LPO concert programme: 27 Apr 2022 - War and Peace (Edward Gardner conductor/Alban Gerhardt cello)

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 27 April 2022 | 7.30pm

War and Peace Britten Sinfonia da Requiem (21’) Brett Dean Cello Concerto (UK premiere) (25’) Interval (20’) Vaughan Williams Symphony No. 5 in D major (42’)

Edward Gardner conductor

Generously supported by Aud Jebsen

Alban Gerhardt cello Generously supported by The Vaughan Williams Charitable Trust.

Free pre-concert event 6.15pm | The Clore Ballroom, Level 2, Royal Festival Hall Edward Gardner and Tom Seligman discuss the music of Ralph Vaughan Williams. All welcome.

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

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Contents 2 4 5 6 7 8 9 12 14 15 16 17 18 20

Welcome LPO 2022/23 season London Philharmonic Orchestra Leader: Pieter Schoeman Edward Gardner Alban Gerhardt On stage tonight Programme notes Brett Dean: Composer profile Recommended recordings Next concerts New on the LPO Label LPO Annual Appeal 2022 Sound Futures donors Thank you LPO administration

This concert is being filmed for future broadcast on Marquee TV. We would be grateful if audience noise during the performance could be kept to a minimum, and if audience members could kindly hold applause until the end of each full work. Thank you for your co-operation.

London Philharmonic Orchestra • 27 April 2022 • War and Peace

Welcome to the Southbank Centre

LPO news

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.

LPO 2022/23 concert season: On sale now

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.

Our new season of Royal Festival Hall concerts, from September 2022–May 2023, is now on sale.

Entitled ‘A place to call home’, the season’s recurring themes are belonging and displacement. For an artist, a sense of home can be central to finding an individual voice, and we will survey music by composers such as the Austrians Erich Korngold and Paul Hindemith, the Hungarian Béla Bartók, the Ukrainian Victoria Vita Polevá and the Syrian Kinan Azmeh.

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

Celebrating the Orchestra’s 90th season, we will perform music written especially for the LPO including Vaughan Williams’s Serenade to Music and Tippett’s A Child of Our Time. A focus on British composers also sees performances of music by Elgar and Thomas Adès, as well as four major works by Vaughan Williams in celebration of his 150th anniversary.

We look forward to seeing you again soon.

A few points to note for your comfort and enjoyment: Photography is not allowed in the auditorium.

We are joined by our Principal Conductor Edward Gardner, Principal Guest Conductor Karina Canellakis and Conductor Emeritus Vladimir Jurowski, plus renowned guest artists including Víkingur Ólafsson, Danielle de Niese, Miloš Karadaglić, Randall Goosby, Gil Shaham, Leif Ove Andsnes and many others.

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.

Browse the full season and book online at lpo.org.uk or via the LPO Ticket Office on 020 7840 4242.

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

Tonight’s concert on Marquee TV We are delighted that a selection of concerts from our current Royal Festival Hall season, as well as our new 2022/23 season, are being filmed for broadcast on Marquee TV. This evening, Britten’s Sinfonia da Requiem and Vaughan Williams’s Symphony No. 5 are being filmed and will be broadcast on Marquee TV on Saturday 4 June at 7pm. The broadcast will remain available to watch free of charge for 48 hours without a Marquee TV subscription. If you would like to subscribe for unlimited access to Marquee TV’s extensive range of music, opera, theatre and dance productions, you can enjoy 50% off with code LPO2022.

Visit marquee.tv/LPO2022 to find out more, enjoy a free trial or subscribe.

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

A place to call home Where music takes you

On sale now Book online lpo.org.uk Ticket Office 020 7840 4242

London Philharmonic Orchestra • 27 April 2022 • War and Peace

© Mark Allan

London Philharmonic 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 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.

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; a commemorative box set of historic recordings with former Principal Conductor Sir Adrian Boult; and works by Richard Strauss under Klaus Tennstedt, featuring soprano Jessye Norman.

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 • 27 April 2022 • War and Peace

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, Martin Helmchen and Julia Fischer.

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; the Rotterdam and BBC Philharmonic orchestras; and the Leipzig Gewandhaus Orchestra.

