LPO programme 27 Nov 2024 - A Dark Century

2024/25 season at the Southbank Centre

FREE CONCERT PROGRAMME

99524 LH Lindt LPO Excellence Advert Update v2.pdf

1

14/08/2024

11:50

Discover Excellence, Expect Delicious.

In partnership with

jeroboams.co.uk

Belgravia · Hampstead · Holland Park · Kensington · King’s Road Knightsbridge · Muswell Hill · Notting Hill · Wimbledon

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

Southbank Centre’s Royal Festival Hall Wednesday 27 November 2024 | 7.30pm

A Dark Century Schoenberg A Survivor from Warsaw (7’) Weinberg Violin Concerto (26’) Interval (20’) Shostakovich Symphony No. 13 (Babi Yar) (61’) Andrey Boreyko conductor Gidon Kremer violin Alexander Roslavets narrator/bass London Philharmonic Choir Artistic Director: Neville Creed

Part of

Pre-concert event | 6.15–6.45pm | Royal Festival Hall LPO 2024/25 Writer-in-Residence Jeremy Eichler gives a talk on this evening’s programme. All welcome, no ticket required.

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

Concert presented by the London Philharmonic Orchestra

Contents 2

Welcome LPO news 3 On stage tonight 4 London Philharmonic Orchestra 5 Leader: Pieter Schoeman 6 Moments Remembered 8 Andrey Boreyko 9 Gidon Kremer Alexander Roslavets 10 London Philharmonic Choir 11 Programme notes 15 Recommended recordings 16 Next concerts 17 Sound Futures donors 18 Thank you 20 LPO administration

London Philharmonic Orchestra • 27 November 2024 • A Dark Century

Welcome

LPO news OrchLab Festival Day

Welcome to the Southbank Centre

Earlier today we welcomed nearly 200 disabled guests and care staff to our Royal Festival Hall home to join us for OrchLab Festival Day, our annual celebration of music-making with disabled adults.

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

OrchLab is a music project founded on collaboration and inclusivity. Run by the London Philharmonic Orchestra in partnership with Drake Music, experts in music, technology and disability, OrchLab offers music-making opportunities for disabled adults through workshops, specially-created accessible instruments and bespoke web activities through its dedicated website, orchlab.org

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

OrchLab is generously supported by JTI.

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

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

The Chamber Sessions: LPO at St John’s Waterloo

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

Just head to our website to sign up.

Next spring sees the launch of ‘The Chamber Sessions’, a series of hour-long 6.30pm concerts at St John’s Church, Waterloo. This follows the success of our 2024 chamber series at St John’s. It’s great to continue our partnership as the church celebrates its 200th year, bringing audiences closer to the music and highlighting the talents of our musicians in a more intimate setting.

The series opens on Thursday 23 January 2025 with a performance featuring LPO Wind Principals in quintet works by Mozart, Hindemith and Valerie Coleman. On Saturday 22 February, a string trio will bring Andrew Norman’s Companion Guide to Rome to life – a captivating musical journey inspired by the city’s churches, after which the New London Chamber Choir will join us for Morton Feldman’s Rothko Chapel, an evocative soundscape paying homage to the visionary artist Mark Rothko. Finally, on Friday 7 March, we present an exciting programme of contemporary works featuring a vibrant mix of styles, by LPO Composerin-Residence Tania León and former LPO Young Composers Daniel Kidane and Hannah Kendall, as well as Jessie Montgomery and Brian Raphael Nabors.

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

Tickets are £12–£15: see full details on page 7, and book now at lpo.org.uk/thechambersessions

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

2

London Philharmonic Orchestra • 27 November 2024 • A Dark Century

On stage tonight First Violins

Pieter Schoeman* Leader

Chair supported by Neil Westreich

Alice Ivy-Pemberton Co-Leader

Vesselin Gellev Sub-Leader Kate Oswin Chair supported by Eric Tomsett

Lasma Taimina

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

Minn Majoe

Chair supported by Dr Alex & Maria Chan

Yang Zhang Thomas Eisner

Chair supported by Ryze Power

Katalin Varnagy Martin Höhmann Elizaveta Tyun Nilufar Alimaksumova Ricky Gore Fanny Fheodoroff Alison Strange Gabriela Opacka

Second Violins

Tania Mazzetti Principal Claudia Tarrant-Matthews Ashley Stevens Marie-Anne Mairesse Kate Birchall Joseph Maher Fiona Higham Chair supported by David & Yi Buckley

