LPO programme: 24 Mar 2024 Eastbourne - Randall Goosby plays Mozart

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 KBE 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 24 March 2024 | 3.00pm

Randall Goosby plays Mozart

Mozart

Ballet Music from Idomeneo (13’)

Mozart

Violin Concerto No. 3, K216 (24’)

Interval (20’)

Prokofiev

Romeo and Juliet (excerpts) (43’)

Gemma New conductor

Randall Goosby violin

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

5 Leader: Pieter Schoeman

6 Gemma New

7 Randall Goosby

8 Programme notes

13 The Big Give: Double your donation

14 Thank you

16 LPO administration

Welcome to the Congress Theatre

Theatre Director Chris Jordan

Welcome to the final concert of 2024 by the London Philharmonic Orchestra here at the Congress Theatre. As always, we are pleased to welcome back the London Philharmonic Orchestra and its patrons.

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.

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.

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.

Enjoying the 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 Big Give: Double your donation

From 19–26 March 2024, the Orchestra is taking part in The Big Give matched funding campaign: this means that until Tuesday 26 March, for every £1 that you give, we will receive £2! Your donation will help us reach more South Coast communities with the transformational power of music.

Here in Eastbourne and the surrounding areas, the LPO is working collaboratively with local organisations to build sustainable, authentic partnerships at grassroots level to create and deliver exciting musical experiences. With your help we will be able to deliver co-created, transformative music projects that connect communities, develop skills, nurture creativity and support wellbeing. These include inspiring schoolchildren at the LPO’s first schools’ concert at the Congress Theatre (see below); partnering with local organisations to support amateur musicians who have faced addiction issues and challenges such as homelessness; and performing in non-traditional venues to give easy access to LPO mini-concerts for those who might not otherwise see live classical music. Turn to page 13 to read more and find out how to donate.

BrightSparks Schools’ Concert in Eastbourne

On 9 May we’re giving our first ever BrightSparks schools’ concert here at Eastbourne’s Congress Theatre! Local Key Stage 2 students (aged 7–11) will be introduced to the Orchestra through a programme of American and America-inspired music, featuring composers Aaron Copland, Errollyn Wallen and Joan Tower. Tickets are £3 per pupil (accompanying teachers free of charge). This includes a free INSET session and written resources for teachers.

Booking for schools is open now at lpo.org.uk/brightsparks

BrightSparks 2023/24 is generously funded by the Rothschild Foundation with additional support from the Candide Trust, Dunard Fund, Rivers Foundation, Mr & Mrs Philip Kan, and Gill and Julian Simmonds.

