LPO programme: 25 Oct 2024 - A Hero's Life

2024/25 season at the Southbank Centre

FREE CONCERT PROGRAMME

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14/08/2024

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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

Southbank Centre’s Royal Festival Hall Friday 25 October 2024 | 7.30pm

A Hero’s Life Ravel Mother Goose (complete ballet) (28’) Bruch Violin Concerto No. 2 (26’) Interval (20’) R Strauss Ein Heldenleben (‘A Hero’s Life’) (46’) Mark Elder conductor James Ehnes violin

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 5 Leader: Pieter Schoeman 6 Mark Elder 7 James Ehnes 8 Programme notes 12 Ten Questions with James Ehnes 14 Recommended recordings 15 Next concerts 16 LPO Label 17 Sound Futures donors 18 Thank you 20 LPO administration

London Philharmonic Orchestra • 25 October 2024 • A Hero’s Life

Welcome

LPO news Latest tours

Welcome to the Southbank Centre

A few days ago, the Orchestra returned from a hugely successful tour of the USA – our first major tour of the country in a decade – with Principal Conductor Edward Gardner and violinists Patricia Kopatchinskaja and Randall Goosby.

Spanning from West to East Coasts, the two-week tour began in California, followed by venues in Illinois, Indiana, Michigan, Connecticut and New York, including Carnegie Hall.

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.

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.

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

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

Next month we’ll be touring closer to home, giving a series of concerts in Vienna and Germany with Edward Gardner and pianist Víkingur Ólafsson, following his Royal Festival Hall appearance with us on 6 November with Brahms's Piano Concerto No. 1. And later in the autumn we’re preparing for another big trip – a major tour of China at the end of December. With conductor Paavo Järvi and cellist Julia Hagen, we’ll perform in Guangzhou, Shenzhen, Shanghai and Beijing, before returning to the UK in the New Year.

Subscribers to our email updates are the first to hear about new events, offers and competitions.

Just head to our website to sign up.

Follow all our tour adventures via Instagram: @londonphilharmonicorchestra

LPO Friends – Behind-the-scenes Earlier today, LPO Friends were treated to an exclusive behind-the-scenes experience, watching Mark Elder, James Ehnes and the Orchestra rehearse for tonight's concert and enjoying a rare insight into the preparation and artistry that goes into making each performance so special.

The paper used for all LPO brochures and concert programmes has been sourced from responsibly managed forests, certified in accordance with the FSC (Forest Stewardship Council). It is also Carbon Balanced, meaning the carbon impact of its production is offset by the World Land Trust through the purchase and preservation of ecologically important forestry under imminent threat of clearance.

As well as exclusive access to a number of private rehearsals each season, LPO Friends membership puts you at the front of the queue for our Southbank Centre concert bookings, and offers invitations to other events and opportunities to meet LPO musicians throughout the year.

If you don’t want to take your programme home, please make use of the recycling bins in the Royal Festival Hall foyers. Please also use these bins to recycle any plastic drinks glasses after the concert. Thank you.

Membership starts from just £6 per month. Interested in finding out more?

Scan the QR code or visit lpo.org.uk/support

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London Philharmonic Orchestra • 25 October 2024 • A Hero’s Life

On stage tonight First Violins

Pieter Schoeman* Leader

Chair supported by Neil Westreich

Alice Ivy-Pemberton Co-Leader

Kate Oswin

Chair supported by Eric Tomsett

Lasma Taimina

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

Thomas Eisner

Chair supported by Ryze Power

Katalin Varnagy Yang Zhang Cassandra Hamilton Elizaveta Tyun Amanda Smith Sophie Phillips Jamie Hutchinson Beatriz Carbonell Alice Apreda Howell Chu-Yu Yang Gabriela Opacka

Second Violins

Tania Mazzetti Principal Claudia Tarrant-Matthews Kate Birchall Fiona Higham Chair supported by David & Yi Buckley

Nynke Hijlkema Joseph Maher Ashley Stevens Jessica Coleman Sioni Williams Sarah Thornett Sheila Law Vera Beumer José Nuno Cabrita Matias Caroline Heard

Violas

Philip Nolte Guest Principal Katharine Leek Benedetto Pollani Laura Vallejo Lucia Ortiz Sauco Toby Warr Daniel Cornford James Heron

Alistair Scahill Julia Doukakis Jisu Song Anita Kurowska

Clarinets

Cellos

Thomas Watmough James Maltby

Chair supported by Bianca & Stuart Roden

E-flat Clarinet

Benjamin Mellefont* Principal

Chair supported by Sir Nigel Boardman & Prof. Lynda Gratton

Kristina Blaumane Principal Richard Birchall Francis Bucknall Auriol Evans Sue Sutherley George Hoult Tom Roff Helen Thomas Iain Ward Pedro Silva

Thomas Watmough Principal

Chair supported by Roger Greenwood

Bass Clarinet

Paul Richards* Principal

Bassoons

Paul Boyes Guest Principal Helen Storey Simon Estell* Joanna Stark

Double Basses

Kevin Rundell* Principal Sebastian Pennar* Co-Principal

Hugh Kluger George Peniston Laura Murphy Ben Havinden-Williams Tom Morgan Antonia Bakewell

Contrabassoon

Flutes

Chair supported by Victoria Robey CBE

Simon Estell* Principal

Horns

Annemarie Federle Principal

John Ryan* Principal Martin Hobbs Mark Vines Co-Principal Gareth Mollison Eleanor Blakeney Jonathan Farey Amadea Dazeley-Gaist Meilyr Hughes

