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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 Saturday 22 January 2022 | 7.30pm

Poems of Ecstasy Wagner Tristan und Isolde: Prelude & Liebestod (17’) Ravel Piano Concerto for the Left Hand (19’) Interval (20’)

Contents 2 Welcome LPO news 3 On stage tonight 4 London Philharmonic Orchestra 5 Leader: Pieter Schoeman 6 Karina Canellakis 7 Cédric Tiberghien 8 Programme notes 13 Recommended recordings 14 LPO Annual Appeal 2022 15 Julia Fischer plays Mozart: Artist-in-Residence Spring 2022 17 Sound Futures donors 18 Thank you 20 LPO administration

L Boulanger D’un soir triste (11’) Scriabin Symphony No. 4, Op. 54 (The Poem of Ecstasy) (22’) Karina Canellakis conductor Cédric Tiberghien piano Concert generously supported by Victoria Robey OBE.

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

This concert is being recorded by BBC Radio 3 for broadcast on 1 February 2022 at 7.30pm. It will subsequently be available for 30 days via the Radio 3 website and the BBC Sounds app.

London Philharmonic Orchestra • 22 January 2022 • Poems of Ecstasy

Welcome to the Southbank Centre

LPO news

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.

Open the Doors: LPO Annual Appeal 2022

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.

We want to share the thrill and passion that we have for live music with as many people as possible. That means looking at different ways to welcome new audiences into the hall. To do this, we are offering affordable tickets to those who may not otherwise attend a concert. A donation to this year’s Annual Appeal will help us to offer affordable tickets to individuals such as students, key workers, young musicians and members of our local communities. With your help, we can create the classical music lovers of the future that will keep the LPO performing to lively concert halls for many years to come! Help us open the doors to more people, and share the music you love.

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

You can donate online at lpo.org.uk/openthedoors, or call our Individual Giving Team on 020 7840 4212 or 020 7840 4225. Thank you.

We look forward to seeing you again soon. A few points to note for your comfort and enjoyment: Photography is not allowed in the auditorium.

Glyndebourne Festival 2022

Latecomers will only be admitted to the auditorium if there is a suitable break in the performance.

This summer’s Glyndebourne Festival will run from 21 May–28 August. Opening the Festival in May is The Wreckers by the pioneering feminist English composer Ethel Smyth (1858–1944). A powerful psychodrama set on the Cornish coast, The Wreckers will be the first Festival performance of an opera by a female composer, and will be conducted by Glyndebourne Music Director Robin Ticciati with the LPO.

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

Other productions with the LPO this summer are Mozart’s Le nozze di Figaro in a revival of Michael Grandage’s five-star production, conducted by Giancarlo Andretta and Nicholas Carter; Puccini’s La bohème under Jordan de Souza; and a Poulenc double-bill of La voix humaine and Les Mamelles de Tirésias, again conducted by Robin Ticciati. Public booking opens on Sunday 6 March.

Enjoying your visit safely In light of the recent Government guidance on COVID-19, the Southbank Centre has introduced additional precautions for visitors. Face coverings must be worn throughout your visit, including during performances. The only exceptions to this are for those who are exempt from wearing face coverings, children under the age of 11, and when you are eating and drinking.

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All visitors to the Southbank Centre’s buildings over the age of 18 should arrive prepared to present an NHS COVID Pass or equivalent. For more information please visit southbankcentre.co.uk/visit or speak to a member of Southbank Centre staff.

