LPO concert programme: 26 Oct 2022 - Visions of England (Andrew Manze/Daniel Pioro)

Concert programme

A place to call home 2022/23 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 October 2022 | 7.30pm A place to call home

Visions of England Vaughan Williams Fantasia on a Theme by Thomas Tallis (15’) Tom Coult Pleasure Garden: concerto for violin & orchestra (London premiere) (27’) Interval (20’) Vaughan Williams The Lark Ascending: romance for violin & orchestra (13’) Vaughan Williams Symphony No. 9 in E minor (33’) Andrew Manze conductor Daniel Pioro violin

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

Concert presented by the London Philharmonic Orchestra

Contents 2 3 4 5 6 7 8 14 16 17 18 20

Welcome LPO news On stage tonight London Philharmonic Orchestra Leader: Pieter Schoeman Andrew Manze Daniel Pioro Programme notes Recommended recordings Next concerts Sound Futures donors Thank you LPO administration

London Philharmonic Orchestra • 26 October 2022 • Visions of England

Welcome

LPO news Rising Talent participants 2022/23

Welcome to the Southbank Centre

We’re delighted to welcome our new cohorts of talented musicians who will be spending this season with the LPO as participants in our Rising Talent programmes.

It’s great to welcome them to the LPO family! To find out more about our programmes, visit lpo.org.uk/education

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.

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.

LPO Junior Artists LPO Junior Artists is our orchestral experience programme for talented young musicians from backgrounds currently under-represented in professional UK orchestras. It is open to exceptional players of orchestral instruments aged 15–19 and minimum Grade 8 standard. Junior Artists become part of the LPO family for a year, getting to know our musicians, staff and artists, as well as members of other Rising Talent schemes and former LPO Junior Artists.

We’re delighted to be working with the following musicians in 2022/23: Teagan Craggs, Dahlia Radji, Shaina Vadher, Daniel Pengelly, Charlie Golder, Rhea Jo, Alex Rowsell Ryan & Haniya Glazebrook.

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.

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 hello@southbankcentre.co.uk We look forward to seeing you again soon.

A few points to note for your comfort and enjoyment:

Foyle Future Firsts Our annual Foyle Future Firsts programme bridges the transition between education and the professional platform for outstanding orchestral musicians at the start of their careers. It’s designed to nurture and develop talented orchestral players, forming the base for future appointments to the London Philharmonic Orchestra and other world-class orchestras and ensembles. This year we welcome Vera Beumer, Caroline Heard, Lukas Bowen, Tabitha Selley, Thea Sayer, Christopher Vettraino, Méline Le Calvez, Bruce Parris, Millie Lihoreau, Emily Ashby, Gemma Riley, Alexander Miller, Iain Clarke, Nicolette Chin & Elliott Gaston-Ross.

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.

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

LPO Young Composers The LPO Young Composers programme aims to find and support the progression of talented orchestral composers. Working under the mentorship of our Composer-in-Residence, Brett Dean, they will spend the season with the LPO, each creating a new work for chamber orchestra to be performed by Foyle Future First musicians and LPO players at our Debut Sounds showcase concert next summer. Welcome to our 2022/23 Young Composers Jakob Bragg, Philip Dutton, Zakiya Leeming, Matt London & Tayla-Leigh Payne.

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London Philharmonic Orchestra • 26 October 2022 • Visions of England

On stage tonight First Violins

Pieter Schoeman* Leader Chair supported by Neil Westreich

Alice Ivy-Pemberton Kate Oswin Lasma Taimina

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

Catherine Craig Thomas Eisner Katalin Varnagy

Chair supported by Sonja Drexler

Fanny Fheodoroff Nilufar Alimaksumova Sophie Phillips Chu-Yu Yang Ronald Long Thea Spiers Gavin Davies Amanda Smith† Ricky Gore†

Second Violins

Tania Mazzetti Principal

Chair supported by Countess Dominique Loredan

Emma Oldfield Co-Principal Ashley Stevens Nancy Elan Joseph Maher Kate Birchall Fiona Higham Chair supported by David & Yi Buckley

Claudia TarrantMatthews† Sioni Williams Harry Kerr Alison Strange Charlie MacClure† Matthew Bain Anna Croad

Violas

Richard Waters Principal Chair supported by Caroline, Jamie & Zander Sharp

Toby Warr Martin Wray Katharine Leek Benedetto Pollani† Stanislav Popov†

Clarinets

Laura Vallejo Lucia Ortiz Sauco Daniel Cornford Charles Cross Jill Valentine Henri Hill

Benjamin Mellefont Principal

Thomas Watmough

Chair supported by Roger Greenwood

Cellos

Bass Clarinet

Pei-Jee Ng Principal

Paul Richards* Principal

Chair supported by The Candide Trust

Alto Saxophones

Richard Birchall† Sue Sutherley Susanna Riddell Helen Thomas† Sibylle Hentschel Leo Melvin Tamaki Sugimoto Hee Yeon Cho Louise Dearsley

