LPO concert programme: 26 Jan 2022 - Stormclouds and Spring Flowers (Kazushi Ono/Andreas Ottensamer)

2021/22 concert season at the Southbank Centre’s Royal Festival Hall

Concert programme

Principal Conductor Edward Gardner supported by Aud Jebsen Principal Guest Conductor Karina Canellakis Conductor Emeritus Vladimir Jurowski Patron HRH The Duke of Kent KG Artistic Director Elena Dubinets Chief Executive David Burke Leader Pieter Schoeman supported by Neil Westreich

Southbank Centre’s Royal Festival Hall Wednesday 26 January 2022 | 7.30pm Brighton Dome Concert Hall Saturday 29 January 2022 | 7.30pm

Stormclouds and Spring Flowers Debussy (orch Büsser) Printemps: Symphonic Suite (15’) Brahms (orch. Berio) Sonata for Clarinet, Op. 120 No. 1 (25’) Debussy Première rhapsodie, for clarinet and orchestra (7’) Interval (20’) Dvořák Symphony No. 7 in D minor, Op. 70 (38’) Kazushi Ono conductor Andreas Ottensamer clarinet

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

CONCERTS PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA IN ASSOCIATION WITH BRIGHTON DOME

Contents 2 Welcome 3 On stage tonight 4 London Philharmonic Orchestra 5 Leader: Pieter Schoeman 6 Kazushi Ono 7 Andreas Ottensamer 8 Programme notes 12 Recommended recordings 13 Dvořák on the LPO Label 14 Julia Fischer plays Mozart:

Artist-in-Residence Spring 2022 15 Next concerts at Brighton Dome 16 LPO Annual Appeal 2022 17 Sound Futures donors 18 Thank you 20 LPO administration

London Philharmonic Orchestra • 26 & 29 January 2022 • Stormclouds and Spring Flowers

Wednesday 26 January 2022

Saturday 29 January 2022

Welcome to the Southbank Centre

Welcome to Brighton Dome Chief Executive Andrew Comben

We hope you enjoy your visit. We have a Duty Manager available at all times. If you need any information or help, please ask a member of staff.

We hope you enjoy the performance and your visit to Brighton Dome. For your comfort and safety, please note the following:

Eating, drinking and shopping? Take in the views over food and drinks at the Riverside Terrace Cafe, Level 2, Royal Festival Hall. Visit our shops for products inspired by our great cultural experiences, iconic buildings and central London location.

Latecomers may not be admitted until a suitable break in the performance. Some performances may contain no suitable breaks.

Smoking Brighton Dome is a no-smoking venue.

Explore across the site with Beany Green, Côte Brasserie, Foyles, Giraffe, Honest Burger, Las Iguanas, Le Pain Quotidien, Ping Pong, Pret, Strada, Skylon, Spiritland, wagamama and Wahaca.

Interval Drinks may be ordered in advance at the bar to avoid queues.

Photography is not allowed in the auditorium.

If you would like to get in touch with us following your visit, please write to: Visitor Contact Team, Southbank Centre, Belvedere Road, London SE1 8XX, or email customer@southbankcentre.co.uk

Recording is not allowed in the auditorium.

Mobiles and Watches should be switched off before entering the auditorium.

We look forward to seeing you again soon.

Thank you for your co-operation.

A few points to note for your comfort and enjoyment: The concert at Brighton Dome on 29 January 2022 is presented by the London Philharmonic Orchestra in association with Brighton Dome.

Photography is not allowed in the auditorium.

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

Recording is not permitted in the auditorium without the prior consent of the Southbank Centre. The Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended.

Brighton Dome gratefully acknowledges the support of Brighton & Hove City Council and Arts Council England.

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

Enjoying your visit safely

Brighton Dome is managed by Brighton Dome and Brighton Festival, which also runs the annual three-week Brighton Festival in May.