London Philharmonic Orchestra • 22 January 2022 • Poems of Ecstasy

On stage tonight First Violins

Pieter Schoeman* Leader Chair supported by Neil Westreich

Vesselin Gellev Sub-Leader Kate Oswin Chair supported by Friends of the Orchestra

Lasma Taimina

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

Minn Majoe Yang Zhang

Chair supported by Eric Tomsett

Katalin Varnagy

Chair supported by Sonja Drexler

Sophie Phillips Martin Höhmann

Chair supported by Chris Aldren

Alice Hall Thomas Eisner Deborah Gruman Catherine Craig Ronald Long Amanda Smith Nilufar Alimaksumova

Second Violins

Tania Mazzetti Principal Chair supported by Countess Dominique Loredan

Emma Oldfield Helena Smart Joseph Maher Marie-Anne Mairesse Nynke Hijlkema Ashley Stevens Kate Cole Fiona Higham

Chair supported by David & Yi Buckley

Emma Purslow Kate Birchall Georgina Leo Nancy Elan

Violas

Piccolo

David Quiggle Principal Richard Waters Co-Principal

Stewart McIlwham* Principal

Chair supported by Caroline, Jamie & Zander Sharp

Oboes

Ting-Ru Lai Katharine Leek Benedetto Pollani Stanislav Popov Michelle Bruil Pam Ferriman Richard Cookson Martin Fenn Raquel López Bolivar

Ian Hardwick* Principal Alice Munday James Hulme

Cor Anglais

Sue Böhling* Principal Chair supported by Dr Barry Grimaldi

Clarinets

Cellos

Benjamin Mellefont Principal Thomas Watmough James Maltby

Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden

Pei-Jee Ng Co-Principal

Chair supported by The Candide Trust

Bass Clarinet

Francis Bucknall Laura Donoghue David Lale Gregory Walmsley Sue Sutherley Susanna Riddell Tom Roff Helen Rathbone

Trumpets

Paul Beniston* Principal Anne McAneney David Hilton Tom Nielsen Tony Cross

Trombones

Mark Templeton* Principal Chair supported by William & Alex de Winton

David Whitehouse

Bass Trombone

Lyndon Meredith Principal

Tuba

Lee Tsarmaklis* Principal

Paul Richards* Principal

Timpani

E-flat Clarinet

Chair supported by Victoria Robey OBE

Thomas Watmough Principal

Chair supported by Roger Greenwood

Simon Carrington* Principal

Percussion

Andrew Barclay* Principal Chair supported by Gill & Garf Collins

Bassoons

Double Basses

Jonathan Davies Principal

Kevin Rundell* Principal Sebastian Pennar

Chair supported by Sir Simon Robey

Gareth Newman Dominic Tyler Simon Estell*

Co-Principal

George Peniston Laura Murphy Tom Walley

Contrabassoon

Chair supported by William & Alex de Winton

Simon Estell* Principal

Charlotte Kerbegian Lowri Morgan Cathy Colwell

Horns

Flutes

Harps

Rachel Masters Principal Tamara Young

Celeste

Catherine Edwards

John Ryan* Principal Nicholas Mooney

Organ

Martin Hobbs Mark Vines Co-Principal Gareth Mollison Duncan Fuller Oliver Johnson Jonathan Lipton

* Holds a professorial appointment in London

Guest Principal

Katie Bedford Guest Principal Hannah Grayson Clare Childs Stewart McIlwham*

Keith Millar Tom Edwards Jeremy Cornes Feargus Brennan

Richard Gowers

London Philharmonic Orchestra • 22 January 2022 • Poems of Ecstasy

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 • 22 January 2022 • Poems of Ecstasy

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 • 22 January 2022 • Poems of Ecstasy

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, 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 conducted the LPO in her first concert as Principal Guest Conductor on 27 November 2021, in a programme of John Adams, Sibelius and Gershwin with pianist Inon Barnatan. In December she conducted Shostakovich’s Symphony No. 10 and Beethoven’s Piano Concerto No. 3 with soloist Stephen Hough, in a concert dedicated to the memory of former LPO Principal Conductor Bernard Haitink.

On the operatic stage this season, Karina conducts 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 • 22 January 2022 • Poems of Ecstasy

Cédric Tiberghien piano

Mazzola, Ludovic Morlot, Matthias Pintscher, FrançoisXavier Roth and Simone Young.

