LPO programme: 22 Oct 2023 Eastbourne - Brahms's Second (Charlotte Politi/Samson Tsoy)

2023/24 concert season at Eastbourne’s Congress Theatre

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

Congress Theatre, Eastbourne Sunday 22 October 2023 | 3.00pm

Brahms’s Second Weber Overture, Der Freischütz (10’) Beethoven Piano Concerto No. 3 in C minor, Op. 37 (34’) Interval (20’) Brahms Symphony No. 2 in D major, Op. 73 (39’) Charlotte Politi conductor* Samson Tsoy piano *Inaugural participant in the LPO Conducting Fellowship.

The LPO Conducting Fellowship is generously supported by Patricia Haitink with additional support from Gini and Richard Gabbertas.

The Steinway concert piano chosen and hired by the London Philharmonic Orchestra for this performance is supplied and maintained by Steinway & Sons, London.

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

Concert presented by the London Philharmonic Orchestra in association with Eastbourne Borough Council

Contents 2

Welcome LPO news 3 On stage today 4 London Philharmonic Orchestra 6 Charlotte Politi 7 Samson Tsoy 8 Programme notes 11 On the LPO Label 12 Next concerts 13 LPO BrightSparks 14 Thank you 16 LPO administration

London Philharmonic Orchestra • 22 October 2023 • Brahms’s Second

Welcome to the Congress Theatre

LPO news

Theatre Director Chris Jordan

Today we’re thrilled to welcome two artists making their debuts with the London Philharmonic Orchestra. Pianist Samson Tsoy has won prizes worldwide and attracted rave reviews for his performances, Andrew Marr writing in The New Statesman that watching him play was ‘like watching a fearless Formula One driver taking a car round chicane after chicane.’ Today he joins us for what promises to be an exhilarating performance of Beethoven’s Third Piano Concerto.

Welcome to this afternoon’s concert by the London Philharmonic Orchestra. As always, we are pleased to welcome back the London Philharmonic Orchestra and its patrons to the Congress Theatre.

This season we celebrate 60 years since the LPO gave the first ever performance at the newly-opened Congress Theatre in 1963. The Orchestra has now given over 350 concerts here in Eastbourne, performing with countless esteemed conductors and soloists, as well as introducing many exciting new artists to the stage for the first time.

Today’s conductor, Charlotte Politi, is one of two 2023/24 participants in our LPO Conducting Fellowship – an initiative launched earlier this year to promote diversity and inclusivity in the classical music industry by developing outstanding early-career conductors from backgrounds currently under-represented in the profession. Turn to page 6 to read more about Charlotte and about the Fellowship.

The historic theatre in which you are now seated is unique in that it is conceived to be a perfect cube and has fantastic acoustics to enhance your experience of live music. Whether this is your first visit or you are a season regular, we hope you enjoy your experience at our venue. We thank you for continuing to support the concert series. Please sit back in your seats and enjoy the concert and your visit here.

Apple Music Classical

As a courtesy to others, please ensure mobile phones are switched off during the performance. Please also note that photography and recording are not allowed in the auditorium unless announced from the stage.

Thank you.

We are excited to announce a new LPO partnership with Apple Music Classical, the new streaming app designed specifically for classical music.

All 120+ LPO Label recordings are available on the app, along with over 5 million other tracks, making it the world’s largest classical music catalogue. In addition, thousands of recordings – including selected LPO Label releases – are available in immersive Spatial Audio featuring Dolby Atmos.

Complete our LPO survey to win a £75 Amazon voucher!

The first release as part of of the partnership is Berlioz’s The Damnation of Faust with Edward Gardner, recorded live at the Royal Festival Hall on 4 February 2023. It will be available to stream exclusively on Apple Music Classical for three months from 3 November 2023, and then will be released on all other streaming platforms and on physical disc on 3 February 2024 (see page 5).

We hope you enjoy today’s concert. Could you spare a few moments afterwards to complete a short survey about your experience?

Your feedback is invaluable to us and will help shape our future plans. To say thank you, at the end of the survey you will have the chance to opt in to a prize draw to win a £75 Amazon voucher.