Juliette Bausor Principal Hannah Grayson Stewart McIlwham* Ruth Harrison

Piccolo

Stewart McIlwham* Principal

Trumpets

Oboes

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

John Roberts

Guest Principal

Alice Munday Eleanor Sullivan Max Spiers

Chair supported in memory of Peter Coe

Joe Skypala Kaitlin Wild

Cor Anglais Max Spiers

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Trombones

Mark Templeton* Principal

Chair supported by William & Alex de Winton

Matthew Lewis

Bass Trombone

Lyndon Meredith Principal

Euphonium

David Whitehouse

Tuba

Lee Tsarmaklis* Principal

Chair supported by William & Alex de Winton

Timpani

Simon Carrington* Principal

Chair supported by Victoria Robey CBE

Percussion

Andrew Barclay* Principal Chair supported by Gill & Garf Collins

Feargus Brennan Ignacio Molins Emmanuel Joste

Harps

Sally Pryce Guest Principal Tamara Young *Professor at a London conservatoire The LPO also acknowledges the following chair supporters whose players are not present at this concert: Dr Alex & Maria Chan Dr Barry Grimaldi David & Bettina Harden Sir Simon Robey

London Philharmonic Orchestra • 25 October 2024 • A Hero’s Life

© Jason Bell

London Philharmonic Orchestra

Sharing the wonder worldwide

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. Our mission is to share wonder with the modern world through the power of orchestral music, which we accomplish through live performances, online, and an extensive education and community programme, cementing our position as a leading orchestra for the 21st century.

We’re one of the world’s most-streamed orchestras, with over 15 million plays of our content each month. In 2023 we were the most successful orchestra worldwide on YouTube, TikTok and Instagram, with over 1.1m followers across all platforms, and in spring 2024 we featured in a TV documentary series on Sky Arts: ‘Backstage with the London Philharmonic Orchestra’, still available to watch via Now TV. During 2024/25 we’re once again working with Marquee TV to broadcast selected live concerts to enjoy from your own living room.

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 worldwide. In 2024 we celebrated 60 years as Resident Symphony Orchestra at Glyndebourne Festival Opera, combining the magic of opera with Glyndebourne’s glorious setting in the Sussex countryside.

Our conductors Our Principal Conductors have included some of the greatest historic names like Sir Adrian Boult, Bernard Haitink, Klaus Tennstedt and Kurt Masur. In 2021 Edward Gardner became our 13th Principal Conductor, and 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 Grammy-nominated London Philharmonic Orchestra, whether it’s playing the world’s National Anthems for 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.

Next generations We’re committed to nurturing the next generation of musicians and music-lovers: we love seeing the joy of children and families experiencing their first musical moments, and we’re passionate about inspiring schools and teachers through dedicated concerts, workshops,

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London Philharmonic Orchestra • 25 October 2024 • A Hero’s Life

Pieter Schoeman Leader

Today’s young instrumentalists are the orchestra members of the future, and we have a number of opportunities to support their progression. Our LPO Junior Artists programme leads 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 two outstanding early-career conductors from backgrounds under-represented in the profession.

© Benjamin Ealovega

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 disabilities and special educational needs.

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.

2024/25 season Principal Conductor Edward Gardner leads the Orchestra in an exciting 2024/25 season, with soloists including Joyce DiDonato, Leif Ove Andsnes, Patricia Kopatchinskaja, Víkingur Ólafsson and Isabelle Faust, and works including Strauss’s Alpine Symphony, Ravel’s Daphnis and Chloe and Mahler’s Eighth Symphony.

Principal Guest Conductor Karina Canellakis joins us for three concerts including Bruckner’s Fourth Symphony, Tchaikovsky’s Sixth Symphony, and Mozart with pianist Benjamin Grosvenor. We’ll also welcome back Conductor Emeritus Vladimir Jurowski, as well as guest conductors including Mark Elder, Lidiya Yankovskaya, Robin Ticciati and Kevin John Edusei.

Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninoff 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.

Throughout the season we’ll explore the relationship between music and memory in our ‘Moments Remembered’ series, featuring works like Beethoven’s ‘Eroica’ Symphony, Strauss’s Metamorphosen and John Adams’s On the Transmigration of Souls. During the season there’ll be the chance to hear brand new works by composers including Freya Waley-Cohen and David Sawer, as well as performances by renowned soloists violinist Gidon Kremer, sarod player Amjad Ali Khan, soprano Renée Fleming and many more.

The season also features tours to Japan, the USA, China and across Europe, as well as a calendar bursting with performances and community events in our Brighton, Eastbourne and Saffron Walden residencies.

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.

lpo.org.uk

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London Philharmonic Orchestra • 25 October 2024 • A Hero’s Life

Sir Mark Elder CH CBE conductor

From 2011–19 he was Artistic Director of Opera Rara, with whom his recordings included Puccini's Le Willis featuring the LPO, as well as Donizetti’s Dom Sebastien, Imelda di Lambertazzi, Linda di Chamounix, Maria di Rohan and a multi-award-winning release of Les Martyrs, and Rossini’s Semiramide.

© Benjamin Ealovega

Future concerts engagements include with the Chicago Symphony, Pittsburgh Symphony, Boston Symphony, San Francisco Symphony, Bergen Philharmonic and Gstaad Festival orchestras, the Hallé in Manchester, and at the BBC Proms and the Aldeburgh and Edinburgh festivals. Recent and forthcoming opera engagements include Carmen at the Opéra National de Paris; Benvenuto Cellini for Dutch National Opera; Die Meistersinger for San Francisco Opera; Billy Budd, Falstaff and La traviata for Glyndebourne; and concert performances of Lohengrin with the Royal Concertgebouw Orchestra.

He opened the Met season in New York in 2018 with a new production of Samson et Dalila, and returned to Covent Garden in 2022 for a new production of Peter Grimes. In 2023 he conducted Aida and La forza del destino at Covent Garden, and Meyerbeer’s Le prophète with the LSO at the Aix-en-Provence Festival.