First Violins

Pieter Schoeman* Leader

Chair supported by Neil Westreich

Alice Ivy-Pemberton Co-Leader

Kate Oswin

Chair supported by Eric Tomsett

Minn Majoe

Yang Zhang

Cassandra Hamilton

Katalin Varnagy

Chair supported by Sonja Drexler

Martin Höhmann

Elizaveta Tyun

Nilufar Alimaksumova

Alison Strange

Alice Hall

Sylvain Vasseur

Ricky Gore

Second Violins

Tania Mazzetti Principal

Coco Inman

Emma Oldfield Co-Principal

Helena Smart

Kate Birchall

Nancy Elan

Fiona Higham

Chair supported by David & Yi

Buckley

Joseph Maher

Ashley Stevens

Sioni Williams

Nynke Hijlkema

Lyrit Milgram

Violas

Jiwon Kim Guest Principal

Martin Wray

Katharine Leek

Benedetto Pollani

Laura Vallejo

Kate De Campos

Shiry Rashkovsky

Daniel Cornford

Lucia Ortiz Sauco

Michelle Bruil

Cellos

Bozidar Vukotic Guest Principal

Ella Rundle

Nina Kiva

Helen Thomas

Sibylle Hentschel

Francis Bucknall

Iain Ward

Double Basses

Sebastian Pennar Principal

George Peniston

Elen Roberts

Emma Prince

Charlotte Kerbegian

Antonia Bakewell

Flutes

Juliette Bausor Principal

Daniel Shao

Piccolo

Stewart McIlwham* Principal

Oboes

Ian Hardwick* Principal

Eleanor Sullivan

Cor Anglais

Max Spiers

Clarinets

Thomas Watmough Principal

Chair supported by Roger Greenwood

James Maltby

Bass Clarinet

Paul Richards* Principal

Tenor Saxophone

Martin Robertson

Bassoons

Jonathan Davies* Principal

Chair supported by Sir Simon

Robey

Stuart Russell

Contrabassoon

Simon Estell* Principal

Horns

John Ryan* Principal

Martin Hobbs

Mark Vines Co-Principal

Gareth Mollison

Elise Campbell

Trumpets

Paul Beniston* Principal

Tom Nielsen Co-Principal

Anne McAneney*

Trombones

Mark Templeton* Principal

Chair supported by William & Alex

de Winton

David Whitehouse

Bass Trombone

Lyndon Meredith Principal

Tuba

Lee Tsarmaklis* Principal

Timpani

Jeremy Cornes Guest Principal

Percussion

Andrew Barclay* Principal

Chair supported by Gill & Garf Collins

Karen Hutt

Chair supported by Mr B C Fairhall

Tom Edwards

Feargus Brennan

Richard Horne

Harp

Sue Blair Guest Principal

Piano/Celeste

Philip Moore

*Professor at a London conservatoire

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

Sir Nigel Boardman & Prof. Lynda Gratton

Friends of the Orchestra

Irina Gofman & Mr Rodrik V. G. Cave

Dr Barry Grimaldi

Ryze Power

Victoria Robey CBE

Bianca & Stuart Roden

London Philharmonic Orchestra

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

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

Sharing the wonder

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

Our conductors

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

Soundtrack to key moments

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

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

© Mark Allan

Next generations

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

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

Looking forward

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

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

Pieter Schoeman Leader

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

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

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

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

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

© Benjamin Ealovega

Gemma New conductor

Sought-after for her insightful interpretations and dynamic presence, New Zealand-born Gemma New is Artistic Advisor and Principal Conductor of the New Zealand Symphony Orchestra, and Music Director of Canada’s Hamilton Philharmonic Orchestra. Hailed by the St. Louis Post-Dispatch as ‘a rising star in the musical firmament’, she is the recipient of the prestigious 2021 Sir George Solti Conducting Award. Earlier this week (Friday 22 March) she made her debut with the London Philharmonic Orchestra, at London’s Royal Festival Hall alongside today’s soloist, Randall Goosby.

In summer 2023 Gemma made her debuts at the BBC Proms (with the BBC Scottish Symphony Orchestra) and the Mostly Mozart Festival at Lincoln Center, and returned to the Hollywood Bowl with the Los Angeles Philharmonic. She also appeared at Chicago’s Grant Park Music Festival, Oregon Bach Festival, Interlochen Center for the Arts, Festival de la Chaise-Dieu with the Orchestre National de Lyon, and Opera Theatre of St. Louis, where she led a production of Carlisle Floyd’s opera Susannah.

During the 2023/24 season Gemma makes debuts with the Chicago Symphony Orchestra, Los Angeles Philharmonic, Vancouver Symphony and Orchestre National de France. North American returns include the Atlanta Symphony, the Seattle Symphony and the Orchestre symphonique de Montréal. In Europe she makes her debut with the Bamberg Symphony, as well as conducting the Malmö Symphony Orchestra, Orquesta Sinfónica de Barcelona y Nacional de Cataluña, Orquesta Nacional de España, Orchestre de l’Opéra de Rouen-Normandie, Orchestre National Bordeaux Aquitaine and Staatsorchester Hannover.

As Music Director of the Hamilton Philharmonic, Gemma New has been committed to deepening the artistic level of the orchestra and expanding its reach into the community. She launched the orchestra’s first ‘Intimate and Immersive’ concert series, celebrating music by Canadian composers in a visually vibrant setting. From Handel’s Messiah, to Mahler’s Symphony No. 5, to Iman Habibi’s Jeder Baum spricht, under her leadership the HPO has embraced a programming style that builds a trust and excitement with audiences. Highlights have included collaborations with Canada’s leading soloists such as James Ehnes, Timothy Chooi, Janina Fialkowska and Stewart Goodyear.