Find Apple Music Classical in the App Store or the Google Play Store.

Just scan the QR code to begin. Thank you!

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London Philharmonic Orchestra • 22 October 2023 • Brahms’s Second

On stage today First Violins

Natalia Lomeiko Guest Leader Lasma Taimina Chair supported by Irina Gofman & Mr Rodrik V. G. Cave

Minn Majoe Elizaveta Tyun Amanda Smith Maria Fiore Mazzarini Eleanor Bartlett Alison Strange Katherine Waller Will Hillman Maeve Jenkinson Alice Hall

Second Violins

Ricky Gore Guest Principal Fiona Higham

Chair supported by David & Yi Buckley

Ashley Stevens Claudia Tarrant-Matthews

Chair supported by Friends of the Orchestra

Joseph Maher Sarah Thornett Sheila Law Harry Kerr José Nuno Cabrita Matias

Violas

Caroline Harrison Guest Principal Martin Wray Benedetto Pollani Laura Vallejo Daniel Cornford Mark Gibbs Shiry Rashkovksy

Cellos

Kristina Blaumane Principal

Chair supported by Bianca & Stuart Roden

Francis Bucknall Tom Roff Colin Alexander Hee Yeon Cho Pedro Silva

Trumpets

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

Trombones

Merin Rhyd Guest Principal Stephen Turton

Double Basses

Kevin Rundell* Principal George Peniston Tom Walley

Chair supported by William & Alex de Winton

Martin Ludenbach

Flutes

Stewart McIlwham* Principal Anna Rogers

Oboes

Ian Hardwick* Principal Alice Munday

Bass Trombone

Lyndon Meredith Principal

Tuba

Lee Tsarmaklis* Principal

Timpani

Simon Carrington* Principal

Chair supported by Victoria Robey OBE

*Holds a professorship at a London conversatoire

Clarinets

Thomas Watmough Principal

Chair supported by Roger Greenwood

James Maltby

Bassoons

Hugo Mak Guest Principal Emma Harding

Horns

Annemarie Federle Principal Martin Hobbs Oliver Johnson Gareth Mollison Jonathan Farey

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The LPO also acknowledges the following chair supporters whose players are not present at this concert: Gill & Garf Collins Sonja Drexler Mr B C Fairhall Dr Barry Grimaldi Sir Simon Robey Caroline, Jamie & Zander Sharp Eric Tomsett Neil Westreich

London Philharmonic Orchestra • 22 October 2023 • Brahms’s Second

© 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 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 • 22 October 2023 • Brahms’s Second

Coming soon on the LPO Label

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

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

EDWARD GARDNER CONDUCTS

BERLIOZ

THE DAMNATION OF FAUST

Recorded live at the Royal Festival Hall on 4 February 2023

Karen Cargill Marguerite John Irvin Faust Christopher Purves Mephistopheles Jonathan Lemalu Brander London Philharmonic Choir London Symphony Chorus London Youth Choirs

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

LPO-0128 Apple Music Classical exclusive release 3 November 2023 General release 3 February 2024 (pre-order from 1 December)

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.

‘Gardner was in complete control of his forces, leading the LPO in a richly textured reading of the score, abundant in both detail and drama.’

Bachtrack.com review of the concert performance, 4 February 2023

lpo.org.uk

Look for the Apple Music Classical app for iPhone and Android in the App Store or Google Play Store.

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London Philharmonic Orchestra • 22 October 2023 • Brahms’s Second

Charlotte Politi conductor

‘I feel so fortunate to be a Fellow Conductor with the LPO this season.

Everyone is very welcoming and supportive. I can’t wait to make music with such wonderful musicians!’

Charlotte Politi

The LPO Conducting Fellowship

French-Italian conductor Charlotte Politi is one of the London Philharmonic Orchestra’s two Fellow Conductors for the 2023/24 season. As well as taking to the podium for today’s concert, she will assist Principal Conductor Edward Gardner on several Royal Festival Hall concerts across the season, and will conduct a concert at St John’s Waterloo in London on 12 March 2024 as part of the Orchestra’s spring crossarts festival The Music in You. She will also conduct the Orchestra’s FUNharmonics family concerts and BrightSparks schools’ concerts next spring.