Martin Robertson Tim Holmes

Tenor Saxophone

Shaun Thompson

Bassoons

Jonathan Davies Principal

Double Basses

Chair supported by Sir Simon Robey

Sebastian Pennar Principal Hugh Kluger George Peniston Laura Murphy† Adam Wynter David Johnson Nickie Dixon Gabriel Rodrigues

Guylaine Eckersley

Contrabassoon

Simon Estell* Principal

Bass Trombone

Lyndon Meredith Principal

Tuba

Lee Tsarmaklis* Principal Chair supported by Friends of the Orchestra

Timpani

Marney O’Sullivan Guest Principal

Percussion

Andrew Barclay* Principal Chair supported by Garf & Gill Collins

Feargus Brennan Keith Millar Karen Hutt

Harps

Rachel Masters Principal Gabriella Jones

Piano/Celeste

Catherine Edwards

Horns

Annemarie Federle Guest Principal

Flutes

Martin Hobbs Oliver Johnson Gareth Mollison Jonathan Farey

Charlotte Ashton Guest Principal

Camilla Marchant Katherine Bicknell

* Holds a professorial appointment in London † Chamber orchestra for Fantasia on a Theme of Thomas Tallis

Trumpets

Piccolo/Alto Flute

Paul Beniston* Principal Holly Clark Guest Principal Anne McAneney*

Katherine Bicknell

Oboes

Ian Hardwick* Principal Alice Munday

Flugelhorn

Cor Anglais

Trombones

Paul Beniston*

Sue Böhling* Principal

David Whitehouse Principal Duncan Wilson

Chair supported by Dr Barry Grimaldi

Alice Munday

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The LPO also acknowledges the following chair supporters whose players are not present at this concert: William & Alex de Winton Victoria Robey OBE Bianca & Stuart Roden Eric Tomsett

London Philharmonic Orchestra • 26 October 2022 • Visions of England

© Benjamin Ealovega

London Philharmonic Orchestra

Our conductors

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

Our Principal Conductors have included some of the greatest historic names like Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur.

In 2021 Edward Gardner became our 13th Principal Conductor, taking the Orchestra into its tenth decade.

Vladimir Jurowski became Conductor Emeritus in recognition of his impact as Principal Conductor from 2007–21. Karina Canellakis is our current Principal Guest Conductor and Brett Dean our Composer-in-Residence.

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

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

Sharing the wonder We’re always at the forefront of technology, finding new ways to share our music globally. You’ll find us online, on streaming platforms, on social media and through our broadcast partnership with Marquee TV. During the pandemic period we launched ‘LPOnline’: over 100 videos of performances, insights and introductions to playlists, which led to us being named runner-up in the Digital Classical Music Awards 2020. During 2022/23 we’ll be working once again with Marquee TV to broadcast selected live concerts, so you can share or relive the wonder from your own living room.

We also release live, studio and archive recordings on our own label, and are the world’s most-streamed orchestra, with over 15 million plays of our content each month. Recent releases include music by Richard Strauss under Klaus Tennstedt with legendary soprano Jessye Norman; the first volume of a Stravinsky series with Vladimir Jurowski including The Rite of Spring

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London Philharmonic Orchestra • 26 October 2022 • Visions of England

Pieter Schoeman Leader

and The Firebird; and Tippett’s complete opera The Midsummer Marriage under Edward Gardner, captured in his first concert as LPO Principal Conductor in September 2021 (see page 14).

We’re committed to inspiring the next generation of musicians and music-lovers: there’s nothing we love more than seeing the joy of children and families enjoying their first musical moments, and we’re passionate about equipping schools and teachers through schools’ concerts, resources and training.

Reflecting our values of collaboration and inclusivity, our OrchLab and Open Sound Ensemble projects offer music-making opportunities for adults and young people with special educational needs and disabilities.

© Benjamin Ealovega

Next generations

Today’s young instrumentalists are the orchestral members of the future, so we’re committed to offering them opportunities to progress. Our LPO Junior Artists programme is leading the way in creating pathways into the profession for young artists from under-represented communities, and our LPO Young Composers and Foyle Future Firsts schemes support the next generation of professional musicians, bridging the transition from education to professional careers.

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, Jean-Guihen Queyras, Yannick Nézet-Séguin, Martin Helmchen and Julia Fischer.

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

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.

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 • 26 October 2022 • Visions of England

Andrew Manze conductor

performances of Purcell’s Dido and Aeneas alongside Schoenberg’s Erwartung, in collaboration with Artistic Director Serge Dorny. Other highlights this season include engagements with the Vienna Symphony Orchestra, Dresden Philharmonic, Atlanta Symphony, the Minnesota Orchestra, and conducting performances with the WDR Symphony as part of the Klavierfest Ruhr.

