems to have all the potential for a triumphant major-key ending, but there are constant hindrances to full release in the form of worrying reminiscences of the scherzo, further shadows and a few satirical grotesques. Following a fearful unison statement, the DSCH motto gathers in influence as the end approaches, finally being banged out frantically on timpani in the last pages. Is everything right with the world now? As so often with Shostakovich, the answer is not that simple.

Recommended recordings of tonight’s works by Laurie Watt Beethoven: Piano Concerto No. 3 Stephen Hough | Finnish Radio Symphony Orchestra | Hannu Lintu (Hyperion) Shostakovich: Symphony No. 10 London Philharmonic Orchestra | Bernard Haitink (LPO Label LPO-0034: see overleaf)

Programme note © Lindsay Kemp

London Philharmonic Orchestra • 1 December 2021 • Poetry and Defiance

More Shostakovich with the LPO this season

On the LPO Label

Wednesday 8 December 2021 Royal Festival Hall Shostakovich Violin Concerto No. 1 Brett Dean Notturno inquieto (Rivisitato) (world premiere of new version) Rachmaninoff Symphony No. 3 Vladimir Jurowski conductor Leonidas Kavakos violin Generously supported by Victoria Robey OBE

Friday 14 January 2022 Royal Festival Hall

Shostakovich Symphony No. 10

Barber Symphony No. 1 Shostakovich Cello Concerto No. 1 Brahms Symphony No. 4

Bernard Haitink conductor London Philharmonic Orchestra £9.99 | LPO–0034

Marin Alsop conductor Kian Soltani cello

Recorded by BBC Radio 3 live at the BBC Proms at London’s Royal Albert Hall on 28 August 1986.

Wednesday 19 January 2022 Royal Festival Hall Victoria Borisova-Ollas The Kingdom of Silence Shostakovich Violin Concerto No. 2 Tchaikovsky Symphony No. 4

‘Bernard Haitink, who is known for his special affinity with Shostakovich, presents a gripping interpretation of his Tenth. Compelling from the outset, Haitink drives it to a heady climax.’

Karina Canellakis conductor Christian Tetzlaff violin With the support of

Sunday 6 February 2022 Queen Elizabeth Hall

The Northern Echo

Shostakovich Two Pieces for String Octet Bruch Octet for Strings Dvořák Piano Quintet No. 2

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

Julia Fischer violin & piano Soloists of the London Philharmonic Orchestra

Book online at lpo.org.uk or call 020 7840 4242

Karina Canellakis Next concerts with the LPO’s Principal Guest Conductor

Wednesday 19 January 2022 Raw Emotion, Endless Peace

Saturday 22 January 2022 Poems of Ecstasy

Victoria Borisova-Ollas The Kingdom of Silence Shostakovich Violin Concerto No. 2 Tchaikovsky Symphony No. 4

Wagner Tristan und Isolde: Prelude & Liebestod Ravel Piano Concerto for the Left Hand L Boulanger D'un soir triste Scriabin Symphony No. 4 (The Poem of Ecstasy)

Karina Canellakis conductor Christian Tetzlaff violin With the support of

Karina Canellakis conductor Cédric Tiberghien piano Generously supported by Victoria Robey OBE

Book online at lpo.org.uk

London Philharmonic Orchestra • 1 December 2021 • Poetry and Defiance

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London Philharmonic Orchestra • 1 December 2021 • Poetry and Defiance

Sound Futures donors We are grateful to the following donors for their generous contributions to our Sound Futures campaign. Thanks to their support, we successfully raised £1 million by 30 April 2015 which has now been matched pound for pound by Arts Council England through a Catalyst Endowment grant. This has enabled us to create a £2 million endowment fund supporting special artistic projects, creative programming and education work with key venue partners including our Southbank Centre home. Supporters listed below donated £500 or over. For a full list of those who have given to this campaign please visit lpo.org.uk/soundfutures.