Face coverings must be worn throughout your visit to the Southbank Centre, including during performances. The only exceptions are for those exempt from wearing face coverings, children under the age of 11, and when eating or drinking.

brightondome.org brightonfestival.org

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

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London Philharmonic Orchestra • 26 & 29 January 2022 • Stormclouds and Spring Flowers

On stage tonight First Violins

Pieter Schoeman* Leader Chair supported by Neil Westreich

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

Lasma Taimina

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

Minn Majoe Katalin Varnagy

Chair supported by Sonja Drexler

Martin Höhmann

Chair supported by Chris Aldren

Morane Cohen-Lamberger Thomas Eisner Laura Ayoub Catherine Craig Rasa Zukauskaite Yang Zhang Chair supported by Eric Tomsett

Alice Hall Gabriela Opacka† Ricky Gore†

Second Violins

Tania Mazzetti Principal Chair supported by Countess Dominique Loredan

Emma Oldfield Helena Smart Marie-Anne Mairesse Ashley Stevens Joseph Maher Kate Birchall Emma Purslow Nancy Elan Kate Cole Nynke Hijlkema Sioni Williams Georgina Leo† Sheila Law†

Violas

Flutes

David Quiggle Principal Ting-Ru Lai Laura Vallejo Benedetto Pollani Katharine Leek Michelle Bruil Stanislav Popov Martin Wray Julia Doukakis Raquel López Bolivar Daniel Cornford† Linda Kidwell†

Stewart McIlwham* Principal

Clare Childs Camilla Marchant

Piccolo

Clare Childs

Oboes

Ian Hardwick* Principal Alice Munday

Cellos

Chair supported by Bianca & Stuart Roden

Francis Bucknall Laura Donoghue Gregory Walmsley David Lale Susanna Riddell Sibylle Hentschel Sue Sutherley† Helen Thomas†

Lyndon Meredith Principal

Simon Carrington* Principal

Percussion

Andrew Barclay* Principal Chair supported by Gill & Garf Collins

Bassoons

Harp

Contrabassoon Claire Webster

Horns

Laura Murphy Lowri Morgan Charlotte Kerbegian† Adam Wynter†

Bass Trombone

Keith Millar

Gareth Newman Claire Webster

Chair supported by William & Alex de Winton

David Whitehouse

Chair supported by Roger Greenwood

Chair supported by Sir Simon Robey

George Peniston Tom Walley

Chair supported by William & Alex de Winton

Chair supported by Victoria Robey OBE

Jonathan Davies Principal

Co-Principal

Mark Templeton* Principal

Chair supported by Dr Barry Grimaldi

Benjamin Mellefont Principal Thomas Watmough

Kevin Rundell* Principal Sebastian Pennar

Trombones

Timpani

Clarinets

Double Basses

Paul Beniston* Principal Anne McAneney

Cor Anglais

Sue Böhling* Principal

Kristina Blaumane Principal

Trumpets

John Ryan* Principal Nicholas Mooney

Rachel Masters Principal

Piano

Catherine Edwards Philip Moore * Holds a professorial appointment in London † 26 January concert only

Guest Principal

Martin Hobbs Mark Vines Co-Principal Gareth Mollison

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at these concerts: David & Yi Buckley The Candide Trust Caroline, Jamie & Zander Sharp

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London Philharmonic Orchestra • 26 & 29 January 2022 • Stormclouds and Spring Flowers

© Mark Allan

London Philharmonic Orchestra

the Orchestra takes up its annual residency at Glyndebourne Festival Opera, where it has been Resident Symphony Orchestra for over 50 years.

The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra.

One of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with its reputation as one of the UK’s most forward-looking ensembles. As well as its concert performances, the Orchestra also records film soundtracks, releases CDs and downloads on its own label, and reaches thousands of people every year through activities for families, schools and local communities.

The London Philharmonic Orchestra has recorded many blockbuster film scores, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World.

It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 100 releases available on CD and to download.

Recent highlights include Shostakovich’s Symphony No. 11 and Mahler’s Symphony No. 8 under Vladimir Jurowski, and a commemorative box set of historic recordings with former Principal Conductor Sir Adrian Boult.

The Orchestra was founded by Sir Thomas Beecham in 1932, and has since been headed by many great conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur.

In September 2021 Edward Gardner became the Orchestra’s Principal Conductor, succeeding Vladimir Jurowski, who became Conductor Emeritus in recognition of his transformative impact on the Orchestra as Principal Conductor from 2007–21.

Karina Canellakis is the Orchestra’s current Principal Guest Conductor and Brett Dean is the Orchestra’s current Composer-in-Residence.

In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Music Award for Ensemble.

The Orchestra is resident at the Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. It also enjoys flourishing residencies in Brighton, Eastbourne and Saffron Walden, and performs regularly around the UK. Each summer

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London Philharmonic Orchestra • 26 & 29 January 2022 • Stormclouds and Spring Flowers

Pieter Schoeman

The London Philharmonic Orchestra is committed to inspiring the next generation of musicians, and recently celebrated the 30th anniversary of its Education and Community department, whose work over three decades has introduced so many people of all ages to orchestral music and created opportunities for people of all backgrounds to fulfil their creative potential.