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

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London Philharmonic Orchestra • 27 April 2022 • War and Peace

Edward Gardner Principal Conductor, London Philharmonic Orchestra

© Benjamin Ealovega

In demand as a guest conductor, recent seasons have seen Edward debut with the Bavarian Radio Symphony Orchestra, New York Philharmonic, Chicago Symphony Orchestra, Philadelphia Orchestra, San Francisco Symphony, Rundfunk-Sinfonieorchester Berlin, Royal Stockholm Philharmonic and Vienna Symphony. He also continues his longstanding collaborations with the City of Birmingham Symphony Orchestra, where he was Principal Guest Conductor from 2010–16, and the BBC Symphony Orchestra, whom he has conducted at both the First and Last Night of the BBC Proms.

Music Director of English National Opera for ten years (2006–15), Edward has an ongoing relationship with New York’s Metropolitan Opera, where he has conducted productions of La damnation de Faust, Carmen, Don Giovanni, Der Rosenkavalier and Werther.

In London he has future plans with the Royal Opera House, where he made his debut in 2019 in a new production of Káťa Kabanová and returned for Werther the following season. The 2021/22 season saw Edward make his debut with the Bayerische Staatsoper in a new production of Peter Grimes. Elsewhere, he has conducted at La Scala, Chicago Lyric Opera, Den Norske Opera and Ballet, Glyndebourne Festival Opera and Opéra National de Paris.

Edward Gardner began his tenure as Principal Conductor of the London Philharmonic Orchestra in September 2021; he is also Chief Conductor of the Bergen Philharmonic, a position he has held since 2015.

From February 2022 he also became Artistic Advisor at the Norwegian Opera & Ballet, and will take up the position of Music Director in August 2024.

During the 2021/22 season Edward conducted the London Philharmonic Orchestra in eleven concerts at the Royal Festival Hall, opening with an acclaimed performance of Tippett’s The Midsummer Marriage in which the London Philharmonic Choir was joined by the ENO Chorus. On 31 August he conducts the Orchestra in Elgar’s The Dream of Gerontius at the BBC Proms, with the LPC and the Hallé Choir. He returns to the Royal Festival Hall on 24 September to open the Orchestra’s 2022/23 season with Schoenberg’s Gurrelieder. Other LPO programmes next season include Mendelssohn’s ‘Reformation’ Symphony, Lutosławski’s Fourth Symphony, Stravinsky’s The Rite of Spring, Mahler’s Fifth Symphony, an Elgar symphony cycle, and – with the London Philharmonic Choir – Janáček’s Glagolitic Mass and Berlioz’s Damnation of Faust.

A passionate supporter of young talent, Edward founded the Hallé Youth Orchestra in 2002 and regularly conducts the National Youth Orchestra of Great Britain.

He has a close relationship with The Juilliard School of Music and with the Royal Academy of Music, who appointed him their inaugural Sir Charles Mackerras Conducting Chair in 2014.

Born in Gloucester in 1974, Edward was educated at the University of Cambridge and the Royal Academy of Music. He went on to become Assistant Conductor of the Hallé and Music Director of Glyndebourne Touring Opera. His many accolades include being named Royal Philharmonic Society Award Conductor of the Year (2008), an Olivier Award for Outstanding Achievement in Opera (2009) and receiving an OBE for Services to Music in the Queen’s Birthday Honours (2012).

Edward opened the Bergen Philharmonic’s 2021/22 season with a performance of John Adams’s Harmonium. Further highlights include an all-Stravinsky programme and new commissions by Thomas Larcher, Ryan Wigglesworth and Rebecka Ahvenniemi.

Following recent tours to Berlin, Munich, Amsterdam and at the BBC Proms and Edinburgh International Festival, the orchestra performs in Barcelona and Paris this season.

Edward Gardner’s position at the LPO is generously supported by Aud Jebsen.

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London Philharmonic Orchestra • 27 April 2022 • War and Peace

Alban Gerhardt cello

Gerhardt recently premiered a new Cello Concerto by Julian Anderson with the Orchestre National de France.

This season he performs the Anderson concerto once again with the Hong Kong Sinfonietta, and the Dean concerto with the Vienna Radio Symphony Orchestra.

He has a residency this season with the Orchestre de Chambre de Paris, and also performs with the Orquesta Sinfónica de Tenerife, the Netherlands Radio Philharmonic Orchestra, the Helsinki Philharmonic Orchestra, and at the Konzerthaus Berlin. © Kaupo Kikkas

Gerhardt has won several awards, and his recording of Unsuk Chin’s Cello Concerto, released by Deutsche Grammophon, won the BBC Music Magazine Award and was shortlisted for a Gramophone Award in 2015.