Sioni Williams Nynke Hijlkema Tayfun Bomboz Jamie Hutchinson José Nuno Cabrita Matias Beatriz Carbonell Paula Clifton-Everest

Violas

Rachel Roberts Guest Principal

Martin Wray

Chair supported by David & Bettina Harden

Lucia Ortiz Sauco Katharine Leek Benedetto Pollani

James Heron Luca Casciato Stanislav Popov Raquel López Bolívar Toby Warr Rachel Robson Anita Kurowska

Cor Anglais

Trombones

Chair supported by Dr Barry Grimaldi

Chair supported by William & Alex de Winton

Sue Böhling* Principal

Clarinets

Benjamin Mellefont* Principal

Cellos

Chair supported by Sir Nigel Boardman & Prof. Lynda Gratton

Kristina Blaumane Principal

Thomas Watmough Paul Richards*

Chair supported by Bianca & Stuart Roden

Leo Melvin Waynne Kwon Sibylle Hentschel David Lale Sam Weinstein Francis Bucknall Henry Hargreaves Helen Thomas George Hoult

E-flat Clarinet

Thomas Watmough Principal

Chair supported by Roger Greenwood

Bass Clarinet

Paul Richards* Principal

Double Basses

Bassoons

Jonathan Davies* Principal

Kevin Rundell* Principal Sebastian Pennar*

Chair supported by Sir Simon Robey

Co-Principal

Hugh Kluger George Peniston Tom Walley

Helen Storey*

Laura Murphy

Contrabassoon

Chair supported by Friends of the Orchestra

Simon Estell*

Chair supported by William & Alex de Winton

Simon Estell* Principal

Chair supported by Ian Ferguson & Susan Tranter

Charlotte Kerbegian Lowri Estell

Horns

John Ryan* Principal Martin Hobbs Mark Vines Co-Principal Gareth Mollison Duncan Fuller

Flutes

Juliette Bausor Principal Clare Childs Stewart McIlwham*

Trumpets

Piccolos

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

Stewart McIlwham* Principal

Clare Childs

Chair supported in memory of Peter Coe

Oboes

Ian Hardwick* Principal Alice Munday Sue Böhling*

3

Mark Templeton* Principal

David Whitehouse

Bass Trombone

Lyndon Meredith Principal

Tuba

Lee Tsarmaklis* Principal

Chair supported by William & Alex de Winton

Timpani

Simon Carrington* Principal

Chair supported by Victoria Robey CBE

Percussion

Andrew Barclay* Principal Chair supported by Gill & Garf Collins

Karen Hutt Oliver Yates James Bower Feargus Brennan

Harps

Rachel Masters Guest Principal

Ruth Faber

Surtitle Operator James Ling-Locke

*Professor at a London conservatoire

London Philharmonic Orchestra • 27 November 2024 • A Dark Century

© Jason Bell

London Philharmonic Orchestra

Sharing the wonder worldwide

Uniquely groundbreaking and exhilarating to watch and hear, the London Philharmonic Orchestra has been celebrated as one of the world’s great orchestras since Sir Thomas Beecham founded it in 1932. Our mission is to share wonder with the modern world through the power of orchestral music, which we accomplish through live performances, online, and an extensive education and community programme, cementing our position as a leading orchestra for the 21st century.

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

Our home is at the Southbank Centre’s Royal Festival Hall, where we’re at the beating heart of London’s cultural life. You’ll also find us at our resident venues in Brighton, Eastbourne and Saffron Walden, and on tour worldwide. In 2024 we celebrated 60 years as Resident Symphony Orchestra at Glyndebourne Festival Opera, combining the magic of opera with Glyndebourne’s glorious setting in the Sussex countryside.

Our conductors Our Principal Conductors have included some of the greatest historic names like Sir Adrian Boult, Bernard Haitink, Klaus Tennstedt and Kurt Masur. In 2021 Edward Gardner became our 13th Principal Conductor, and Vladimir Jurowski became Conductor Emeritus in recognition of his impact as Principal Conductor from 2007–21. Karina Canellakis is our current Principal Guest Conductor, and Tania León our Composer-in-Residence.

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

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

4

London Philharmonic Orchestra • 27 November 2024 • A Dark Century

Pieter Schoeman Leader

Today’s young instrumentalists are the orchestra members of the future, and we have a number of opportunities to support their progression. Our LPO Junior Artists programme leads the way in creating pathways into the profession for young artists from under-represented communities, and our LPO Young Composers and Foyle Future Firsts schemes support the next generation of professional musicians, bridging the transition from education to professional careers.