© Benjamin Ealovega

From 2006–14 Andrew Manze was Principal Conductor and Artistic Director of the Helsingborg Symphony Orchestra in Sweden. During this time he made a number of recordings with them including Beethoven’s ‘Eroica’ Symphony (Harmonia Mundi) and a cycle of Brahms symphonies (CPO). He was also Principal Guest Conductor of the Norwegian Radio Symphony Orchestra from 2008–11, and held the title of Associate Guest Conductor of the BBC Scottish Symphony Orchestra for four seasons.

Andrew Manze is widely celebrated as one of the most stimulating and inspirational conductors of his generation. His extensive and scholarly knowledge of the repertoire, together with his boundless energy and warmth, mark him out. He has been Chief Conductor of the NDR Radiophilharmonie, Hannover, since 2014, and his contract has recently been extended until summer 2023. Since 2018 he has been Principal Guest Conductor of the Royal Liverpool Philharmonic Orchestra.

After reading Classics at the University of Cambridge, Andrew Manze studied the violin and rapidly became a leading specialist in the world of historical performance practice. He became Associate Director of the Academy of Ancient Music in 1996, and then Artistic Director of the English Concert from 2003–07. As a violinist he released an astonishing variety of recordings, many of them award-winning.

Andrew Manze is a Fellow of the Royal Academy of Music, Visiting Professor at the Oslo Academy, and has contributed to new editions of sonatas and concerti by Bach and Mozart, published by Bärenreiter and Breitkopf & Härtel. He also teaches, writes about and edits music, as well as broadcasting regularly on radio and television. In 2011 he received the prestigious ‘Rolf Schock Prize’ in Stockholm.

Following highly successful tours to China in 2016 and 2019, the 2022/23 season sees the NDR Radiophilharmonie return to Japan for a busy touring schedule. Andrew Manze and the orchestra have embarked on a major series of award-winning recordings for Pentatone, focused on the works of Mendelssohn and Mozart. The first recording in the Mendelssohn series won the German Record Critics’ Award. Andrew has also recorded a cycle of the complete Vaughan Williams symphonies with the Royal Liverpool Philharmonic Orchestra for Onyx Classics to critical acclaim.

Andrew Manze’s most recent engagement with the LPO was in December 2019, when he conducted a programme of Elgar, Ireland and Walton with piano soloist Piers Lane. In great demand as a guest conductor across the globe, he also enjoys longstanding relationships with orchestras including the Munich Philharmonic, Deutsches Symphonie-Orchester Berlin, Royal Stockholm Philharmonic, Scottish Chamber Orchestra and Camerata Salzburg. He is also a regular guest at the Mostly Mozart Festival in New York City.

In the 2022/23 season he makes his operatic debut with the Bayerische Staatsoper in Munich, conducting

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London Philharmonic Orchestra • 26 October 2022 • Visions of England

Daniel Pioro violin

© Stefan Thorndahl

Highlights of previous seasons include the Knussen and Bruch Violin Concertos with the London Philharmonic Orchestra; Thomas Adès’s Violin Concerto Concentric Paths and Colin Matthews’s Violin Concerto with the BBC Philharmonic; and a newly commissioned concerto, Parallax by Joseph Davies, as well as Vaughan Williams’s The Lark Ascending with the BBC National Orchestra of Wales. Daniel returned last year to the Norfolk and Norwich Festival performing Biber’s complete Rosary Sonatas, and made his debut at the Elbphilharmonie Hamburg performing music from his album Dust, as well as other works by his close collaborator, Valgeir Sigurðsson.

During previous seasons, Daniel and his regular duo partner Katherine Tinker performed numerous new works for violin and piano and new adaptations for violin and chamber organ for their debut at Snape Maltings Festival and a return to the Wigmore Hall; the duo’s incredibly creative programmes included new compositions by Cassandra Miller, Nico Muhly, Linda Catlin Smith, Nick Martin and Laurence Crane, intertwined with well-known works by J S Bach and Biber. Orchestral projects included a live broadcast for BBC Radio 3 with the BBC Philharmonic and Ryan McAdams, performing a selection of works by Hildegard of Bingen, Tartini, Biber and Rameau, arranged in collaboration with composer Tom Coult.

Daniel Pioro is a soloist, collaborative artist and advocate for new and experimental music. He actively promotes new music and is interested in finding new ways of listening to and creating sound, as well as developing strong collaborations with composers, artists, choreographers, dancers and writers. Since making his BBC Proms debut in 2019, where his performance was described as ‘the most inventive and engaging’ by The Telegraph, Daniel continues to grow his international career.

Throughout the 2022/23 season, Daniel is Artist-inResidence here at the Southbank Centre, beginning with this evening’s LPO concert. He returns in January to perform an all-day cycle of Biber’s Rosary Sonatas with organist James McVinnie, and in March gives an electroacoustic performance with Icelandic producer/ performer Valgeir Sigurðsson and viol player Liam Byrne, also featuring Pioro’s group, Studio Collective.