He has recorded extensively for Hyperion; his recording of complete Bach suites was released in 2019 and was one of The Sunday Times Top 100 CDs of the Year (all genres included). His recent album, of Shostakovich Cello Concertos with the WDR Sinfonieorchester Köln and Jukka-Pekka Saraste, was awarded the International Classical Music Award in 2021.

Having launched his career with the Berlin Philharmonic and Semyon Bychkov in 1991, Alban Gerhardt has since gained recognition as one of the most versatile cellists, highly regarded for his performances from solo Bach, through the Classical and Romantic canon, to collaborations with several contemporary composers.

Alban Gerhardt is a keen chamber musician; his regular performance partners include pianists Steven Osborne and Cecile Licad. Most recently he collaborated on a new artistic project, ‘Love in Fragments’, with violinist Gergana Gergova, choreographer Sommer Ulrickson and sculptor Alexander Polzin. A poetic union of music, movement, sculpture and the spoken word, the project successfully premiered at 92nd St Y in New York. In the upcoming season he embarks on a trio tour with Markus Becker and Veronika Eberle. Recital engagements include the Théâtre de la Ville in Paris and Wigmore Hall in London.

For over 30 years he has made a unique impact on audiences worldwide with his intense musicality, compelling stage presence and insatiable artistic curiosity. His gift for shedding fresh light on familiar scores, along with his appetite for investigating new repertoire from centuries past and present, truly set him apart from his peers.

Notable orchestral collaborations have included all the British and German radio orchestras, the Berlin Philharmonic, the Concertgebouw Amsterdam, the Tonhalle-Orchester Zürich and the Orchestre National de France, as well as the Cleveland, Philadelphia, Boston and Chicago symphony orchestras, under conductors such as Kurt Masur, Christoph von Dohnányi, Christian Thielemann, Christoph Eschenbach, Michael Tilson Thomas, Esa-Pekka Salonen, Vladimir Jurowski, Kirill Petrenko and Andris Nelsons.

Gerhardt is passionate about sharing his discoveries with audiences far beyond the traditional concert hall: outreach projects undertaken in Europe and the US have involved performances and workshops, not only in schools and hospitals, but also pioneering sessions in public spaces and young offender institutions.

In August 2018 Alban Gerhardt gave an acclaimed world premiere performance of tonight’s work, Brett Dean’s Cello Concerto, at the Sydney Opera House with the Sydney Symphony Orchestra under David Robertson.

He gave further performances of the Concerto with the Berlin Philharmonic, the Minnesota Orchestra, the New York Philharmonic and the Swedish Radio Symphony Orchestra, prior to tonight’s UK premiere.

Alban Gerhardt plays a Matteo Gofriller cello dating from 1710.

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London Philharmonic Orchestra • 27 April 2022 • War and Peace

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

Sophie Phillips Lasma Taimina

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

Minn Majoe Thomas Eisner Nilufar Alimaksumova Catherine Craig Will Hillman Yang Zhang

Chair supported by Eric Tomsett

Gabriela Opacka Katalin Varnagy

Chair supported by Sonja Drexler

Alice Hall Martin Höhmann

Chair supported by Chris Aldren

Amanda Smith

Second Violins

Tania Mazzetti Principal

Chair supported by Countess Dominique Loredan

Helena Smart Kate Birchall Nynke Hijlkema Joseph Maher Nancy Elan Ashley Stevens Clarice Curradi Fiona Higham

Chair supported by David & Yi Buckley

Sioni Williams Lyrit Milgram Eleonora Consta Sarah Thornett

Violas

Alto Flute

David Quiggle Principal Richard Waters Co-Principal

Stewart McIlwham*

Oboes

Chair supported by Caroline, Jamie & Zander Sharp

Ian Hardwick* Principal Alice Munday Sue Böhling*

Ting-Ru Lai Katharine Leek Benedetto Pollani Laura Vallejo Michelle Bruil Stanislav Popov Pamela Ferriman Mark Gibbs Julia Doukakis Rachel Robson