Cédric recently presented a major focus on the music of Bartók, culminating in a three-volume exploration of his solo piano works for the Hyperion label which has received huge critical acclaim. His solo discography also includes Chopin, Liszt, Szymanowski, Franck’s Symphonic Variations and Les Djinns (with the Liège Philharmonic and François-Xavier Roth), Brahms’s Concerto No. 1 (with the BBC Symphony Orchestra and Jiří Bělohlávek), and many recital discs on Harmonia Mundi including repertoire by Bach, Beethoven, Brahms and Debussy. Cédric has been awarded five Diapason d’Or awards for his solo and duo recordings on Hyperion.

Cédric Tiberghien is a French pianist who has established a truly international career. He has been particularly applauded for his versatility, as demonstrated by his wide-ranging repertoire, his interesting programming, his openness to explore innovative concert formats and his dynamic chamber music partnerships.

Cédric is a dedicated chamber musician, with regular partners including violinist Alina Ibragimova, violist Antoine Tamestit and baritone Stéphane Degout. His passion for chamber music is reflected in numerous recordings: his discography with Alina includes complete cycles of music by Schubert, Szymanowski and Mozart (Hyperion) and a Beethoven sonatas cycle (Wigmore Live).

Tonight’s concert is Cédric‘s debut with the London Philharmonic Orchestra. Other concerto appearances this season include return visits to the Deutsches Symphonie-Orchester Berlin, Orchestre National de France, Les Siècles, La Monnaie and Singapore Symphony Orchestra. His recital appearances with violinist Alina Ibragimova include London’s Wigmore Hall and the Boulez Saal in Berlin. They will return to Wigmore Hall with the Doric Quartet, in a chamber project that will also be presented in Vienna and Hamburg. Cédric will also perform with violist Antoine Tamestit across Europe, following the recent release of their Brahms album on Harmonia Mundi. Recent music theatre projects include the premiere of Zauberland (Magic Land), in which he collaborated with soprano Julia Bullock. Recent debuts include with the Berlin Philharmonic, San Francisco Symphony, Deutsche Symphonie-Orchester Berlin and NDR Elbphilharmonie Orchestra. Other recent collaborations have included the Boston Symphony, Cleveland, Czech Philharmonic, London Symphony, BBC Scottish Symphony and Tokyo Philharmonic orchestras, and at the BBC Proms with Les Siècles. His conductor collaborations include Karina Canellakis, Nicholas Collon, Stéphane Denève, Edward Gardner, Enrique

London Philharmonic Orchestra • 22 January 2022 • Poems of Ecstasy

Programme notes Richard Wagner 1813–83

Tristan and Isolde: Prelude & Liebestod 1859

Rightly or wrongly, Mathilde Wesendonck has gone down in history as the inspiration for Wagner’s erotic masterpiece Tristan und Isolde (1857–9). Certainly there was a time when Wagner thought he was in love with Mathilde, the pretty, intelligent and cultured wife of a Zurich-based silk merchant who had given Wagner much-needed assistance after his flight into political exile in 1849. Mathilde was clearly delighted to be muse to such a fascinating, charismatic, if somewhat demanding creative personality. But Tristan had already been conceived in Wagner’s mind before his feelings for Mathilde had fully ripened, and in any case, he saw the opera from the first as an expression of something rather different from normal, real-life erotic fulfilment. On New Year’s Day 1855 he had written to his friend Franz Liszt:

dissonances that grow from it, have together become the most potent symbol of longing in the classical repertoire. Programme note © Stephen Johnson

‘Since I have never, in my entire life, tasted the true happiness of love I intend raising a monument to that most beautiful of dreams, in which this love shall, for once, be utterly fulfilled. This is the plan I have in mind for Tristan and Isolde …’