We also recently launched the LPO Conducting Fellowship, supporting the development of two outstanding early-career conductors from backgrounds under-represented in the profession.

© Benjamin Ealovega

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

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

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

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

Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninoff Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and the Southbank Centre’s Royal Festival Hall. As a chamber musician he regularly appears at London’s prestigious Wigmore Hall.

His chamber music partners have included Anne-Sophie Mutter, Veronika Eberle, Patricia Kopatchinskaja, Boris Garlitsky, Jean-Guihen Queyras, Yannick Nézet-Séguin, Martin Helmchen and Julia Fischer.

Pieter has performed numerous times as a soloist with the London Philharmonic Orchestra. Highlights have included an appearance as both conductor and soloist in Vivaldi’s Four Seasons at the Royal Festival Hall, the Brahms Double Concerto with Kristina Blaumane, Florence Price’s Violin Concerto No. 2, and the Britten Double Concerto with Alexander Zemtsov, which was recorded and released on the LPO Label to great critical acclaim.

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

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

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

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

lpo.org.uk

5

London Philharmonic Orchestra • 27 November 2024 • A Dark Century

Journeys at the Crossroads of Music and Memory

by Jeremy Eichler, LPO Writer-in-Residence 2024/25

I

s music the ultimate medium of memory?

being recalled? Who is doing the remembering? And toward what ends are we being asked to recollect?

Ever since the mythical poet Orpheus retrieved his beloved Eurydice from the underworld through the magical power of his song, music has been summoning souls, bridging time, and raising the dead. Its ability to trigger flights of memory is a phenomenon many people still experience: think, for instance, of the song that pops up on the car radio and, like Proust’s madeleine, instantly calls to mind a moment or experience that took place years or even decades earlier.

Over the course of its 2024/25 season, the LPO will explore these questions through no fewer than 15 programmes, a curated gallery of sonic memory.

Some will represent iconic figures at the heart of the Western musical tradition (such as Haydn, Beethoven, Schoenberg, Britten, Strauss, Shostakovich and Prokofiev). Some carry forward lesser-known but essential 20th-century voices (Mieczysław Weinberg, Boris Lyatoshynsky, Julia Perry). And some are by living composers (György Kurtág, John Adams, Freya WaleyCohen, Evan Williams, Dinuk Wijeratne), artists who ply their craft while looking both forward and back, creating memories of yesterday for the world of tomorrow.

Yet as so many works presented across the London Philharmonic Orchestra’s 2024/25 season will illustrate, it is not just we who remember music. Music also remembers us. Music reflects the individuals and the societies that create it, capturing something essential about the era of its birth. When a composer in 1824 consciously or unconsciously distils worlds of thought, fantasy and emotion into a series of notes on a page, and then we hear those same notes realized in a performance two centuries later, we are hearing the past literally speaking in the present.

Across this season we will find sonic bridges to the wartime past, the utopian past, the personal past, the national past, the literary past, the imagined past, the forgotten past, the obliterated past. Implicit in this journey is an awareness of memory’s complexity and contingency, beginning with Beethoven’s ‘Eroica’, a work whose original dedication to Napoleon was itself renounced with a fury that tore the composer’s manuscript paper. And the season ends with the cosmos-embracing euphoria of Mahler’s Eighth Symphony, itself a Goethe-inspired memory of earlier Enlightenment dreams, etched at the dawn of the modern world.

In this sense, music can fleetingly reorder the past, bring closer that which is distant, and confound the one-way linearity of time. In these very ways, music shares a profound affinity with memory itself. For memory by definition also challenges the pastness of the past and the objective distance of history; it also reorders time and flouts the forward march of the years. An event seared in memory from decades ago may haunt the mind with a power far greater than events that took place only yesterday. Indeed, while Mnemosyne, the Greek goddess of memory, was said to be mother of all the Muses, one daughter may stand as first among equals. Memory resonates with the cadences, the revelations, the opacities and the poignancies of music.

Along the way, many of the works treat, implicitly or explicitly, the great ruptures of the 20th century, including extraordinary sonic monuments to the Second World War and the Holocaust. We may feel we already know these epochal events through history books.