Cor Anglais

Sue Böhling* Principal

Chair supported by Dr Barry Grimaldi

Clarinets

Cellos

Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden

Pei-Jee Ng Co-Principal

Contrabass Clarinet Martin Robertson

Saxophone

Martin Robertson

Bassoons

Jonathan Davies Principal

Co-Principal

Hugh Kluger George Peniston Charlotte Kerbegian Adam Wynter Simon Oliver Catherine Ricketts

Chair supported by Sir Simon Robey

Gareth Newman Simon Estell*

Contrabassoon

Simon Estell* Principal

Flutes

Horns

Katie Bedford Guest Principal Imogen Royce Stewart McIlwham*

John Ryan* Principal Mark Vines Co-Principal Martin Hobbs Duncan Fuller Gareth Mollison Jonathan Lipton Alexander Boukikov

Piccolos

Stewart McIlwham* Principal Imogen Royce

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Chair supported by William & Alex de Winton

David Whitehouse

Bass Trombone

Lyndon Meredith Principal

Simon Carrington* Principal

Paul Richards* Principal

Kevin Rundell* Principal Sebastian Pennar

Mark Templeton* Principal

E-flat Clarinet

Bass Clarinet

Double Basses

Trombones

Tuba

Chair supported by Roger Greenwood

Francis Bucknall David Lale Gregory Walmsley Susanna Riddell Helen Thomas Sibylle Hentschel Iain Ward Julia Morneweg

Paul Beniston* Principal Anne McAneney* David Hilton

Benjamin Mellefont Principal Thomas Watmough Paul Richards* Martin Robertson Thomas Watmough Principal

Chair supported by The Candide Trust

Trumpets

Lee Tsarmaklis* Principal

Timpani

Chair supported by Victoria Robey OBE

Percussion

Andrew Barclay* Principal Chair supported by Gill & Garf Collins

Paul Stoneman Jeremy Cornes Karen Hutt Feargus Brennan

Harps

Rachel Masters Principal Tamara Young

Piano

Catherine Edwards

Hammond Organ Clíodna Shanahan

Assistant Conductor Tom Seligman

* Holds a professorial appointment in London

London Philharmonic Orchestra • 27 April 2022 • War and Peace

Programme notes Benjamin Britten 1913–1976

Sinfonia da Requiem 1940

1 Lacrymosa 2 Dies irae 3 Requiem aeternam Born in the East Anglian seaside town of Lowestoft in 1913, Britten showed early gifts as a composer, studying with Frank Bridge before a less fruitful time at the Royal College of Music in London. His association with the poet W H Auden, with whom he undertook various collaborations, was in part behind his departure with Peter Pears in 1939 for the United States, where opportunities seemed plentiful, away from the petty jealousies and inhibitions of his own country, where musical facility and genius often seemed the objects of suspicion. The outbreak of war brought its own difficulties. Britten and Pears were firmly pacifist in their views, but were equally horrified at the excesses of National Socialism and sufferings that the war brought.

Britten’s nostalgia for his native country and region led to their return to England in 1942, when they rejected the easy option of nominal military service as musicians in uniform in favour of overt pacifism, but were able to give concerts and recitals, often in difficult circumstances, offering encouragement to those who heard them. The re-opening of Sadler’s Wells and the staging of Britten’s opera Peter Grimes started a new era in English opera.

The English Opera Group was founded and a series of chamber operas followed, with larger scale works that established Britten as a composer of the highest stature, a position recognised shortly before his early death by his elevation to the peerage, the first English composer ever to be so honoured.

the founding of the imperial dynasty. The occasion was to include new compositions by Richard Strauss, Jacques Ibert and Sándor Veress, but Britten’s symphony was rejected by the commissioning committee, who took exception to the nature of the work and its apparent Christian content, although it had initially received approval. Britten had, in any case, resolved to write a composition imbued with as much of the spirit of pacifism as was possible. The official concert duly took place in Tokyo, with Britain unrepresented, and Strauss at his most bombastic. In the event, the Sinfonia da Requiem, dedicated to the memory of Britten’s parents, had its first performance in March 1941 at Carnegie Hall in New York, with the Philharmonic Symphony Orchestra conducted by John Barbirolli.

Britten, in his programme notes for the first performance, described the opening movement, Lacrymosa, as a slow marching lament with three principal motifs, the first heard from the cellos answered by a solo bassoon, the second based on the interval of a major seventh and the third alternating chords on flute and trombones. The first section leads to an extended crescendo and a climax based on the first motif. The second movement, Dies irae, which follows without a break, he describes as a Dance of Death. It leads directly to the final Requiem aeternam, with its principal melody announced by the flutes, finally returning before the sustained clarinet note with which the work ends.