For four seasons, Gemma New held the title of Principal Guest Conductor with the Dallas Symphony Orchestra. In her final season she led the orchestra in three programmes including Holst’s The Planets and Stravinsky’s The Rite of Spring. A proponent of new music, her programmes also featured works by Angélica Negrón, and the world premiere of Katherine Balch’s Cello Concerto.

Gemma New served for four seasons as Resident Conductor of the St. Louis Symphony Orchestra. In her final season she led the orchestra’s 2019/20 season opening concerts, and conducted a concert broadcast live with Chris Thile on the nationally syndicated variety show Live From Here. A former Dudamel Conducting Fellow with the Los Angeles Philharmonic, Gemma previously served as Associate Conductor of the New Jersey Symphony. In 2018 she was a Conducting Fellow at Tanglewood Music Center, where she led the world premiere of Michael Gandolfi’s In America. She was awarded Solti Foundation Career Assistance Awards in 2017, 2019 and 2020, before receiving the 2021 Sir Georg Solti Conducting Award.

Committed to new music, Gemma New made her Carnegie Hall debut in 2013 with works by John Adams and Andrew Norman. In 2010 she founded the Lunar Ensemble, a nine-member contemporary music ensemble that premiered 30 works over six seasons. She has conducted works by Thomas Adès, Anna Clyne, Steve Mackey, Aaron Jay Kernis, and many others.

Gemma New holds a Master of Music degree in orchestral conducting from the Peabody Institute in Baltimore, where she studied with Gustav Meier and Markand Thakar. She graduated with honours from the University of Canterbury in New Zealand with a Bachelor of Music in violin performance.

© Roy Cox

Randall Goosby violin

‘For me, personally, music has been a way to inspire others’ – Randall Goosby’s own words sum up perfectly his commitment to being an artist who makes a difference. Signed exclusively to Decca Classics in 2020 at the age of 24, the American violinist is acclaimed for the sensitivity and intensity of his musicianship alongside his determination to make music more inclusive and accessible, as well as bringing the music of under-represented composers to light. His most recent LPO engagement was in November 2022, when he performed Bruch’s Violin Concerto No. 1 at the Royal Festival Hall and Brighton Dome under Alpesh Chauhan. In October 2024 he will join the Orchestra and Principal Conductor Edward Gardner on a major tour of the US, performing in cities across California, Michigan and New York.

During the 2023/24 season Randall Goosby is Artist-inResidence at London’s Southbank Centre. As well as performing Mozart with the LPO and conductor Gemma New, he will also present recital and chamber concerts there. Other highlights this season include debuts with the Boston Symphony Orchestra under Andris Nelsons, Washington’s National Symphony Orchestra under Thomas Wilkins, the Pittsburgh Symphony Orchestra under Manfred Honeck, and the Seattle and St Louis symphony orchestras, both under Christian Reif. European debuts include a tour with the Rotterdam Philharmonic Orchestra under Yannick Nézet-Séguin, and performances with the Danish National Radio Symphony Orchestra under Jukka-Pekka Saraste, the Oslo Philharmonic Orchestra under Ryan Bancroft, and the Lahti Symphony Orchestra under Dalia Stasevska.

Spring 2023 saw the release of Randall Goosby’s debut concerto album for Decca Classics, recorded with Yannick Nézet-Séguin and The Philadelphia Orchestra and featuring concertos by Max Bruch and Florence Price. Gramophone Magazine observed: ‘There’s an honesty and modesty … This playing isn’t dressed to impress, but to express.’ His first album for Decca, entitled Roots, is a celebration of African-American music which explores its evolution from the spiritual through to present-day compositions. Collaborating with pianist Zhu Wang, Goosby curated an album paying homage to the pioneering artists that paved the way for him and other artists of colour. It features three worldpremiere recordings of music by African-American composer Florence Price, works by William Grant Still and Coleridge-Taylor Perkinson, and a newly commissioned piece by acclaimed double bassist Xavier Foley.

Randall Goosby is deeply passionate about inspiring and serving others through education, social engagement and outreach activities. He has enjoyed working with non-profit organisations such as the Opportunity Music Project and Concerts in Motion in New York City, as well as participating in community engagement programmes for schools, hospitals and assisted living facilities across the US.