But the information accumulating on library shelves provides just one mode of access. The survivor Jean Améry once went as far as bitterly attacking what he saw as his own era’s tendency to publish books about the horrors of the Holocaust in order to forget those

But what exactly can music remember? How does it do so differently to other art forms? Whose stories are

6

London Philharmonic Orchestra • 27 November 2024 • A Dark Century

horrors with a clean conscience, to relegate a shocking and morally unassimilable past to ‘the cold storage of history’.

Music, on the other hand, possesses a unique and often underappreciated power to burn through history’s cold storage, to release its frozen stores of meaning and emotion. Its power may originate in the visceral immediacy of sound itself: sound surrounds us, penetrates our bodies, vibrates within us. Listening to a song, the critic John Berger once wrote, ‘we find ourselves inside a message.’ But music’s potency as a medium of cultural memory also flows from its mysterious capacity to bridge intellect and emotion; its ability to short-circuit the centuries by yoking ‘then’ and ‘now’ within a single performance; and its haunting way of expressing deep yet untranslatable truths that lie beyond the province of language. Thomas Mann called this last quality the ‘spoken unspokenness’ that belongs to music alone.

The Chamber Sessions Get closer to the action in three special rush-hour concerts by the London Philharmonic Orchestra at St John’s Church, Waterloo.

Each of the season’s works can and should be experienced on its own terms, but one hopes they will also add up to something greater than the sum of their parts. Listeners, in short, are being invited to consider music not only as aesthetic entertainment or even spiritual uplift – but as a unique witness to history and carrier of memory, a window onto humanity’s hopes, dreams and cataclysms. This approach can yield dividends all its own. Indeed, to listen with an awareness of music as an echo of past time opens the possibility of hearing so much more. Here, in essence, are the sounds of culture’s memory, resonating between and behind the notes.

Thursday 23 January 2025 | 6.30pm Wind Quintets: Past to Present

lpo.org.uk/whats-on/london

Concert generously supported by TIOC Foundation

Mozart Quintet in E-flat major for Piano and Winds Hindemith Kleine Kammermusik for Wind Quintet Valerie Coleman Tzigane for Wind Quintet Featuring LPO Wind Principals

Jeremy Eichler is a critic and historian based at Tufts University, Massachusetts, as well as the LPO’s inaugural Writer-in-Residence. Portions of this essay were adapted from his award-winning book Time’s Echo: Music, Memory, and the Second World War, recently published in paperback (Faber, 2023).

Saturday 22 February 2025 | 6.30pm Rothko Chapel Andrew Norman The Companion Guide to Rome Feldman Rothko Chapel Featuring New London Chamber Choir

Friday 7 March 2025 | 6.30pm Echoes of Now Tania León String Quartet No. 2 Jessie Montgomery Break Away Brian Raphael Nabors Jump Daniel Kidane Foreign Tongues Hannah Kendall Vera

Tickets £12–£15 lpo.org.uk/thechambersessions

7

London Philharmonic Orchestra • 27 November 2024 • A Dark Century

Andrey Boreyko conductor

© Michał Zagórny

(Quasi-Requiem) and Prokofiev’s Symphony No. 3.

Guest engagements elsewhere include with the Aarhus Symphony Orchestra, Hamburg State Philharmonic Orchestra, Polish Radio Symphony Orchestra, Stuttgart Philharmonic, and Vancouver Symphony Orchestra, with whom Andrey will conduct Zemlinsky’s The Mermaid alongside Mahler songs with baritone Thomas Hampson. Following the success of his recent Asia tour with the Warsaw Philharmonic, he returns to Tokyo in June 2025 to conduct Shostakovich’s Symphony No. 11 with the New Japan Philharmonic.

Andrey Boreyko remains a popular guest of orchestras such as the ORF Vienna Radio Symphony, appearing with them regularly at the Vienna Konzerthaus. He also enjoys good relationships with the Prague Symphony, RTVE Spanish Radio Symphony and Royal Scottish National orchestras. Highlights of recent seasons include returns to the Berlin Radio Symphony Orchestra, Gürzenich Orchestra Cologne, Montreal Symphony, and Orquesta Sinfónica de Galicia. During his tenure as Resident Conductor of the Orchestra Sinfonica di Milano from 2022–24, Andrey conducted numerous high-profile subscription concerts including their season openers at the Teatro alla Scala, and Mahler’s ‘Resurrection’ Symphony at the Mahler Festival.

