LPO programme: 25 Feb 2023 - From Paris with Love (Bertrand de Billy/Danielle de Niese)

2022/23 concert season at the Southbank Centre

Concert programme Where music takes you

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 25 February 2023 | 7.30pm

From Paris with Love Ravel Pavane pour une infante défunte (6’) Chausson Poème de l’amour et de la mer (27’) Interval (20’) Franck Symphony in D minor (41’) Bertrand de Billy conductor Danielle de Niese soprano Generously supported by Mrs Aline Foriel-Destezet This concert is dedicated to the memory of Andrew Thurgood.

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

Concert presented by the London Philharmonic Orchestra

Contents 2

Welcome LPO news 3 On stage tonight 4 London Philharmonic Orchestra 6 Bertrand de Billy 7 Danielle de Niese 8 Programme notes & song texts 13 Recommended recordings 14 In memory of Andrew Thurgood 15 Next concerts 16 LPO 90th Birthday Appeal 17 Sound Futures donors 18 Thank you 20 LPO administration

London Philharmonic Orchestra • 25 February 2023 • From Paris with Love

Welcome

LPO news Spring tours

Welcome to the Southbank Centre

After tonight’s concert, the Orchestra and its truck head off to Spain, where they will give three concerts in Madrid and Zaragoza with Principal Conductor Edward Gardner and pianist Leif Ove Andsnes, before returning to perform their programme of Grieg, Rachmaninoff and George Benjamin here at the Royal Festival Hall on Saturday 4 March (see page 15).

We’re the largest arts centre in the UK and one of the nation’s top visitor attractions, showcasing the world’s most exciting artists at our venues in the heart of London. We’re here to present great cultural experiences that bring people together, and open up the arts to everyone.

Later in March we’re off on tour once again, visiting Germany for six concerts across the country with Principal Guest Conductor Karina Canellakis and soloists Daniil Trifonov (piano) and Sol Gabetta (cello).

The Southbank Centre is made up of the Royal Festival Hall, Queen Elizabeth Hall, Purcell Room, Hayward Gallery, National Poetry Library and Arts Council Collection. We’re one of London’s favourite meeting spots, with lots of free events and places to relax, eat and shop next to the Thames.

Follow all our tour adventures on Twitter and Instagram! lporchestra

We hope you enjoy your visit. If you need any information or help, please ask a member of staff.

You can also write to us at Southbank Centre, Belvedere Road, London SE1 8XX, or email hello@southbankcentre.co.uk

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LPO Young Composers – Applications open for 2023/24

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Applications for the LPO Young Composers 2023/24 programme are now open!

Mentored by the LPO’s Composer-in-Residence – currently Brett Dean, to be succeeded by Tania León in September 2023 – the Young Composers spend a season with the LPO, each creating a new chamber orchestra work that is performed by Foyle Future First musicians and LPO players in a public showcase concert at the Southbank Centre’s Queen Elizabeth Hall.

Drinks You are welcome to bring drinks from the venue’s bars and cafés into the Royal Festival Hall to enjoy during tonight’s concert. Please be considerate to fellow audience members by keeping noise during the concert to a minimum, and please take your glasses with you for recycling afterwards.

Thank you.

Applications are open to currently unpublished composers aged over 18 and not in full-time education, who are composing at postgraduate level or beyond, or an equivalent standard.

The deadline to apply is Friday 10 March.

To find out more, visit lpo.org.uk/youngcomposers

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London Philharmonic Orchestra • 25 February 2023 • From Paris with Love

On stage tonight First Violins

Alice Ivy-Pemberton Leader

Kate Oswin Lasma Taimina

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

Minn Majoe Catherine Craig Thomas Eisner Katalin Varnagy

Chair supported by Sonja Drexler

Alfredo Reyes Logounova Yang Zhang Chair supported by Eric Tomsett

Eleanor Bartlett Joseph Devalle Ronald Long Sophie Phillips Katherine Waller Nilufar Alimaksumova Alice Hall

Second Violins

Tania Mazzetti Principal Young June Lee Nancy Elan Kate Birchall Nynke Hijlkema Fiona Higham Chair supported by David & Yi Buckley

Joseph Maher Sioni Williams Ashley Stevens Eleonora Consta Claudia Tarrant-Matthews Sheila Law Anna Harpham Jamie Hutchinson

Violas

Richard Waters Principal

Flutes

Trumpets

Oboes

Anne McAneney*

Fiona Kelly Guest Principal Stewart McIlwham*

Chair supported by Caroline, Jamie & Zander Sharp

Martin Wray Benedetto Pollani Raquel López Bolívar Laura Vallejo Michelle Bruil Kate De Campos Toby Warr James Heron Daniel Cornford Julia Doukakis Rachel Robson

Ian Hardwick* Principal Alice Munday

Cor Anglais

Sue Böhling* Principal Chair supported by Dr Barry Grimaldi

Clarinets

Cellos

David Lale Francis Bucknall Sue Sutherley Susanna Riddell Helen Thomas George Hoult Laura Donoghue Iain Ward

Trombones

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

Bass Trombone

Paul Richards* Principal

Bassoons

Jonathan Davies Principal Chair supported by Sir Simon Robey

Dominic Tyler

Kevin Rundell* Principal Hugh Kluger George Peniston Laura Murphy Charlotte Kerbegian David Johnson Elen Roberts Adam Wynter

Tom Nielsen David Hilton

Thomas Watmough

Bass Clarinet

Double Basses

Cornets

Andrew Cole

Chair supported by Roger Greenwood

Guest Principal

Guest Principal

Benjamin Mellefont Principal

Steffan Morris

Paul Beniston* Principal Tom Nielsen

Horns

Lyndon Meredith Principal

Tuba

Lee Tsarmaklis* Principal

Chair supported by Friends of the Orchestra

Timpani

Simon Carrington* Principal

Chair supported by Victoria Robey OBE

John Ryan* Principal Annemarie Federle

Harp

Martin Hobbs Mark Vines Co-Principal Gareth Mollison

* Holds a professorial appointment in London

Principal

Rachel Masters Principal

The LPO also acknowledges the following chair supporters whose players are not present at this concert: David & Yi Buckley • Gill & Garf Collins • Bianca & Stuart Roden • Neil Westreich

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London Philharmonic Orchestra • 25 February 2023 • From Paris with Love

© 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 Brett Dean our Composer-in-Residence, to be succeeded by Tania León in September 2023.