Its dynamic and wide-ranging programme provides first musical experiences for children and families; offers creative projects and professional development opportunities for schools and teachers; inspires talented teenage instrumentalists to progress their skills; and develops the next generation of professional musicians.

The Orchestra’s work at the forefront of digital technology has enabled it to reach millions of people worldwide. Over the pandemic period the LPO further developed its relationship with UK and international audiences through its ‘LPOnline’ digital content: over 100 videos of performances, insights, and introductions to playlists, which collectively received over 3 million views worldwide and led to the LPO being named runner-up in the Digital Classical Music Awards 2020.

From Autumn 2020 the Orchestra was delighted to be able to return to its Southbank Centre home to perform a season of concerts filmed live and streamed free of charge via Marquee TV.

© Benjamin Ealovega

Leader

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

Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and London’s Royal Festival Hall.

As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. His chamber music partners have included Anne-Sophie Mutter, Veronika Eberle, Patricia Kopatchinskaja, Boris Garlitsky, JeanGuihen Queyras, Yannick Nézet-Séguin and Martin Helmchen.

September 2021 saw the opening of a new live concert season at the Royal Festival Hall, featuring many of the world’s leading musicians including Sheku KannehMason, Klaus Mäkelä, Renée Fleming, Bryn Terfel and this season’s Artist-in-Residence, Julia Fischer.

The Orchestra is delighted to be continuing to offer digital streams to selected concerts throughout the season through its ongoing partnership with Intersection and Marquee TV.

Pieter has performed numerous times as a soloist with the London Philharmonic Orchestra. Highlights have included an appearance as both conductor and soloist in Vivaldi’s Four Seasons at the Royal Festival Hall, the Brahms Double Concerto with Kristina Blaumane, and the Britten Double Concerto with Alexander Zemtsov, which was recorded and released on the LPO Label to great critical acclaim.

lpo.org.uk

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

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

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London Philharmonic Orchestra • 26 & 29 January 2022 • Stormclouds and Spring Flowers

Kazushi Ono conductor

© Herbie Yamaguchi

From 2008–17 Ono served as Principal Conductor of the Opéra National de Lyon, attracting international acclaim with landmark performances of works such as Prokofiev’s The Gamblers, Berg’s Lulu and Wagner’s Parsifal. Further operatic highlights include Honegger’s Jeanne d’Arc au Bûcher, directed by Romeo Castellucci (Ono’s last production in Lyon, which was subsequently revived at La Monnaie); the 2017 premiere of Arnulf Hermann’s Der Mieter at Frankfurt Opera; and Prokofiev’s The Fiery Angel in Warsaw and at the Aix-enProvence Festival (directed by Mariusz Treliński). He has conducted the London Philharmonic Orchestra at Glyndebourne Festival Opera in performances of operas including Ravel’s L’heure espagnole and L’enfant et les sortileges in 2012 and Humperdinck’s Hänsel und Gretel in 2008.

Kazushi Ono’s musical influence and vision span and connect continents and cultures, with roles as Music Director of the Tokyo Metropolitan Symphony Orchestra (TMSO) and the Orquestra Simfònica de Barcelona i Nacional de Catalunya (OBC), and Artistic Director of the New National Theatre Tokyo (NNTT). He has toured Europe extensively with the TMSO, visiting six cities in 11 days in 2015, and brought the OBC to Japan in 2019 with a new production of Turandot for NNTT, as well as orchestral concerts.

Before being appointed in Lyon, Kazushi was Music Director of the Theatre Royal de la Monnaie (2002–08), taking up the baton from Antonio Pappano. In 2017 he was awarded the honour of ‘Officier de l’ordre des Arts et des Lettres’ by French cultural minister Françoise Nyssen, adding to his prestigious 2015 Asahi Prize for his contribution to the development and progress of Japanese society.

Kazushi Ono is passionate about new music and has commissioned many works and projects, such as MarkAnthony Turnage’s Hibiki, which premiered at Tokyo’s Suntory Hall before featuring at the 2017 BBC Proms.

He instigated NNTT’s first commissioning scheme, dedicated to Japanese composers, which has so far included operas Asters by Akira Nishimura (2019) and Dai Fujikura’s A Dream of Armageddon (2020).