Masur Circle Arts Council England Dunard Fund Victoria Robey OBE Emmanuel & Barrie Roman The Underwood Trust

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

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

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

The Maurice Marks Charitable Trust Mr Paris Natar The Rothschild Foundation Tom & Phillis Sharpe The Viney Family

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

David Ross & Line Forestier (Canada) Carolina & Martin Schwab Dr Brian Smith Lady Valerie Solti Mr & Mrs G Stein Dr Peter Stephenson Miss Anne Stoddart TFS Loans Limited Marina Vaizey Jenny Watson Guy & Utti Whittaker

Pritchard Donors Ralph & Elizabeth Aldwinckle Mrs Arlene Beare Mr Patrick & Mrs Joan Benner Mr Conrad Blakey Dr Anthony Buckland Paul Collins Alastair Crawford Mr Derek B. Gray Mr Roger Greenwood The HA.SH Foundation Darren & Jennifer Holmes Honeymead Arts Trust Mr Geoffrey Kirkham Drs Frank & Gek Lim Peter Mace Mr & Mrs David Malpas Dr David McGibney Michael & Patricia McLaren-Turner Mr & Mrs Andrew Neill Mr Christopher Querée The Rosalyn & Nicholas Springer Charitable Trust Timothy Walker CBE AM Christopher Williams Peter Wilson Smith Mr Anthony Yolland and all other donors who wish to remain anonymous

London Philharmonic Orchestra • 1 December 2021 • Poetry and Defiance

Thank you We are extremely grateful to all donors who have given generously to the LPO over the past year. Your generosity helps maintain the breadth and depth of the LPO’s activities, as well as supporting the Orchestra both on and off the concert platform.

Artistic Director’s Circle Anonymous donors Mrs Aline Foriel-Destezet Mrs Christina Lang Assael In memory of Mrs Rita Reay Sir Simon & Lady Robey OBE

Orchestra Circle

The Candide Trust William & Alex de Winton Aud Jebsen Mr & Mrs Philip Kan Neil Westreich The American Friends of the London Philharmonic Orchestra

Principal Associates

An anonymous donor Richard Buxton Gill & Garf Collins In memory of Brenda Lyndoe Casbon In memory of Ann Marguerite Collins Hamish & Sophie Forsyth The Tsukanov Family

Associates

Anonymous donors Steven M. Berzin Ms Veronika BorovikKhilchevskaya Irina Gofman & Mr Rodrik V. G. Cave The Lambert Family Charitable Trust Countess Dominique Loredan Mr & Mrs Makharinsky George Ramishvili Stuart & Bianca Roden Julian & Gill Simmonds In memory of Hazel Amy Smith Deanie & Jay Stein

Gold Patrons

An anonymous donor Chris Aldren David & Yi Buckley David Burke & Valerie Graham David & Elizabeth Challen In memory of Allner Mavis Channing Sonja Drexler The Vernon Ellis Foundation Peter & Fiona Espenhahn Marie-Laure Favre-Gilly de Varennes de Beuill Mr Roger Greenwood

Nicholas & Felicity Lyons Geoff & Meg Mann Harriet & Michael Maunsell Marianne Parsons Dr Wiebke Pekrull Mr Gerald Pettit Mr Roger Phillimore Gillian Pole Mr Michael Posen Mr Christopher Querée Sir Bernard Rix Mr Robert Ross Priscylla Shaw Patrick & Belinda Snowball Charlotte Stevenson Mr Robert Swannell Tony & Hilary Vines Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Marina Vaizey Jenny Watson CBE Mr John Weekes Christopher Williams

Malcolm Herring John & Angela Kessler Dame Theresa Sackler Scott & Kathleen Simpson Eric Tomsett Andrew & Rosemary Tusa The Viney Family Guy & Utti Whittaker