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

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

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

During 2022/23 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.

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. Recent releases include the first volume of a Stravinsky series with Vladimir Jurowski; Tippett’s complete opera The Midsummer Marriage under

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London Philharmonic Orchestra • 25 February 2023 • From Paris with Love

Alice Ivy-Pemberton Leader

Edward Gardner, captured in his first concert as LPO Principal Conductor in September 2021; and James MacMillan’s Christmas Oratorio, recorded at the work’s UK premiere performance in December 2021.

Next generations We’re committed to inspiring the next generation of musicians and music-lovers: 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.

Today’s young instrumentalists are the orchestral members of the future, so we have a number of opportunities to support their progression. 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 have also recently launched the LPO Conducting Fellowship, supporting the development of two outstanding early-career conductors from backgrounds currently under-represented in the profession.

Alice Ivy-Pemberton joined the London Philharmonic Orchestra as Co-Leader in February 2023.

Praised by The New York Times for her ‘sweet-toned playing’, Alice has performed as a soloist, chamber and orchestral musician to international acclaim. While growing up in New York City and studying with Nurit Pacht, Alice made a nationally televised Carnegie Hall debut aged ten, and was a finalist at the Menuhin International Competition at the age of 12.

Alice earned her Bachelors and Masters degrees at The Juilliard School under the tutelage of Itzhak Perlman and Catherine Cho as a fully-funded recipient of the Kovner Fellowship. During her studies she won Juilliard’s Violin Concerto Competition, performed extensively with the New York Philharmonic and The Philadelphia Orchestra, and led orchestras under the baton of Barbara Hannigan, Xian Zhang and Matthias Pintscher.

Upon graduating in 2022 she was awarded the Polisi Prize and a Benzaquen Career Advancement Grant in recognition of ‘tremendous talent, promise, creativity, and potential to make a significant impact in the performing arts’.

2022/23 and beyond We believe in the relevance of our music, and that our programmes must reflect the narratives of modern times. This season we’re exploring themes of belonging and displacement in our series ‘A place to call home’, delving into music by composers including Austrians Erich Korngold and Paul Hindemith, Hungarian Béla Bartók, Cuban Tania León, Ukrainian Victoria Vita Polevá and Syrian Kinan Azmeh. As we celebrate our 90th anniversary we perform works premiered by the Orchestra during its illustrious history. This season also marks Vaughan Williams’s 150th anniversary and we’ll be celebrating with four of his works, as well as both symphonies by Elgar and music by Tippett and Thomas Adès. Our commitment to everything new and creative includes premieres by Brett Dean and Heiner Goebbels, as well as new commissions from composers from around the world including Agata Zubel, Elena Langer and Vijay Iyer.

An avid chamber musician, Alice has collaborated with Itzhak Perlman, Anthony Marwood, Gil Shaham and members of the Belcea, Doric, Juilliard and Brentano string quartets, and performed with the Chamber Music Society of Lincoln Center. Festival appearances include Music@Menlo, Moritzburg and Yellow Barn. Also a passionate advocate for new music and its social relevance, Alice created Drowning Monuments, a noted multimedia project on climate change that brought together five world premieres for solo violin.

lpo.org.uk

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London Philharmonic Orchestra • 25 February 2023 • From Paris with Love

Bertrand de Billy conductor

© Marco Borggreve

Alongside his celebrated career as an operatic conductor, Bertrand de Billy regularly appears on the concert stage worldwide, conducting a wide repertoire from Bach to world premieres. He has led such distinguished orchestras as The Cleveland Orchestra, the Bavarian Radio Symphony Orchestra, the Staatskapelle Dresden, the Orchestre de Paris and the Vienna Symphony, as well as the Museumsorchester Frankfurt, Hamburg Philharmonic, RSB Berlin, Konzerthaus Orchestra Berlin, Dresden Philharmonic, Bamberg Symphony, Royal Danish Orchestra, Orchestre Suisse Romande, NHK Symphony Orchestra, Tokyo Philharmonic Orchestra, Tokyo Metropolitan Symphony Orchestra, and many more.

Bertrand de Billy was born in Paris, where he studied music and performed as an orchestral member before taking up conducting. From 1993–95 he was First Kapellmeister and Deputy Music Director of the Anhaltisches Theater in Dessau, and from 1996–98 he held the same position at the Vienna Volksoper.

He was subsequently Music Director at the Gran Teatre del Liceu in Barcelona from 1999–2004, and Music Director of the Vienna Radio Symphony Orchestra from 2002–10. From 2013–15 he served as Principal Guest Conductor of the Oper Frankfurt and the Frankfurter Opern- und Museumsorchester; from 2013–16 Principal Guest Conductor of the Orchestre de Chambre de Lausanne; and from 2014–18 the same position with the Dresden Philharmonic.

Bertrand de Billy’s ongoing relationships with the Vienna State Opera and New York’s Metropolitan Opera form the core of his 2022/23 season. In Vienna he conducts productions of Die Zauberflöte, La bohème, Manon and Dialogue des Carmélites, the latter of which he will also conduct in New York. On the concert podium he continues his role as Principal Guest Conductor of the Iceland Symphony Orchestra, where he will continue his focus on Brahms. As a guest, he will conduct orchestras including the Vienna Symphony, Antwerp Symphony, Malmö Symphony, Hamburg Philharmonic, Copenhagen Philharmonic and Royal Danish orchestras, and the Royal Symphony Orchestra of Seville.

