LPO programme: 21 Feb 2024 - Canellakis conducts Brahms (Karina Canellakis/Pablo Ferrández)

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 Wednesday 21 February 2024 | 7.30pm

Canellakis conducts Brahms Mussorgsky (orch. Shostakovich) Dawn on the Moscow River (Prelude to Khovanshchina) (5’) Shostakovich Cello Concerto No. 1 (28’)

Contents 2

Welcome LPO news 3 On stage tonight 4 London Philharmonic Orchestra 5 Leader: Pieter Schoeman 6 Karina Canellakis 7 Pablo Ferrández 8 Programme notes 11 Recommended recordings 12 The Music in You: 2–16 March 2024 13 Sound Futures donors 14 Thank you 16 LPO administration

Interval (20’) Brahms Symphony No. 4 (40’)

Karina Canellakis conductor Pablo Ferrández cello

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

Concert presented by the London Philharmonic Orchestra

Works from tonight’s concert are being filmed for future broadcast on Marquee TV. We would be grateful if audience noise during the performance could be kept to a minimum, and if audience members could kindly hold applause until the end of each full work. Thank you for your co-operation.

London Philharmonic Orchestra • 21 February 2024 • Canellakis conducts Brahms

Welcome

LPO news Tonight’s concert on Marquee TV

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.

We’re delighted that a selection of concerts from our LPO 2023/24 Royal Festival Hall season are being filmed for broadcast on Marquee TV. Works from this evening’s concert are being filmed for broadcast on Saturday 23 March 2024 at 7pm, and the performance will remain available to watch free of charge for 48 hours without a Marquee TV subscription.

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.

If you would like to subscribe for unlimited access to Marquee TV’s extensive range of music, opera, theatre and dance productions, you can enjoy 50% off with code LPO2023. Visit welcome.marquee.tv/lpo-2023 to find out more, enjoy a free trial or subscribe.

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

On tour: Greece, Germany & Austria Tomorrow evening the Orchestra and conductor Karina Canellakis travel to Athens to perform at the Megaron Concert Hall with violinist Christian Tetzlaff.

They will then continue on to Germany, where they will give concerts in Essen, Erlangen and Munich with Tetzlaff and pianists Lucas & Arthur Jussen, and a final concert at Vienna’s Musikverein before returning to London. There’ll be just enough time for the musicians to get their breath back before starting rehearsals for Haydn’s Creation with Edward Gardner and the London Philharmonic Choir, which opens our festival ‘The Music in You’ here at the Royal Festival Hall on Saturday 2 March (see page 12). Tickets are selling fast, so don’t miss out!

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.

lpo.org.uk/themusicinyou

LPO on Sky Arts Back in August, the TV channel Sky Arts filmed a four-part fly-on-the-wall documentary about the LPO, spending time behind the scenes with our musicians and following their journey with conductor Edward Gardner as they prepared for this season’s opening concert of Mahler’s Second Symphony, which took place at the Royal Festival Hall on 23 September 2023.

Enjoyed tonight’s concert?

Help us to share the wonder of the LPO by making a donation today. Use the QR code to donate via the LPO website, or visit lpo.org.uk/donate. Thank you.

The first episode will be broadcast on Sky Arts on Wednesday 13 March at 9pm, and subsequent episodes will air at the same time on the following three Wednesdays. Sky Arts is available to watch free of charge via Freeview.