The LPO Conducting Fellowship was launched in 2023 to promote diversity and inclusivity in the classical music industry by developing outstanding early-career conductors from backgrounds currently under-represented in the profession.

Guided by the LPO’s Principal Conductor, Edward Gardner, two successful applicants each season become fully immersed in the life of the LPO, working intensively with the Orchestra over a period of 6–8 non-consecutive weeks. The Fellowship includes opportunities to conduct the Orchestra in various settings including at LPO residencies, educational programmes, and ensembles of its rising talent programmes; opportunities to assist Principal Conductor Edward Gardner, and mentorship sessions with him; and full immersion into the life of the Orchestra, aiming to form the basis of a longer-term professional relationship. Further opportunities are tailored to the needs and interests of the Fellow Conductors.

​ amed by BBC Music Magazine as a ‘Rising Star’, N Charlotte thrives in both the concert hall and the theatre. She is the Constant Lambert Associate with The Royal Ballet at the Royal Opera House, Covent Garden, and has conducted several ballet productions with Birmingham Royal Ballet (where she was the Conducting Fellow from 2021–23). She has also conducted the City of Birmingham Symphony Orchestra during her tenure as Assistant Conductor.

After completing her studies in Italy, Charlotte studied at the Hochschule für Musik in Karlsruhe, Germany, and at the University of Michigan in the US. She has also taken part in prestigious conducting masterclasses such as the Italian Opera Academy with Riccardo Muti, and the Conductors’ Academy of the Tonhalle Zürich under the guidance of Paavo Järvi. S ​ he has also conducted many orchestras in Europe, including the Baden-Baden Philharmonic, Stuttgart Philharmonic, Württemberg Philharmonic Reutlingen, Philharmonisches Kammerorchester Dresden and Orchestra da Camera del Maggio Musicale Fiorentino.

Applications for 2024/25 Applications for the 2024/25 LPO Conducting Fellowship are open now, and close this Friday, 27 October 2023. Auditions will take place in February 2024. To find out more, visit lpo.org.uk/conductingfellowship The LPO Conducting Fellowship is generously supported by Patricia Haitink with additional support from Gini and Richard Gabbertas.

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London Philharmonic Orchestra • 22 October 2023 • Brahms’s Second

Samson Tsoy piano

Diego Masson with the Philharmonia Orchestra, Alexander Vedernikov with the BBC Symphony Orchestra, Maxim Emelyanychev with the Philharmonia Orchestra, Juanjo Mena with the Real Filharmonía de Galicia, and Roberto Minczuk with the Calgary Philharmonic Orchestra. Today’s concert is his debut with the London Philharmonic Orchestra.

© Joss McKinley

Alongside his solo career, Samson Tsoy is keen on establishing deep musical connections with other musicians by building long-standing partnerships.

He formed a piano duo with Pavel Kolesnikov in 2009; other artistic partners include violinist Alina Ibragimova, cellists Andrei Ioniță and Mario Brunello, percussionist Colin Currie, clarinettist Nicolas Baldeyrou and soprano Elena Stikhina.

Samson Tsoy was born in Kazakhstan into a family of eight generations of acupuncturists, to a Korean father and Russian Jewish mother, and moved to the UK in 2011. His mentors included Elisabeth Leonskaja and Maria João Pires. Samson Tsoy searches for inspiration in a variety of art forms, and he is also a passionate runner.

Lauded for the originality and intense drama of his interpretations, pianist Samson Tsoy is a great believer in the importance of establishing meaningful ways to venture outside the familiar and conservative. Recent projects attesting to this include a collaboration with the great American artist Richard Serra, and two large-scale projects at a former car park in southeast London: two Brahms piano concertos in one evening with the Philharmonia Orchestra and Maxim Emelyanychev, and Scriabin’s Prometheus with Gergely Madaras. Praised as a ‘Herculean soloist’ by The Observer, his performances were included among the best performances of 2020 and 2021 in The Guardian and The Arts Desk yearly reviews.