Numerous CD and DVD recordings document Bertrand de Billy’s achievements, and he has received many prestigious awards in France and Austria.

In the 2021/22 season Bertrand de Billy led the Vienna State Opera’s revivals of Otello, Faust, Die Fledermaus and The Flying Dutchman, which he also conducted at the Bavarian State Opera. That season he conducted Don Giovanni at the Opéra de Paris and the San Francisco Opera, while concert engagements led him to the Iceland Symphony to launch his tenure as Principal Guest Conductor, as well as to the Orchestre National de France, Orchestre de Chambre de Lausanne and Orchestre Suisse Romande. Bertrand de Billy’s last appearance with the LPO was in January 2020, when he conducted Fauré’s Requiem alongside works by Poulenc at the Southbank Centre’s Royal Festival Hall.

Early in his career, guest engagements took Bertrand de Billy to the state operas of Vienna, Berlin, Hamburg and Munich, as well as to such renowned venues as the Royal Opera House, Covent Garden, the Grand Théâtre de la Monnaie, the Opéra National de Paris, and the opera houses of Washington and Los Angeles.

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London Philharmonic Orchestra • 25 February 2023 • From Paris with Love

Danielle de Niese soprano

© Chris Dunlop/Decca

Born in Australia to parents of Sri Lankan and Dutch heritage, Danielle became, at the age of 18, the youngest ever singer to enter the Metropolitan Opera’s prestigious Lindemann Young Artist Development Program. A year later she made her Metropolitan Opera debut, under James Levine, as Barbarina in Mozart’s Le nozze di Figaro. On the strength of her performance she went on to make major debuts at the Opéra National de Paris, Saito Kinen Festival, Opera National de Lyon and Netherlands Opera. In 2005 she made her Glyndebourne Festival debut as Cleopatra in David McVicar’s production of Handel’s Giulio Cesare, and was catapulted to international fame. She has since reprised the role in the 2009 Glyndebourne revival, and in 2013 at the Metropolitan Opera, always to critical praise.

A prolific recording artist, Danielle de Niese’s debut recording for Decca, Handel Arias, was awarded the prestigious Orphée d’Or and the much-coveted ECHO Klassik award, as well as earning her a Classical BRIT Award nomination for Female Artist of the Year. This was followed by The Mozart Album, Diva, and Beauty of the Baroque.

Danielle de Niese has been hailed as ‘opera’s coolest soprano’ by New York Times Magazine. A multi-faceted artist, she has gained wide recognition for her superb stagecraft, assured singing, and ability to communicate on every level. She regularly appears on the world’s most prestigious opera and concert stages and is a prolific recording artist, TV personality and philanthropist.

A TV and media personality, Danielle de Niese won an Emmy at the age of 16 as host of a weekly art showcase for teenagers at a Los Angeles local television studio.

Her many TV appearances received widespread attention, whilst her BBC documentaries such as Diva Diaries, The Birth of an Opera and the most recent and highly praised Unsung Heroines attest to her extraordinary passion for the art form she represents, and her tireless commitment to bringing new audiences to it.

Engagements in the 2022/23 season include returns to the Royal Opera House as Musetta in La bohème and to English National Opera as Clara in It’s a Wonderful Life and Blanche in ENO’s first ever production of Poulenc’s Dialogues des Carmelites, which will be directed by Barrie Kosky. Appearances on the concert stage include Stravinsky’s Perséphone with the Boston Symphony Orchestra.

Recent highlights include a feature film of Poulenc’s one-woman opera La voix humaine with Antonio Pappano and the Royal Opera House Orchestra, which premiered in spring 2022 on BBC Two alongside international cinematic release; her critically-acclaimed debut at the Edinburgh International Festival with the highly-anticipated Rodgers and Hammerstein musical A Grand Night of Singing; Ciboulette in Offenbach’s In the Market for Love with Glyndebourne as part of its ‘outdoor opera’ series; a triumphant return to Los Angeles Opera to sing the title role in the world premiere of Matthew Aucoin’s opera Eurydice; and a hugely acclaimed debut on the stage of Teatro alla Scala in Milan, with her signature role of Cleopatra in Robert Carsen’s new production of Giulio Cesare.

Offstage, Danielle de Niese is passionate about music education, an advocate for children’s rights, and has been named by Marie Claire magazine in its influential list of ‘Women on Top’. She is an Ambassador for HRH The Prince of Wales’s Foundation for Children and the Arts, a patron of Pegasus Opera, Future Talent and the Whitley Fund for Nature, and an Artist Member of the Mannes Board of Governors. For the past six years she has also served as an official Ambassador of Voice for the International Rescue Committee.

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London Philharmonic Orchestra • 25 February 2023 • From Paris with Love

Programme notes Maurice Ravel 1875–1937

Pavane pour une infante défunte 1902/10

‘Don’t forget that it’s a pavane for a dead infanta, not a dead pavane for an infanta.’ Ravel’s warning to performers not to take his famous miniature too slowly is backed up by a further remark that ‘it’s not a funeral lament for an infanta who’s just died, but conjures up a pavane the little princess might have danced, once upon a time, at the Spanish court’. A reserved but genuine emotional presence, a decent waft of musical nostalgia and an affinity with children – these are classic Ravel traits, immaculately exhibited as early in his composing career as 1899, when he was 24 and still a student of Gabriel Fauré at the Paris Conservatoire.

Ravel wrote the Pavane as a piano piece, and it was premiered as such in 1902. Success was immediate, giving it a lasting prominence in his output that would later irritate him in the light of what he considered to be its youthful failings, which included in his view an over-reliance on the style of Chabrier. No doubt those interpretative misunderstandings irked him too; he later said he had chosen the title for the pure sound of it, and one wonders how the piece might have fared had he simply called it ‘Pavane’, as he did in other evocations of 17th- and 18th-century dances such as the earlier Menuet antique or much later suite Le tombeau de Couperin.

Whatever the case, he did not mind making an orchestral transcription of the Pavane in 1910, and it is chiefly in this version that it has become so well-loved.