Sir Mark Elder was Music Director of the Hallé from 2000–24 and is now Conductor Emeritus. He became Principal Guest Conductor of the Bergen Philharmonic Orchestra in September 2022. He was Music Director of English National Opera (1979–93), Principal Guest Conductor of the BBC Symphony Orchestra (1982–85) and the City of Birmingham Symphony Orchestra (1992–95), and Music Director of Rochester Philharmonic Orchestra, USA (1989–94).

Sir Mark Elder has made many recordings with the London Philharmonic, Hallé, Royal Concertgebouw, City of Birmingham Symphony and BBC Symphony orchestras; the Orchestra of the Age of Enlightenment; and the orchestras of the Royal Opera House and ENO, in repertoire ranging from Verdi, Strauss and Wagner to contemporary music. His releases on the Hallé’s own label have culminated in Gramophone Awards for The Dream of Gerontius, Götterdämmerung and Elgar’s Violin Concerto, and Recording of the Year in the BBC Music Magazine Awards for The Apostles.

Sir Mark’s most recent appearance with the London Philharmonic Orchestra was in November 2023, when he conducted Mahler’s Third Symphony here at the Royal Festival Hall. In 2021 he conducted the world premiere of James MacMillan’s Christmas Oratorio at the Royal Festival Hall, later released on the LPO Label.

He has worked with many of the world’s other leading orchestras including the Berlin Philharmonic, Chicago Symphony, Boston Symphony, Royal Concertgebouw, Budapest Festival and London Symphony orchestras and the Orchestre de Paris, and is a Principal Artist of the Orchestra of the Age of Enlightenment. He has appeared annually at the BBC Proms for many years, including in 1987 and 2006 the Last Night of the Proms, and from 2003 with the Hallé Orchestra.

TV appearances include a two-part film on the life and music of Verdi for the BBC in 1994, and a similar project on Donizetti for German television in 1996. In 2011 he co-presented BBC TV’s series Symphony, and in 2012 fronted BBC2’s TV series Maestro at the Opera. He presented a series of TV programmes on BBC4 during the 2015 Proms in which he talked about eight symphonies ranging from Beethoven to MacMillan.

Sir Mark works regularly in the most prominent international opera houses, including the Royal Opera House Covent Garden, New York’s Metropolitan Opera, Opéra National de Paris, Lyric Opera of Chicago and Glyndebourne Festival Opera. Other engagements have taken him to the Bayreuth Festival (where he was the first English conductor to conduct a new production), Munich, Amsterdam, Zürich, Geneva, Berlin, and the Bregenz and Aix-en-Provence festivals.

Sir Mark Elder was appointed a Companion of Honour in the 2017 Queen’s Birthday Honours, was knighted in 2008, and awarded the CBE in 1989. He won an Olivier Award in 1991 for his outstanding work at ENO, and in 2006 he was named Conductor of the Year by the Royal Philharmonic Society. He was awarded Honorary Membership of the Royal Philharmonic Society in 2011.

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London Philharmonic Orchestra • 25 October 2024 • A Hero’s Life

James Ehnes violin

© Benjamin Ealovega

James Ehnes has an extensive discography and has won many awards for his recordings, including two Grammys, three Gramophone Awards and eleven Juno Awards. In 2021 he was recipient of the coveted ‘Artist of the Year’ title at the Gramophone Awards. This award celebrated his contributions to the recording industry, including the launch of an online recital series entitled ‘Recitals from Home’, which was released in June 2020 in response to the COVID-19 pandemic and subsequent closure of concert halls. James recorded Bach’s six Sonatas and Partitas and Ysaÿe’s six Sonatas from his home with state-of-the-art equipment, and released six episodes over a period of two months. These recordings were met with great critical acclaim by audiences worldwide, and the violinist was described by Le Devoir as being ‘at the absolute forefront of the streaming evolution’.

James Ehnes has established himself as one of the most sought-after musicians on the international stage.

Gifted with a rare combination of stunning virtuosity, serene lyricism and an unfaltering musicality, he is a favourite guest at the world’s most celebrated concert halls.

James Ehnes began violin studies at the age of five, became a protégé of the noted Canadian violinist Francis Chaplin aged nine, and made his orchestral debut with the Orchestre symphonique de Montréal aged 13. He continued his studies with Sally Thomas at the Meadowmount School of Music and The Juilliard School, winning the Peter Mennin Prize for Outstanding Achievement and Leadership in Music upon his graduation in 1997.

James last appeared with the London Philharmonic Orchestra in February 2023, when he performed Brahms’s Violin Concerto under conductor Kevin John Edusei here at the Royal Festival Hall. Other recent orchestral highlights include performances with the Royal Concertgebouw Orchestra, Tonhalle-Orchester Zürich, NHK Symphony, Boston Symphony, Chicago Symphony Orchestra and Cleveland Orchestra.

Throughout the 2024/25 season, James will be Artistin-Residence with Melbourne Symphony, and will tour to Asia, where he will perform the complete Beethoven sonatas at Kioi Hall, Tokyo, as well as performances with the Hong Kong Philharmonic and Singapore Symphony orchestras.

James is a Member of the Order of Canada and the Order of Manitoba, a Fellow of the Royal Society of Canada, and an honorary fellow of London’s Royal Academy of Music, where he is a Visiting Professor.

In summer 2024 he was appointed Professor of Violin at Indiana University’s Jacobs School of Music. He plays the ‘Marsick’ Stradivarius of 1715.

Want to find out more? Turn to page 12 to read our Ten Questions with James Ehnes.

Alongside his concerto performances, James maintains a busy recital schedule. He performs regularly at London’s Wigmore Hall (including a complete cycle of Beethoven Sonatas in 2019/20, and the complete violin/viola works of Brahms and Schumann in 2021/22), Carnegie Hall, Symphony Center Chicago, the Amsterdam Concertgebouw, Ravinia, Montreux, Verbier Festival, Dresden Music Festival and Festival de Pâques in Aix-en-Provence. A devoted chamber musician, he is leader of the Ehnes Quartet and Artistic Director of the Seattle Chamber Music Society.