Samson Tsoy is a co-founder of the Ragged Music Festival in London. In just a few years of its existence, the festival has gained a strong following among both connoisseurs and those seeking an alternative to the formality of traditional concert settings. Despite its informal setting, it has become a platform for some of the most serious and devoted music-making to be experienced in London, by the world’s finest musicians of all generations. The festival earned a prestigious South Bank Sky Arts Award nomination, and in April 2023 went on tour to the Muziekgebouw in Amsterdam.

Samson Tsoy regularly performs in the most prestigious venues and festivals around the world, including the Southbank Centre’s Royal Festival Hall and Queen Elizabeth Hall, as well as the Barbican and Wigmore Hall in London, the Theatre de la Ville and Salle Gaveau in Paris, Berlin’s Konzerthaus, Sala Verdi in Milan, and the Aldeburgh, Verbier, Kilkenny Arts, Montreaux September, Plush, Honens and Rostropovich festivals.

He has worked with renowned conductors including

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London Philharmonic Orchestra • 22 October 2023 • Brahms’s Second

Programme notes Carl Maria von Weber 1786–1826

Overture, Der Freischütz 1821

rendered in full colour through Weber’s astonishing orchestration.

When Weber unveiled his seventh opera, Der Freischütz (literally ‘The Free Shooter’ or ‘The Marksman’), to a startled Berlin audience in June 1821, his fortunes transformed overnight. ‘Weber must now write operas, nothing but operas’, Beethoven wrote, proclaiming the work an unmitigated triumph. Weber had spent much of his early career in or around the opera house, but none of his operas before Der Freischütz had quite hit the mark. This was an era when Italian opera held the public enthralled, and the German Singspiel – although elevated by Beethoven with Fidelio (1805) – had not yet been able to make the same impression. With Der Freischütz, and with Euryanthe and Oberon in the years that followed, Weber at last found a way of combining the thrill of Italianate models and the gloss of French romanticism with a spirit that was defiantly German, its themes strongly rooted in the German folk tradition.

Programme note © Jo Kirkbride

Courtesy of the Royal College of Music, London

The story of Der Freischütz is adapted from a traditional German legend, in which a hunter, Kaspar, sells his soul to the Devil in return for seven silver bullets which never fail to hit their mark. When the Prince sets his loyal assistant, Max, a shooting test to win his daughter’s hand in marriage, Kaspar takes Max on and with the help of the silver bullets looks set to triumph. But the heavens intervene, the final bullet is deflected and Kaspar is killed, leaving Max to claim the Prince’s daughter for his own.

The Overture, in Weber’s words, depicts the opera’s two opposing forces: ‘the life of the hunter and the rule of demonic powers’. Instead of a glittering curtain-raiser this makes for a rather darker opener, the ominous swell of the lower strings punctuated by moments of eerie silence, the overture initially faltering and uncertain.

This gives way to the sunny call of the hunter – a glorious pastoral horn quartet – but this too is cut off, all too soon, by the return to the portentous ripple of the strings. What follows would not sound out of place in Wagner’s early works: a thrilling exploration of good versus evil, major versus minor, its vivid storytelling

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London Philharmonic Orchestra • 22 October 2023 • Brahms’s Second

Programme notes Ludwig van Beethoven 1770–1827

Piano Concerto No. 3 in C minor, Op. 37 1800

Samson Tsoy piano 1 Allegro con brio 2 Largo 3 Rondo: Allegro As turning points go, this one was big. While some ideas in Beethoven’s Third Piano Concerto date from the late 1790s, the piece – completed in 1800 – is effectively his first large-scale orchestral creation of the 19th century.

More significant than the calendar date, however, was the Concerto’s timing in the composer’s own life journey.

Beethoven was at work on the piece as he began to realise that the problems with his hearing weren’t going to improve; that they were, in fact, likely to develop into complete deafness. That realisation had a cataclysmic effect on Beethoven as a person and shot entirely new sentiments and concepts into his music, starting with this piece. One of the most obvious implications of the composer-pianist’s impending deafness – one he knew about all too well – was his potential inability to perform and improvise on stage with an orchestra.