The orchestra is a small one, but handled with typical skill and delicacy by Ravel, each exquisite colouring being used both tellingly and sparingly, from the main melody’s wistful presentation by a solo horn over plucked strings at the beginning to its full-orchestral, harp-glinted apotheosis at the end.

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London Philharmonic Orchestra • 25 February 2023 • From Paris with Love

Programme notes Ernest Chausson 1855–99

Poème de l’amour et de la mer 1882–92

Danielle de Niese soprano

1 La Fleur des eaux (The Flower of the Waters) Interlude 2 La Mort de l’amour (The Death of Love) The texts and translations are over the page.

For many music-lovers Ernest Chausson is a known name but not a familiar figure. His output was not large – his best-known works are the Poème for violin and orchestra and the singular Concerto for violin, piano and string quartet – yet it encompasses songs, music for the stage, orchestral scores and chamber works. He was an amateur composer in the sense that a prosperous family background meant he did not need to make a living from music, but he was serious-minded and purposeful, and set himself high artistic standards. And although he did not take up full-time musical study until after he had qualified as a lawyer, an education and upbringing that had already brought him into contact with leading Parisian artists, writers and musicians did much to enrich and refine his artistic personality.

Germany several times in the early 1880s to hear his operas, even going to Bayreuth to see Parsifal on his honeymoon.

Having decided against the legal profession, Chausson began his formal musical studies at the Paris Conservatoire at the age of 24 in the instrumentation classes of Jules Massenet (who thought him ‘an exceptional person and a true artist’), but he probably gained more of use to him by attending César Franck’s classes as an unenrolled listener. Though his early works owed much to the elegance and charm of Massenet, it was Franck’s rich harmonic language and formal coherence that would have a deeper and more lasting effect on his music. Another firm influence, as it was for many French composers towards the end of the 19th century, was Wagner; Chausson travelled to

The words are from a collection of poems of the same name by Chausson’s friend Maurice Bouchor, which Chausson reshaped and rearranged to create a basic narrative: in the first section, ‘The Flower of the Waters’, we see a love kindled among the spring lilacs, but revealed even before the central orchestral episode to be dead, experienced only through memory. The second vocal section, ‘The Death of Love’, follows a similar emotional trajectory, as joyful, sunlit recollections give way to the rustle of dead autumn leaves. To all this the sea provides an emotional backdrop, its cruel, implacable beauty caught superbly by Chausson’s richly fluid orchestral writing.

Poème de l’amour et de la mer (‘Poem of Love and the Sea’) was premiered in 1893, but was the result of more than ten years’ work. It bears the Wagnerian impress strongly in terms of harmony and orchestration, as well as that of Franck in its cyclical use of thematic material.

Berlioz’s orchestral songs may also play a part in its make-up. Yet it is a highly individual piece, maybe a unique one for its time. Should we think of it as a songcycle or a cantata? A tone-poem perhaps? Best not to try, and instead let its rich expressiveness and astutely managed dramatic flow speak.

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London Philharmonic Orchestra • 25 February 2023 • From Paris with Love

Chausson: Poème de l’amour et de la mer Texts & translations

1

La Fleur des eaux

The Flower of the Waters

L’air est plein d’une odeur exquise de lilas, Qui, fleurissant du haut des murs jusques en bas, Embaument les cheveux des femmes.

La mer au grand soleil va toute s’embraser, Et sur le sable fin qu’elles viennent baiser Roulent d’éblouissantes lames.

The air is filled with an exquisite scent of lilac, Which, blossoming on the walls from top to bottom, Perfumes women’s hair.

The sea in the bright sunlight is all ablaze, And on the fine sand which they come to kiss Roll dazzling waves.

Ô ciel qui de ses yeux doit porter la couleur, Brise qui va chanter dans les lilas en fleur Pour en sortir tout embaumée, Ruisseaux, qui mouillerez sa robe, ô verts sentiers, Vous qui tressaillirez sous ses chers petits pieds, Faites-moi voir ma bien aimée!

O sky that must be the colour of her eyes, Breeze that sings amid the blossoming lilac To emerge all fragrant, Streams that will moisten her dress, O green paths, You that will quiver beneath her dear little feet, Show me my beloved!

Et mon cœur s’est levé par ce matin d’été; Car une belle enfant était sur le rivage, Laissant errer sur moi des yeux pleins de clarté, Et qui me souriait d’un air tendre et sauvage.

And my heart leapt on that summer morning; For a lovely girl was on the shore, Casting over me eyes full of brightness, And smiling at me, tenderly yet shyly.

Toi que transfiguraient la Jeunesse et l’Amour, Tu m’apparus alors comme l’âme des choses; Mon cœur vola vers toi, tu le pris sans retour, Et du ciel entr’ouvert pleuvaient sur nous des roses.

You who were transfigured by Youth and Love, You appeared to me then like the soul of all things; My heart flew to you; you took it, never to be returned, And from the parted heavens roses poured down on us.

Quel son lamentable et sauvage Va sonner l’heure de l’adieu!

La mer roule sur le rivage, Moqueuse, et se souciant peu Que ce soit l’heure de l’adieu.

What a lamentable, fierce sound Will be heard at the hour of farewell!

The sea breaks on the shore Mockingly, and little caring That this is the hour of farewell.

Des oiseaux passent, l’aile ouverte, Sur l’abîme presque joyeux; Au grand soleil la mer est verte, Et je saigne, silencieux, En regardant briller les cieux.

Birds fly past, their wings spread, Over the almost joyous abyss; In the bright sunlight the sea is green, And my heart bleeds in silence As I gaze at the sparkling skies.

Je saigne en regardant ma vie Qui va s’éloigner sur les flots; Mon âme unique m’est ravie Et la sombre clameur des flots Couvre le bruit de mes sanglots.

My heart bleeds as I watch my life Floating away on the billows; My one soul is torn from me, And the dismal roar of the billows Covers the sound of my sobs.