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London Philharmonic Orchestra • 21 February 2024 • Canellakis conducts Brahms

On stage tonight First Violins

Cellos

Bassoons

Chair supported by Neil Westreich

Chair supported by Bianca & Stuart Roden

Chair supported by Sir Simon Robey

Pieter Schoeman* Leader Alice Ivy-Pemberton Co-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 Katalin Varnagy

Chair supported by Sonja Drexler

Amanda Smith Alice Apreda Howell Gabriela Opacka Jamie Hutchinson Kate Cole Lyrit Milgram

Second Violins

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

Nynke Hijlkema Joseph Maher Ashley Stevens Claudia Tarrant-Matthews

Kristina Blaumane Principal Richard Birchall Waynne Kwon David Lale Francis Bucknall Helen Thomas George Hoult Iain Ward

Helen Storey Simon Estell*

Contrabassoon

Simon Estell* Principal

Horns

John Ryan* Principal Annemarie Federle

Double Basses

Kevin Rundell* Principal Hugh Kluger George Peniston Laura Murphy Lowri Estell Catherine Ricketts

Principal

Martin Hobbs Mark Vines Co-Principal Gareth Mollison

Trumpets

Paul Beniston* Principal Anne McAneney*

Flutes

Juliette Bausor Principal Anna Kondrashina Stewart McIlwham*

Trombones

Mark Templeton* Principal

Piccolo

Chair supported by William & Alex de Winton

Stewart McIlwham*

David Whitehouse

Principal

Bass Trombone

Oboes

Lyndon Meredith Principal

Ian Hardwick* Principal Eleanor Sullivan

Timpani

Simon Carrington*

Cor Anglais

Chair supported by Friends of the Orchestra

Sue Böhling* Principal

Sioni Williams

Chair supported by Dr Barry Grimaldi

Violas

Clarinets

Jane Atkins Guest Principal Benedetto Pollani Lucia Ortiz Sauco Martin Wray Katharine Leek Michelle Bruil Alistair Scahill Kate De Campos Toby Warr Raquel López Bolívar

Jonathan Davies* Principal

Principal

Chair supported by Victoria Robey CBE

Percussion

Andrew Barclay* Principal

Benjamin Mellefont*

Chair supported by Gill & Garf Collins

Principal

Thomas Watmough

Karen Hutt

Chair supported by Roger Greenwood

Chair supported by Mr B C Fairhall

Paul Richards*

Harp

Rachel Masters Principal

Piano/Celeste

Catherine Edwards

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Assistant Conductor Castillo-Briceño

*Professor at a London conservatoire

The LPO also acknowledges the following chair supporters whose player is not present at this concert: Caroline, Jamie & Zander Sharp

London Philharmonic Orchestra • 21 February 2024 • Canellakis conducts Brahms

© Mark Allan

London Philharmonic Orchestra

Our conductors

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

Our Principal Conductors have included some of the greatest historic names like Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur.

In 2021 Edward Gardner became our 13th Principal Conductor, taking the Orchestra into its tenth decade.

Vladimir Jurowski became Conductor Emeritus in recognition of his impact as Principal Conductor from 2007–21. Karina Canellakis is our current Principal Guest Conductor and Tania León our Composer-in-Residence.

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

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

Sharing the wonder You’ll find us online, on streaming platforms, on social media and through our broadcast partnership with Marquee TV. During the pandemic period we launched ‘LPOnline’: over 100 videos of performances, insights and introductions to playlists, which led to us being named runner-up in the Digital Classical Music Awards 2020.

During 2023/24 we’re once again be working with Marquee TV to broadcast selected live concerts, so you can share or relive the wonder from your own living room.

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

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London Philharmonic Orchestra • 21 February 2024 • Canellakis conducts Brahms

Pieter Schoeman Leader

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

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

© Benjamin Ealovega

Next generations

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

Looking forward

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

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

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

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

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

lpo.org.uk

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

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London Philharmonic Orchestra • 21 February 2024 • Canellakis conducts Brahms

Karina Canellakis Principal Guest Conductor, London Philharmonic Orchestra

© Mathias Bothor

After the great successes of Kat’a Kabánova and The Cunning Little Vixen with the Netherlands Radio Philharmonic in previous seasons, this season Karina continues her series of Janáček operas with The Makropulos Case. She will also conduct Strauss’s Der Rosenkavalier for Santa Fe Opera in summer 2024.