In fact, Mozart’s K491 Concerto looms over many aspects of Beethoven’s Third – its key, the first movement shape and the use of themes built on ‘thirds’.

But the feelings of heroic conflict and tension in this piece are entirely new. In Beethoven’s Concerto, the piano initiates a stand-off against the orchestra in a manner unusual even for this composer. Major keys tussle with minor ones throughout the opening Allegro.

In the slow movement, Beethoven reaches for expressive tools that can only be described, in aesthetic terms, as Romantic. The meditative qualities of this movement’s main ideas conjure a picture of Beethoven clinging on dearly to the music’s beauty, as if he knew he’d soon not be able to hear at all.

The composer does his listeners the service, though, of sending them out with a gregarious final movement.

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

The soloist’s part in the Third Concerto, therefore, is that bit more defined. The pianist takes on a noticeably more individual, imposing and energetic role. Cadenzas (the passages in which the soloist would traditionally improvise to demonstrate prowess) are written out in full: instructions for future pianists to obey to the letter long after Beethoven himself could no longer issue demonstration performances. The pianist’s more controlling role is also felt in the first movement’s coda, its ‘last word’. Here, Beethoven’s solo piano joins the orchestra, a strikingly presumptuous act with only one tentative precedent, in a concerto by Mozart.

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 • 22 October 2023 • Brahms’s Second

Programme notes Johannes Brahms 1833–97

Symphony No. 2 in D major, Op. 73 1876 1 Allegro non troppo 2 Adagio non troppo 3 Allegretto grazioso, quasi andantino 4 Allegro con spirito If evidence were needed of the rewards of confronting life’s obstacles, Brahms’s Second Symphony provides it.

Brahms took the best part of two decades to compose his First Symphony, finally producing it at the age of 43 after years of reluctance to enter a field so dominated by the intimidating legacy of Beethoven. ‘You have no idea how it feels to hear that giant marching behind me’, he once wrote to a friend. That First Symphony seemed to embody something of Brahms’s hard-won victory in its typically Beethovenian journey from darkness to light (famously, it was dubbed ‘Beethoven’s Tenth’), yet within a year of finally clearing the symphonic path, Brahms had composed his Second Symphony, taking just a few months over it during the summer of 1877, and finding in it a relaxed, almost pastoral atmosphere that speaks of anything but creative struggle.

The prevailing mood of the work is unmistakably sunny, yet this is far from being the whole story. Unlike the First, it both begins and ends in light, but while Brahms was undoubtedly overstating the case when he told friends that he ‘had never written anything so sad’ and that it would have to be printed ‘on black-edged paper’, his teases are not without justification. The Second is never tragic, but in its first two movements it offers music of profound melancholy, occasionally darkening to the elegiac.

Such feelings are not evident as the Symphony begins, its gentle triple-time and smooth melodic contours seeming to offer a world of unalloyed pastoral contentment, but it is not long before a quiet drum-roll

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London Philharmonic Orchestra • 22 October 2023 • Brahms’s Second

Programme notes and some troubled chords from the trombones and tuba cloud the air; though the sun appears to return, especially in a broad second theme that seems to be related to Brahms’s famous Wiegenlied (or ‘Lullaby’), the mood is never quite the same again. The command of emotional tone is masterful in this movement, but Brahms’s technical control is no less impressive; the three-note figure outlined by the cellos and basses in the very first bar reappears in many guises to be a crucial thematic unifier throughout the work.

The trumpets, trombone and tuba fall silent in the Allegretto, and the mood lightens for a rustic serenade in which a sedately piping main theme appears three times, interleaved with faster variations of itself.

The finale opens quietly but with barely concealed excitement, and indeed the joy cannot be contained for long, bursting free within 20 bars. Rarely, if ever, did Brahms show such rampant exuberance, yet even here his intellect maintains its grip; the generous theme of the second melody returns late on almost as a chant, albeit one whose syncopations impart an air of expectancy, before it is let loose and transformed again to power the music to a brilliant finish.