Kazushi Ono has established himself internationally with orchestras such as the London Philharmonic Orchestra, London Symphony Orchestra, BBC Symphony Orchestra, Brussels Philharmonic, Orchestre de Paris, Orchestre de la Suisse Romande, Seoul Philharmonic and Houston Symphony Orchestra, where his performance of Russian repertoire was described by the Houston Chronicle as ‘a first-rate concert steeped in stormy emotions, fragile beauty and wide- screen grandeur’.

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London Philharmonic Orchestra • 26 & 29 January 2022 • Stormclouds and Spring Flowers

Andreas Ottensamer clarinet

and the Gulbenkian Orchestra in Lisbon. In August 2021 Andreas was awarded the Neeme Järvi Prize of the Gstaad Festival Conducting Academy.

© Katja Ruge

Andreas Ottensamer has had an exclusive recording partnership with Deutsche Grammophon since 2013, making him the first ever clarinettist on the Yellow Label.

For his album Blue Hour, featuring works by Weber, Mendelssohn and Brahms, he partnered with the Berlin Philharmonic under Mariss Jansons and received his second Opus Klassik award as Instrumentalist of the Year.

Andreas Ottensamer was born in 1989 in Vienna. He comes from an Austro-Hungarian family of musicians and was drawn to music early, receiving his first piano lessons aged four. At the age of ten he began studying cello at the University of Music and Performing Arts in Vienna, before changing to the clarinet in 2003. In 2009 he interrupted his Harvard undergraduate studies to become a scholar of the Orchestra Academy of the Berlin Philharmonic. He has studied conducting with Professor Nicolas Pasquet in Weimar and taken masterclasses with Professor Johannes Schlaefli and Jaap van Zweden.

Andreas Ottensamer has captured audiences and critics alike with his distinct musicianship and versatility as a clarinettist, artistic director and conductor. He is considered one of the leading instrumentalists of our time and performs as a clarinet soloist in the major concert halls around the world, with orchestras such as the Berlin Philharmonic, Vienna Philharmonic, Mahler Chamber Orchestra, Seoul Philharmonic and NHK Symphony Orchestra, under conductors including Mariss Jansons, Sir Simon Rattle, Andris Nelsons, Yannick Nézet-Séguin, Daniel Harding and Lorenzo Viotti. He made his debut with the London Philharmonic Orchestra in February 2019, when he performed Weber’s Clarinet Concerto No. 1 at the Royal Festival Hall with conductor Vladimir Jurowski.

Since 2011 Andreas Ottensamer has held the position of Principal Clarinet with the Berlin Philharmonic.

Andreas is a regular guest artist at festivals such as the Salzburg Festival, the Gstaad Menuhin Festival, the Rheingau Music Festival and the Aix-en-Provence Easter Festival, and is Artistic Director of the Bürgenstock Festival in Switzerland. Artistic partnerships as a chamber musician include projects with Yuja Wang, Seong-Jin Cho, Lisa Batiashvili, Patricia Kopatchinskaja, Gautier Capuçon and Sol Gabetta.

Since the 2020/21 season Andreas Ottensamer has also taken to the podium as a conductor, and is already much sought-after. He delivered electrifying performances with the Armenian State Symphony Orchestra, and in April 2021 made his UK debut as guest conductor of the Bournemouth Symphony Orchestra. Further engagements will take him to the Tokyo Symphony Orchestra, the Basel Symphony Orchestra and Chamber Orchestra, the KBS Symphony Orchestra in South Korea

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London Philharmonic Orchestra • 26 & 29 January 2022 • Stormclouds and Spring Flowers

Programme notes Claude Debussy 1862–1918

Printemps: Symphonic Suite (orch. Büsser) 1887, orch. 1912 1 Très modéré 2 Modéré Debussy composed Printemps (‘Spring’) as a piece for orchestra with piano duet and wordless chorus in early 1887, towards the end of his sojourn at the Villa Medici in Rome as a winner of the annual Prix de Rome. After he had submitted it to the Institut de France, which administered the prize, the score was lost in a fire.

But a piano duet arrangement survived, and was published in 1904. Having intended for some time to re-orchestrate the work, Debussy eventually delegated the task to the conductor and composer Henri Büsser, who carried it out (under Debussy’s supervision) in 1912. This version dispensed with the chorus, but retained the piano duet within the orchestra. It was first performed in Paris in April 1913 (a few weeks before the premiere of Stravinsky’s Rite of Spring). The following year, when Debussy failed to deliver a ballet score commissioned for a revue at the Alhambra music hall in London, Printemps was pressed into service, and ran for over 300 performances.

express Debussy’s longing for his return home from Rome.