Her concert performances of acts of Wagner’s Die Walküre, Tristan und Isolde and Siegfried have met with tremendous critical praise, and she has conducted critically acclaimed productions of Tchaikovsky’s Eugene Onegin; Mozart’s Don Giovanni, Die Zauberflöte and Le nozze di Figaro; David Lang’s the loser; and Peter Maxwell Davies’s The Hogboon.

April 2023 saw the start of a multi-album collaboration between Karina, the Netherlands Radio Philharmonic and Pentatone with their debut release; Bartók’s Concerto for Orchestra and Four Orchestral Pieces.

Karina and the RFO were also featured artists for the launch of Apple Music Classical, in a recording of Beethoven’s Piano Concerto No. 1 with Alice Sara Ott.

Internationally acclaimed for her emotionally charged performances, technical command and interpretive depth, Karina Canellakis has become one of the most in-demand conductors of her generation. She has been Principal Guest Conductor of the London Philharmonic Orchestra since September 2021, and is also Chief Conductor of the Netherlands Radio Philharmonic Orchestra.

Since winning the Sir Georg Solti Conducting Award in 2016, Karina Canellakis has become a guest conductor with leading orchestras around the world including the Bavarian Radio Symphony, Boston Symphony, Chicago Symphony, Cleveland, LA Philharmonic, London Symphony, Munich Philharmonic, Philadelphia, San Francisco Symphony and Vienna Symphony orchestras, the Orchestre de Paris, and the Gewandhausorchester Leipzig. She recently finished a four-year appointment as Principal Guest Conductor of the Berlin Radio Symphony Orchestra.

Tonight’s concert is Karina’s third Royal Festival Hall appearance with the LPO this season, following two successful concerts in October with soloists Cédric Tiberghien and Jonathan Biss featuring works by Strauss, Ravel, Beethoven, Shostakovich and Tania León. Following last season’s highly successful tour of Germany with the LPO and pianist Daniil Trifonov, later this month she also leads the Orchestra on tour to Germany, Athens, and Vienna’s Musikverein, where she is a featured Artist-in-Residence for 2023/24.

Karina Canellakis was the first woman to conduct the First Night of the BBC Proms in London in 2019, with the BBC Symphony Orchestra, and returned to the Proms in 2022. She was also the first woman to ever conduct the Nobel Prize Concert, with the Royal Stockholm Philharmonic in 2018.

As Chief Conductor of the Netherlands Radio Philharmonic, this season Karina presents exciting contemporary pieces, new commissions and wellknown masterpieces at the Concertgebouw Amsterdam and TivoliVredenburg in Utrecht. Particular highlights include a concert performance of Wagner’s Siegfried as part of the prestigious Zaterdag Matinee series.

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’s 2023/24 guest engagements include her debut with the New York Philharmonic, as well as returns to the Boston Symphony, San Francisco Symphony, Los Angeles Philharmonic and Cleveland orchestras, the Berlin Radio Symphony Orchestra, and the NDR Elbphilharmonie in Hamburg.

Karina was born and raised in New York City.

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London Philharmonic Orchestra • 21 February 2024 • Canellakis conducts Brahms

Pablo Ferrández cello

Pablo is also frequently invited to internationally renowned festivals such as Verbier, Salzburg, Dresden, Sion, Dvořák Prague, Grant Park and Jerusalem, among others.

© Kristian Schuller

The 2023/24 season brings debuts at the David Geffen Hall in New York with the Orquesta del Teatro Real, and with the Boston Symphony, Cleveland, San Francisco Symphony, Pittsburgh Symphony, Seattle Symphony, Tonhalle, Strasbourg Philharmonic, Liège Philharmonic and Stavanger Symphony orchestras and the Musikkollegium Winterthur, as well as returns to the Rotterdam Philharmonic, Royal Liverpool Philharmonic, Düsseldorf Symphony, Frankfurt Radio Symphony, Galicia Symphony and French National orchestras.

Pablo will also return to the LA Philharmonic to perform Brahms’s Double Concerto with Anne-Sophie Mutter under Gustavo Dudamel, and will tour with the Czech Philharmonic and Semyon Bychkov in Japan and Europe, performing Dvořák’s Cello Concerto.