The Sinfonia da Requiem was written in response to a commission in the autumn of 1939 from the Japanese government for a work to mark the 2600th anniversary of

Programme note © Keith Anderson, reproduced by kind permission of Naxos Records

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London Philharmonic Orchestra • 27 April 2022 • War and Peace

Programme notes Brett Dean born 1961 LPO Composer-in-Residence

Cello Concerto 2018 (UK premiere) Alban Gerhardt cello

A composer profile is on page 12.

Back in 2011, cellist Alban Gerhardt was already hoping for a piece from Brett Dean for his instrument, noting to the Sydney Morning Herald: ‘I am convinced that the world needs a cello concerto from Brett … I would be in heaven if it happened.’ On 22 August 2018 he premiered Brett Dean’s Cello Concerto at the Sydney Opera House with the Sydney Symphony Orchestra and David Robertson. He gave further performances in Germany and the Netherlands before the work’s US premiere in Minneapolis with the Minnesota Orchestra under Osmo Vänskä in November 2019.

It felt particularly natural to write the piece for Gerhardt, whom Dean describes as a longtime member of his ‘musical family,’ and a person with whom he had developed a mutual admiration over years of playing chamber music together. Reviewers agreed that Dean and Gerhardt make an excellent musical match.

Following the world premiere, The Australian wrote: ‘The various motifs emerge, evolve, dissipate and re-emerge in new guises between cello and orchestra.

It is ingeniously achieved and seamlessly structured.

Gerhardt brilliantly surmounted the Concerto’s challenging intricate rhythms.’

© Bettina Stoess

As a former principal violist of the Berlin Philharmonic, Dean is at home writing for strings, though he notes that he was careful not to be confined by what he knew to be difficult for a string player; he did not want to limit his ‘fantasy as a composer’. Unlike some of Dean’s other concertos that have had either overt programs or a sort of ‘secret theatre,’ the Cello Concerto is completely abstract – music for music’s sake. He explained: ‘[The Concerto] is more concerned with

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London Philharmonic Orchestra • 27 April 2022 • War and Peace

Programme notes collaboration than conflict, with ideas from the soloist being amplified by the orchestra.’

III Allegro agitato sempre In which the various rhythmic components that we’ve heard earlier return with a more demonic and threatening edge, forcing the soloist to ‘duck and weave’ around the orchestra. This wakes the orchestra itself into more volatile actions of its own, in turn pushing the soloist into new territories of repeated down-bow chords and different colourings of the same note. The race comes to a sudden stop and everyone catches their breath for a moment, but just when we think a calm may have returned we’re thrown into ...

Across the piece’s single movement, Dean builds the sense of collaboration into his orchestration: ‘As a middle register instrument within the orchestral space, the cello has to be treated sensitively, with judicious care in what you can throw against it in terms of orchestral accompaniment and partnering.’ Still, he had fun with the orchestration, employing an expanded percussion section and adding his first ever use of a Hammond organ that he says ‘responds to those sections of the piece with a jazz funk flavour.’ Reviewing the performance in Germany, Der Tagespiegel took note of this added colour: ‘The cello is embedded in a continuous impulsive soundstream, with the orchestra spiced up with the exotic instrumental colours of sandpaper and Hammond organ. The principle is tension and relaxation, with lyrical moments following in an instant upon those of heightened energy.’

IV Fast, rhythmic, relentless The soloist, now in lowest register, reluctantly takes off again; this cat-and-mouse chase with the orchestra isn’t done yet! At times the orchestra, having taken up the solo cello’s motivic ideas as their own, then leaves the soloist behind, so keen are they to ride the wave, culminating in an extended orchestral tutti. After it subsides, the soloist returns, hushed, chastened perhaps by the orchestral storm he/she has set in motion. Shadows of former motives lead us to ...

The Concerto is in one uninterrupted movement but can be heard in five major sections, described by the composer as follows:

V I

In the stillness, the soloist tentatively reconnects with the orchestra through a series of extended quarter-tone trills shared with other string soloists in cellos and basses. Calm, distant memories of the cello’s opening bird-calls combine with delicate orchestral trills. The work ends with a hushed, upwards-spiralling question mark.