Qui sait si cette mer cruelle La ramènera vers mon cœur?

Mes regards sont fixés sur elle; La mer chante, et le vent moqueur Raille l’angoisse de mon cœur.

Who knows if this cruel sea Will bring her back to my heart?

My gaze is fixed on it; The sea sings, and the mocking wind Taunts the anguish of my heart.

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London Philharmonic Orchestra • 25 February 2023 • From Paris with Love

Chausson: Poème de l’amour et de la mer Texts & translations

2 La Mort de l’amour

The Death of Love

Bientôt l’île bleue et joyeuse Parmi les rocs m’apparaîtra; L’île sur l’eau silencieuse Comme un nénuphar flottera. À travers la mer d’améthyste Doucement glisse le bateau, Et je serai joyeux et triste De tant me souvenir, bientôt!

Le vent roulait les feuilles mortes; Mes pensées roulaient comme des feuilles mortes, Dans la nuit.

Soon the blue and joyful island Will appear to me amid the rocks; The island will float on the silent waters Like a water lily.

Across the sea of amethyst Gently glides the boat, And soon I will be both happy and sad To remember so much!

The wind stirred the dead leaves; My thoughts stirred like the dead leaves in the night.

Jamais si doucement au ciel noir n’avaient lui Les mille roses d’or d’où tombent les rosées!

Une danse effrayante, et les feuilles froissées, Et qui rendaient un son métallique, valsaient, Semblaient gémir sous les étoiles, et disaient L’inexprimable horreur des amours trépassés.

Never had the myriad golden roses whence falls the dew Gleamed so gently in the dark sky!

A terrifying dance, and the crumpled leaves, Rustling with a metallic sound, flew all about, Seemed to groan beneath the stars, and spoke Of the unutterable horror of love that has passed away.

Les grands hêtres d’argent que la lune baisait Étaient des spectres: moi, tout mon sang se glaçait En voyant mon aimée étrangement sourire.

Comme des fronts de morts nos fronts avaient pâli, Et, muet, me penchant vers elle, je pus lire Ce mot fatal écrit dans ses grands yeux: l’oubli.

The tall silver beeches, kissed by the moon, Were spectres: all my blood chilled within me To see my loved one smile so strangely.

Like the brows of the dead our brows had grown pale, And, mutely leaning towards her, I could read That fatal word written in her large eyes: oblivion.

Le temps des lilas et le temps des roses Ne reviendra plus à ce printemps-ci; Le temps des lilas et le temps des roses Est passé, le temps des œillets aussi.

The time of lilacs and the time of roses Will return no more this spring; The time of lilacs and the time of roses Is past, and the time of carnations too.

Le vent a changé, les cieux sont moroses, Et nous n’irons plus courir, et cueillir Les lilas en fleur et les belles roses; Le printemps est triste et ne peut fleurir.

Oh! joyeux et doux printemps de l’année, Qui vins, l’an passé, nous ensoleiller, Notre fleur d’amour est si bien fanée, Las ! que ton baiser ne peut l’éveiller!

The wind has changed, the skies are sullen, And we will run no more to gather The flowering lilac and the lovely roses; The spring is sad and cannot blossom.

O sweet and joyful springtime of the year That came last year to bathe us in sunshine, Our flower of love is so far faded, Alas, that your kiss cannot awaken it!

Et toi, que fais-tu? Pas de fleurs écloses, Point de gai soleil ni d’ombrages frais; Le temps des lilas et le temps des roses Avec notre amour est mort à jamais.

And what are you doing now? No flowers in bloom, No cheerful sunlight nor cool shade; The time of lilacs and the time of roses With our love has died for ever.

Maurice Bouchor (1855–1929)

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

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London Philharmonic Orchestra • 25 February 2023 • From Paris with Love

Programme notes César Franck 1822–90

Symphony in D minor 1886–88

1 Lento – Allegro non troppo 2 Allegretto 3 Allegro non troppo various Parisian churches, ending up at Sainte-Clotilde from 1853. Some successes in the 1860s led to his appointment as professor of organ at the Paris Conservatoire at the age of 50, and from then his reputation grew quickly. He became a respected teacher of composition – effected mainly through his organ improvisation classes – and composed with increasing assurance and confidence.

Franck’s background as an organist, plus the fact that he was not part of the Parisian mainstream which centred on the Opéra, meant that his creative activities were focused largely on orchestral and chamber music at a time when such ‘Germanic’ genres were not greatly regarded in France. His development of them in works such as his one and only Symphony, the Variations symphoniques for piano and orchestra, the Piano Quintet, String Quartet and Violin Sonata, as well as the legacy he handed to pupils such D’Indy, Chausson, Vierne and Dukas, formed his greatest contribution to French music.

The Symphony was almost the last of these works, composed between 1886 and 1888, and premiered at the Concerts du Conservatoire in February 1889. It was not particularly well received at first: the composer Charles Gounod cruelly characterised it as ‘the affirmation of incompetence pushed to dogmatic lengths’ (but then, Parisian musicians and critics have often seemed to revel in spectacular rudeness to each other). Perhaps there was a feeling that Franck was trying to write a more conventionally Germanic symphony à la Brahms or Dvořák, in which case we could indeed say he had failed. But despite surface appearances, Franck was coming from a different

If César Franck was not exactly a late starter as a musician – entry into the conservatoire in his hometown of Liège came at the age of eight – he certainly arrived late to the condition of important composer. His father’s campaign to build a profile for him as a child piano virtuoso having proved a failure, his career was set back for over two decades, during which he composed mainly undistinguished cantatas, oratorios and other sacred vocal pieces, and worked as an organist at

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London Philharmonic Orchestra • 25 February 2023 • From Paris with Love