Programme note © Anthony Burton

Claude Debussy in 1908

While he acknowledged a source of inspiration for the work in Botticelli’s famous painting Primavera, Debussy was insistent that it had no detailed programme.

Instead, he wrote to a friend, he ‘wanted to express the slow, laborious birth of beings and things in nature, then the mounting fluorescence, and finally a burst of joy at being reborn to a new life’. He called the resulting work a ‘symphonic suite’, indicating not its formal shape but its methods of working with a number of closely related motifs – in which it anticipates his mature masterpiece La mer, which he subtitled ‘three symphonic sketches’. There are two movements, the first volatile in tempo but with slow and expressive interludes, the second accelerating towards a closing section with a hint of Parisian jauntiness, as if to

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London Philharmonic Orchestra • 26 & 29 January 2022 • Stormclouds and Spring Flowers

Programme notes Johannes Brahms 1833–97

Sonata for Clarinet, Op. 120 No. 1 (orch. Berio) 1895, orch. 1986 Andreas Ottensamer clarinet 1 Allegro appassionato 2 Andante un poco adagio 3 Allegretto grazioso 4 Vivace It was an impressive last gasp, though Brahms admitted he had ‘not been so impulsive as to write a concerto’ at the time. That apparent gap in the repertoire has now been filled, thanks to Luciano Berio, who orchestrated the first of Brahms’s Op. 120 sonatas in 1986, following a commission from the Los Angeles Philharmonic Association. His choices of instrumentation follow Brahms’s own concertos and symphonies, with just a slightly extended introduction to the opening Allegro altering the original text. The home key, F minor, often denotes feelings of storminess in Brahms’s output, which are quelled, if only briefly, by the first movement’s subdued second subject in D flat major.

At the beginning of the 1890s, Brahms felt his life’s work was done. Partly, this was due to the impact of the deaths of a handful of close friends, as well as feeling old before his time – Brahms was only 57. Nonetheless, having written four symphonies, an equal number of instrumental concertos and an impressive clutch of chamber works and songs, to say nothing of his heartfelt pieces for piano, Brahms had certainly produced an impressive catalogue. But reports of his retirement were greatly exaggerated, as shown when the musicianship and tone of clarinettist Richard Mühlfeld spurred Brahms back into action.

The two had met in Meiningen, the site of the premiere of Brahms’s Fourth Symphony (in 1885). Although the composer would have heard Mühlfeld, as principal clarinettist of the Meiningen Court Orchestra, on that and other occasions, the pair were only properly introduced in 1891. Brahms was immediately beguiled

by Mühlfeld’s playing, which inspired his Clarinet Trio Op. 114 and Clarinet Quintet Op. 115 in the year they met, followed, after Brahms’s second announcement of a retirement, by two sonatas for clarinet and piano, which were published in 1895 as his Op. 120. In thanks for this late gift of inspiration, Brahms assigned all his royalties from the sonatas and the fees from their joint performances to Mühlfeld, as well as leaving him the manuscripts after publication.

More introverted, with richly turning lines from the clarinet, is the Andante, with its juxtaposition of pizzicato and bowed strings, though this movement also has an unpredictable streak. So too does the waltz that follows – reminding us of Brahms’s adopted hometown – before the finale launches ahead, ducking and diving through various key centres, to triumph, with brass and timpani, in F major.

Programme note © Gavin Plumley

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London Philharmonic Orchestra • 26 & 29 January 2022 • Stormclouds and Spring Flowers

Programme notes Claude Debussy 1862–1918

Première rhapsodie, for clarinet and orchestra 1909–11 Andreas Ottensamer clarinet As director of the Paris Conservatoire, Fauré could appoint the directors of its Conseil Supérieur, and in 1909 invited Debussy to join the board. It was an honour to be asked, though Debussy had an underlying loathing for such institutions and was quickly made to realise that his role brought obligations as well as a sense of distinction. Indeed, one of his first tasks was to write tests for the Conservatoire’s clarinet exams, just at the point he was engrossed with completing his first book of Préludes.

Marked ‘dreamily slow’, the opening certainly matches that mood, as if returning us to the somnolent hush of Debussy’s Prélude à l’après-midi d’un faune of 1891–94.

The same, slow revelations pervade what follows, with dauntingly long lines for the soloist and a constantly shifting harmonic palette. But as well as reverie and ravishment, there is caged violence, with a second, highly contrasting theme. The work ends with bluesy harmonies and a dose of virtuosity – as much a requirement for the purposes of the original examination as any test of breath control – though it is the more languorous moments that linger.