Extremely intimate, yet flowing and playful

The solo cello – in its high register – starts a tentative dialogue with the orchestra through birdcall-like material. While introducing various motivic ideas that will feature throughout the piece, it picks up in density, rhythmic edge, and tempo. Unexpectedly however it dissipates into ...

II

Slow, spacious, and still

Programme note © Brett Dean/© Boosey & Hawkes

Slow, dreamy, unhurried

An extended slow movement in which the soloist floats above gently undulating wave-like harmonies in harp and divided strings. At its peak, the orchestral colours are dominated by swirls coming from the two contrasting keyboard instruments, piano and Hammond organ. The solo cello takes us gradually down, down, down from its elevated, bird’s-eye-view into the new energy of ...

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

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London Philharmonic Orchestra • 27 April 2022 • War and Peace

Brett Dean Composer-in-Residence, London Philharmonic Orchestra Australian composer Brett Dean became the LPO’s Composer-in-Residence for three years from September 2020. The Orchestra worked closely with Dean on his opera Hamlet, which was premiered at Glyndebourne Festival Opera in 2017 to great acclaim, winning both the 2018 South Bank Sky Arts Award and the International Opera Award for Best New Opera.

During his LPO residency he also takes on the role of Composer Mentor to the LPO Young Composers Programme, providing guidance and expertise to the five rising stars and conducting their annual Debut Sounds showcase, which this year takes place on 14 July 2022 at the Southbank Centre’s Queen Elizabeth Hall.

works such as his clarinet concerto Ariel’s Music (1995), which won an award from the UNESCO International Rostrum of Composers, and Carlo (1997) for strings, sampler and tape, inspired by the music of Carlo Gesualdo, that he gained international recognition.

Dean enjoys a busy performing career as violist and conductor, performing his own Viola Concerto with many of the world’s leading orchestras. He is a natural chamber musician, frequently collaborating with other soloists and ensembles to perform both his own chamber works and standard repertoire. Dean’s imaginative conducting programmes usually centre around his own works combined with other composers: highlights include his appointment as Creative Chair at the Tonhalle-Orchester Zürich 2017/18; projects with the BBC Symphony, Los Angeles Philharmonic, Concertgebouw Orchestra, Melbourne Symphony, Sydney Symphony, BBC Philharmonic, Gothenburg Symphony, Toronto Symphony, Tonkünstler-Orchester and Stuttgart Chamber Orchestra; and as Artist in Residence with the Swedish Chamber Orchestra.

In December 2020 the London Philharmonic Orchestra and Vladimir Jurowski gave the UK premiere of Dean’s The Players for orchestra and accordion, filmed at the Royal Festival Hall and broadcast on Marquee TV. On 9 February 2022 the Orchestra performed his Viola Concerto with soloist Lawrence Power. Next season with the LPO sees the world premiere of In spe contra spem under Edward Gardner, with soloists Emma Bell and Elsa Dreisig (26 April 2023), as well as performances of his orchestral works Three Memorials (19 October 2022) and Amphitheatre (18 January 2023).

Forthcoming highlights include the world premiere of In this Brief Moment for double chorus and orchestra in September 2022, commissioned by the Orchestre National de Lyon, Sydney Philharmonia Choirs and City of Birmingham Symphony Orchestra. His opera Hamlet also receives is highly-anticipated US premiere at New York’s Metropolitan Opera in May 2022.

Brett Dean began composing in 1988, initially concentrating on experimental film and radio projects and as an improvising performer. His reputation as a composer continued to develop, and it was through

Dean conducting a rehearsal for the LPO Debut Sounds concert with LPO members and Foyle Future Firsts, June 2021

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London Philharmonic Orchestra • 27 April 2022 • War and Peace

Programme notes Ralph Vaughan Williams 1872–1958

Symphony No. 5 in D major 1938–43

1 Preludio. Moderato 2 Scherzo. Presto misterioso 3 Romanza. Lento 4 Passacaglia. Moderato Throughout his long career, Ralph Vaughan Williams never lost his ability to surprise. Just when everyone had him safely pigeonholed as a romantic English pastoralist, the 62-year-old composer startled the British musical scene with his violently dissonant and fiercely concise Fourth Symphony (1931–34). As he entered his seventies, Vaughan Williams discovered an unexpected flair for writing film music. His score for Scott of the Antarctic then provided material for the Sinfonia Antartica (1949–52), in which the composer – now approaching his 80th birthday – opened up a world of new sounds, unlike anything in his work before.