Richard Wagner and Mathilde Wesendonck © Schott Music

Some writers are now inclined to believe that Wagner’s relationship with Mathilde was never fully consummated. If so that might partly explain why the music of Tristan often sounds like a sustained ode to the unattainable: sometimes ecstatic, sometimes desperate, always restless. Of course tragic operas do tend to end in death rather than in blissful union, but Wagner’s rapturous final hymn to death as the true goal of love – the famous Liebestod – is without parallel in its oceanic intensity, or in the ambiguous release of its ending. But as Wagner said in his letter to Liszt, this yearning had been lifelong. Listening to the opera’s Prelude, one may sense that this astonishing, mouldbreaking expression of unappeasable desire, of emotional as well as physical hunger, had been long in preparation in Wagner’s mind. The aching opening cello phrase, and the exquisitely painful woodwind

London Philharmonic Orchestra • 22 January 2022 • Poems of Ecstasy

Programme notes Maurice Ravel 1875–1937

Piano Concerto for the Left Hand 1929–30 Cédric Tiberghien piano Lento – Allegro – Lento Imagine you are a pianist, and that you’ve just been told that you have to lose one of your hands. Which one would you choose? Those of us who are right-handed would probably opt to lose the left one. Yet it actually makes much more sense to keep the left hand. This is the hand which is trained to play rippling arpeggio figures and striding bass chords: in other words to provide rich supporting harmonies. At the same time the two strongest, most agile fingers – forefinger and thumb – are at the top, so they’re better able to pick out melodies than the ring and little fingers at the top of the right hand. At the same time the left hand is more directly connected to the right hemisphere of the brain – the part associated with music rather than with language and logic.

the one-handedness of the soloist, Ravel created something very different. Try shutting your eyes during any of the solo cadenza passages in this Concerto: you’ll probably find it very hard indeed to believe that the soloist isn’t cheating and using his right hand as well. In fact Ravel’s writing for the piano in this work is every bit as much of a feat of virtuosity as performing it would be. Somehow he seems to know exactly how far he can push the left hand without making it simply impossible to play. It seems that something of Wittgenstein’s heroic determination – his refusal to accept that his terrible loss meant the end of his career – left its mark on the character of Ravel’s Concerto. Generally speaking, Ravel didn’t care much for the heroically striving romantic language created by Beethoven in his piano concertos: for him Beethoven was ‘le grand Sourd’ – ‘the great deafmute’, whose effect on musical development had been deadening. Ravel preferred delicacy, refinement, exquisite suggestiveness to Byronic blood and thunder. But there is something truly Beethovenian about the Concerto for the Left Hand. While Ravel’s two-hand Piano Concerto in G balances solos and orchestra with typically fastidious care (only a chamber orchestra is required), this Concerto pits its one-handed soloist against a large orchestra with full brass, enlarged woodwind and a powerful percussion section. Though Ravel skilfully avoids bringing pianist and full orchestra into direct conflict too often, the effect is still of a small but determined figure standing up to an elemental force – like Wittgenstein himself defying his fate.

So while you could hardly say that the pianist Paul Wittgenstein was lucky to lose his right arm in the First World War, it could have been worse, as Wittgenstein (brother of the famous philosopher) came to realise. He worked hard at building up his left hand technique, and before long he was playing with remarkable virtuosity. The trouble was, only one great composer – Brahms – had produced anything substantial for left hand alone: an arrangement of Bach’s mighty Chaconne from the Partita in D minor for solo violin. Undeterred, Wittgenstein set about commissioning virtuoso works for left hand from some of the leading composers of the day: Erich Korngold, Richard Strauss, Sergei Prokofiev, Benjamin Britten, Franz Schmidt and Maurice Ravel – a strikingly international line-up. The results were all impressive, and very different in character. But while most of these composers made little effort to disguise