Prizewinner at the 2015 International Tchaikovsky Competition and exclusive Sony Classical artist, Pablo Ferrández has been hailed as a ‘new cello genius’ (Le Figaro). A captivating performer, he ‘has the lot: technique, mettle, spirit, authority as a soloist, expressivity and charm’ (El Pais). He has become a cello phenomenon and one of the most in-demand instrumentalists of his generation. His 2021 debut album for Sony Classical, ‘Reflections’, was highly acclaimed by critics and praised with an Opus Klassik Award.

In autumn 2022 Pablo released his second album, comprising Brahms’s Double Concerto with AnneSophie Mutter and the Czech Philharmonic under Manfred Honeck, as well as Clara Schumann’s Piano Trio with Mutter and Lambert Orkis, which also received rave reviews.

Born in Madrid in 1991 into a family of musicians, Pablo Ferrández joined the prestigious Escuela Superior de Música Reina Sofía aged 13 to study with Natalia Shakhovskaya. He subsequently completed his studies at the Kronberg Academy with Frans Helmerson and became a scholar of the Anne-Sophie Mutter Foundation. He plays the Stradivarius ‘Archinto’ 1689, on a generous lifelong loan from a member of the Stretton Society.

Pablo is a regular guest of the London Philharmonic Orchestra, most recently touring with them and Edward Gardner to Germany and Luxembourg in November 2022, performing Brahms’s Double Concerto with Anne-Sophie Mutter.

Other recent highlights include appearances with the LA Philharmonic at Hollywood Bowl, and with the Filarmonica della Scala, Orchestra dell’ Accademia Nazionale di Santa Cecilia, Academy of St Martin in the Fields, and the Czech Philharmonic, Oslo Philharmonic, Seoul Philharmonic, Bavarian Radio Symphony, NDR Elbphilharmonie, Berlin Konzerthaus, Tonkünstler, Vienna Radio Symphony, Royal Philharmonic, Israel Philharmonic and Rotterdam Philharmonic orchestras.

He also toured last season with the Munich Philharmonic Orchestra under Myung-whun Chung, and with the Antwerp Symphony Orchestra under Elim Chan.

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London Philharmonic Orchestra • 21 February 2024 • Canellakis conducts Brahms

Programme notes Modest Mussorgsky 1839–81

Dawn on the Moscow River (Prelude to Khovanshchina) 1879–81, orch. Shostakovich 1960

Blessed with hindsight, modern music lovers have little difficulty seeing that Modest Mussorgsky was one of the two most extraordinary Russian composers of his time, the other being Tchaikovsky, who was born just a year later. It was not so obvious to his contemporaries.

Like many of his composing countrymen, he was not at first involved with music professionally. After attending a military academy, he served in the army and then proceeded toward a predictable future in the Russian civil service, as a bureaucrat in the Ministry of Communication, beginning in 1863, and then in the Department of Forestry starting in 1868.

Even in his own time, Mussorgsky was considered something of a naïf, a primitive whose musical visions managed to shine through despite his technical shortcomings. This view was reinforced by his colleague Rimsky-Korsakov, who went to well-intentioned lengths to make Mussorgsky’s works palatable to audiences of the time. Mussorgsky was overtaken by alcoholism, and after he died (a week after his 42nd birthday), RimskyKorsakov completed a number of scores his friend had left incomplete and revised quite a few others that he feared other listeners would find as objectionably coarse as he did. As a result, those of Mussorgsky’s works that were remembered – including the operas Khovanshchina and Boris Godunov and the tone-poem A Night on Bare Mountain – were known principally through ‘corrected’ versions by Rimsky-Korsakov.