The Fifth Symphony (1938–43) also surprised many of its audience at its London premiere in 1943 – but for slightly different reasons. After the Fourth, and the dark-hued choral work Dona nobis pacem (1937), there was speculation as to whether the reassuring contemplative Vaughan Williams of the Tallis Fantasia and The Lark Ascending had been outgrown. This new VW seemed to be less the visionary dreamer, more the kind of artist who held a mirror up to increasingly troubled times.

Yet the Fifth revealed – not so much a return to the old ways as an enrichment and development of them.

The pastoral tone is unmistakable: in the quiet horn-calls at the opening of the Preludio, in the cor anglais solo haloed by ethereal string chords that begins the Romanza. But these beautifully evocative ideas acquire extra power and memorability through the way Vaughan Williams expertly ‘places’ them within a subtle and

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London Philharmonic Orchestra • 27 April 2022 • War and Peace

Programme notes economically worked-out symphonic argument – the experience of concentrating his thoughts in the Fourth Symphony had had a lasting, beneficial effect.

Recommended recordings of tonight’s works

There is no need to understand the mechanics of the symphonic argument to appreciate it – Vaughan Williams hated the idea of writing for the cognoscenti alone. Still, it is worth pointing out how he plants his musical seed in the Symphony’s magical opening.

The soft horn-calls are in the home key, D major; but underneath, cellos and basses play a C – a note foreign to the scale D, and thus slightly clashing with the horns.

This sets up a tension, an ambiguity, which is worked through in a variety of ways in the Symphony, and only finds full resolution in the serene ending. The first movement has its more shadowy moments, especially the faster build-up at the heart of the movement, with nervous tremolando strings. The climax is a magnificent affirmation, based on a figure very like the ‘Alleluia’ from Vaughan Williams’s hymn tune Sine nomine – famous as ‘For All the Saints’. But the splendour fades, gradually returning to the hushed ambiguity of the opening.

by Laurie Watt Britten: Sinfonia da Requiem London Symphony Orchestra Benjamin Britten conductor (Decca) Vaughan Williams: Symphony No. 5 London Philharmonic Orchestra Ralph Vaughan Williams conductor (Celeste) or London Philharmonic Orchestra Bernard Haitink conductor (Warner)

Enjoyed tonight’s concert?

A fleet-footed, ghostly Scherzo follows, its muted opening string figures disappearing deliciously into a single pianissimo timpani stroke at the end. Then comes the Romanza, the heart of the Symphony, which draws on idea from Vaughan Williams’s major ongoing operatic project The Pilgrim’s Progress (composed between 1925 and 1951). Vaughan Williams was no conventional believer, but he was pleased when a friend described him as ‘The Christian Agnostic’. It was clear that he found some kind of transcendent meaning in John Bunyan’s famous tale of the Christian ‘Pilgrim’, and he distils its essence touchingly in this movement – offering it, perhaps, as a word of comfort and encouragement to a country then in the midst of a terrible war. The final movement is a ‘Passacaglia’, a movement built up over a constantly repeated theme, first presented in the bass. This builds to a grand climax at which the Symphony’s opening horn-calls are recalled by the full orchestra in great waves of sound.

This vision also fades, to be followed by radiant tranquil counterpoint led by strings – Vaughan Williams’s modern recreation of the soundworld of the great Elizabethan church composers. The ending comes as near to perfect peace as any 20th-century symphony.

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.

Programme note © Stephen Johnson

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Final LPO concerts this season at the Royal Festival Hall

OK! A Celebration of Oliver Knussen

The Song of the Earth

Saturday 30 April 2022

Birtwistle Deep Time Mahler Das Lied von der Erde

Friday 6 May 2022

Knussen Flourish with Fireworks Knussen Whitman Settings Knussen Horn Concerto Britten The Prince of the Pagodas: Suite Ravel Daphnis et Chloé: Suite No. 2

Edward Gardner conductor Magdalena Kožená mezzo-soprano Andrew Staples tenor Generously supported by the LPO International Board of Governors.