Randall won First Prize in the 2018 Young Concert Artists International Auditions. In 2019 he was named the inaugural Robey Artist by Young Classical Artists Trust in partnership with Music Masters in London, and in 2020 he became an Ambassador for Music Masters, a role that sees him mentoring and inspiring students in schools around the UK. In 2010 he won First Prize in the Sphinx Concerto Competition, and he is also a recipient of Sphinx’s Isaac Stern Award, a career advancement grant from the Bagby Foundation, and a 2022 Avery Fisher Career Grant. An active chamber musician, he has spent his summers studying at the Perlman Music Program, the Verbier Festival Academy and the Mozarteum Summer Academy, among others.

Randall made his debut with the Jacksonville Symphony aged nine, and with the New York Philharmonic in a Young People’s Concert at Lincoln Center aged 13. A former student of Itzhak Perlman and Catherine Cho, he received his Bachelor’s, Master’s and Artist Diploma degrees from The Juilliard School. He is an alumni of the Perlman Music Program and studied previously with Philippe Quint. He plays the Antonio Stradivarius, Cremona, ‘ex-Strauss’ 1708, on generous loan from the Samsung Foundation of Culture.

© Kaupo Kikkas

Wolfgang Amadeus Mozart 1756–91

Ballet Music from Idomeneo 1781

Chaconne Pas Seul

Mozart’s opera Idomeneo, re di Creta (Idomeneo, King of Crete) – usually referred to simply as Idomeneo –represented a significant milestone in the 24-year-old composer’s operatic career. Premiered in Munich in 1781, it was the composer’s first major opera seria, a genre characterised by its serious themes and elaborate vocal writing.

The opera’s libretto, adapted by Giambattista Varesco from a French play of 1705, draws inspiration from Greek mythology and tells the story of King Idomeneo of Crete, who faces a moral dilemma after making a solemn vow to Neptune. Following a tempest at sea, Idomeneo promises, in exchange for his safety to sacrifice the first person he sees upon reaching land. To his dismay, the first person he encounters is his own son, Idamante. The opera explores themes of duty, sacrific and redemption, all set against the backdrop of ancient Greek tragedy.

Idomeneo borrows elements of the French ‘tragédie lyrique’ style of Lully and Rameau, a form that also included dance. Mozart initially wanted to incorporate a dance scene at the end of each of the opera’s acts, but in the end opted for a large-scale dance section at the end of the work to serve as the climax of the performance, and it is in this ballet section that the ‘Chaconne’ and ‘Pas Seul’ appear. A chaconne is a stately dance-form, usually in triple metre. Mozart’s basic chaconne theme is borrowed from Gluck’s Iphigénie en Aulide of 1774, perhaps as homage to that great senior figure, and its music is majestic and solemn. The Chaconne leads into the ‘Pas seul’ (‘solo dance’), which at the opera’s premiere was danced by the Munich balletmaster, Jean-Pierre Le Grand”, who was the main choreographer for the opera’s premiere.

Tenor Anton Raaff as Idomeneo at the opera’s Munich premiere, 29 January 1781

Wolfgang Amadeus Mozart 1756–91

Violin Concerto No. 3 in G major, K216 1775

Randall Goosby violin

1 Allegro

2 Adagio

3 Rondeau. Allegro

Although we picture Mozart as a man of travel, he was tied to the Salzburg court. Both Mozart and his father were employees of the city’s Prince Archbishop. The pomp and wealth of their employment suited many facets of their characters, but it was not always conducive to a happy life. By the time Mozart composed this Violin Concerto in September 1775, he was at the end of his tether. He constantly provided new music for the liturgy, but his mind was on other things. His father encouraged him to explore new sources of income, and local Salzburg dignitaries provided the commissions. Mozart most wanted to write opera, but contemporary concertos and piano sonatas provided diversity from the pompous religiosity at court.

All of Mozart’s extant violin concertos date from his Salzburg youth. A proficient string player, Mozart was able to show off his skills both as a composer and an instrumentalist. His solo violin parts are clearly conceived within the texture, providing flourishes while still directing the orchestra. By the time he reached Vienna, Mozart shifted his attention to keyboard concertos but, like these Salzburg works, they were also written for primarily financial purposes.