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London Philharmonic Orchestra • 25 October 2024 • A Hero’s Life

Programme notes Maurice Ravel 1875–1937

Ma mère l’Oye (Mother Goose) 1908–10, orch. 1911

Prélude – Danse du Rouet et Scène – Pavane de la Belle au bois dormant – Les entretiens de la Belle et de la Bête – Petit Poucet – Laideronnette, Impératrice des Pagodes – Le jardin féerique ‘Ravel was my favourite [among my father’s friends] because he used to tell me marvellous stories. I would sit on his knee and indefatigably he would begin “Once upon a time ...”’.

Mimie Godebski’s adult recollections revealing lifelong bachelor Ravel’s unerring affinity with children and childish things relate directly to the conception of the suite Ma mère l’Oye (‘Mother Goose’). In the summer of 1908, the composer had presented the nine-year-old Mimie and her younger brother Jean with a tiny but exquisite ‘Pavane de la Belle au bois dormant’ (‘Pavane of the Sleeping Beauty’) for piano duet. His intention was that they would play it, but it proved too difficult, and when the death of his father took the composer back to Paris that autumn, any intended further work was temporarily halted; it was not until the spring of 1910 – the same time that he was working on the ballet Daphnis et Chloé – that Ravel completed it as a five-movement suite on subjects borrowed from old fairytales by the Comtesse d’Aulnoy, Marie Leprince de Beaumont and Charles Perrault (whose collection Contes de ma mère l’Oye provided the title). He still harboured hopes that the Godebski children would give the first public performance, but although they played it to him in private, the premiere was eventually given in Paris by two other child pianists, Jeanne Leleu and Geneviève Durony.

Ravel produced his customary orchestration in 1911, but then, in answer to a commission from a Parisian theatre, followed it up with the expanded ballet score (nearly twice the length of the suite) that we hear tonight.

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London Philharmonic Orchestra • 25 October 2024 • A Hero’s Life

Programme notes The scenario featured the famous Beauty pricking her finger, dreaming fairytale stories as she sleeps and finally being awoken at dawn by Prince Charming, and was presumably grafted on afterwards since it entailed not only the addition of linking passages, an atmospheric ‘Prélude’ and a ‘Danse du Rouet’ (‘SpinningWheel Dance’) but also a slight reordering of the original movements. These themselves remain intact, however, their naive charm and sensitivity somehow only heightened by the deft sophistication of Ravel’s orchestration. After the ‘Pavane’ comes the Satie-esque ‘Les entretiens de la Belle et de la Bête’ (‘Dialogues of Beauty and the Beast’), with Beauty represented by a clarinet, the Beast by a contrabassoon, and their moment of reconciliation by a harp glissando and

glistening violin harmonics. ‘Petit Poucet’ depicts a diminutive character (his English equivalent would be ‘Hop o’ my Thumb’) laying a trail of breadcrumbs through the woods, only to see his waymarkers eaten by birds; the trail can be heard meandering its way through the music on the strings, and the birds are unmistakable. ‘Laideronnette, Impératrice des Pagodes’ (‘Little ugly one, Empress of the Pagodas’) conjures its oriental flavour through the use of the pentatonic scale – like Debussy and others, Ravel had been influenced by hearing a Javanese gamelan at the Paris Exhibition of 1889 – and the score ends with ‘Le jardin féerique’ (‘The fairy garden’), depicting Prince Charming’s arrival in the ballet, but in its original guise surely a burst of radiant nostalgia for childhood.

Photo © Laura Manariti

Programme note © Lindsay Kemp

Maurice Ravel’s

Daphnis and Chloe Wednesday 23 April 2025 | 6.30pm & 8.30pm Southbank Centre’s Royal Festival Hall London Philharmonic Orchestra | Edward Gardner | Circa | BBC Singers Ravel’s sumptuous ballet is brought to life by the London Philharmonic Orchestra’s enchanted playing and Australian company Circa’s daring contemporary choreography and circus.

The collaboration between orchestra and gravity-defying circus teases out a world as intriguing, sensual and strange as the music itself with dramatic group acrobatics, intimate duos and aerial solos.

Book now at lpo.org.uk 9

London Philharmonic Orchestra • 25 October 2024 • A Hero’s Life

Programme notes Max Bruch 1838–1920

Violin Concerto No. 2 in D minor, Op. 44 1877

James Ehnes violin

1 Adagio ma non troppo 2 Recitative: Allegro moderato – 3 Finale: Allegro molto Turn the page to read Ten Questions with tonight's soloist, James Ehnes.

‘If the Muse is well-disposed towards me, this concerto should in no way be overshadowed by the First.’

Bruch’s hopes for his Second Violin Concerto, expressed in a letter to his publisher in March 1877, were not to be realised. Indeed, it would doubtless have pained him to know that, in time, the reputations of every other work of his (including a Third Violin Concerto) were to be blotted out by the enormous popularity of one of the classical repertory’s best-loved works, to the extent that most people are unaware even of their existence.

Without the First, it seems, Bruch might be as forgotten a figure of 19th-century German music as Joachim Raff or Hermann Goetz.

Would that be fair? Well, Bruch might have got lucky with his richly romantic First Concerto, but it was certainly bad fortune that his Second appeared in the wake of the major musical event of the 1870s: the long-awaited arrival of Brahms’s First Symphony. ‘Ever since my introduction to the First Symphony of Johannes Brahms, I have become very unamenable and resistant towards Bruch’s works and the like’, wrote the influential pianist and conductor Hans von Bülow, and there is no reason to think his reaction untypical.