Programme notes The finale is where Franck’s longer-range cyclic relationships come into play, and they are not hard to spot. After the movement has opened with a catchy and cheerfully syncopated melody and at least three further thematic cells have made their entrance, we hear again the cor anglais theme from the second movement. Later on it rises again on full orchestra, and as the movement runs towards it conclusion themes from the first movement begin to pile in too. Coming as thick as they do, they could sound chaotic, but Franck’s handling of them is so shrewdly judged that none sounds surplus to requirement, and all contribute to a conclusion that is both convincing and satisfying.

direction. This was in any case a time when ‘classical’ tightness of form was yielding in importance to thematic distinctiveness and quality; Franck’s music often has a freewheeling quality that doubtless has roots in organ improvisation. But he was also a master – perhaps the master – of cyclical form, the process of creating unity by constantly redeveloping thematic ideas to show them in changing aspects across the course of a piece, and indeed across the separate movements of a multimovement work. He had showed an interest in it even as a young man, but perhaps gathered its full potential from the thematic transformations put into practice by Liszt, almost as if they were characters in a drama, in his tone-poems of the 1840s and ‘50s, and subsequently adopted in the Leitmotifs of Wagner’s operas.

Programme notes © Lindsay Kemp

So it is that the dark, sombre opening of Franck’s Symphony contains thematic seeds that will recur at key points later in the work, including the three-note figure that emerges with Wagnerian portentousness at the very beginning, and so closely resembles the theme Beethoven put at the heart of his last string quartet, where he associated it with the question ‘must it be?’.

(One would think that Franck cannot have been unaware of this connection, though it is interesting that the composer Robin Holloway recently said that he had at first failed to notice his own quotation of the same motif in own of his own pieces.) More themes soon follow on, but it is the initial one that reappears, re-energised, in the dramatic faster section that follows, where more themes also appear. This slow-fast progression is repeated exactly before the music sails on into sunnier uplands where more new themes emerge, blossoming into a bright and broadly syncopated major-key melody. From here the music expires, reducing to fragments of this last theme interrupted by strange pauses. The central development section makes rugged contrapuntal use of the themes we have already heard, and the moment of recapitulation comes with a fortissimo statement by full orchestra of the opening three-note cell.

Recommended recordings of tonight’s works

by Laurie Watt Ravel: Pavane pour une infante défunte John Wilson | Sinfonia of London (Chandos) Chausson: Poème de l’amour et de la mer Véronique Gens | Orchestre National de Lille Alexandre Bloch (Alpha) or Jessye Norman | Orchestre Philharmonique de Monte-Carlo | Armin Jordan (Apex) Franck: Symphony in D minor Orchestre Philharmonique de Radio France Mikko Franck (Alpha)

The second movement is neither slow nor fast, neither quite a scherzo nor wholly a minuet. There are hints of Schumannesque poetry here and there among its gentle melodies, but it is the rhythm set up by harp and pizzicato strings before the solo cor anglais introduces the benign main tune that seems to be the guiding force here. Together with the music’s elusive sense of continuous variation, it brings to the movement a faint but pleasant reminiscence of the ‘pilgrim marches’ of Mendelssohn’s ‘Italian’ Symphony and Berlioz’s Harold in Italy.

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London Philharmonic Orchestra • 25 February 2023 • From Paris with Love

In memory of Andrew Thurgood 1962–2022

Tonight’s concert is dedicated to the memory of violinist Andrew Thurgood, who died on 1 June 2022.

Andrew was a member of the LPO Second Violin section for 21 years until he left the Orchestra in 2012 in order to devote more time to his children following the death of his wife.

‘Andrew was incredibly warm, friendly and welcoming to anyone who came to work with the LPO. As a colleague he was unfailingly kind and patient, though he didn’t suffer fools gladly, particularly the conducting variety! His innate musicality and facility on the violin made him a joy to sit with in the section. He championed contemporary music and, after leaving the LPO, he enjoyed the creative challenge of arranging and composing for his chamber music ensemble, Reza.

A consummate musician and a mentor to so many, he will be sorely missed by all in the profession.’

A much-loved colleague and friend to many, Andrew continues to be much missed. His LPO Second Violin colleague, Kate Birchall, reflects:

We warmly welcome Andrew’s sons Dan and Jeremy to the concert this evening.

Programme notes

Written and directed by Bill Barclay

Tuesday 21 March 2023 7.30pm St Martin-in-the-Fields

The Chevalier tells the fascinating life of Joseph Bologne – an 18th-century Black composer, virtuoso violinist and friend of Mozart and Marie Antoinette – more commonly known as the Chevalier de Saint-Georges.

Matthew Kofi Waldren conductor Braimah Kanneh-Mason violin Chukwudi Iwuji Joseph Bologne Merritt Janson Marie Antoinette David Joseph Mozart Bill Barclay Choderlos de Laclos London Philharmonic Orchestra and friends

Generously supported by Victoria Robey OBE

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Tickets: £10–£35 Booking fee: £2.75 St Martin in the Fields Box Office 020 7766 1100 (Mon–Sat 10.00am–5.00pm) smitf.org

Next LPO concerts at the Southbank Centre’s Royal Festival Hall GARDNER CONDUCTS RACHMANINOFF Saturday 4 March 2023 | 7.30pm George Benjamin Sudden Time Grieg Piano Concerto Rachmaninoff Symphonic Dances Edward Gardner conductor Leif Ove Andsnes piano Generously supported by PRS Foundation’s Resonate programme

TCHAIKOVSKY’S FIFTH Wednesday 15 March 2023 | 7.30pm Beethoven Coriolan Overture Prokofiev Piano Concerto No. 3 Tchaikovsky Symphony No. 5 Karina Canellakis conductor Daniil Trifonov piano Generously supported by Victoria Robey OBE

TEARS AND LAUGHTER Saturday 18 March 2023 | 7.30pm

Victoria Vita Polevá Nova (UK premiere) Elena Langer The Dong with a Luminous Nose (world premiere) Shostakovich Symphony No. 5 Andrey Boreyko conductor Kristina Blaumane cello* London Philharmonic Choir *Chair supported by Bianca and Stuart Roden

LPO.ORG.UK

Karina Canellakis © Mark Allan

Annual Appeal 2023

Celebrating 90 years & counting Formed with a bold purpose: to rival the greatest orchestras in the world, this year the London Philharmonic Orchestra celebrates its 90th birthday.