Despite the monetary impetus, this Concerto bursts with life. It depicts a young man released from the shackles of his employer. Broad chords pose a question, requiring an answer. Rather than repeating the phrase, Mozart’s response spirals off with breathless energy, contradicting the equal phrases of the initial statement.

He continues to channel that independent spirit as harmonic pace and cadence points belie expectation. Ducking and diving around more formulaic harmonies, Mozart maintains a cheeky presence through the opening movement’s chromatic passing notes and clipped acciaccaturas.

Although the central Adagio is more reserved – with Mozart requesting the use of mutes – the pert tenor of the first movement continues. The flute commentary after each solo violin statement reassures us of a happy mood. That sentiment is further confirmed in the opening of the rustic finale. Its equal four-bar phrases restore propriety, though Mozart refuses to suppress his natural wit, as the solo violin breaks free. But

however humorous those first statements, Mozart surprises with a modulation into the relative minor. Rather than being a brief tonal enclave, it remains fixed, casting its melancholic shadow. The violin cadenza is likewise formed within the minor key, disturbing a pervasively happy mood. Even as the Rondo theme breaks through once more, Mozart’s harmonic ambitions have not been sated and the music suddenly stops before switching into G minor and a new metre and tempo. That too is short-lived and Mozart returns to G major and, eventually, the opening rondo. Cheeky to the last, the work ends with a pert woodwind cadence.

Programme note © Gavin Plumley

Interval – 20 minutes

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

Vladimir

Jonathan Davies bassoon

Ian Hardwick oboe

John Ryan horn

Thomas Watmough clarinet

LPO–0114

Programme notes

Sergei Prokofiev

1891–1953

Romeo and Juliet (excerpts)

1935 Montagues and Capulets

Juliet the Young Girl

Madrigal Minuet Masks

Romeo and Juliet

The Death of Tybalt

Romeo and Juliet Before Parting

Romeo at Juliet’s Tomb

From 1933 onwards, after 15 years in the West, Sergei Prokofiev started to return more and more frequently to Moscow. Genuinely idealistic about his new life, in 1934 he wrote of his creative aims in the Soviet newspaper Izvestiya: ‘Soviet music must be melodious; moreover the melody must be simple and comprehensible […] not an old-fashioned simplicity, but a new simplicity.’ So when the radical theatre director Sergei Radlov suggested a collaboration on a ballet version of Romeo and Juliet, Prokofiev saw it as chance to show the ‘new simplicity’ in action. The Bolshoi Theatre gave him the use of a country house at Polenovo, and between July and September 1935 Prokofiev wrote the entire score. Then the political realities began to bite. The Bolshoi declared the ballet ‘undanceable’ and the ballet was premiered instead in Brno, Czechoslovakia in December 1938. It was 11 January 1940 before it was finally staged in Russia, at Leningrad’s Kirov Theatre. Even then, there were difficulties. The choreographer, Leonid Lavrovsky, imposed a political message on the story: ‘the conflict between the outmoded beliefs of the Middle Ages, and the progressive ideals of the Renaissance’. Meanwhile, the dancers were in revolt. A joke ran round the Kirov:

‘For never was a story of more woe / Than Prokofiev’s music for Romeo’.

Yet the performance was a success. Galina Ulanova danced Juliet in that Kirov production, and one night, at a post-show party, she invited Prokofiev to join her in a foxtrot. ‘He seemed always to be hearing some rhythm of his own’, she recalled. ‘But as the dance gradually gathered momentum, I started to feel confident and free. At last I caught my partner’s unusual and utterly marvellous rhythm.’ Romeo and Juliet’s ‘unusual and utterly marvellous rhythm’ has now entered the repertoire of every major ballet company in the world.

In 1936, when no theatrical performance seemed likely, Prokofiev selected 15 of the ballet’s 52 numbers and turned them into two concert suites – a third followed in 1946. This sequence utilises movements from the first two suites.

Montagues and Capulets: A huge, slowly building discord depicts the moment in the story when the Prince commands the Montagues and Capulets to keep the peace. This leads directly into a menacing, slowmotion dance for the two rival families.

Juliet the Young Girl: The 14-year-old Juliet portrayed as a trim, vivacious scherzo; tender interludes for flutes, saxophone and yearning strings portray her budding emotions.