Andrey Boreyko recently concluded his successful tenure as Music & Artistic Director of the Warsaw Philharmonic Orchestra and Choir. Over the last five seasons, his inspiring leadership has raised the standard and profile of the orchestra, with whom he toured extensively across Europe, Asia and the US, in addition to regular appearances at the Penderecki Festival, Beethoven Easter Festival, and Chopin & His Europe Festival. Their numerous recording projects include an interesting variety of lesser-known repertoire, such as Kancheli’s Libera me (QuasiRequiem), Penderecki’s Christmas Symphony (No. 2), Kletzki’s Sinfonietta in E minor, and Szymanowski’s Mythes and Masques.

In 2022, Andrey Boreyko concluded his eighth and final season as Music Director of Artis–Naples. His previous appointments include Music Director of the Jenaer Philharmonic, the Hamburg Symphony, Bern Symphony, Düsseldorf Symphony and Winnipeg Symphony orchestras, and the Belgian National Orchestra.

In 2014 Andrey Boreyko conducted the London Philharmonic Orchestra in the posthumous world premiere of Górecki’s Symphony No. 4 (Tansman Episodes) at the Southbank Centre’s Royal Festival Hall, subsequently released on the Nonesuch label. He went on to conduct the work’s American premiere with the Los Angeles Philharmonic. Andrey’s most recent appearance with the LPO was in March 2023, when he conducted Shostakovich’s Symphony No. 5 at the Royal Festival Hall, in a concert that also included the world premiere of Elena Langer’s The Dong with a Luminous Nose and the UK premiere of Victoria Vita Polevá’s Nova.

Highlights this season include performances with the Vienna Symphony Orchestra and violinist Julia Fischer, including concerts at the Vienna Konzerthaus and the Festival der Nationen in Bad Wörishofen. With the Antwerp Symphony, Andrey Boreyko celebrates Giya Kancheli’s 90th anniversary in a special subscription programme featuring the composer’s Libera me

8

London Philharmonic Orchestra • 27 November 2024 • A Dark Century

violin

narrator/bass

© Danielle Laborde

Alexander Roslavets

© Angie Kremer

Gidon Kremer

Among the world’s leading violinists, Gidon Kremer has perhaps pursued the most unconventional career. He was born in 1947 in Riga, Latvia, and began studying at the age of four with his father and grandfather, both distinguished string players. Aged seven, he enrolled at Riga Music School, where he made rapid progress, and at 16 he was awarded the First Prize of the Latvian Republic. Two years later he began studies with David Oistrakh at the Moscow Conservatory. He went on to win many prestigious awards, including prizes in the 1967 Queen Elisabeth Competition in Brussels and 1969 Montreal International Music Competition, and First Prize in both the 1969 Paganini and 1970 Tchaikovsky competitions. Over the past five decades he has established and sustained a worldwide reputation as one of the most original and compelling artists of his generation. He has appeared on almost every major concert stage as recitalist and with the most celebrated orchestras of Europe and North America, and has worked with many of the greatest conductors of the past half-century.

Alexander Roslavets graduated from the St Petersburg Rimsky-Korsakov State Conservatory, where as student he sang Mephistopheles in Faust and King Dodon in Rimsky-Korsakov’s The Golden Cockerel. In 2014 he made his debut at the Mikhailovsky Theatre in St Petersburg, as Tom in Un ballo in maschera. He first appeared at the Bolshoi Theatre in 2015, in La traviata under the baton of Tugan Sokhiev and as Don Basilio in The Barber of Seville. In 2016 he joined the Hamburg State Opera, who recently awarded him a special prize for best singer of the year.

Alexander is the winner of numerous international competitions such as the Russian National Vocal Graduates Competition, where he won the Grand Prix; the Obraztsova Competition; the Vishnevskaya Competition; and the Éva Marton Competition in Budapest. In 2017 he was awarded a special prize at the Belvedere Competition and second prize at the International Opera Singing Competition of Portofino.

Among Alexander’s recent operatic roles are Colline in La bohème, Don Basilio in The Barber of Seville, Bartolo in The Marriage of Figaro, Fafner in Siegfried and Das Rheingold, Sarastro in The Magic Flute, and debuts at the Teatro della Scala in the title role of Cherubini’s Ali Baba, at the Metropolitan Opera as King René in Iolanta, and at the Glyndebourne Festival as Vodnik in Rusalka.

His portrayal of Boris Godunov at the Toulouse Opera in November 2023, followed by his performance at the Théâtre des Champs-Élysées in March 2024, garnered him extraordinary acclaim, with reviewers comparing him to legendary Russian bass Feodor Chaliapin.