Continued overleaf

London Philharmonic Orchestra • 22 January 2022 • Poems of Ecstasy

Programme notes The Concerto is in one continuous movement: two broad slow sections framing a brilliant central Allegro. It begins with deep, murky bass textures, and a rare example of a great solo for contrabassoon. This builds to a huge climax, from which the piano emerges, also from the depths, establishing a magnificent habanera-like dance theme (though with three beats in a bar instead of two) which is then taken up by the orchestra. More intimate dialogue between soloist and orchestra eventually builds another crescendo, at which the Allegro bursts onto the scene. This dazzling colourful music, with more suggestions of Latin folk music, but with an increasingly serious tone. Suddenly the slow dance theme sweeps back in, this time with soloist and full orchestra combined. The solo cadenza that follows is suitably virtuosic, but increasingly there is a note of sadness – a sense of loss perhaps. But again the piano rises defiantly, and the Allegro theme returns for a brief but triumphal close. Programme note © Stephen Johnson

Paul Wittgenstein at the piano

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

London Philharmonic Orchestra • 22 January 2022 • Poems of Ecstasy

Programme notes Lili Boulanger 1893–1918

D’un soir triste (Of a sad evening) 1918

If history had unfolded differently, Lili Boulanger would likely have become a household name. She was the first woman ever to be awarded first prize at the Prix de Rome, and she came from an auspiciously musical family – her father, Ernest, won the Prix in 1835, and her sister Nadia went on to become one of the most influential composition teachers of the 20th century. But Lili suffered from poor health and died aged just 24, leaving behind only a handful of completed works, many of which were virtually unknown and unplayed for years after her death. D’un soir triste (‘Of a sad evening’), together with its partner piece D’un matin de printemps (‘Of a spring morning’), was composed in the final months of her life and survives in three different arrangements – for cello and piano, for piano trio, and for orchestra. The score for the latter remained in her sister Nadia’s possession until her death in 1979 and it was not until 1986 that the Women’s Philharmonic Orchestra in San Francisco meticulously reconstructed the parts for D’un soir triste and gave what is believed to be the US premiere. This ten-minute symphonic poem holds very little back. If the title suggests melancholy or introspection, then we are misled. It is a gutsy and impassioned piece of orchestral writing that shows Boulanger at her rich and colourful best. Indeed, it is difficult to believe that it is the work of a composer on her deathbed, there is not a hint of resignation or acquiescence about it. Instead, Boulanger gives us towering brass chorales, full-bodied strings and the dense, colourful harmonies that were her calling card. And yet, underpinning its series of climaxes, which ebb and flow with a blazing and powerful intensity, there is an inescapable march-like undercurrent that seems to propel the work inexorably onwards. It is perhaps not too fanciful to hear it as a solemn yet fearless march towards fate.

Lili Boulanger

Programme note © Jo Kirkbride

London Philharmonic Orchestra • 22 January 2022 • Poems of Ecstasy

Programme notes Alexander Scriabin 1871–1915

Symphony No. 4, Op. 54 (The Poem of Ecstasy) 1905–08

The music of Alexander Scriabin embodies the extraordinary transformation of fin-de-siècle culture. The Scriabin of the early 1890s, his music bathed in the sweeping richness of late-Romanticism, is a far cry from the ‘mystical’ Scriabin of his later years, where texture and colour take precedence over traditional structural landmarks. In his early works we hear the influence of Chopin, Liszt and even Tchaikovsky. But by the early years of the 20th century his music combines flickers of hazy Debussian Impressionism, with the bright, bare shards of Stravinsky’s most unforgiving orchestral scores. It is music that is at once both sensual and coarse, governed by a mystical personal agenda that saw him write words as copiously as he did music, much of it tethered to the idea of embracing a greater cosmic world fuelled by ‘oceans of love’.

then trumpet, then clarinet ... Each melodic fragment cascades into the next, any tangible sense of melody, pulse or tonal centre obscured by the perpetual changes in colour and texture. When the tone changes abruptly, the strings and winds dance around each other with a scurrying energy reminiscent of Ravel’s Daphnis et Chloé, but this idea, too, disappears no sooner than it has arrived and Scriabin swings back to the deep swathes of strings that characterised the opening. If it is not immediately evident, Scriabin’s score eventually reveals