Silver Patrons

Mrs A Beare The Rt Hon. The Lord Burns GCB Bruno De Kegel Jan & Leni Du Plessis Ulrike & Benno Engelmann Simon & Meg Freakley Pehr G Gyllenhammar The Jeniffer & Jonathan Harris Charitable Trust Catherine Høgel & Ben Mardle Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Sofiya Machulskaya Mrs Elizabeth Meshkvicheva The Metherell Family Andrew Neill Peter & Lucy Noble Marianne Parsons Tom & Phillis Sharpe Laurence Watt Grenville & Krysia Williams

Principal Supporters

Anonymous donors Dr R M Aickin Mr Mark Astaire Sir John Baker Tessa Bartley Mr Geoffrey Bateman Mrs Julia Beine Mr Anthony Boswood Dr Carlos Carreno Mr Julien Chilcott-Monk Mr & Mrs Stewart Cohen David & Liz Conway Mr Alistair Corbett Andrew Davenport Mr Simon Douglas Mr Richard Fernyhough Mrs Janet Flynn Mrs Ash Frisby Mr Stephen Goldring Mr Daniel Goldstein Mr Milton Grundy Prof. Emeritus John Gruzelier Nerissa Guest & David Foreman Michael & Christine Henry Mark & Sarah Holford Ivan Hurry Per Jonsson Alexandra Jupin & John Bean Richard & Briony Linsell Paul & Brigitta Lock Mr Peter Mace Nicholas & Lindsay Merriman Andrew T Mills Simon & Fiona Mortimore John Nickson & Simon Rew Mr James Pickford

Bronze Patrons

Anonymous donors Michael Allen Dr Manon Antoniazzi Julian & Annette Armstrong Roger & Clare Barron Mr Philip Bathard-Smith Sir Peter Bazalgette Mikhail Noskov & Vasilina Bindley Mr Bernard Bradbury Sally Bridgeland In memory of Julie Bromley Desmond & Ruth Cecil Mr John H Cook Howard & Veronika Covington John & Sam Dawson Cameron & Kathryn Doley David Ellen Christopher Fraser OBE Virginia Gabbertas MBE David & Jane Gosman Mr Gavin Graham Mrs Dorothy Hambleton J Douglas Home The Jackman Family Jamie & Julia Korner Rose & Dudley Leigh Drs Frank & Gek Lim

Michael & Carolyn Portillo Mr David Russell Colin Senneck & the Hartley and District LPO Group Nigel Silby Mr Brian Smith Martin & Cheryl Southgate Mr & Mrs G Stein Dr Peter Stephenson Mr Ian Tegner Dr June Wakefield Howard & Sheelagh Watson Roger Woodhouse Mr John Wright

Supporters

Anonymous donors Ralph & Elizabeth Aldwinckle Alexander & Rachel Antelme Julian & Annette Armstrong Lindsay Badenoch Mr Mark Bagshaw & Mr Ian Walker Mr John Barnard Mr John D Barnard Damaris, Richard & Friends Mr David Barrett Diana Barrett Mr Simon Baynham Nick & Rebecca Beresford Mr Paul Bland Mr Keith Bolderson Mr Andrew Botterill Julian & Margaret Bowden & Mr Paul Michel Richard & Jo Brass Mr & Mrs Shaun Brown Mr Alan C Butler Lady Cecilia Cadbury Mrs Marilyn Casford Alison Clarke & Leo Pilkington J Clay Mr Joshua Coger Mr Martin Compton Mr Martin Connelly Mr Stephen Connock Miss Tessa Cowie Mr David Davies Mr Roderick Davies Mr David Devons Anthony & Jo Diamond Miss Sylvia Dowle Mr Andrew Dyke Mr Declan Eardly Mrs Maureen Erskine Mr Peter Faulk Mr Joe Field Ms Chrisine Louise Fluker Mr Kevin Fogarty Mr Richard France Mr Bernard Freudenthal