Gidon Kremer’s repertoire is unusually wide and strikingly varied. It encompasses the full span of classical and romantic masterworks for violin, together with music by such leading 20th- and 21st-century composers as Berg, Henze and Stockhausen. He has also championed the work of living Russian and Eastern European composers, and has performed many important new compositions by them. Particular recognition is due for his commitment to ‘discovering’ and championing the works of Mieczysław Weinberg, to which he has made a remarkable contribution. In 2019 and 2021, Deutsche Grammophon and Accentus Music released albums featuring his performances of the composer’s orchestral and chamber works.

This is his debut with the London Philharmonic Orchestra.

9

London Philharmonic Orchestra • 27 November 2024 • A Dark Century

London Philharmonic Choir Patron HRH Princess Alexandra President Sir Mark Elder Artistic Director Neville Creed Associate Chorus Director Victoria Longdon Accompanist Jonathan Beatty Chair Tessa Bartley Choir Manager Natasha Sofla Language Coach Arina Mkrtchian

Founded in 1947 as the chorus for the London Philharmonic Orchestra, the London Philharmonic Choir is widely regarded as one of Britain’s finest choirs. For the last seven decades the Choir has performed under leading conductors, consistently meeting with critical acclaim and recording regularly for television and radio. © Louise Kragh Photography

Enjoying a close relationship with the London Philharmonic Orchestra, the Choir frequently joins it for concerts in the UK and abroad. Recent concerts with LPO Principal Conductor Edward Gardner have included Rachmaninoff’s The Bells, Mahler’s Symphony No. 2, Tippett’s The Midsummer Marriage and A Child of Our Time, Janáček’s Glagolitic Mass, Schoenberg’s Gurrelieder, Berlioz’s Damnation of Faust, Haydn’s Creation and Mozart’s Mass in C minor. Other highlights have included Mahler’s Symphony No. 3 with Robin Ticciati; the UK premieres of James MacMillan’s Christmas Oratorio with the Choir’s President, Sir Mark Elder, and Tan Dun’s Buddha Passion; Walton’s Belshazzar’s Feast with Marin Alsop; Wagner’s Götterdämmerung, Mahler’s Symphonies Nos. 2 & 8 and Tallis’s Spem in alium with Vladimir Jurowski; and Beethoven’s Missa Solemnis with Sir Mark Elder.

The Choir appears annually at the BBC Proms, and performances have included the UK premieres of Mark-Anthony Turnage’s A Relic of Memory and Goldie’s Sine Tempore in the Evolution! Prom. In recent years the Choir has also given performances of works by Beethoven, Elgar, Howells, Liszt, Orff, Vaughan Williams, Verdi and Walton. Last year for the first time, the Choir took part in the ‘Films in Concert’ series at the Royal Albert Hall, performing the score for Amadeus.

A well-travelled choir, it has visited numerous European countries and performed in Kuala Lumpur, Hong Kong and Australia. The Choir has appeared twice at the Touquet International Music Masters Festival and was delighted to travel to the Théâtre des Champs-Elysées, Paris, in December 2017 to perform Bach’s Christmas Oratorio with the London Philharmonic Orchestra.

The Choir prides itself on its inclusive culture, achieving first-class performances from its members, who are volunteers from all walks of life.

Tenors

Basses

Tim Appleby Alexander Best Kevin Cheng James Clarke Robert Geary Philippe Gosset David Hoare Stephen Hodges James Hopper Patrick Hughes Alex Marshall Daisy Rushton Christopher Stuart Don Tallon Tony Valsamidis Mikolaj Walczak Leonard Wong Emre Yavuz

George Ashley Martyn Atkins John Bandy Peter Blamire Marcus Daniels Ellie Fayle Paul Fincham Ian Frost Alan Hardwick Mark Hillier David Hodgson Borja Ibarz Gabardos Nigel Ledgerwood Maurice MacSweeney Will Parsons Simon Potter John Salmon Gershon Silins Edwin Smith Alex Thomas Geoff Walker Sam Watson

lpc.org.uk

Supported by

10

London Philharmonic Orchestra • 27 November 2024 • A Dark Century

Programme notes A Dark Century Programme notes by Jeremy Eichler, LPO Writer-in-Residence 2024/25 Theodor Adorno’s famous pronouncement – that to write poetry after Auschwitz would be barbaric – was not in fact his final word on the subject. He later revised his opinion to honour art’s powers of witness, writing in 1962 that ‘because the world has outlived its own demise, it needs art as its unconscious chronicle.’