It was during those years that he fell in with the circle of young musical aspirants surrounding the composer Mily Balakirev and the critic Vladimir Stasov, a group that was fascinated with exploring Russian nationalist themes. In 1867 Stasov coined the nickname Moguchaya kuchka – ‘The Mighty Handful’ – in a review referring to composers whose works featured in a concert for a pan-Slavic convention. Originally the term was meant to embrace a wide swathe of Russian composers, not just the nationalists of the newest generation, but before long its usage was focussed on the famous five, which in addition to Balakirev and Mussorgsky included César Cui (an officer in the Russian Army Engineering Corps), Nikolai RimskyKorsakov (a midshipman at the Imperial Naval Academy) and Alexander Borodin (a chemist associated with the Academy of Medicine). What this assortment of military and scientific professionals lacked in musical training they made up in enthusiasm, and under Balakirev’s coaching they began developing a distinctly Russian style of late Romanticism that was distinct from Tchaikovsky’s more mainstream European mode of composition.

Khovanshchina is a vast, complicated saga about political factions and aristocratic successions in 17th-century Russia, particularly revolving around the accession of Peter the Great to the Imperial throne.

Russia had celebrated the bicentennial of Peter’s birth in 1872. In the wake of the national ‘Petermania’, Mussorgsky began compiling a notebook of relevant information that he used for the libretto he created through the rest of the decade. Not until 1879 or 1880 did the composer manage to put together an almostcomplete copy of the text, and even that lacked an ending. Mussorgsky left the opera incomplete and unorchestrated at his death. Rimsky-Korsakov prepared the first performing edition of the work, which he published in 1883 in a five-act structure. That was the version employed for the opera’s premiere, in 1886, by St Petersburg’s Musical Dramatic Circle. The opera’s Prelude was meant to set the scene by depicting dawn over the Moskva River. Its music returns later in the opera, with great dramatic significance.

Programme note © James M Keller

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London Philharmonic Orchestra • 21 February 2024 • Canellakis conducts Brahms

Programme notes Dmitri Shostakovich 1906–75

Cello Concerto No. 1 in E flat, Op. 107 1959 Pablo Ferrández cello

1 Allegretto 2 Moderato – 3 Cadenza – 4 Allegro con molto too. A curious secondary theme is introduced by a confident horn, and the whole is agitated by four thwacks on the timpani that heighten the intensity further still.

Dmitri Shostakovich and his colleague Sergei Prokofiev weren’t best buddies. More significant than their frosty personal relationship, though, is the fact that they admired each other’s music. Shostakovich wrote the first of his cello concertos in 1959 as a direct response to Prokofiev’s own Symphony-Concerto of seven years earlier. Both pieces were premiered by the celebrated cellist Mstislav Rostropovich.

In the second movement the soloist introduces a nomadic, chromatic melody which is heard against the clarinets, double basses and then the strings. Like its predecessor, this movement builds in intensity towards another timpani strike and then an uneasy finish in which the soloist’s bow skims the string to produce fragile ‘harmonic’ sounds (accompanied by the plinkplonk of the orchestra’s celeste).

The political situation in Russia was easing in the late 1950s following Stalin’s death. Shostakovich told journalists that in his Concerto he set out to capture something humorous, referring to the tread of the first movement as a ‘jocular march’. Still, the Concerto’s opening appears dark and pressurised. It might be heard as a reflection of one of Shostakovich’s sleepless nights, fraught with the prospect of arrest.

That gesture leads straight into the cadenza, the soloist’s inquisitive exploration of the themes introduced so far, and in turn into the final movement. Here Shostakovich uses the Georgian folksong ‘Suliko’ in his main tune, apparently one of Stalin’s favourites. But he hid it so skilfully that even Rostropovich had to have its presence pointed out to him.

In other ways, too, this is very personal music. The four-note motto that opens and dominates the first movement is Shostakovich’s musical spelling of his own initials: D–S–C–H (in German notation, D, E flat, C and B).