London Philharmonic Orchestra • 1 December 2021 • Poetry and Defiance

Thank you

Mrs Adele Friedland & Friends Will Gold Mrs Alison Goulter Mr Andrew Gunn Mr K Haines Mr Martin Hale Roger Hampson Mr Graham Hart Mr & Mrs Nevile Henderson The Jackman Family Mr Ian Kapur Martin Kettle Mr Justin Kitson Ms Yvonne Lock Mrs Sally Manning Belinda Miles Dr Joe Mooney Christopher & Diane Morcom Dame Jane Newell DBE Oliver & Josie Ogg Mr Stephen Olton Mr David Peters Nadya Powell Ms Caroline Priday Mr Richard Rolls Mr Richard Rowland Mr & Mrs Alan Senior Tom Sharpe Mr Kenneth Shaw Ruth Silvestre Barry & Gillian Smith Mr David Southern Ms Mary Stacey Mr Simon Starr Mrs Margaret Thompson Philip & Katie Thonemann Mr Owen Toller Mrs Rose Tremain Ms Mary Stacey Ms Caroline Tate Mr Peter Thierfeldt Dr Ann Turrall Michael & Katie Urmston Dr June Wakefield Mr Dominic Wallis Mrs C Willaims Joanna Williams Mr Kevin Willmering Mr David Woodhead

LPO International Board of Governors

Hon. Benefactor

Simon Freakley Chairman Jay Goffman Alexandra Jupin William A. Kerr Kristina McPhee Natalie Pray Damien Vanderwilt Elizabeth Winter Victoria Robey OBE Hon. Director Jenifer L. Keiser, CPA, EisnerAmper LLP

Elliott Bernerd

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

Corporate Donors

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

Natasha Tsukanova Chair Steven M. Berzin (USA) Veronika Borovik-Khilchevskaya (Cyprus) Marie-Laure Favre Gilly de Varennes de Bueil (France) Aline Foriel-Destezet (France) Irina Gofman (Russia) Countess Dominique Loredan (Italy) Olivia Ma (Greater China Area) Olga Makharinsky (Russia) George Ramishvili (Georgia) Victoria Robey OBE (USA) Jay Stein (USA)

LPO Corporate Circle Leader freuds Sunshine

Principal Berenberg Bloomberg Carter-Ruck French Chamber of Commerce

Thomas Beecham Group Members

Tutti Lazard Russo-British Chamber of Commerce Walpole

Chris Aldren David & Yi Buckley Gill & Garf Collins William & Alex de Winton Sonja Drexler The Friends of the LPO Irina Gofman Roger Greenwood Dr Barry Grimaldi Mr & Mrs Philip Kan John & Angela Kessler Countess Dominique Loredan Sir Simon Robey Victoria Robey OBE Bianca & Stuart Roden Caroline, Jamie & Zander Sharp Julian & Gill Simmonds Eric Tomsett Neil Westreich Guy & Utti Whittaker

Trialist Allianz Musical Insurance

Preferred Partners Gusbourne Estate Lidl Lindt & Sprüngli Ltd OneWelbeck Steinway

In-kind Sponsor Google Inc

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

Trusts and Foundations The Boltini Trust Borrows Charitable Trust Boshier-Hinton Foundation The Candide Trust Cockayne – Grants for the Arts The London Community Foundation The David Solomons Charitable Trust The D’Oyly Carte Charitable Trust Dunard Fund Ernst von Siemens Music Foundation The Fidelio Charitable Trust Foyle Foundation Garrick Charitable Trust The Leche Trust Lucille Graham Trust John Horniman’s Children’s Trust John Thaw Foundation The Idlewild Trust Kirby Laing Foundation The Marchus Trust Adam Mickiewicz Institute PRS Foundation The Radcliffe Trust Rivers Foundation The R K Charitable Trust Romanian Cultural Institute Rothschild Foundation RVW Trust Schroder Charity Trust Serge Rachmaninoff Foundation Sir William Boreman’s Foundation Souter Charitable Trust The Stanley Picker Trust The Thomas Deane Trust The Thriplow Charitable Trust The Vaughan Williams Charitable Trust The Victoria Wood Foundation The Viney Family The Barbara Whatmore Charitable Trust The William Alwyn Foundation

and all others who wish to remain anonymous. The LPO would also like to acknowledge all those who have made donations to the Play On Appeal and who have supported the Orchestra during the COVID-19 pandemic.