The success of the Second Concerto was limited right from the time of its premiere at London’s Crystal Palace

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London Philharmonic Orchestra • 25 October 2024 • A Hero’s Life

Programme notes in November 1877, with Bruch conducting and the great Pablo de Sarasate, dedicatee and inspiration of the work, as soloist. It is possible that, other distractions apart, its unusual form counted against it; although cast in the three movements customary for a concerto, it opens with a broadly dramatic slow movement, and continues with a brief interlude in the style of an operatic monologue, which is then revealed to be a thematic introduction to the livelier but hardly dashing Finale.

Bruch was no lover of programme music, but according to one account it seems that this quirky layout related to a scenario suggested by Sarasate, with the Adagio representing a young woman searching for her soldier

lover in the aftermath of a battle, and the Finale the bustling activity of a cavalry regiment. If all this makes the work sound experimental, then so it is, yet Bruch’s touch in writing for both orchestra and soloist, and his gift for affecting turns of melody, are as sure as in the First Concerto, and there is justification for Bruch’s own belief that the first movement was in its way as fine as anything in the earlier work. How strange that we so rarely get the chance to judge for ourselves!

Programme note © Lindsay Kemp

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

Sunday 22 January 2025

Alice Ivy-Pemberton Vivaldi’s Four Seasons

More star violinists this season

Wednesday 26 February 2025

Augustin Hadelich

lpo.org.uk

Britten’s Violin Concerto Saturday 1 March 2025

Nikolaj Szeps-Znaider

Tchaikovsky’s Violin Concerto Wednesday 27 November 2024

Wednesday 26 March 2025

Weinberg’s Violin Concerto

Prokofiev’s Violin Concerto No. 1

Wednesday 15 January 2025

Saturday 5 April 2025

Berg’s Violin Concerto

R Schumann’s Violin Concerto

Alina Ibragimova

Gidon Kremer

Vilde Frang

Isabelle Faust

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London Philharmonic Orchestra • 25 October 2024 • A Hero’s Life

Ten Questions with violinist James Ehnes impossible not to be inspired to learn new things. I often learn new music in little bits of free time when I’m on the road.

Who were your biggest influences as a young musician?

© Benjamin Ealovega

Certainly my parents, who were incredibly supportive, and my teachers; Francis Chaplin, Donald Henry and Sally Thomas.

Tell us about the performing relationship you have developed with Sir Mark Elder over the span of your musical collaborations.

I adore Mark both personally and professionally.

We’ve had a lot of good times over the years! He is a tremendously creative and inspiring collaborator, someone who really brings the best out of the musicians he works with.

We caught up with tonight’s soloist James Ehnes, ahead of his performance of Bruch’s Second Violin Concerto.

What is the most culturally unique musical context you have found yourself in so far?

James, you’ve played with the London Philharmonic Orchestra many times, and know us well! How would you describe the ‘LPO sound’?

What an interesting question! I have spent some time working with Indian classical musicians, which is fascinating and really eye-opening.

I LOVE the LPO sound! It’s always difficult to put these things into words, but the string sound is uniquely dark and muscular, and extremely beautiful, and the rest of the Orchestra’s clarity and virtuosity is always compelling.

What is your favourite thing to do in London?

London is probably my favourite city in the world, so the list of things I love to do is very long indeed, but if I had to pick just one, I think it would just be walking around.

It’s such an endlessly fascinating city, so full of interest and beauty.

Do you remember the first time you approached learning Bruch’s Second Violin Concerto?

It was a favourite of my teacher, Francis Chaplin, growing up, so I learned it quite young. I’ve never understood why it hasn’t found the popularity of the First. I love it.

Your favourite piece of classical music that isn’t a violin concerto … go!

My favourite thing about music is the variety. I could never pick a favourite piece. But I just heard Berlioz’s Symphonie fantastique last night (the second half of a concert I played), so let’s go with that for today!

What is unique about Bruch’s Second Violin Concerto?

Any technical or expressive challenges that are special to this work?

Like Bruch’s first concerto, perhaps the most unusual feature is its structure. The first movement is a slow movement, then the second is a highly dramatic (and wonderful) recitative. It is highly virtuosic throughout, so that is both fun and challenging!

Do you have any advice for aspiring young musicians?

Practise hard, and practise efficiently – don’t waste time. And don’t forget that music is about communication, not ‘achievement’.

As a busy international musician, how do you balance the schedule of touring and performing with finding breathing space to work repertoire into the body?

If you’d like to hear James’s favourite piece (today's favourite, anyway) played live, don’t miss our Symphonie fantastique concert at the Royal Festival Hall on 26 February 2025! Find out more and book at lpo.org.uk

It can be a challenge. But the violin repertoire is just so rich, and getting richer every year with the addition of great masterpieces from living composers, that it’s

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London Philharmonic Orchestra • 25 October 2024 • A Hero’s Life

Programme notes Richard Strauss 1864–1949

Ein Heldenleben (‘A Hero’s Life’) 1898

1 Der Held (The Hero) 2 Des Helden Widersacher (The Hero’s Adversaries) 3 Des Helden Gefährtin (The Hero’s Companion) 4 Des Helden Walstatt (The Hero at Battle) 5 Des Helden Friedenswerke (The Hero’s Works of Peace) 6 Des Helden Weltflucht und Vollendung (The Hero’s Retirement from this World and Completion) By 1898, the 34-year-old Strauss had completed seven large orchestral tone-poems, five of them inspired by larger-than-life characters from literature or folklore.

As he came to plan his eighth, ‘A Hero’s Life’, Strauss turned to a character who fascinated him ‘as much as Napoleon or Alexander’. That character was the composer himself. His new work was to be an orchestral autobiography.