Madrigal: A quiet moment at the Capulets’ ball – Juliet takes the dance floor, as a masked Romeo sees her for the first time, to increasingly fervent music.

Minuet: The surroundings are palatial, but as the guests arrive to the sound of a courtly minuet, the welcome is distinctly heavy-handed.

Masks: Romeo, Benvolio and Mercutio enter the Capulets’ ball in disguise. Their music is poised and cautious, gradually increasing in confidence.

Romeo and Juliet: Morning in Juliet’s bedroom, a lyrical, sunlit love scene.

The Death of Tybalt: Racing strings and clattering xylophone depict the swordfight between Tybalt and Mercutio. Mercutio is killed, and the music turns to a savage march as Romeo moves in to avenge his friend. The brass shriek warnings over slashing chords.

Romeo and Juliet Before Parting: The score’s final love duet, tender, fragile and – as befits the two lovers’ fate –torn by ominous and anguished premonitions.

Romeo at Juliet’s Tomb: Romeo witnesses Juliet’s funeral, and an anguished lament for strings becomes the music of the procession itself.

Programme note © Richard Bratby

We’d love to hear from you

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 to shape our future plans. Just scan the QR code to begin the survey. Thank you!

LPO 2024/25 season

Dates and programmes for next season’s LPO Eastbourne concerts will be announced in early June.

To make sure you receive updates, sign up to our mailing list at lpo.org.uk/eastsussex or scan the QR code below.

DONATE NOW TO THE LPO’S BIG GIVE CAMPAIGN AND MAKE DOUBLE THE DIFFERENCE

Help us reach more people with the transformational power of music.

We are delighted to be working collaboratively with local organisations on the South Coast of England to share the wonder of music with more people. Our new initiatives will deliver exciting and authentic musical experiences at grassroots level, reaching those who might not otherwise experience orchestral music.

Support us to:

Inspire young minds and future music lovers

We are performing the LPO’s first-ever schools’ concert at the Congress Theatre, Eastbourne.

Support wellbeing

We are partnering with organisations that support amateur musicians who have faced challenges such as addiction and homelessness to deliver musical workshops with LPO players.

Enhance accessibility

We are performing mini-concerts in non-traditional venues such as shopping and community centres to remove barriers and make our music more accessible to a wider community of people who might not have the opportunity to experience it otherwise.

Donate today and double your impact

For every £1 that you give between 19–26 March, the Orchestra will receive £2! Your donation will help deliver co-created, transformative music projects that connect communities, develop skills, nurture creativity and support wellbeing.

Together we can make more musical moments and memories.