Debussy nonetheless fulfilled the brief by writing two new works for clarinet and piano: his Première rhapsodie, which he dedicated to the clarinet professor Prosper Mimart; and the more modest Morceau à déchiffrer pour le concours de clarinette de 1910, later published, rather simply, as Petite pièce – it lasts only two minutes. Prosaic though the circumstances of its creation were, Debussy was nonetheless proud of the Première rhapsodie – he called it ‘most amiable’ – and in 1911 arranged the short composition for clarinet and orchestra, in which form it was given by its original dedicatee.

Programme note © Gavin Plumley

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

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London Philharmonic Orchestra • 26 & 29 January 2022 • Stormclouds and Spring Flowers

Programme notes Antonín Dvořák 1841–1904

Symphony No. 7 in D minor, Op. 70 1885 1 Allegro maestoso 2 Poco adagio 3 Scherzo: vivace 4 Finale: Allegro The Seventh might not be Dvořák’s most popular symphony, but it’s arguably his best. In the composer’s own mind, he simply had to deliver something special for the London Philharmonic Society, who had commissioned the piece in 1884. His career was at a crossroads: success had finally come, offers were being made, and contacts were putting themselves forward.

Brahms and others were urging Dvořák to consider a move from his hometown of Prague to Vienna or Berlin.

All Dvořák had to do – in his own mind – was prove that he could write first-class symphonic music already; music that didn’t rely overtly on indigenous Czech folk themes and that demonstrated a firm grasp of symphonic thought.

On that front, Dvořák more than succeeded with his Seventh Symphony. It was first performed on 22 April 1885 in St James’s Hall, London, and was immediately hailed as a masterpiece. As a symphony it’s near flawless, and certainly Dvořák’s most organic and well-argued.

For that, the composer had Brahms to thank. Dvořák had recently heard Brahms’s Third Symphony, whose taut, concise and clear-cut structure is wholly evident here.

There are also a good few points of direct comparison: both symphonies contain radiant horn solos (you’ll hear Dvořák’s in his second movement) and both are stalked by a sense of underlying darkness.

That darkness – perhaps ‘severity’ is a better word – had been uncommon in Dvořák’s music up to this point.

The Seventh was the composer’s first symphony written in a minor key and it only rarely finds the major. Even so,

Antonín Dvořák Photograph courtesy of the Royal College of Music, London

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London Philharmonic Orchestra • 26 & 29 January 2022 • Stormclouds and Spring Flowers

Programme notes the joy and bustle associated with Dvořák’s music is somehow ever-present – either fighting to be heard or peering through the composer’s minor-key colourings.

Perhaps it’s the composer’s profusion of rich melodies that keeps the Symphony so consistently radiant even when resolutely rooted in the minor (as in the demonic dance of the Scherzo, for example).

comes later represents one of the Symphony’s only moments of warmth; a sudden appearance of the sun between clouds. Though the third movement features an idyllic Trio section, it’s surrounded by a demonic dance built from an insistent, syncopated figure that combines duple and triple time in reference to the furiant, a Czech folk dance.

So organic and rich in cross-referencing is the Seventh’s music that an analysis of its themes and their origins is best left for academics. What’s worth listening out for in the first movement, however, is the restlessness of Dvořák’s lower strings, which helps create a feeling of impending stormy weather; throughout, instruments enter in a fragmentary fashion, each seeming to stride into the conversation with a conflicting view.

Dvořák didn’t want to over-egg his use of devices and themes from Czech folk music in the Symphony, and uses them similarly fleetingly and subtly in his finale.

This movement is a fierce tussle, relieved only by its bright secondary idea cast in a major key and first heard on cellos, supported by lightly ornamenting violins. Dvořák seems to triumph over the movement’s nervous energy as he introduces a theme of distinctly Czech character on the flutes. In a dramatic coda, the Symphony’s final paragraph, the music finally finds victory as it discovers the warmth of D major.

Dvořák’s second movement is a continuous, river-like flow of inspired melodies opening with what sounds like an ancient chorale in a serene F major, the key that also closes the movement. The aforementioned horn solo that

Programme note © Andrew Mellor

Recommended recordings of tonight’s works

Enjoyed tonight’s concert?