It sounds like an act of tremendous immodesty – even before you experience the bombastic brilliance of Strauss’s opening statements, intended to introduce the Hero’s qualities of ambition, resilience, bravery and intellect. But Strauss probably had his tongue firmly in his cheek when he talked of a picture of himself in the work. Besides, at the time of writing he was young and on the brink of change. His move into opera would later see him write music of touching vulnerability, while the effects of the Second World War would draw from him the resigned, autumnal shades of Metamorphosen and the Four Last Songs. Moreover, Strauss himself suggested that the heroic character represented in Ein Heldenleben was only partly his own. In a letter to his father, he wrote that the Hero was in fact ‘not a single poetical or historical figure, but rather a more general and free ideal of great and manly heroism’.

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London Philharmonic Orchestra • 25 October 2024 • A Hero’s Life

Programme notes No matter what the heroic qualities (or otherwise) of Strauss the man, his music up to 1898 had been just about as heroic as it gets. Claude Debussy commented on its ‘frenzied energy which carries one with him as long as he chooses’, referring to his orchestral effects as ‘those of a book of pictures, or even a cinematography.’

The tone-poems Strauss had already spawned were powerful, rich, malleable, unpredictable, virtuosic, wickedly exciting, touchingly tender and intensely dramatic – all wrapped up in the composer’s own brand of instrumental character and orchestral Technicolor.

Strauss’s most explicitly autobiographical music comes in the next section, titled ‘The Hero’s Works of Peace’.

Here Strauss quotes from nine of his previous compositions, including six tone-poems. There are notable outings from Till Eulenspiegel’s Merry Pranks and Don Juan on woodwinds, as well as the return of the seemingly irrepressible tuba of Doctor Dehring, heard right at the section’s opening.

In Strauss’s final chapter, the Hero ‘withdraws from the world and finds fulfilment’. After one last internal struggle, the cor anglais recalls a pastoral theme from the tone-poem Don Quixote, and the music moves from bravado to serenity; from confidence to disarming love.

There are final utterances from a solo horn and violin – pictures of Strauss and his wife having transcended their troubles. Strauss lived through every note of his Heldenleben in public as the conductor of the work’s first performance on 3 March 1899 in Frankfurt. His compositional voice might have been on the brink of change, but Ein Heldenleben and its predecesssors heralded an era of orchestral virtuosity that flourished in the 20th century and continues to do so today. For many – and not just the horn players – Ein Heldenleben remains the ultimate orchestral test-piece.

In Ein Heldenleben, the listener experiences all of the above and more. This is Strauss’s most rounded, comprehensive and ambitious tone-poem, and sees him expanding further his already impressive toolbox of orchestral effects. There’s room for all of them in Strauss’s music precisely because of its narrative range: we meet not just the central Hero, but a confection of souls with whom he fraternised and fought.

The orchestral introduction to the Hero mentioned above launches with a broad, all-seeing theme spanning three octaves and lasting 16 bars. The second of Strauss’s six sections is labelled ‘The Hero’s Adversaries’, a thinly disguised caricature of music critics and a representation of more abstract barriers and doubts.

For Strauss, there were four types of music critic: carpers (heard on the flute); vituperators (oboe); whiners (cor anglais); and hair-splitters (tuba). It’s said the latter’s theme is explicitly intended to mimic the name of Strauss’s nemesis in the Munich press, a certain Doctor Dehring (think 'Doc-tor DEH-ring'). Needless to say, the Hero despatches them all with ease – though some critical spectres continue to haunt the coming sections.

Programme note © Andrew Mellor

Recommended recordings of tonight’s works

by Laurie Watt Ravel: Mother Goose Sinfonia of London | John Wilson (Chandos)

Listen out next for Strauss’s wife Pauline, represented by a lone violin which sings a series of increasingly demanding cadenzas. Pauline was capricious and tricky and Strauss knew it, but he also knew he couldn’t live without her; this section, ‘The Hero’s Companion’, ends with a rapturous love scene, gatecrashed at its conclusion by the sniping critics of the previous portrait.

Bruch: Violin Concerto No. 2 James Ehnes (violin) | Montreal Symphony Orchestra | Mario Bernardi (CBC Records) R Strauss: Ein Heldenleben London Philharmonic Orchestra | Bernard Haitink LPO Label (LPO-0079: see page 16)

Three offstage trumpets herald the next section, which depicts the Hero’s brave deeds on the battlefield with some of Strauss’s most energetic and fearsome music.

Strauss said at the time of writing that no instrument could be more heroic than the horn; at the battle’s conclusion, all eight of the score’s horns join in unison to proclaim victory.

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Next Royal Festival Hall concerts lpo.org.uk

Karina Canellakis conducts Schumann & Bruckner Wednesday 30 October 2024 6.30pm (Please note start time) R Schumann Overture, Manfred R Schumann Cello Concerto Bruckner Symphony No. 4 Karina Canellakis conductor Truls Mørk cello

Tchaikovsky’s Sixth Saturday 2 November 2024 7.30pm Saariaho Lumière et Pesanteur Beethoven Piano Concerto No. 3 Tchaikovsky Symphony No. 6 (Pathétique) Karina Canellakis conductor Vadym Kholodenko piano

Víkingur Ólafsson plays Brahms Wednesday 6 November 2024 7.30pm Brahms Piano Concerto No. 1 Freya Waley-Cohen Mother Tongue* (world premiere) Bartók The Miraculous Mandarin Suite Edward Gardner conductor Víkingur Ólafsson piano *Commissioned by the London Philharmonic Orchestra

Take the music with you Strauss on the LPO Label

LPO-0122

LPO-0079

Scan the QR codes to listen now

Jessye Norman sings Strauss: Five Songs Le Bourgeois Gentilhomme Salome (excerpts)