In the case of The Poem of Ecstasy, Scriabin saw fit to publish a grand ten-page poem alongside the score, which follows the path of the spirit as it ascends into a state of consciousness, ending with the lines ‘I am a moment illuminating eternity. I am affirmation. I am ecstasy.’ These vast philosophical ideas would form the basis of his single-movement symphonic poem, their scope too grand and expansive to be confined by the traditional multi-movement form of the symphony. Paradoxically, however, Scriabin’s far-reaching ideas are contrasted in the score by the fragmented pieces that make up his musical material. This is a kaleidoscopic design, one created from hundreds of intricate, pointillist details that together form a wide, glittering canvas. As the poem opens, we hear the beginnings of a pregnant flute theme, its languorous contours winding above shimmering strings in near direct homage to Debussy’s Prélude à l’après-midi d’un faune. But where Debussy’s score ebbs and flows in clear pictorial evocation, Scriabin’s flute theme ends as quickly as it began, the mantle passed first to the violin, then piccolo,

Alexander Scriabin Courtesy of the Royal College of Music, London

London Philharmonic Orchestra • 22 January 2022 • Poems of Ecstasy

Programme notes itself as teleological, with these two competing ideas – stillness and drive, languour and liberation – becoming emblems of the process that is the emerging of consciousness. As the work progresses, a sense of drive and insistence takes over, the fragments increasingly cohesive, the rhythms energised, dynamics boldened, harmonies deepened. And the trumpet, which at the beginning voiced just a flicker of an idea, eventually proclaims ‘victory’ (as Scriabin called it): consciousness obtained, ecstasy found.

Recommended recordings of tonight’s works by Laurie Watt Wagner: Tristan und Isolde: Prelude & Liebestod London Philharmonic Orchestra | Klaus Tennstedt (Warner Red Line) Ravel: Piano Concerto for the Left Hand Alicia de Larrocha | London Philharmonic Orchestra | Lawrence Foster (Decca) or Stephen Osborne | BBC Symphony Orchestra Ludovic Morlot (Hyperion)

Programme note © Jo Kirkbride

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.

Lili Boulanger: D’un soir triste BBC Philharmonic | Yan Pascal Tortelier (Chandos) Scriabin: Symphony No. 4 (The Poem of Ecstasy) BBC Philharmonic | Yan Pascal Tortelier (Chandos)

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

Your gift will enable us to offer affordable tickets to those who may not otherwise attend a concert. It will help us to touch more people and to share the wonder of a live musical experience with the classical music lovers of today and tomorrow.

HELP US OPEN THE DOORS TO MORE PEOPLE, AND SHARE THE MUSIC YOU LOVE.

NOW, AFTER SUCH A LONG WAIT, WE ARE THROWING OPEN THE DOORS TO OUR CONCERTS

DONATE ONLINE AT LPO.ORG.UK/OPENTHEDOORS, OR CALL THE INDIVIDUAL GIVING TEAM ON 020 7840 4212 OR 020 7840 4225.

We believe passionately that everyone should have the opportunity to experience them and we are committed to reaching as many people as we can.

THANK YOU.

JULIA FISCHER P L AY S M O Z A R T February 2022 at the Southbank Centre

STRAIGHT OUT OF SALZBURG

Wednesday 2 February 2022 | Royal Festival Hall R Strauss Don Juan Mozart Violin Concerto No. 3 Mozart Violin Concerto No. 4 R Strauss Tod und Verklärung

Thomas Søndergård conductor Julia Fischer violin

SINFONIA CONCERTANTE

Friday 4 February 2022 | Royal Festival Hall Mozart Overture: Die Entführung aus dem Serail Mozart Violin Concerto No. 5 Mozart Sinfonia Concertante R Strauss Till Eulenspiegels lustige Streiche Thomas Søndergård conductor Julia Fischer violin Nils Mönkemeyer viola