The second movement reaches depths of feeling as great as in any of Brahms’s works, its falling theme announced at the outset by cellos and rising countermelody on bassoons setting the mood for an Adagio of rich complexity and sustained passion. There is awe, perhaps even a hint of terror, in the fortissimo outburst towards the end, but the movement has a settled, if sombre, close.

Programme note © Lindsay Kemp

Take the music with you.

Stream Brahms’s Symphony No. 2 Scan the QR code to listen instantly now

Brahms Symphonies Nos. 1 & 2 Vladimir Jurowski conductor Recorded live at the Southbank Centre’s Royal Festival Hall on 25 May 2008 (No. 1) and 27 September 2008 (No. 2)

LPO-0043

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.

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Next LPO concerts at Eastbourne’s Congress Theatre MOZART & BEETHOVEN Sunday 26 November 2023 | 3.00pm Beethoven Overture, Fidelio Mozart Clarinet Concerto Beethoven Symphony No. 4 Bertie Baigent conductor Benjamin Mellefont clarinet

ELGAR’S CELLO CONCERTO Sunday 14 January 2024 | 3.00pm Smetana Overture, The Bartered Bride Elgar Cello Concerto Dvořák Symphony No. 7 Gabriella Teychenné conductor Laura van der Heijden cello

PICTURES AT AN EXHIBITION Sunday 11 February 2024 | 3.00pm Brahms Violin Concerto Mussorgsky Pictures at an Exhibition Kahchun Wong conductor Francesca Dego violin

Tickets from £16 Students £7 (exc. premium seats) eastbournetheatres.co.uk Ticket Office: 01323 412000

BrightSparks Schools’ Concert Coming to Eastbourne in 2024!

Thursday 9 May 2024 Congress Theatre, Eastbourne

This season we’re very excited to bring our popular BrightSparks schools’ concerts to Eastbourne for the first time!

This daytime performance is an opportunity for Key Stage 2 children to experience the thrill of hearing a full orchestra.

Booking for schools opens in the spring – for updates sign up at lpo.org.uk/brightsparks

ESO Autumn Concert

Eastbourne Symphony Orchestra

7pm Sunday 29 October 2023 Soloist Julian Chan winner of the Norah Sande Award 2023

www.eso.org.uk Conductor Graham Jones Leader Lisa Wigmore

ESO 44th Season 2024

36th Young Soloist Competition Birley Centre, BN21 4EF First round 27/28 January Final 18 February Verdi Requiem 11 May with Eastbourne Festival Chorus Summer Concert 30 June Autumn Concert 20 October ESO Past Competitions

Tickets £3 per pupil (accompanying teachers free of charge).

This includes a free INSET session and written resources for teachers.

ESO Past Concerts

Handel Mozart Dvořák Overture in D minor (arranged Elgar)

St Saviour’s Church South Street Eastbourne, BN21 4UT

Piano Concerto No 26 (Coronation Concerto)

New World Symphony

Ticket details including wegottickets.com (£14)

London Philharmonic Orchestra • 22 October 2023 • Brahms’s Second

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 OBE

Orchestra Circle

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

Principal Associates

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

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David & Yi Buckley In memory of Allner Mavis Channing Sonja Drexler Peter & Fiona Espenhahn Mr B C Fairhall Hamish & Sophie Forsyth Virginia Gabbertas MBE Mr Roger Greenwood Malcolm Herring Julian & Gill Simmonds Eric Tomsett The Viney Family Guy & Utti Whittaker

Silver Patrons

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Principal Supporters

Anonymous donors Ralph & Elizabeth Aldwinckle Mr John D Barnard Roger & Clare Barron 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 Pippa Mistry-Norman Mrs Terry Neale John Nickson & Simon Rew

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 Christopher Fraser OBE Mr Daniel Goldstein David & Jane Gosman Mr Gavin Graham Lord & Lady Hall Mrs Dorothy Hambleton

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Mr James Pickford Filippo Poli Mr Robert Ross Martin & Cheryl Southgate Mr & Mrs G Stein Christopher Williams