Don Juan Ein Heldenleben Bernard Haitink conductor

LPO-0106

LPO-0117

Klaus Tennstedt conductor

Strauss: Symphonia Domestica Rimsky-Korsakov: Scheherazade

Eine Alpensinfonie Die Frau ohne Schatten (excerpts) Dance of the Seven Veils

Zubin Mehta conductor

Vladimir Jurowski conductor

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

lpo.org.uk/recordings 16

London Philharmonic Orchestra • 25 October 2024 • A Hero’s Life

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

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

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

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

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

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

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

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

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

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

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

London Philharmonic Orchestra • 25 October 2024 • A Hero’s Life

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 The American Friends of the London Philharmonic Orchestra William & Alex de Winton Catherine Høgel & Ben Mardle Aud Jebsen In memory of Mrs Rita Reay Sir Simon & Lady Robey CBE

Orchestra Circle Mr & Mrs Philip Kan Neil Westreich

Principal Associates

An anonymous donor Mrs Irina Andreeva Steven M. Berzin Richard Buxton Gill & Garf Collins In memory of Brenda Lyndoe Casbon In memory of Ann Marguerite Collins Irina Gofman & Mr Rodrik V. G. Cave Patricia Haitink George Ramishvili In memory of Kenneth Shaw The Tsukanov Family Mr Florian Wunderlich

Associates

In memory of Len & Edna Beech Sir Nigel Boardman & Prof. Lynda Gratton The Candide Trust Stuart & Bianca Roden In memory of Hazel Amy Smith

Gold Patrons

An anonymous donor David & Yi Buckley Dr Alex & Maria Chan In memory of Allner Mavis Channing In memory of Peter Coe Michelle Crowe Hernandez Hamish & Sophie Forsyth Virginia Gabbertas MBE Jenny & Duncan Goldie-Scot Mr Roger Greenwood Malcolm Herring Julian & Gill Simmonds

Andrew T Mills Mr & Mrs Andrew Neill John Nickson & Simon Rew Peter Noble & L Vella Mikhail Noskov & Vasilina Bindley Simon & Lucy Owen-Johnstone Andrew & Cindy Peck Mr Roger Phillimore Mr Michael Posen Marie Power Sir Bernard Rix Baroness Shackleton Tim Slorick Sir Jim Smith Mrs Maria Toneva Mr Joe Topley & Ms Tracey Countryman Mr & Mrs John C Tucker Andrew & Rosemary Tusa Galina Umanskaia Mr & Mrs John & Susi Underwood The Viney Family Mr Rodney Whittaker Grenville & Krysia Williams Joanna Williams

Mr Brian Smith Mr Jay Stein Eric Tomsett The Viney Family Guy & Utti Whittaker

Silver Patrons

David Burke & Valerie Graham Clive & Helena Butler John & Sam Dawson Ulrike & Benno Engelmann Fiona Espenhahn in memory of Peter Prof. Erol & Mrs Deniz Gelenbe The Jeniffer & Jonathan Harris Charitable Trust Iain & Alicia Hasnip John & Angela Kessler Mrs Elizabeth Meshkvicheva Dr Irene Rosner David Tom & Phillis Sharpe Jenny Watson CBE Laurence Watt

Bronze Patrons

Anonymous donors Chris Aldren Alexander & Rachel Antelme Annie Berglof Nicholas Berwin Lorna & Christopher Bown Mr Bernard Bradbury Richard & Jo Brass Desmond & Ruth Cecil Mr John H Cook Emmanuelle & Thierry d’Argent Mrs Elizabeth Davies Guy Davies Cameron & Kathryn Doley Ms Elena Dubinets David Ellen Cristina & Malcolm Fallen Mr Daniel Goldstein David & Jane Gosman Mr Gavin Graham Mrs Dorothy Hambleton Eugene & Allison Hayes J Douglas Home Mr & Mrs Jan Mr & Mrs Ralph Kanza Mrs Elena Kolobova & Mr Oleg Kolobov Rose & Dudley Leigh Wg. Cdr. M T Liddiard OBE JP RAF Drs Frank & Gek Lim

Principal Supporters

Anonymous donors Julian & Annette Armstrong Chris Banks Mr John D Barnard Roger & Clare Barron Mrs A Beare Chris Benson Peter & Adrienne Breen Dr Anthony Buckland Mr Julien Chilcott-Monk Mr Alistair Corbett David Devons Deborah Dolce In memory of Enid Gofton Prof Emeritus John Gruzelier Mrs Farrah Jamal Bruce & Joanna Jenkyn-Jones Per Jonsson Tanya Joseph Mr Ian Kapur Jozef & Helen Kotz Mr Peter Mace Peter Mainprice Miss Rebecca Murray Mrs Terry Neale Mr Stephen Olton Mr James Pickford Mr Robert Ross

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Kseniia Rubina Mr Andrea Santacroce & Olivia Veillet-Lavallée Penny Segal Priscylla Shaw Michael Smith Mr & Mrs G Stein Dr Peter Stephenson Ben Valentin KC Sophie Walker Christopher Williams Liz Winter Elena Y Zeng

Supporters

Anonymous donors Ralph & Elizabeth Aldwinckle Robert & Sarah Auerbach Dr Simona Cicero & Mr Mario Altieri Alison Clarke & Leo Pilkington Sarah Connor Miss Tessa Cowie Andrew Davenport Stephen Denby Mr Simon Edelsten Steve Goldring In memory of Derek Gray Nick Hely-Hutchinson The Jackman Family Molly Jackson Jan Leigh & Jan Rynkiewicz Mr David MacFarlane Simon Moore Simon & Fiona Mortimore Dana Mosevicz Dame Jane Newell DBE Diana G Oosterveld Mr David Peters Mr & Mrs Graham & Jean Pugh Clarence Tan Tony & Hilary Vines Dr June Wakefield Mr John Weekes Mr Roger Woodhouse Mr C D Yates