These four notes are discussed, dissected and inverted with increasing vigour but with occasional introspection

Programme note © Andrew Mellor

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

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London Philharmonic Orchestra • 21 February 2024 • Canellakis conducts Brahms

Programme notes Johannes Brahms 1833–97

Symphony No. 4 in E minor, Op. 98 1884–85 1 Allegro non troppo 2 Andante moderato 3 Allegro giocoso 4 Allegro energico e passionato Brahms was well into his forties by the time he completed a symphony; like many 19th-century composers he found the idea of following in the footsteps of Beethoven a daunting one. Yet having laboured on and off for 15 years to produce the First Symphony in 1876, he summoned the next three in only nine years, the expressive and formal inhibitions which had previously dogged him now seemingly cast off.

Indeed, by the time he came to compose the Fourth Symphony in 1884–5 he had acquired new freedom and daring, as his friend the conductor and pianist Hans von Bülow noted during preparations for the premiere in Meiningen in October 1885: ‘Just back from rehearsal.

No. 4 stupendous, quite original, quite new, individual and rock-like. Breathes incomparable energy from start to finish.’

in the extraordinary passacaglia finale of this symphony, a movement which, by turning to a formal model from Baroque times, finds a new solution to the problem of how to conclude a big and powerful symphonic work.

But it is not just this granitic statement that makes the Fourth one of the greatest of Romantic symphonies.

There is the tightly motivic first movement, whose marking of Allegro non troppo is realised not just in the restless poetic beauty of the first theme but in the way that the second theme, a surging, passionate cello melody heralded by brass fanfares, serves to increase the sense of forward motion rather than (as was more customary) relax it. Perhaps for the same reason, there is no repeat of the exposition, though the central development does start out as if it were one with a clear return to the opening theme. By contrast, the moment of recapitulation is disguised, the opening figure being heard slowed down on woodwind amid a cloud of string flourishes, before the first theme resumes its course as if nothing had happened. A substantial and impassioned coda then drives the movement to a stormy finish.

No-one could deny that, though there were others among Brahms’s friends – including three of his closest supporters in Clara Schumann, Elisabeth von Herzogenberg and the critic Eduard Hanslick – who were initially baffled and disappointed by the work’s unusual nature and form. Bülow, however, had had an insight into its most striking innovation a few years earlier when Brahms showed him a chorus from Bach’s church cantata Nach dir, Herr, verlanget mich (BWV150), consisting of variations over a repeating, rising bass-line. ‘What would you think of a symphonic movement written on this theme one day?’ Brahms had asked. ‘But it is too heavy, too straightforward. It would have to be chromatically altered in some way.’ The result is there to hear – including that chromatic alteration in the form of a prominent sharpening of the fifth note –

The elegiac and delicately scored Andante moderato gains depth by playing off the emotional distance of a modally inflected main theme against the warmth of a more conventionally major-key second. The reappearance of the latter on full strings in the second half of the movement forms a rich climax, before the music subsides to the sombre mood of the opening.

The third movement, the only one among Brahms’s symphonies to qualify as a scherzo, is taut and vigorous – powerful enough in its material, it has often been said,

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London Philharmonic Orchestra • 21 February 2024 • Canellakis conducts Brahms

Programme notes to form a finale in itself. Interestingly, it was the last of the Symphony’s movements to be composed, which suggests that its terse energy and ebullience (it was not often that Brahms called for a triangle) were precisely calculated to prepare the way for the stern majesty of the finale.

On the LPO Label: Brahms Symphony No. 4

The form and genesis of that finale have already been described, but not its effect. Following the example of Bach’s D minor Chaconne for solo violin (a work Brahms admired greatly), the 30 variations over the eight-note bass-line are shepherded into contrasting sections which give the music a broad emotional contour that prevents it from succumbing to repetitiveness. Indeed, the effect is of implacable momentum and controlled strength, so that by the time the variations have been crowned by a vehement coda, we have witnessed a rare spectacle: a 19th-century symphony that ends not in triumph but convincingly in tragedy.