London Philharmonic Orchestra • 1 December 2021 • Poetry and Defiance

London Philharmonic Orchestra Administration Board of Directors Victoria Robey OBE Chairman Martin Höhmann* President Dr Catherine C. Høgel Vice-Chairman Henry Baldwin* Vice-President Kate Birchall* David Buckley David Burke Bruno De Kegel Deborah Dolce Tanya Joseph Hugh Kluger* Al MacCuish Tania Mazzetti* Stewart McIlwham* Jamie Njoku-Goodwin Andrew Tusa Mark Vines* Neil Westreich Simon Freakley (Ex officio – Chairman of the American Friends of the London Philharmonic Orchestra)

Barry Smith Martin Southgate Chris Viney Laurence Watt Elizabeth Winter

Finance

General Administration

Jean-Paul Ramotar Finance and IT Officer

Dayse Guilherme Finance Manager

Elena Dubinets Artistic Director David Burke Chief Executive Chantelle Vircavs PA to the Executive

Education and Community Talia Lash Interim Education and Community Director

Concert Management

Rebecca Parslow Education and Community Project Manager

Roanna Gibson Concerts Director

Hannah Foakes Tilly Gugenheim Education and Community Project Co-ordinators

Graham Wood Concerts and Recordings Manager Fabio Sarlo Glyndebourne and Projects Manager

*Player-Director

Grace Ko Tours Manager

Advisory Council

Alison Jones Concerts and Recordings Co-ordinator

Martin Höhmann Chairman Christopher Aldren Dr Manon Antoniazzi Roger Barron Richard Brass Helen Brocklebank Simon Callow CBE Desmond Cecil CMG Sir Alan Collins KCVO CMG Andrew Davenport Guillaume Descottes Cameron Doley Christopher Fraser OBE Lord Hall of Birkenhead CBE Jonathan Harris CBE FRICS Marianna Hay MBE Amanda Hill Rehmet Kassim-Lakha Jamie Korner Geoff Mann Clive Marks OBE FCA Stewart McIlwham Andrew Neill Nadya Powell Sir Bernard Rix Victoria Robey OBE Baroness Shackleton Thomas Sharpe QC Julian Simmonds

Frances Slack Finance Director

Development Laura Willis Development Director Scott Tucker Development Events Manager

Christina Perrin Concerts and Tours Assistant Matthew Freeman Recordings Consultant

Greg Felton Digital Creative Kiera Lockard Marketing Assistant

Archives Philip Stuart Discographer Gillian Pole Recordings Archive

Professional Services Charles Russell Speechlys Solicitors Crowe Clark Whitehill LLP Auditors Dr Barry Grimaldi Honorary Doctor

Mr Simon Owen-Johnstone Hon. Orthopaedic Surgeon

Laura Kitson Stephen O’Flaherty Stage Managers

Nick Jackman Campaigns and Projects Director Kirstin Peltonen Development Associate

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

Sophie Harvey Digital and Residencies Marketing Manager

Rosie Morden Individual Giving Manager

Priya Radhakrishnan Georgia Wiltshire Development Assistants

Felix Lo Orchestra and Auditions Manager

Ruth Knight Press and PR Manager

Mr Chris Aldren Honorary ENT Surgeon

Sarah Thomas Martin Sargeson Librarians

Damian Davis Transport Manager

Gavin Miller Box Office Manager

Stef Woodford Corporate Relations Manager

Anna Quillin Trusts and Foundations Manager

Andrew Chenery Orchestra Personnel Manager

Harrie Mayhew Website Manager

London Philharmonic Orchestra 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Box Office: 020 7840 4242 Email: admin@lpo.org.uk lpo.org.uk Cover photo James Wicks 2021/22 season identity JMG Studio Printer John Good Ltd