Help us to share the wonder of the LPO by making a donation today. Use the QR code to donate via the LPO website, or visit lpo.org.uk/donate. Thank you.

by Laurie Watt Debussy: Printemps (Symphonic Suite) Boston Symphony Orchestra | Charles Munch (RCA Red Seal ‘Living Presence’) Brahms (orch. Berio): Sonata for Clarinet Daniel Ottensamer | Sinfonieorchester Basel Ivor Bolton (Sony) Debussy: Première rhapsodie George Pieterson | Royal Concertgebouw Orchestra | Bernard Haitink (Decca) Dvořák: Symphony No. 7 London Philharmonic Orchestra | Yannick NézetSéguin (LPO Label LPO-0095: see right)

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On the LPO Label: Dvořák’s Symphony No. 7 Dvořák: Symphony No. 6 Symphony No. 7 Othello Overture Yannick Nézet-Séguin conductor London Philharmonic Orchestra £10.99 (2 audio CDs) | LPO-0095

‘The melodies sing, the music-making is unexaggerated, the spirit is joyous. Recommended.’ Financial Times, March 2017 All LPO Label releases are available on CD from all good retailers, and to download or stream via Spotify, Apple Music, Idagio and others.

Now in its third series, our weekly podcast, LPO Offstage, takes a look behind-thescenes of the LPO, bringing you closer than ever to the world of orchestral music.

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

STRAIGHT OUT OF SALZBURG

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

Thomas Søndergård conductor Julia Fischer violin

SINFONIA CONCERTANTE

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

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

Julia Fischer violin & piano Soloists of the London Philharmonic Orchestra

ADVENTURES AND HOMAGES

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

London Philharmonic Orchestra • 26 & 29 January 2022 • Stormclouds and Spring Flowers

Next LPO concerts at Brighton Dome

Daydreams and Fantasies

Magical Tales

Williams Fantasia on Welsh Nursery Rhymes Rachmaninoff Rhapsody on a Theme of Paganini Tchaikovsky Symphony No. 1 (Winter Daydreams)

Mussorgsky Night on a Bare Mountain Glazunov Concerto for Saxophone Ravel Ma mère l’Oye Ravel Boléro

Saturday 12 March 2022 | 7.30pm

Saturday 23 April 2022 | 7.30pm

Holly Mathieson conductor Martin James Bartlett piano

Finnegan Downie-Dear conductor Jess Gillam saxophone

Book online brightondome.org Brighton Dome Ticket Office 01273 709709

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TO THE

OPEN THE DOORS

DONATE TO ‘OPEN THE DOORS’ AND HELP US TO CONNECT NEW AUDIENCES WITH WHAT WE DO BY MAKING TICKETS ACCESSIBLE

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

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

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

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

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

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

THANK YOU.

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London Philharmonic Orchestra • 26 & 29 January 2022 • Stormclouds and Spring Flowers

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

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

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

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

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

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

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

The Maurice Marks Charitable Trust Mr Paris Natar The Rothschild Foundation Tom & Phillis Sharpe The Viney Family

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

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

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

London Philharmonic Orchestra • 26 & 29 January 2022 • Stormclouds and Spring Flowers

Thank you We are extremely grateful to all donors who have given generously to the LPO over the past year.

Your generosity helps maintain the breadth and depth of the LPO’s activities, as well as supporting the Orchestra both on and off the concert platform.

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

Orchestra Circle

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

Principal Associates

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

Associates

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

Gold Patrons

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

Marianne Parsons Dr Wiebke Pekrull Mr Gerald Pettit Mr Roger Phillimore Gillian Pole Mr Michael Posen Mr Christopher Querée Sir Bernard Rix Mr Robert Ross Priscylla Shaw Patrick & Belinda Snowball Charlotte Stevenson Mr Robert Swannell Tony & Hilary Vines Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Marina Vaizey Jenny Watson CBE Mr John Weekes Christopher Williams

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

Silver Patrons

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

Principal Supporters

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

Bronze Patrons

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

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

Supporters

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

London Philharmonic Orchestra • 26 & 29 January 2022 • Stormclouds and Spring Flowers

Thank you

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

Hon. Benefactor

Hon. Life Members

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

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

Simon Freakley Chairman Jay Goffman Alexandra Jupin William A. Kerr Kristina McPhee Natalie Pray Damien Vanderwilt Elizabeth Winter Victoria Robey OBE Hon. Director Jenifer L. Keiser, CPA, EisnerAmper LLP