He concludes the residency in May with Vivaldi’s Four Seasons, featuring new poetry written and read by Michael Morpurgo and followed by Gérard Grisey’s Vortex Temporum with the London Sinfonietta.

In April 2021 Daniel joined the Royal Conservatoire of Scotland in the new role of Associate Artist in Contemporary String Performance and launched a new contemporary music group called Studio Collective, designed to challenge students’ approach to choosing repertoire, engaging with the score, and their own musical decisions.

Daniel’s celebrated association with the composer and guitarist Jonny Greenwood led Greenwood to write and dedicate a new violin concerto, Horror vacui, for him.

Daniel premiered the piece to much acclaim at the BBC Proms in 2019 with the BBC National Orchestra of Wales conducted by Hugh Brunt, a performance praised by the BBC as ‘the ultimate display of musical virtuosity’.

In 2019, Daniel’s recording of Bach’s Partita No. 2 was the first release on Greenwood’s label, Octatonic Records.

Also this season, Daniel performs the Brahms Double Concerto with cellist Anastasia Kobekina on tour in the UK, continuing his relationship with the BBC Philharmonic and conductor Elena Schwarz. In January 2023 he releases his first album on the Platoon label, Saint Boy, a collection of ancient and contemporary, sacred and secular music for solo violin, chamber organ and string quartet.

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London Philharmonic Orchestra • 26 October 2022 • Visions of England

Programme notes Ralph Vaughan Williams 1872–1958

Fantasia on a Theme by Thomas Tallis 1910

music of Elizabethan England, but what he found in his chosen theme – Thomas Tallis’s Psalm-tune, ‘Why fumeth in fight’ – is more than quaint olde-worlde colouring. Tallis’s tune follows the old ‘Phrygian mode’ (try imagining a scale of E on a keyboard using only the white notes), and there are strikingly abrupt major-minor contrasts – things that would have sounded ‘new’, or at least odd, to traditionally schooled listeners in 1910. Then there’s the division of the string orchestra into contrasting ‘choirs’: a string quartet, an ensemble of ten stringed instruments, and a larger string ensemble – like the use of separately placed groups of singers in Tallis’s great motet Spem in Alium.

Composers in Edwardian England just didn’t do things like that.

At the same time, there is something about the Tallis Fantasia that marks it out as modern. Tallis’s theme isn’t presented right away in its original form. First we hear five hushed chords for full strings, luminous at first, but fading into minor-key shadows. There is a striking echo here of Vaughan Williams’s cantata Toward the Unknown Region, a work about the soul’s final journey in death. Tallis’s theme then emerges slowly, in skeletal fragments, as though from the darkness. As the Fantasia builds to its magnificent climax there is a growing sense of impassioned searching, as though the music were striving to recapture the original fleeting vision. The end does bring a kind of resolution, but the serene opening chord never quite returns in its original form. The primal purity of faith is glimpsed as a possibility, but never quite recaptured. A friend once half-jokingly described Vaughan Williams as ‘The Christian Agnostic’. Both sides of that paradox find expression in his music, but never with greater power and subtlety than in the Fantasia on a Theme by Thomas Tallis.

Tonight is the first of three LPO concerts this autumn celebrating the music of Ralph Vaughan Williams, whose 150th anniversary we mark this year. The LPO was privileged to work with ‘RVW’ on many occasions, premiering several of his works and building a relationship with the music of this most individual and beloved of British composers that flourishes to this day. Tonight we hear two of his most well-known works: the Fantasia on a Theme by Thomas Tallis and The Lark Ascending, followed by the astonishing Ninth Symphony: music of visionary power by an 86-year-old master.

Vaughan Williams’s Fantasia on a Theme by Thomas Tallis is so well loved today that it’s hard to imagine a time when it could have been found ‘difficult’.

But the first performance, in Gloucester Cathedral in 1910, seems to have baffled most of its audience, and the reception was muted. The causes aren’t hard to find. Vaughan Williams may not have been the first British composer to draw inspiration from the

Programme note © Stephen Johnson

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London Philharmonic Orchestra • 26 October 2022 • Visions of England

Programme notes Tom Coult born 1988

Pleasure Garden: concerto for violin & orchestra 2020 (London premiere) Daniel Pioro violin 1 Starting to rain – Zennyo Ryūō appears 2 Dyeing the lake blue for Queen Victoria 3 Francesco Landini serenades the birds 4 The art of setting stones Commissioned by BBC Radio 3 and Salford University in association with the Royal Horticultural Society.

World premiere: 6 November 2021, Bridgewater Hall, Manchester: Daniel Pioro (violin), BBC Philharmonic, Elena Schwarz (conductor)

A composer profile is on the next page.

The four movements of Pleasure Garden take inspiration from various images and stories about constructed ‘natural spaces’ in and around cities.

These images and stories sparked off initial musical ideas, but composition then proceeded along its own musical logic rather than each movement necessarily ‘telling a story’.