JULIA FISCHER PLAYS CHAMBER MUSIC Sunday 6 February 2022 | Queen Elizabeth Hall Shostakovich Two Pieces for String Octet Bruch Octet for Strings Dvořák Piano Quintet No. 2

Julia Fischer violin & piano Soloists of the London Philharmonic Orchestra

ADVENTURES AND HOMAGES

Saturday 12 Feb 2022 | Royal Festival Hall Mozart Violin Concerto No. 1 Mozart Violin Concerto No. 2 Tchaikovsky Serenade for Strings Julia Fischer violin/director With the support of

R ADIO 3 IN CONCERT Enjoy the best concerts from across the UK

LISTEN ON

London Philharmonic Orchestra • 22 January 2022 • Poems of Ecstasy

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 • 22 January 2022 • Poems of Ecstasy

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

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

Orchestra Circle

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

Principal Associates

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

Associates

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

Gold Patrons

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

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

Scott & Kathleen Simpson Eric Tomsett Andrew & Rosemary Tusa The Viney Family Guy & Utti Whittaker

Silver Patrons

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

Principal Supporters

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

Bronze Patrons

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

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

Supporters

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

London Philharmonic Orchestra • 22 January 2022 • Poems of Ecstasy

Thank you

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

Hon. Benefactor

Hon. Life Members

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:

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

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

LPO International Board of Governors

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)

Corporate Donors

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

LPO Corporate Circle Leader

Thomas Beecham Group Members

freuds Sunshine

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

Principal Berenberg Bloomberg Carter-Ruck French Chamber of Commerce

Tutti Lazard Russo-British Chamber of Commerce Walpole

Trialist

and all others who wish to remain anonymous.

Preferred Partners

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.

In-kind Sponsor Google Inc

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

Allianz Musical Insurance

Gusbourne Estate Lidl Lindt & Sprüngli Ltd OneWelbeck Steinway

Elliott Bernerd

Trusts and Foundations

London Philharmonic Orchestra • 22 January 2022 • Poems of Ecstasy

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

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

Finance

Martin Southgate Chris Viney Laurence Watt Elizabeth Winter

Frances Slack Finance Director Dayse Guilherme Finance Manager

General Administration

Jean-Paul Ramotar Finance and IT Officer

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

Education and Community Talia Lash Interim Education and Community Director

Concert Management

Rebecca Parslow Education and Community Project Manager

Roanna Gibson Concerts Director Graham Wood Concerts and Recordings Manager

Hannah Foakes Tilly Gugenheim Education and Community Project Co-ordinators

Fabio Sarlo Glyndebourne and Projects Manager

Development

Grace Ko Tours Manager

Laura Willis Development Director

Alison Jones Concerts and Recordings Co-ordinator

Scott Tucker Development Events Manager

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

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

Greg Felton Digital Creative Kiera Lockard Marketing Assistant

Archives Philip Stuart Discographer Gillian Pole Recordings Archive

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

Mr Simon Owen-Johnstone Hon. Orthopaedic Surgeon

Kirstin Peltonen Development Associate

Felix Lo Orchestra and Auditions Manager

Sophie Harvey Digital and Residencies Marketing Manager

Rosie Morden Individual Giving Manager

Nick Jackman Campaigns and Projects Director

Freddie Jackson Assistant Stage Manager

Ruth Knight Press and PR Manager

Mr Chris Aldren Honorary ENT Surgeon

Priya Radhakrishnan Georgia Wiltshire Development Assistants

Laura Kitson Stephen O’Flaherty Stage Managers

Gavin Miller Sales and Ticketing Manager

Stef Woodford Corporate Relations Manager

Anna Quillin Trusts and Foundations Manager

Sarah Thomas Martin Sargeson Librarians

Harrie Mayhew Website Manager

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