The notion of art as a necessary record – and of music as bearing witness to some of the 20th century’s darkest moments – stands at the centre of this evening’s programme, which features searing

works written in response to the Holocaust by Arnold Schoenberg (A Survivor from Warsaw) and Dmitri Shostakovich (Symphony No. 13, ‘Babi Yar’). Between them comes the incandescent violin concerto of Mieczysław Weinberg, himself a Holocaust survivor from Warsaw. As the living memory of the Second World War continues to fade, these works illustrate music’s uniquely powerful way of both connecting us to history and delivering a visceral sense of felt contact with the dreams and catastrophes of eras past.

Arnold Schoenberg 1874–1951

A Survivor from Warsaw, Op. 46 1947

Alexander Roslavets narrator London Philharmonic Choir

Arnold Schoenberg’s brief-yet-explosive, seven-minute cantata A Survivor from Warsaw was among the first significant pieces to memorialise the Nazi extermination of European Jewry. A twelve-tone work composed in Los Angeles in 1947, this score in fact arrived so early that it predated the broader public understanding of the events we identify today as the Holocaust or the Shoah. It was a time when testimonies that would later become iconic – such as Elie Wiesel’s Night and Primo Levi’s Survival in Auschwitz – could not even find a publisher. In a particularly bold statement, Schoenberg, a Jewish composer who had fled the Third Reich in 1933, addressed the matter head-on by staging, within his sonic memorial itself, an act of recollection.

The score features a narrator – the unidentified Survivor of its title – who confesses he ‘cannot remember everything’ yet proceeds to baldly recount what was, for its time, a shocking scene from an extermination camp: the camp’s prisoners are awoken with a reveille; a German sergeant orders them to assemble, beats them viciously, and demands they count off for the gas chamber. The narrator’s sharply etched words in English and German pierce the surface of the churning orchestra, which seems to remember everything the narrator himself has forgotten. We hear the shards of a trumpet fanfare, a military drum-roll, strings that enter forcefully, then trail off in disorientation. The counting of the prisoners builds to a kind of wild stampede

11

London Philharmonic Orchestra • 27 November 2024 • A Dark Century

Programme notes until, suddenly, the piece reaches beyond the spoken narration to claim the mythic mantle of song: a male chorus enters and defiantly sings, in Hebrew, Judaism’s central prayer, the Shema Yisrael. ‘Hear, O Israel, the Lord our God, the Lord is One.’ The piece ends with a huge orchestral crash, leaving the prisoners’ fate darkly foreshadowed yet ultimately unknown.

art ‘true’ and, from the time of its first encounter with audiences, ferocious in its power.

The score also marked something of a turning point in Schoenberg’s reception. After years of his thorny music eliciting responses of apprehension or outright disdain, suddenly, with A Survivor from Warsaw, the jarring dissonances of the composer’s high-modernist style made sense to a wider audience. What’s more, not only was this work newly legible, but new tropes of meaning were now retrospectively conferred on Schoenberg’s art as a whole. All along, it was argued, the musical dissonances formerly dismissed as noise had in fact been like X-rays revealing the profound social dissonance lying beneath the surface, the violent impulses latent in modern society itself. The Holocaust had laid bare these murderous contradictions for all to see, and now, as Adorno put it, Schoenberg’s music had finally met the world it had always prophesied.

Schoenberg’s dramatic choral entrance may be seen as harkening back to that iconic choral entrance in Beethoven’s Ninth Symphony, reminding us of German music’s original ethical vision now shattered beyond repair. For Adorno, A Survivor from Warsaw was in fact the great exemplar of postwar memorial music – a score akin to Picasso’s Guernica – because it forced the barbarism of the Holocaust directly into the frame of the work of art itself. In his view, it was precisely the music’s incorporation of horror and suffering – and its rejection of false consolation – that made this work of

Out this week on the LPO Label: Edward Gardner conducts Tippett Tippett Piano Concerto Tippett Symphony No. 2

LPO-0129

Edward Gardner conductor Steven Osborne piano London Philharmonic Orchestra Recorded live in concert at the Royal Festival Hall

Released Friday 29 November 2024

‘ It would be hard to imagine a more convincing account of the Piano Concerto than the one Steven Osborne conjured here.’ ★★★★

The Guardian (concert review) Available on CD, and to download or stream via Spotify, Apple Music, Presto Music and others. Scan the QR code to pre-add or find out more.