In the 9th century, there was a rain-making contest at the ‘Sacred Spring Garden’ of Kyoto’s Imperial Palace.

The priests Kūkai and Shubin were ordered to make rain appear – Kūkai won the contest by summoning the Dragon Queen Zennyo Ryūō, who brought storms and torrential rain. In this movement there is often the sense of light drops of rain giving way to a deluge as the enormous monster appears.

© Maurice Foxall

Worsley New Hall, the Gothic mansion whose grounds are now home to the new RHS Bridgewater in Salford, was visited by Queen Victoria in 1851. She and her party arrived by boat on the Bridgewater Canal, which had been dyed blue to mark her visit. As it contained iron ore from nearby mines, the water was already

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London Philharmonic Orchestra • 26 October 2022 • Visions of England

Programme notes stained orange, so the resultant colour was more of a green. I can picture the dye slowly soaking in, beginning to mingle with the water.

Eventually they subsided and one bird flew down and perched on his head.

Japanese rock gardens are constructed around artful arrangements of rocks, and raked gravel or sand to evoke water. There are rules, sometimes strict, for the placement of rocks – often these are to encourage an overall sense of harmony, without ever arranging things symmetrically. These rules use the principles of ishi wo tateru koto (‘the art of setting stones’).

Francesco Landini was a 14th-century Italian musician, whose organetto playing was extremely beautiful.

He was asked, when with friends at Florence’s Paradiso gardens, to settle a bet. When he played his organetto, would the garden’s many birds sing more, or less?

He played his beautiful song – at first the birds became silent, but as he played on, they fluttered down and sung more and more, becoming cacophonous.

Programme note © Tom Coult

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

Composer profile: Tom Coult Tom Coult was born in London in 1988. His playful and seductive music has been championed by many of the UK’s major orchestras and ensembles, and in 2021 he became Composer-in-Association with the BBC Philharmonic.

His first chamber opera Violet, with a text by Alice Birch, premiered in 2022 at the Aldeburgh Festival and subsequently toured. It was described by The Telegraph as ‘the best new British opera in years’. It is already being staged in second and third productions in Ulm (Germany) and Paris in 2022 and 2023.

Tom’s large-scale pieces have included Beautiful Caged Thing for soprano Claire Booth and the Mahler Chamber Orchestra, and St John’s Dance (premiered by Edward Gardner and the BBC Symphony Orchestra to open the First Night of the 2017 BBC Proms). He has enjoyed further associations with Britten Sinfonia and London Sinfonietta (who premiered Spirit of the Staircase, nominated for a South Bank Sky Arts Award), and in 2022 was Composer-in-Residence at Switzerland’s Musikdorf Ernen Festival. His music has been described as ‘funny and surreal and delicately poetic, all at once’ (The Telegraph), and ‘full of bewitching sounds … fresh and precisely imagined’ (The Guardian) – ‘Coult is a composer who spins glittering, teasingly ambiguous patterns out of simpleseeming material … a very individual voice’ (The Telegraph).

Tom studied at the University of Manchester with Camden Reeves and Philip Grange, and at King’s College London with George Benjamin. From 2017–19 he was Visiting Fellow Commoner in the Creative Arts at Trinity College Cambridge, and he has taught with Britten Sinfonia Academy and Aldeburgh Young Musicians. Awards include a Paul Hamlyn Award for Artists, the Lili Boulanger Memorial Fund Prize and the Royal Philharmonic Society Composition Prize.

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WORLD PREMIERES THIS SEASON WEDNESDAY 9 NOVEMBER 2022

AGATA ZUBEL Piano Concerto No. 2 plus Lutosławski’s Symphony No. 4 & Stravinsky’s The Rite of Spring Edward Gardner conductor | Tomoko Mukaiyama piano

FRIDAY 13 JANUARY 2023

DAVID BRUCE The Peacock Pavane plus music by Copland, Rodrigo, de Falla & Gabriela Ortiz Karen Kamensek conductor | Miloš Karadaglić guitar

SATURDAY 18 MARCH 2023

VICTORIA VITA POLEVÁ Nova ELENA LANGER The Dong with a Luminous Nose

plus Shostakovich’s Symphony No. 5 Andrey Boreyko conductor | Kristina Blaumane cello | London Philharmonic Choir

WEDNESDAY 26 APRIL 2023 BRETT DEAN In spe contra spem*

plus Mahler’s Symphony No. 5 Edward Gardner conductor | Emma Bell soprano | Elsa Dreisig soprano

LPO.ORG.UK

London Philharmonic Orchestra • 26 October 2022 • Visions of England

Programme notes Ralph Vaughan Williams 1872–1958

The Lark Ascending: romance for violin & orchestra 1914/20 Daniel Pioro violin

Vaughan Williams’s much-loved pastoral ‘romance for violin and orchestra’ (consisting of woodwind, horns, triangle and strings) was composed just before the First World War, and revised in 1920. The first performance was in London in June 1921: Adrian Boult conducted, and the soloist was the work’s dedicatee Marie Hall, who as a girl had been taught the violin by Elgar.