Scan the QR code to donate now, or visit shorturl.at/rxBN8

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

Sir Nigel Boardman & Prof. Lynda Gratton

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

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

Bronze Patrons

Anonymous donors

Chris Aldren

Michael Allen

Mrs A Beare

Mr Anthony Blaiklock

Lorna & Christopher Bown

Mr Bernard Bradbury

Simon Burke & Rupert King

Desmond & Ruth Cecil

Mr John H Cook

Deborah Dolce

Ms Elena Dubinets

David Ellen

Cristina & Malcolm Fallen

Christopher Fraser OBE

Mr Daniel Goldstein

David & Jane Gosman

Mr Gavin Graham

Lord & Lady Hall

Mrs Dorothy Hambleton

Iain & Alicia Hasnip

Eugene & Allison Hayes

J Douglas Home

Molly Jackson

Mrs Farrah Jamal

Mr & Mrs Jan

Mr & Mrs Ralph Kanza

Mr Peter King

Jamie & Julia Korner

Rose & Dudley Leigh

Wg. Cdr. & Mrs M T Liddiard OBE

JP RAF

Drs Frank & Gek Lim

Mr & Mrs Makharinsky

Mr Gordon McNair

Andrew T Mills

Denis & Yulia Nagy

Andrew Neill

Jamie Njoku-Goodwin

Peter & Lucy Noble

Oliver & Josie Ogg

Mr Stephen Olton

Simon & Lucy Owen-Johnstone

Andrew & Cindy Peck

Mr Roger Phillimore

Mr Michael Posen

Saskia Roberts

John Romeo

Priscylla Shaw

Mr & Mrs John C Tucker

Mr & Mrs John & Susi Underwood

Karina Varivoda

Grenville & Krysia Williams

Joanna Williams

Principal Supporters

Anonymous donors

Ralph & Elizabeth Aldwinckle

Mr John D Barnard

Roger & Clare Barron

Dr Anthony Buckland

Dr Simona Cicero & Mr Mario Altieri

Mr Alistair Corbett

Guy Davies

David Devons

Igor & Lyuba Galkin

Prof. Erol & Mrs Deniz Gelenbe

In memory of Enid Gofton

Alexander Greaves

Prof. Emeritus John Gruzelier

Michael & Christine Henry

Mrs Maureen Hooft-Graafland

Bruce & Joanna Jenkyn-Jones

Per Jonsson

Mr Ian Kapur

Ms Elena Lojevsky

Dr Peter Mace

Pippa Mistry-Norman

Miss Rebecca Murray

Mrs Terry Neale

John Nickson & Simon Rew

Mr James Pickford

Filippo Poli

Mr Robert Ross

Martin & Cheryl Southgate

Mr & Mrs G Stein

Mr Rodney Whittaker

Christopher Williams

Supporters

Anonymous donors

Mr Francesco Andronio

Julian & Annette Armstrong

Mr Philip Bathard-Smith

Emily Benn

Mr Julien Chilcott-Monk

Alison Clarke & Leo Pilkington

Mr Peter Coe

Mr Joshua Coger

Miss Tessa Cowie

Caroline Cox-Johnson

Mr Simon Edelsten

Will Gold

Mr Stephen Goldring

Mr & Mrs Graham & Jean Pugh

In memory of Derek Gray

Mr Geordie Greig

Mr Peter Imhof

The Jackman Family

Mr David MacFarlane

Paul & Suzanne McKeown

Nick Merrifield

Simon & Fiona Mortimore

Dame Jane Newell DBE

Mr David Peters

Nicky Small

Mr Brian Smith

Mr Michael Timinis

Mr & Mrs Anthony Trahar

Tony & Hilary Vines

Dr June Wakefield

Mr John Weekes

Mr Roger Woodhouse

Mr C D Yates

Hon. Benefactor

Elliott Bernerd

Hon. Life Members

Alfonso Aijón

Kenneth Goode

Carol Colburn Grigor CBE

Pehr G Gyllenhammar

Robert Hill

Keith Millar

Victoria Robey CBE

Mrs Jackie Rosenfeld OBE

Timothy Walker CBE AM

Laurence Watt

Thomas Beecham Group Members

David & Yi Buckley

Gill & Garf Collins

William & Alex de Winton

Sonja Drexler

Mr B C Fairhall

The Friends of the LPO

Roger Greenwood

Dr Barry Grimaldi

Mr & Mrs Philip Kan

John & Angela Kessler

Sir Simon Robey

Victoria Robey CBE

Bianca & Stuart Roden

Caroline, Jamie & Zander Sharp

Julian & Gill Simmonds

Eric Tomsett

Neil Westreich

Guy & Utti Whittaker

Corporate Donor

Barclays

LPO Corporate Circle

Principal

Bloomberg

Carter-Ruck Solicitors

French Chamber of Commerce

Ryze Power

Tutti

German-British Chamber of Industry & Commerce

Lazard

Natixis Corporate Investment Banking

Walpole

Preferred Partners

Jeroboams

Lindt & Sprüngli Ltd

Neal’s Yard

OneWelbeck

Sipsmith

Steinway

In-kind Sponsor

Google Inc

Thank you

Trusts and Foundations

ABO Trust

The Barbara Whatmore Charitable Trust

BlueSpark Foundation

The Boltini Trust

Borrows Charitable Trust

Cockayne – Grants for the Arts

The London Community Foundation

Dunard Fund

Ernst von Siemens Music Foundation

Foyle Foundation

Garrick Charitable Trust

The Golsoncott Foundation

Idlewild Trust

Institute Adam Mickiewicz

John Coates Charitable Trust

John Horniman’s Children’s Trust

John Thaw Foundation

Kirby Laing Foundation

The Kurt Weill Foundation for Music

The Lennox Hannay Charitable Trust

Lord and Lady Lurgan Trust

Lucille Graham Trust

The Marchus Trust

PRS Foundation

The R K Charitable Trust

The Radcliffe Trust

Rivers Foundation

Rothschild Foundation

Scops Arts Trust

TIOC Foundation

The Thriplow Charitable Trust

Vaughan Williams Foundation

The Victoria Wood Foundation

The Viney Family

and all others who wish to remain anonymous.