Brahms: Symphonies Nos. 3 & 4 Vladimir Jurowski conductor LPO-0075

Programme note © Lindsay Kemp

Scan to listen now

Recommended recordings of tonight’s works

by Laurie Watt

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

Mussorgsky: Dawn on the Moscow River (Prelude to Khovanshchina) London Symphony Orchestra | Georg Solti (Decca) Shostakovich: Cello Concerto No. 1 Truls Mørk | London Philharmonic Orchestra Mariss Jansons (Warner) or Mstislav Rostropovich| Philadelphia Orchestra Eugene Ormandy (Sony)

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Brahms: Symphony No. 4 London Philharmonic Orchestra | Vladimir Jurowski (LPO Label LPO-0075: see right)

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THE MUSIC IN YOU 2–16 MARCH 2024

This March we’re celebrating the creativity in everyone during our cross-artform festival. Reflecting our adventurous spirit, the festival embraces all kinds of expression – from dance, to music theatre and even audience participation!

Join us and discover The Music in You.

lpo.org.uk/themusicinyou Haydn’s Creation

Dance Re-imagined

Seven Deadly Sins

Haydn The Creation

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

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

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

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

FUNharmonics Family Concert: Goal!

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

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

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

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

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

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

Project partner: Concertgebouw Brugge.

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.

Wednesday 13 March 6.30pm & 8.15pm Battersea Arts Centre

Edward Gardner conductor João Barradas accordion Danielle de Niese Anna Ross Ramgobin Brother Callum Thorpe Mother Zwakele Tshabalala Father Amar Muchhala Brother * 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 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 Elizabeth Watts soprano Pavel Kolgatin tenor Ashley Riches bass-baritone London Philharmonic Choir * Commissioned by the London Philharmonic Orchestra.

Concert generously supported by Aline Foriel-Destezet.

London Philharmonic Orchestra • 21 February 2024 • Canellakis conducts Brahms

Sound Futures donors We are grateful to the following donors for their generous contributions to our Sound Futures campaign.

Thanks to their support, we successfully raised £1 million by 30 April 2015 which has now been matched pound for pound by Arts Council England through a Catalyst Endowment grant. This has enabled us to create a £2 million endowment fund supporting special artistic projects, creative programming and education work with key venue partners including our Southbank Centre home. Supporters listed below donated £500 or over.

For a full list of those who have given to this campaign please visit lpo.org.uk/soundfutures.

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

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

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

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

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

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

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

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

London Philharmonic Orchestra • 21 February 2024 • Canellakis conducts Brahms

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 The Candide Trust John & Sam Dawson HSH Dr Donatus, Prince of Hohenzollern Stuart & Bianca Roden In memory of Hazel Amy Smith

Gold Patrons

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

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

Eric Tomsett The Viney Family Guy & Utti Whittaker

Silver Patrons

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

Principal Supporters

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

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

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Supporters

Anonymous donors Mr Francesco Andronio Julian & Annette Armstrong Mr Philip Bathard-Smith Emily Benn Mr Julien Chilcott-Monk Alison Clarke & Leo Pilkington Mr Peter Coe Mr Joshua Coger Miss Tessa Cowie Caroline Cox-Johnson Mr Simon Edelsten Will Gold Mr Stephen Goldring Mr & Mrs Graham & Jean Pugh Mr Geordie Greig Mr Peter Imhof The Jackman Family Mr David MacFarlane Paul & Suzanne McKeown Nick Merrifield Simon & Fiona Mortimore Dame Jane Newell DBE Mr David Peters Nicky Small Mr Brian Smith Mr Michael Timinis Mr & Mrs Anthony Trahar Tony & Hilary Vines Dr June Wakefield Mr John Weekes Mr Roger Woodhouse Mr C D Yates

Hon. Benefactor Elliott Bernerd

Hon. Life Members Alfonso Aijón Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Keith Millar Victoria Robey CBE Mrs Jackie Rosenfeld OBE Timothy Walker CBE AM Laurence Watt

London Philharmonic Orchestra • 21 February 2024 • Canellakis conducts Brahms

Thank you

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

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

Trusts and Foundations

Board of the American Friends of the LPO

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

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

and all others who wish to remain anonymous.