He rises and begins to round, He drops the silver chain of sound, Of many links without a break In chirrup, whistle, slur and shake ****** ‘For singing till his heaven fills, ‘Tis love of earth that he instils, And ever winging up and up, Our valley is his golden cup, And he the wine which overflows To lift us with him as he goes.

The Lark Ascending has roughly the shape of an arch, beginning and ending slowly but with a slightly more animated middle section, and at the centre of that a brief quick episode (though the marking is still Allegro tranquillo). Its musical language is soaked in English folksong, though without direct quotations.

But its unique character stems from the cadenzas for the soloist that frame and punctuate this outline, and the solo arabesques that decorate so much of the piece.

****** Till lost on his aërial wings In light, and then the fancy sings.

As the composer’s widow Ursula memorably wrote, Vaughan Williams ‘made the violin become both the bird’s song and its flight, being, rather than illustrating, the poem from which the title was taken’. Lines from that poem, by George Meredith (1828–1909), are printed at the head of the score:

Programme note © Anthony Burton

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London Philharmonic Orchestra • 26 October 2022 • Visions of England

Programme notes Ralph Vaughan Williams 1872–1958

Symphony No. 9 in E minor 1956/57

1 Moderato maestoso 2 Andante sostenuto 3 Scherzo: Allegro pesante 4 Andante tranquillo When Vaughan Williams began his Ninth Symphony at the beginning of 1956, he had but two and half years to live. Well into his eighties, he was, by any generation’s standard, an old man. The composer’s creativity, however, showed little or no sign of waning, with the Four Last Songs and his various responses to the poetry of William Blake still to emerge. Yet the Ninth Symphony was surely the most noticeable evidence of continued inspiration.

associations but to strike a baleful note when heard in chorus. Occasionally, the movement’s load is lightened by material in the relative major, with clarinet and, later, violin solos, as a harp glitters in the ether, though the presence of the harmonically distant note of F casts a lingering dissonant shadow.

The second movement is no less dark. Pointing to its episodic nature, Vaughan William confessed that the themes seem ‘to have no logical connection’. His observation led many back to the original programme, with Tess’s arrest at Stonehenge, following the stabbing of her rapist seducer, as well as her subsequent execution described within the Andante, though the flugelhorn’s eerie presence suggests still wider dramas.

It was a work, in turn, inspired by Thomas Hardy, whose 1886 novel The Mayor of Casterbridge had recently been adapted for the radio, with a score by Vaughan Williams. In the Ninth Symphony, however, the stimulus came from Hardy’s 1891 Tess of the d’Urbervilles.

The first movement, for instance, was originally entitled ‘Wessex Prelude’, introducing the semi-fictional landscape of Hardy’s writing, where the life of the tenacious Tess unfolds. Yet it is clearly not in the vein of Vaughan Williams’s earlier evocations of a pastoral England. The dark home key of E minor, which, for the composer, evoked the opening of Bach’s St Matthew Passion, speaks of the struggle Hardy’s characters often face, as well as pointing to an ongoing anti-idyllic vein in the composer’s output, witnessed in his Fourth, Sixth and Seventh Symphonies.

As if laughing off the tragedy, the ensuing Scherzo offers a dance worthy of the magical ‘Uranus’ in Vaughan Williams’s friend Holst’s The Planets. The composer himself was also no stranger to that barbaric brand of humour, as heard in his 1936 fairytale opera The Poisoned Kiss and the ‘Vanity Fair’ tableau of The Pilgrim’s Progress of 1951. But however demonic the music proves, with its strident percussion, both tuned and untuned, the prevailingly bitten, austere tone of the Symphony does not relent.

But as much as listeners may try and pin programmatic elements to the score, Vaughan Williams was keen to steer a wider path, focussing instead on his musical means. The soundworld is, for instance, crucial, with an orchestra including a flugelhorn and a trio of saxophones, the latter chosen not for their jazzy

Only, really, in the Finale do we gain a glimpse of the more untrammelled bucolic world associated with Vaughan Williams. Closing his Ninth (and final) Symphony with a slow movement, the composer describes a landscape nonetheless scarred by human horror. Often, the music’s overlapping lines suggest

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London Philharmonic Orchestra • 26 October 2022 • Visions of England

Programme notes a threnody, with the returning presence of that nagging F from the first movement. But as the Symphony moves towards its conclusion, with three confirmatory E major chords, the ointment is finally revealed without the fly, as sweeping harp glissandos suggest a hint of the celestial beyond.