Board of the American Friends of the LPO

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

Simon Freakley Chairman

Kara Boyle

Jon Carter

Jay Goffman

Alexandra Jupin

Natalie Pray MBE

Damien Vanderwilt

Marc Wassermann

Elizabeth Winter

Catherine Høgel Hon. Director

Jenifer L. Keiser, CPA, EisnerAmper LLP

LPO International Board of Governors

Natasha Tsukanova Co-Chair

Martin Höhmann Co-Chair

Mrs Irina Andreeva

Steven M. Berzin

Shashank Bhagat

HSH Dr Donatus, Prince of Hohenzollern

Aline Foriel-Destezet

Irina Gofman

Olivia Ma

George Ramishvili

Sophie Schÿler-Thierry

Florian Wunderlich

London Philharmonic Orchestra • 24 March 2024 •

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 LPO)

*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

New Generation Board

Ellie Ajao

Emily Burton

Peter De Souza

Vivek Haria

Rianna Henriques

Connor Huss

Pasha Orleans-Foli

Priya Radhakrishnan

Zerlina Vulliamy

General Administration

Elena Dubinets

Artistic Director

David Burke Chief Executive

Chantelle Vircavs

PA to the Executive and Employee Relations Manager

Concert Management

Roanna Gibson

Concerts and Planning Director

Graham Wood

Concerts and Recordings Manager

Maddy Clarke Tours Manager

Madeleine Ridout

Glyndebourne and Projects Manager

Alison Jones

Concerts and Recordings Co-ordinator

Robert Winup

Concerts and Tours Assistant

Matthew Freeman

Recordings Consultant

Andrew Chenery

Orchestra Personnel Manager

Sarah Thomas

Martin Sargeson

Librarians

Laura Kitson

Stage and Operations Manager

Stephen O’Flaherty

Deputy Operations Manager

Benjamin Wakley

Assistant Stage Manager

Felix Lo

Orchestra and Auditions Manager

Finance

Frances Slack Finance Director

Dayse Guilherme Finance Manager

Jean-Paul Ramotar Finance and IT Officer

Education and Community

Talia Lash

Education and Community Director

Lowri Davies

Eleanor Jones

Education and Community Project Managers

Hannah Smith

Education and Community Co-ordinator

Claudia Clarkson Regional Partnerships Manager

Development

Laura Willis Development Director

Rosie Morden

Individual Giving Manager

Siân Jenkins

Corporate Relations Manager

Anna Quillin

Trusts and Foundations Manager

Katurah Morrish

Development Events Manager

Eleanor Conroy

Al Levin

Development Co-ordinators

Nick Jackman

Campaigns and Projects Director

Kirstin Peltonen Development Associate

Marketing

Kath Trout

Marketing and Communications Director

Sophie Harvey Marketing Manager

Rachel Williams

Publications Manager

Gavin Miller

Sales and Ticketing Manager

Ruth Haines

Press and PR Manager

Hayley Kim

Residencies and Projects Marketing Manager

Greg Felton

Digital Creative

Alicia Hartley

Digital and Marketing Co-ordinator

Isobel Jones

Marketing Assistant

Archives

Philip Stuart Discographer

Gillian Pole Recordings Archive

Professional Services

Charles Russell Speechlys Solicitors

Crowe Clark Whitehill LLP Auditors

Dr Barry Grimaldi Honorary Doctor

Mr Chris Aldren

Honorary ENT Surgeon

Mr Simon Owen-Johnstone

Hon. Orthopaedic Surgeon

London Philharmonic Orchestra

89 Albert Embankment

London SE1 7TP

Tel: 020 7840 4200

Box Office: 020 7840 4242

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

Cover illustration

Selman Hoşgör

2023/24 season identity

JMG Studio

Printer John Good Ltd