Hon. Benefactor Elliott Bernerd

London Philharmonic Orchestra • 25 October 2024 • A Hero’s Life

Thank you

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

Thomas Beecham Group Members

Sir Nigel Boardman & Prof. Lynda Gratton David & Yi Buckley In memory of Peter Coe Dr Alex & Maria Chan Garf & Gill Collins William & Alex de Winton The Friends of the LPO Irina Gofman & Mr Rodrik V. G. Cave Mr Roger Greenwood Barry Grimaldi David & Bettina Harden Mr & Mrs Philip Kan Mr & Mrs John Kessler Sir Simon Robey Victoria Robey OBE Stuart & Bianca Roden Julian & Gill Simmonds Eric Tomsett Neil Westreich Guy & Utti Whittaker

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

Board of the American Friends of the LPO

Jeroboams Lindt & Sprüngli Ltd Neal’s Yard Remedies OneWelbeck Sipsmith Steinway & Sons

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

In-kind Sponsor Google Inc

Trusts and Foundations ABO Trust Art Mentor Foundation Lucerne BlueSpark Foundation The Boltini Trust Candide Trust Cockayne Grants for the Arts in London Dunard Fund Ernst von Siemens Music Foundation Foyle Foundation Garfield Weston Foundation Garrick Charitable Trust The Golsoncott Foundation Jerwood Foundation John Coates Charitable Trust John Horniman’s Children’s Trust John Thaw Foundation Idlewild Trust Institute Adam Mickiewicz Kirby Laing Foundation The John S Cohen Foundation The Lennox Hannay Charitable Trust Kurt Weill Foundation Lord and Lady Lurgan Trust Lucille Graham Trust The Marchus Trust Maria Bjӧrnson Memorial Fund PRS Foundation The R K Charitable Trust The Radcliffe Trust Rivers Foundation Rothschild Foundation Scops Arts Trust TIOC Foundation Vaughan Williams Foundation The Victoria Wood Foundation The Viney Family The Barbara Whatmore Charitable Trust

LPO International Board of Governors Natasha Tsukanova Chair Mrs Irina Andreeva Steven M. Berzin Shashank Bhagat Irina Gofman Olivia Ma George Ramishvili Florian Wunderlich

and all others who wish to remain anonymous.

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London Philharmonic Orchestra • 25 October 2024 • A Hero’s Life

London Philharmonic Orchestra Administration Board of Directors

New Generation Board

Finance

Marketing

Dr Catherine C. Høgel Chair Nigel Boardman Vice-Chair Mark Vines* President Kate Birchall* Vice-President Emily Benn David Buckley David Burke Michelle Crowe Hernandez Deborah Dolce Elena Dubinets Simon Estell* Tanya Joseph Katherine Leek* Minn Majoe* Tania Mazzetti* Jamie Njoku-Goodwin Neil Westreich David Whitehouse* Simon Freakley (Ex officio – Chairman of the American Friends of the LPO) *Player-Director

Ellie Ajao Peter De Souza Vivek Haria Rianna Henriques Pasha Orleans-Foli Zerlina Vulliamy

Frances Slack Finance Director

Kath Trout Marketing & Communications Director

Advisory Council

Roger Barron Chairman Christopher Aldren Kate Birchall Richard Brass Helen Brocklebank YolanDa Brown OBE David Burke Simon Burke Simon Callow CBE Desmond Cecil CMG Jane Coulson Andrew Davenport Guillaume Descottes Cameron Doley Elena Dubinets Lena Fankhauser Christopher Fraser OBE Jenny Goldie-Scot Jonathan Harris CBE FRICS Nicholas Hely-Hutchinson DL Dr Catherine C. Høgel Martin Höhmann Jamie Korner Andrew Neill Nadya Powell Sir Bernard Rix Victoria Robey CBE Baroness Shackleton Thomas Sharpe KC Julian Simmonds Daisuke Tsuchiya Mark Vines Chris Viney Laurence Watt Elizabeth Winter

Dayse Guilherme Finance Manager Jean-Paul Ramotar Finance & IT Officer

General Administration

Education & Community

Elena Dubinets Artistic Director

Talia Lash Education & Community Director

David Burke Chief Executive Ineza Grabowska PA to the Executive & Office Manager

Lowri Davies Eleanor Jones Education & Community Project Managers

Concert Management

Hannah Smith Education & Community Co-ordinator

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

Claudia Clarkson Regional Partnerships Manager

Maddy Clarke Tours Manager

Sophie Lonergan (née Harvey) Marketing Manager Rachel Williams Publications Manager Gavin Miller Sales & Ticketing Manager Josh Clark Data, Insights & CRM Manager Georgie Blyth Press & PR Manager Greg Felton Digital Creative Alicia Hartley Digital & Marketing Co-ordinator Isobel Jones Marketing Co-ordinator

Archives Philip Stuart Discographer

Madeleine Ridout Glyndebourne & Projects Manager

Development

Gillian Pole Recordings Archive

Alison Jones Concerts & Artists Co-ordinator

Laura Willis Development Director Rosie Morden Individual Giving Manager

Professional Services

Owen Mortimer Corporate Relations Manager

Dora Kmezić Concerts & Recordings Co-ordinator

Anna Quillin Trusts & Foundations Manager

Tom Cameron Concerts & Tours Assistant

Eleanor Conroy Development Events Manager

Matthew Freeman Recordings Consultant

Al Levin Development Co-ordinator

Andrew Chenery Orchestra Personnel Manager

Holly Eagles Development Assistant

Helen Phipps Orchestra & Auditions Manager

Nick Jackman Campaigns & Projects Director

Sarah Thomas Martin Sargeson Librarians

Kirstin Peltonen Development Associate

Laura Kitson Stage & Operations Manager Stephen O’Flaherty Deputy Operations Manager

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 Printer John Good Ltd Cover photograph Jason Bell 2024/25 season design JMG Studio Printer John Good Ltd

Benjamin Wakley Deputy Stage Manager

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