New on the LPO Label

TIPPETT

THE MIDSUMMER MARRIAGE

Programme note © Gavin Plumley

COMPLETE OPERA IN THREE ACTS conducted by Edward Gardner

Recommended recordings of tonight’s works

with Robert Murray, Rachel Nicholls, Ashley Riches, Jennifer France, Toby Spence, Claire Barnett-Jones, Susan Bickley, Joshua Bloom, London Philharmonic Choir English National Opera Chorus

by Laurie Watt Vaughan Williams: Fantasia on a Theme by Thomas Tallis London Philharmonic Orchestra | Roger Norrington (Decca) or London Philharmonic Orchestra | Adrian Boult (Warner)

Recorded live in concert at the Southbank Centre’s Royal Festival Hall, 25 September 2021

 ‘This is Edward Gardner’s show, and he rises to Tippett’s challenge superbly.’

BBC Music Magazine

Vaughan Williams: The Lark Ascending Sarah Chang | London Philharmonic Orchestra Bernard Haitink (Warner) or Tasmin Little | BBC Philharmonic | Andrew Davis (Chandos)

Available to download, stream, or as a 3-CD box set: scan here to find out more.

Vaughan Williams: Symphony No. 9 London Philharmonic Orchestra | Bernard Haitink (Warner) or Royal Liverpool Philharmonic Orchestra | Andrew Manze (Onyx)

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.

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2022/23 concert season at the Southbank Centre’s Royal Festival Hall

Celebrating British music this season Vaughan Williams | Tippett | Elgar | Coleridge-Taylor

A Child of Our Time

Bruckner’s Ninth

Saturday 26 November 2022 | 7.30pm

Wednesday 30 November 2022 | 7.30pm

Vaughan Williams Serenade to Music Tippett A Child of Our Time

Vaughan Williams Five Mystical Songs Bruckner Symphony No. 9

Edward Gardner conductor Nadine Benjamin soprano Sarah Connolly mezzo-soprano Kenneth Tarver tenor Roderick Williams baritone London Philharmonic Choir London Adventist Chorale Soloists of the Royal College of Music

Robin Ticciati conductor Simon Keenlyside baritone

Generously supported by Mrs Aline Foriel-Destezet

Free pre-concert performance Foyle Future Firsts: Refugee Saturday 26 November 2022 | 6.00pm

LPO Royal Label releases Festivalare Hall available on CD from Free and unticketed – all welcome all good outlets, and to download or stream Arson Fahim Journey to the Sea via Spotify, Apple Music, Mark-Anthony Turnage Refugee Idagio and others.

Three Britons Wednesday 25 January 2023 | 7.30pm Coleridge-Taylor Solemn Prelude (London premiere) Tippett Piano Concerto Elgar Symphony No. 1 Edward Gardner conductor Steven Osborne piano

A place to call home

Amar Muchhala tenor Members of the LPO Foyle Future Firsts Students from the Royal Academy of Music

lpo.org.uk

Where will music take you?

Next LPO concerts at the Southbank Centre’s Royal Festival Hall

TWILIGHT IN VIENNA

Saturday 29 October 2022, 7.30pm

RANDALL GOOSBY PLAYS BRUCH Friday 4 November 2022, 7.30pm

J Strauss II Overture, Die Fledermaus Korngold Violin Concerto Korngold Märchenbilder R Strauss Der Rosenkavalier Suite

Chen Yi Momentum Bruch Violin Concerto No. 1 Brahms Symphony No. 3

Andrés Orozco-Estrada conductor Arabella Steinbacher violin

Alpesh Chauhan conductor Randall Goosby violin Celebrating the 50th Anniversary of Ambassadorial Diplomatic Relations between China and the UK

AMERICAN DREAMS

Wednesday 2 November 2022, 7.30pm Copland Appalachian Spring Douglas J Cuomo Saxophone Concerto: ‘a raft, the sky, the wild sea’ (European premiere) Derrick Skye Prisms, Cycles, Leaps (UK premiere) Bernstein Symphonic Dances from West Side Story Joshua Weilerstein conductor Joe Lovano saxophone

LPO.ORG.UK

Joe Lovano © Monterey Jazz Festival/Craig Lovell

London Philharmonic Orchestra • 26 October 2022 • Visions of England

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

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

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

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

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

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

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

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

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

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

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

London Philharmonic Orchestra • 26 October 2022 • Visions of England

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

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

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

Orchestra Circle

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

Principal Associates

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

Associates

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

Gold Patrons

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

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

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

Silver Patrons

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

Principal Supporters

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

Bronze Patrons

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

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

Supporters

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

Hon. Benefactor Elliott Bernerd

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

London Philharmonic Orchestra • 26 October 2022 • Visions of England

Thank you

Thomas Beecham Group Members

David & Yi Buckley Gill & Garf Collins William & Alex de Winton Sonja Drexler The Friends of the LPO Irina Gofman Roger Greenwood Dr Barry Grimaldi Mr & Mrs Philip Kan John & Angela Kessler 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

Corporate Donor Barclays

LPO Corporate Circle Principal Berenberg Bloomberg Carter-Ruck French Chamber of Commerce