LPO International Board of Governors

Natasha Tsukanova Chair Steven M. Berzin (USA) Veronika Borovik-Khilchevskaya (Cyprus) Marie-Laure Favre Gilly de Varennes de Bueil (France) Aline Foriel-Destezet (France) Irina Gofman (Russia) Countess Dominique Loredan (Italy) Olivia Ma (Greater China Area) Olga Makharinsky (Russia) George Ramishvili (Georgia) Victoria Robey OBE (USA) Jay Stein (USA)

Corporate Donors

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

LPO Corporate Circle Leader

Thomas Beecham Group Members

freuds Sunshine

Chris Aldren David & Yi Buckley Gill & Garf Collins William & Alex de Winton Sonja Drexler The Friends of the LPO Irina Gofman Roger Greenwood Dr Barry Grimaldi Mr & Mrs Philip Kan John & Angela Kessler Countess Dominique Loredan Sir Simon Robey Victoria Robey OBE Bianca & Stuart Roden Caroline, Jamie & Zander Sharp Julian & Gill Simmonds Eric Tomsett Neil Westreich Guy & Utti Whittaker

Principal Berenberg Bloomberg Carter-Ruck French Chamber of Commerce

Tutti Lazard Russo-British Chamber of Commerce Walpole

Trialist

and all others who wish to remain anonymous.

Preferred Partners

The LPO would also like to acknowledge all those who have made donations to the Play On Appeal and who have supported the Orchestra during the COVID-19 pandemic.

In-kind Sponsor Google Inc

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The Boltini Trust Borrows Charitable Trust Boshier-Hinton Foundation The Candide Trust Cockayne – Grants for the Arts The London Community Foundation The David Solomons Charitable Trust The D’Oyly Carte Charitable Trust Dunard Fund Ernst von Siemens Music Foundation The Fidelio Charitable Trust Foyle Foundation Garrick Charitable Trust The Leche Trust Lucille Graham Trust John Horniman’s Children’s Trust John Thaw Foundation The Idlewild Trust Kirby Laing Foundation The Marchus Trust Adam Mickiewicz Institute PRS Foundation The Radcliffe Trust Rivers Foundation The R K Charitable Trust Romanian Cultural Institute Rothschild Foundation RVW Trust Schroder Charity Trust Serge Rachmaninoff Foundation Sir William Boreman’s Foundation Souter Charitable Trust The Stanley Picker Trust The Thomas Deane Trust The Thriplow Charitable Trust The Vaughan Williams Charitable Trust The Victoria Wood Foundation The Viney Family The Barbara Whatmore Charitable Trust The William Alwyn Foundation

Allianz Musical Insurance

Gusbourne Estate Lidl Lindt & Sprüngli Ltd OneWelbeck Steinway

Elliott Bernerd

Trusts and Foundations

London Philharmonic Orchestra • 26 & 29 January 2022 • Stormclouds and Spring Flowers

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

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

Finance

Martin Southgate Chris Viney Laurence Watt Elizabeth Winter

Frances Slack Finance Director Dayse Guilherme Finance Manager

General Administration

Jean-Paul Ramotar Finance and IT Officer

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

Education and Community Talia Lash Interim Education and Community Director

Concert Management

Rebecca Parslow Education and Community Project Manager

Roanna Gibson Concerts Director Graham Wood Concerts and Recordings Manager

Hannah Foakes Tilly Gugenheim Education and Community Project Co-ordinators

Fabio Sarlo Glyndebourne and Projects Manager

Development

Grace Ko Tours Manager

Laura Willis Development Director

Alison Jones Concerts and Recordings Co-ordinator

Scott Tucker Development Events Manager

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

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

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Greg Felton Digital Creative Kiera Lockard Marketing Assistant

Archives Philip Stuart Discographer Gillian Pole Recordings Archive

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

Mr Simon Owen-Johnstone Hon. Orthopaedic Surgeon

Kirstin Peltonen Development Associate

Felix Lo Orchestra and Auditions Manager

Sophie Harvey Digital and Residencies Marketing Manager

Rosie Morden Individual Giving Manager

Nick Jackman Campaigns and Projects Director

Freddie Jackson Assistant Stage Manager

Ruth Knight Press and PR Manager

Mr Chris Aldren Honorary ENT Surgeon

Priya Radhakrishnan Georgia Wiltshire Development Assistants

Laura Kitson Stephen O’Flaherty Stage Managers

Gavin Miller Sales and Ticketing Manager

Stef Woodford Corporate Relations Manager

Anna Quillin Trusts and Foundations Manager

Sarah Thomas Martin Sargeson Librarians

Harrie Mayhew Website Manager

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