Edward Gardner conductor Ben Goldscheider horn Sophie Bevan soprano

Book online lpo.org.uk Ticket Office 020 7840 4242

New on the LPO Label: Jessye Norman sings Strauss Richard Strauss: Five Songs | Le Bourgeois Gentilhomme | Salome (excerpts) Klaus Tennstedt conductor Jessye Norman soprano .£9.99 | LPO-0122

Newly available recording: recorded live in concert at the Southbank Centre’s Royal Festival Hall on 4 May 1986

‘It’s the songs, and especially the Salome, that make this recording an essential listen, and a compelling reminder of a great singer at her dramatic best.’ Editor’s Choice, Gramophone, 21 March 2022 All LPO Label releases are available on CD from all good retailers, and to download or stream via Spotify, Apple Music, Idagio and others.

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London Philharmonic Orchestra • 27 April 2022 • War and Peace

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

LPO ANNUAL APPEAL 2022

OPEN THE DOORS 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.

NOW, AFTER SUCH A LONG WAIT, WE ARE THROWING OPEN THE DOORS TO OUR CONCERTS We believe passionately that everyone should have the opportunity to experience them and we are committed to reaching as many people as we can.

TO THE DONATE TO ‘OPEN THE DOORS’ AND HELP US TO CONNECT NEW AUDIENCES WITH WHAT WE DO BY MAKING TICKETS ACCESSIBLE 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. DONATE ONLINE AT LPO.ORG.UK/OPENTHEDOORS, OR CALL THE INDIVIDUAL GIVING TEAM ON 020 7840 4212 OR 020 7840 4225.

THANK YOU.

London Philharmonic Orchestra • 27 April 2022 • War and Peace

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 Mrs Irina Andreeva In memory of Len & Edna Beech 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 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

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 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 Joe Topley Tony & Hilary Vines Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Marina Vaizey Jenny Watson CBE Mr John Weekes Christopher 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

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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 Mr Ian Kapur 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 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 Miss Yousun Chae 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 Patricia Dreyfus Mr Andrew Dyke Mr Declan Eardly Mrs Maureen Erskine Mr Peter Faulk Mr Joe Field Ms Chrisine Louise Fluker 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 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 Mari Payne Mr David Peters Nadya Powell Ms Caroline Priday Mr Richard Rolls Mr Richard Rowland Mr & Mrs Alan Senior Tom Sharpe Mr Kenneth Shaw

London Philharmonic Orchestra • 27 April 2022 • War and Peace

Thank you

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

Corporate Donors

Hon. Benefactor

Tutti

Elliott Bernerd

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

Thomas Beecham Group Members 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

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

LPO Corporate Circle Leader freuds Sunshine

Principal Berenberg Bloomberg Carter-Ruck French Chamber of Commerce Lazard Russo-British Chamber of Commerce Walpole

Trialist Allianz Musical Insurance Ogilvy UK Sciteb

Preferred Partners Gusbourne Estate Lidl Lindt & Sprüngli Ltd OneWelbeck Steinway

In-kind Sponsor Google Inc

Trusts and Foundations

BlueSpark Foundation 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 Scops Arts 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 and all others who wish to remain anonymous.

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.

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

Simon Freakley Chairman 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 Co-Chair Martin Höhmann Co-Chair Mrs Irina Andreeva (Russia) 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)

London Philharmonic Orchestra • 27 April 2022 • War and Peace

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 Elena Dubinets 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 Martin Southgate Chris Viney Laurence Watt Elizabeth Winter

Finance

General Administration

Jean-Paul Ramotar Finance and IT Officer

Frances Slack Finance Director Dayse Guilherme Finance Manager

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

Hannah Foakes Tilly Gugenheim Education and Community Project Co-ordinators

Graham Wood Concerts and Recordings Manager Fabio Sarlo Glyndebourne and Projects Manager

Development Laura Willis Development Director

Grace Ko Tours Manager

Scott Tucker Development Events Manager

Alison Jones Concerts and Recordings Co-ordinator Matthew Freeman Recordings Consultant Andrew Chenery Orchestra Personnel Manager

Felix Lo Orchestra and Auditions Manager

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

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

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Sophie Harvey Digital and Residencies Marketing Manager

Rosie Morden Individual Giving Manager

Nick Jackman Campaigns and Projects Director

Freddie Jackson Assistant Stage Manager

Ruth Haines (née 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

Siân Jenkins 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