In 1961 we were the first British orchestra to tour to Australia.

We were the first orchestra to perform at Glyndebourne Festival Opera in 1964.

“ My first ever LPO concert was in July 1953: The opening Ruslan & Ludmilla overture thrilled me! A fan for life.”

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In 1987, with a commitment to sharing orchestral music with as wide and diverse an audience as possible, we established our Education and Community programme.

In September 2021, Edward Gardner took to the podium for his first concert as Principal Conductor.

“ I fell in love with my husband, 38 years ago, at an LPO concert featuring Tchaikovsky’s 5th Symphony in White Rock, Hastings.”

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In 2021, thrilled to be reunited with live audiences, we gave London’s first performance of Tippett’s The Midsummer Marriage in 17 years.

“ The first time I ever picked up a horn I was 5 years old, attending an LPO Have a Go Session. It’s now my instrument and I’m an LPO Junior Artist.”

LPO Junior Artist 2022/23

2011 saw us record the national anthems for the London 2012 Olympic Games!

In 2016 LPO Junior Artists was launched, a programme offering young musicians from under-represented backgrounds a pathway into the music profession.

We cherish our heritage and are committed to keeping the next 90 years exciting, dynamic and inclusive. Donate now, as we continue to make history in the present by offering life-enriching musical experiences for everyone, investing in the next generation of talent, commissioning masterworks of the future and reaching more communities around the UK, especially in Brighton and Eastbourne.

Show your support by making a donation.

Donate online, or call the Individual Giving Team on 020 7840 4212 or 020 7840 4225 to make a donation by credit or debit card.

lpo.org.uk/celebrate90

London Philharmonic Orchestra • 25 February 2023 • From Paris with Love

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 KC Diana & Allan Morgenthau Charitable Trust Dr Karen Morton Mr Roger Phillimore Ruth Rattenbury The Reed Foundation The Rind Foundation Sir Bernard Rix David Ross & Line Forestier (Canada)

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

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

London Philharmonic Orchestra • 25 February 2023 • From Paris with Love

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 Aud Jebsen In memory of Mrs Rita Reay Sir Simon & Lady Robey OBE

Orchestra Circle

William & Alex de Winton Patricia Haitink Mr & Mrs Philip Kan Neil Westreich The American Friends of the London Philharmonic Orchestra

Principal Associates

Richard Buxton Gill & Garf Collins In memory of Brenda Lyndoe Casbon In memory of Ann Marguerite Collins Sally Groves MBE George Ramishvili

Associates

Mrs Irina Andreeva In memory of Len & Edna Beech Steven M. Berzin Ms Veronika BorovikKhilchevskaya The Candide Trust Irina Gofman & Mr Rodrik V. G. Cave The Lambert Family Charitable Trust Stuart & Bianca Roden In memory of Hazel Amy Smith The Tsukanov Family The Viney Family

Gold Patrons

An anonymous donor Chris Aldren David & Yi Buckley In memory of Allner Mavis Channing Sonja Drexler Jan & Leni Du Plessis The Vernon Ellis Foundation Peter & Fiona Espenhahn Hamish & Sophie Forsyth Mr Roger Greenwood Malcolm Herring John & Angela Kessler

Mrs Elena & Mr Oleg Kolobov Rose & Dudley Leigh Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Drs Frank & Gek Lim Mr Nicholas Little Geoff & Meg Mann Mrs Elizabeth Meshkvicheva Andrew T Mills Peter & Lucy Noble Mr Roger Phillimore Mr Michael Posen Mr Anthony Salz Ms Nadia Stasyuk Charlotte Stevenson Joe Topley Mr & Mrs John C Tucker Timothy Walker CBE AM Jenny Watson CBE Grenville & Krysia Williams

Julian & Gill Simmonds Eric Tomsett Andrew & Rosemary Tusa Guy & Utti Whittaker Mr Florian Wunderlich

Silver Patrons

Dame Colette Bowe David Burke & Valerie Graham John & Sam Dawson Bruno De Kegel Ulrike & Benno Engelmann Virginia Gabbertas MBE Dmitry & Ekaterina Gursky The Jeniffer & Jonathan Harris Charitable Trust Catherine Høgel & Ben Mardle Sir George Iacobescu Jamie & Julia Korner Mr & Mrs Makharinsky Mr Nikita Mishin Andrew Neill Tom & Phillis Sharpe Mr & Mrs John & Susi Underwood Laurence Watt

Principal Supporters

Anonymous donors Dr Manon Antoniazzi Julian & Annette Armstrong Mr John D Barnard Mr Geoffrey Bateman Mr Philip Bathard-Smith Mrs A Beare Dr Anthony Buckland Dr Simona Cicero & Mr Mario Altieri Mr Peter Coe Mrs Pearl Cohen David & Liz Conway Mr Alistair Corbett Ms Mary Anne Cordeiro Ms Elena Dubinets Mr Richard Fernyhough Jason George Mr Christian Grobel Prof Emeritus John Gruzelier Mark & Sarah Holford Mrs Maureen Hooft-Graafland Per Jonsson Mr Ian Kapur Ms Kim J Koch Ms Elena Lojevsky Mrs Terry Neale John Nickson & Simon Rew Oliver & Josie Ogg Ms Olga Ovenden Mr James Pickford Filippo Poli Sir Bernard Rix Mr Robert Ross Priscylla Shaw Martin & Cheryl Southgate