Supporters

Anonymous donors Mr Francesco Andronio Julian & Annette Armstrong Mr Philip Bathard-Smith Emily Benn Mr Julien Chilcott-Monk Alison Clarke & Leo Pilkington Mr Peter Coe Mr Joshua Coger Miss Tessa Cowie Caroline Cox-Johnson Mr Simon Edelsten Will Gold Mr Stephen Goldring Mr & Mrs Graham & Jean Pugh Mr Geordie Greig Mr Peter Imhof The Jackman Family Mr David MacFarlane Paul & Suzanne McKeown Nick Merrifield Dame Jane Newell DBE Mr David Peters Nicky Small Mr Brian Smith Mr Michael Timinis Mr & Mrs Anthony Trahar Tony & Hilary Vines 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 OBE Mrs Jackie Rosenfeld OBE Timothy Walker CBE AM Laurence Watt

London Philharmonic Orchestra • 22 October 2023 • Brahms’s Second

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 OBE 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 Sciteb Ltd Walpole

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 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 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 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.

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

In-kind Sponsor Google Inc

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London Philharmonic Orchestra • 22 October 2023 • Brahms’s Second

London Philharmonic Orchestra Administration Board of Directors Dr Catherine C. Høgel Chair Lord Hall of Birkenhead CBE Vice-Chair Martin Höhmann* President Mark Vines* Vice-President Emily Benn Kate Birchall* David Burke Deborah Dolce Elena Dubinets Tanya Joseph Hugh Kluger* Katherine Leek* Minn Majoe* Tania Mazzetti* Jamie Njoku-Goodwin Andrew Tusa 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 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 OBE Baroness Shackleton Thomas Sharpe KC Julian Simmonds Barry Smith Martin Southgate Chris Viney

Laurence Watt Elizabeth Winter

Education and Community

General Administration

Talia Lash Education and Community Director

Elena Dubinets Artistic Director

Lowri Davies Hannah Foakes Education and Community Project Managers

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

Hannah Smith Education and Community Co-ordinator

Concert Management Roanna Gibson Concerts and Planning Director

Claudia Clarkson Regional Partnerships Manager

Graham Wood Concerts and Recordings Manager

Development Laura Willis Development Director

Maddy Clarke Tours Manager

Rosie Morden Individual Giving Manager

Madeleine Ridout Glyndebourne and Projects Manager

Siân Jenkins Corporate Relations Manager

Alison Jones Concerts and Recordings Co-ordinator

Anna Quillin Trusts and Foundations Manager

Robert Winup Concerts and Tours Assistant

Katurah Morrish Development Events Manager

Matthew Freeman Recordings Consultant

Eleanor Conroy Al Levin Development Co-ordinators

Andrew Chenery Orchestra Personnel Manager Sarah Thomas Martin Sargeson Librarians

Nick Jackman Campaigns and Projects Director

Laura Kitson Stage and Operations Manager

Kirstin Peltonen Development Associate

Marketing

Stephen O’Flaherty Deputy Operations Manager

Kath Trout Marketing and Communications Director

Benjamin Wakley Assistant Stage Manager Felix Lo Orchestra and Auditions Manager

Sophie Harvey Marketing Manager Rachel Williams Publications Manager

Finance

Gavin Miller Sales and Ticketing Manager

Frances Slack Finance Director

Ruth Haines Press and PR Manager

Dayse Guilherme Finance Manager

Hayley Kim Residencies and Projects Marketing Manager

Jean-Paul Ramotar Finance and IT Officer

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Greg Felton Digital Creative Alicia Hartley Digital and Marketing Co-ordinator Isobel Jones Marketing Assistant

Archives Philip Stuart Discographer Gillian Pole Recordings Archive

Professional Services Charles Russell Speechlys Solicitors Crowe Clark Whitehill LLP Auditors Dr Barry Grimaldi Honorary Doctor Mr Chris Aldren Honorary ENT Surgeon Mr Simon Owen-Johnstone Hon. Orthopaedic Surgeon London Philharmonic Orchestra 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Box Office: 020 7840 4242 Email: admin@lpo.org.uk lpo.org.uk Cover illustration Selman Hoşgör 2023/24 season identity JMG Studio Printer John Good Ltd