Tutti Lazard Walpole

Trusts and Foundations

Board of the American Friends of the LPO

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

We are grateful to the Board of the American Friends of the London Philharmonic Orchestra, who assist with fundraising for our activities in the United States of America: Simon Freakley Chairman Jon Carter Jay Goffman Alexandra Jupin Natalie Pray Damien Vanderwilt Elizabeth Winter Catherine Høgel Hon. Director Jenifer L. Keiser, CPA, EisnerAmper LLP

LPO International Board of Governors Natasha Tsukanova Co-Chair Martin Höhmann Co-Chair Mrs Irina Andreeva Steven M. Berzin Veronika Borovik-Khilchevskaya Marie-Laure Favre Gilly de Varennes de Bueil Aline Foriel-Destezet Irina Gofman Countess Dominique Loredan Olivia Ma George Ramishvili Jay Stein

and all others who wish to remain anonymous.

Trialist Sciteb

Preferred Partners Gusbourne Estate Jeroboams Lindt & Sprüngli Ltd OneWelbeck Steinway

In-kind Sponsor Google Inc

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London Philharmonic Orchestra • 26 October 2022 • Visions of England

London Philharmonic Orchestra Administration Board of Directors

Dr Catherine C. Høgel Chair Lord Hall of Birkenhead CBE Vice-Chair Martin Höhmann* President Mark Vines* Vice-President Kate Birchall* David Buckley David Burke Bruno De Kegel Deborah Dolce Elena Dubinets Tanya Joseph Hugh Kluger* Katherine Leek* Al MacCuish Minn Majoe* Tania Mazzetti* Jamie Njoku-Goodwin Andrew Tusa Neil Westreich Simon Freakley (Ex officio – Chairman of the American Friends of the London Philharmonic Orchestra) *Player-Director

Advisory Council

Martin Höhmann Chairman Christopher Aldren Dr Manon Antoniazzi Roger Barron Richard Brass Helen Brocklebank YolanDa Brown Simon Burke Simon Callow CBE Desmond Cecil CMG Sir Alan Collins KCVO CMG Andrew Davenport Guillaume Descottes Cameron Doley Christopher Fraser OBE Jonathan Harris CBE FRICS Marianna Hay MBE Nicholas Hely-Hutchinson DL Amanda Hill Rehmet Kassim-Lakha Jamie Korner Geoff Mann Clive Marks OBE FCA Stewart McIlwham Andrew Neill Nadya Powell Sir Bernard Rix Victoria Robey OBE Baroness Shackleton

Finance

Thomas Sharpe KC Julian Simmonds Barry Smith Martin Southgate Chris Viney Laurence Watt Elizabeth Winter

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

General Administration

Education and Community

Elena Dubinets Artistic Director

Talia Lash Education and Community Director

David Burke Chief Executive Chantelle Vircavs PA to the Executive

Hannah Foakes Lowri Davies Education and Community Project Managers

Concert Management Roanna Gibson Concerts and Planning Director Graham Wood Concerts and Recordings Manager Fabio Sarlo Glyndebourne and Projects Manager Maddy Clarke Tours Manager

Andrew Chenery Orchestra Personnel Manager

Dr Barry Grimaldi Honorary Doctor

Mairi Warren Marketing Manager Rachel Williams Publications Manager

Felix Lo Orchestra and Auditions Manager

Harrie Mayhew Website Manager Gavin Miller

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Gillian Pole Recordings Archive

Siân Jenkins Corporate Relations Manager

Kath Trout Marketing and Communications Director

Freddie Jackson Deputy Stage Manager

Philip Stuart Discographer

Crowe Clark Whitehill LLP Auditors

Marketing

Stephen O’Flaherty Deputy Operations Manager

Archives

Rosie Morden Individual Giving Manager

Kirstin Peltonen Development Associate

Laura Kitson Stage and Operations Manager

Alicia Hartley Marketing Assistant

Charles Russell Speechlys Solicitors

Nick Jackman Campaigns and Projects Director

Sarah Thomas Martin Sargeson Librarians

Greg Felton Digital Creative

Professional Services

Eleanor Conroy Al Levin Development Assistants

Matthew Freeman Recordings Consultant

Sophie Harvey Digital and Residencies Marketing Manager

Laura Willis Development Director

Katurah Morrish Development Events Manager

Robert Winup Concerts and Tours Assistant

Ruth Haines Press and PR Manager

Development

Anna Quillin Trusts and Foundations Manager

Alison Jones Concerts and Recordings Co-ordinator

Sales and Ticketing Manager

Mr Chris Aldren Honorary ENT Surgeon Mr Simon Owen-Johnstone Hon. Orthopaedic Surgeon London Philharmonic Orchestra 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Box Office: 020 7840 4242 Email: admin@lpo.org.uk lpo.org.uk Cover illustration Simon Pemberton/Heart 2022/23 season identity JMG Studio Printer John Good Ltd