In-kind Sponsor Google Inc

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London Philharmonic Orchestra • 21 February 2024 • Canellakis conducts Brahms

London Philharmonic Orchestra Administration Board of Directors Dr Catherine C. Høgel Chair Nigel Boardman Vice-Chair Martin Höhmann* President Mark Vines* Vice-President Emily Benn Kate Birchall* David Burke Michelle Crowe Hernandez Deborah Dolce Elena Dubinets Tanya Joseph Hugh Kluger* Katherine Leek* Minn Majoe* Tania Mazzetti* Jamie Njoku-Goodwin Neil Westreich Simon Freakley (Ex officio – Chairman of the American Friends of the London Philharmonic Orchestra) *Player-Director

Advisory Council

Roger Barron Chairman Christopher Aldren Richard Brass Helen Brocklebank YolanDa Brown OBE David Buckley Simon Burke Simon Callow CBE Desmond Cecil CMG Sir Alan Collins KCVO CMG Andrew Davenport Guillaume Descottes Cameron Doley Lena Fankhauser Christopher Fraser OBE Jenny Goldie-Scot Jonathan Harris CBE FRICS Marianna Hay MBE Nicholas Hely-Hutchinson DL Amanda Hill Dr Catherine C. Høgel Martin Höhmann Rehmet Kassim-Lakha Jamie Korner Geoff Mann Andrew Neill Nadya Powell Sir Bernard Rix Victoria Robey CBE Baroness Shackleton Thomas Sharpe KC Julian Simmonds Barry Smith Martin Southgate

Chris Viney Laurence Watt Elizabeth Winter

Finance

General Administration

Dayse Guilherme Finance Manager

Frances Slack Finance Director

Elena Dubinets Artistic Director

Jean-Paul Ramotar Finance and IT Officer

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

Education and Community Talia Lash Education and Community Director

Concert Management

Lowri Davies Eleanor Jones Education and Community Project Managers

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

Hannah Smith Education and Community Co-ordinator

Maddy Clarke Tours Manager

Claudia Clarkson Regional Partnerships Manager

Madeleine Ridout Glyndebourne and Projects Manager

Rachel Williams Publications Manager Gavin Miller Sales and Ticketing Manager Ruth Haines Press and PR Manager Hayley Kim Residencies and Projects Marketing Manager Greg Felton Digital Creative Alicia Hartley Digital and Marketing Co-ordinator Isobel Jones Marketing Assistant

Archives Philip Stuart Discographer Gillian Pole Recordings Archive

Professional Services

Alison Jones Concerts and Recordings Co-ordinator

Development

Charles Russell Speechlys Solicitors

Robert Winup Concerts and Tours Assistant

Laura Willis Development Director

Crowe Clark Whitehill LLP Auditors

Rosie Morden Individual Giving Manager

Dr Barry Grimaldi Honorary Doctor

Siân Jenkins Corporate Relations Manager

Mr Chris Aldren Honorary ENT Surgeon

Anna Quillin Trusts and Foundations Manager

Mr Simon Owen-Johnstone Hon. Orthopaedic Surgeon

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

Katurah Morrish Development Events Manager

Laura Kitson Stage and Operations Manager

Eleanor Conroy Al Levin Development Co-ordinators

Stephen O’Flaherty Deputy Operations Manager

Nick Jackman Campaigns and Projects Director

Benjamin Wakley Assistant Stage Manager Felix Lo Orchestra and Auditions Manager

Kirstin Peltonen Development Associate

Marketing Kath Trout Marketing and Communications Director Sophie Harvey Marketing Manager

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London Philharmonic Orchestra 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Box Office: 020 7840 4242 Email: admin@lpo.org.uk lpo.org.uk Cover illustration Selman Hoşgör 2023/24 season identity JMG Studio Printer John Good Ltd