Bronze Patrons

Anonymous donors Michael Allen Mr Mark Astaire Nicholas & Christine Beale Mikhail Noskov & Vasilina Bindley Mr Anthony Blaiklock Lorna & Christopher Bown Mr Bernard Bradbury Simon Burke & Rupert King Desmond & Ruth Cecil Mr Evgeny Chichvarkin Mr John H Cook Georgy Djaparidze Deborah Dolce Cameron & Kathryn Doley Mariana Eidelkind & Gene Moldavsky David Ellen Ben Fairhall Mr Richard & Helen Gillingwater Mr Daniel Goldstein David & Jane Gosman Mr Gavin Graham Lord & Lady Hall Mrs Dorothy Hambleton Martin & Katherine Hattrell Michael & Christine Henry Mr Steve Holliday J Douglas Home Mr & Mrs Ralph Kanza

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Mr & Mrs G Stein Dr Peter Stephenson Joanna Williams Christopher Williams Ms Elena Ziskind

Supporters

Anonymous donors Ralph & Elizabeth Aldwinckle Mr & Mrs Robert Auerbach Mrs Julia Beine Harvey Bengen Miss YolanDa Brown OBE Miss Yousun Chae Mr Julien Chilcott-Monk Alison Clarke & Leo Pilkington Mr Joshua Coger Miss Tessa Cowie Mr David Devons Patricia Dreyfus Mr Martin Fodder Christopher Fraser OBE Will Gold Ray Harsant Mr Peter Imhof The Jackman Family Mr David MacFarlane Dame Jane Newell DBE Mr Stephen Olton Mari Payne Mr David Peters Ms Edwina Pitman Mr & Mrs Graham & Jean Pugh Mr Giles Quarme Mr Kenneth Shaw Mr Brian Smith Ms Rika Suzuki Tony & Hilary Vines Dr June Wakefield Mr John Weekes Mr C D Yates

Hon. Benefactor Elliott Bernerd

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

London Philharmonic Orchestra • 25 February 2023 • From Paris with Love

Thank you

Thomas Beecham Group Members

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 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 French Chamber of Commerce

Tutti Lazard Natixis Corporate Investment Banking Sciteb Ltd Walpole

Trusts and Foundations

Board of the American Friends of the LPO

ABO Trust BlueSpark Foundation The Boltini Trust Borrows Charitable Trust The Candide Trust Cockayne – Grants for the Arts The London Community Foundation The D’Oyly Carte Charitable Trust Dunard Fund Ernst von Siemens Music Foundation Foyle Foundation Garrick Charitable Trust John Horniman’s Children’s Trust John Thaw Foundation Institute Adam Mickiewicz Kirby Laing Foundation Lord and Lady Lurgan Trust The Marchus Trust The Radcliffe Trust Rivers Foundation Rothschild Foundation Scops Arts Trust Sir William Boremans’ Foundation The John S Cohen Foundation The Stanley Picker Trust The Thriplow Charitable Trust TIOC Foundation Vaughan Williams Foundation The Victoria Wood Foundation The Viney Family The Barbara Whatmore Charitable Trust

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 Wasserman 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 Veronika Borovik-Khilchevskaya Marie-Laure Favre Gilly de Varennes de Bueil Aline Foriel-Destezet Irina Gofman Countess Dominique Loredan Olivia Ma George Ramishvili Sophie Schÿler-Thierry Jay Stein

and all others who wish to remain anonymous.

Preferred Partners Gusbourne Estate Jeroboams Lindt & Sprüngli Ltd OneWelbeck Steinway

In-kind Sponsor Google Inc

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London Philharmonic Orchestra • 25 February 2023 • From Paris with Love

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 Kate Birchall* David Buckley David Burke Bruno De Kegel Deborah Dolce Elena Dubinets Tanya Joseph Hugh Kluger* Katherine Leek* Al MacCuish 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

Martin Höhmann Chairman Christopher Aldren Dr Manon Antoniazzi Roger Barron Richard Brass Helen Brocklebank YolanDa Brown OBE 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 Rehmet Kassim-Lakha Jamie Korner Geoff Mann Clive Marks OBE FCA Stewart McIlwham Andrew Neill Nadya Powell Sir Bernard Rix Victoria Robey OBE

Finance

Baroness Shackleton Thomas Sharpe KC Julian Simmonds Barry Smith Nicholas Snowman OBE Martin Southgate Chris Viney Laurence Watt Elizabeth Winter

Frances Slack Finance Director Dayse Guilherme Finance Manager Jean-Paul Ramotar Finance and IT Officer

Education and Community

General Administration

Talia Lash Education and Community Director

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

Concert Management Roanna Gibson Concerts and Planning Director

Anna Quillin Trusts and Foundations Manager Katurah Morrish Development Events Manager

Robert Winup Concerts and Tours Assistant

Eleanor Conroy Al Levin Development Assistants

Matthew Freeman Recordings Consultant Andrew Chenery Orchestra Personnel Manager

Nick Jackman Campaigns and Projects Director

Sarah Thomas Martin Sargeson Librarians

Kirstin Peltonen Development Associate

Laura Kitson Stage and Operations Manager

Marketing Kath Trout Marketing and Communications Director

Stephen O’Flaherty Deputy Operations Manager Felix Lo Orchestra and Auditions Manager

Sophie Harvey Marketing Manager Rachel Williams Publications Manager

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Hayley Kim Marketing Co-ordinator Alicia Hartley Marketing Assistant

Gillian Pole Recordings Archive

Siân Jenkins Corporate Relations Manager

Alison Jones Concerts and Recordings Co-ordinator

Greg Felton Digital Creative

Hannah Smith Education and Community Co-ordinator

Rosie Morden Individual Giving Manager

Madeleine Ridout Glyndebourne and Projects Manager

Ruth Haines Press and PR Manager

Archives

Laura Willis Development Director

Maddy Clarke Tours Manager

Gavin Miller Sales and Ticketing Manager

Lowri Davies Hannah Foakes Education and Community Project Managers

Development

Graham Wood Concerts and Recordings Manager

Harrie Mayhew Website Manager

Philip Stuart Discographer

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 Simon Pemberton/Heart 2022/23 season identity JMG Studio Printer John Good Ltd