12

London Philharmonic Orchestra • 27 November 2024 • A Dark Century

Programme notes Mieczysław Weinberg 1919–96

Violin Concerto in G minor, Op. 67 1959

Gidon Kremer violin

1 Allegro molto 2 Allegretto 3 Adagio 4 Allegro risoluto to Moscow, where he lived from 1943 until his death in 1996. Across those decades he created an extraordinarily vast musical estate that includes 26 symphonies, 17 quartets, and seven operas. Taken together, his work suggests that art and creativity after Auschwitz were not only possible: they were the lifeforce powering his own survival.

© Alamy Stock Photo

Written for the Soviet soloist Leonid Kogan, Weinberg’s Violin Concerto of 1959 is a generously scaled and dauntingly virtuosic work, deeply admired by Shostakovich and regarded by tonight’s soloist Gidon Kremer as ‘a masterpiece of the genre in the last century’. Cast in four parts of roughly equal length, it begins in media res with a driving, adrenaline-laced opening. Two inner movements follow in a slower tempo, the second defined by its rich vein of nobly sorrowing lyricism. The Concerto’s outwardly boisterous finale arrives like a noisy parade, full of parodistic marches and compulsory cheerfulness. But in the work’s haunting closing bars, the solo line drifts free of the raucous crowd and, as if momentarily letting down its guard to share a secret, the work ends on a note that feels at once disarmingly sincere, solitary, and true.

Mieczysław Weinberg’s life and art blend tragedy and hope in some mysterious yet deeply compelling proportion. The Polish-born Jewish composer was 19 when the Nazis invaded his native Warsaw, and he ultimately lost his entire family in the Holocaust.

He survived by fleeing east – first to Minsk, later to Tashkent, and eventually (with Shostakovich’s support)

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

13

London Philharmonic Orchestra • 27 November 2024 • A Dark Century

Programme notes Dmitri Shostakovich 1906–75

Symphony No. 13 in B flat minor (Babi Yar) 1962

Alexander Roslavets bass London Philharmonic Choir

1 Babi Yar: Adagio 2 Humour: Allegretto 3 In the Store: Adagio 4 Fears: Largo 5 A Career: Allegretto Yevtushenko penned his ‘Babi Yar’ poem that very night. The text overtly denounces Russian antisemitism as an age-old scourge, and begins with the line ‘Over Babi Yar, there is no monument.’

If Schoenberg’s work commemorated the horrors of the extermination camps, Shostakovich’s Thirteenth Symphony evokes the memory of a different side of the Shoah, the so-called Holocaust by bullets, perpetrated by specialised killing squads that trailed behind the advancing front lines of the German armies as they conquered vast swathes of the former Soviet Union. The most notorious Nazi massacre on Soviet soil took place at Babyn Yar (or Babi Yar in Russian), a ravine on the outskirts of Kyiv, where more than 33,000 Jews were singled out and murdered over two days in September 1941. After the war, for political and ideological reasons, the Soviet regime worked with brutal resolve to suppress any memory of these killings.

Shostakovich’s Thirteenth Symphony, premiered in 1962, was a shattering response to this policy of forced amnesia.

After it was published on 19 September 1961, Shostakovich immediately began setting the poem to music, and some six months later, he played through the new work for the young poet. Yevtushenko was staggered by how the music seemed to tap into unarticulated melodies that ran beneath the surface of his own language. Moreover, the setting had transformed, enlarged and deepened the meaning of the poem itself.

Shostakovich’s Symphony begins with the desolate tolling of a solitary bell and the plangent tones of low woodwinds. The music rises and falls in a steady tread, but quicker dissonant figures played by muted brass curdle the harmony and lend the opening bars a queasy, unsettled feeling. A chorus of basses enter in unison to intone the opening lines of the poem, the rise and fall of their burnished voices conveying the solemnity of an ancient religious ritual. The bass soloist then takes up the first-person narration (‘Now I imagine that I am a Jew’) with a prophetic intensity.

The work takes its subtitle, ‘Babi Yar’, not from the massacre itself but from a poem by Yevgeny Yevtushenko about the suppression of its memory.

The Siberian-born poet had visited the unmarked site in 1961 as it was being turned it into a landfill. ‘Before our eyes,’ he wrote, ‘trucks were arriving and dumping more and more piles of garbage into the place where these victims were lying.’ Appalled by what he saw,

14

London Philharmonic Orchestra • 27 November 2024 • A Dark Century

Programme notes Shostakovich selected earlier poems by Yevtushenko for the Symphony’s subsequent movements: ‘Humour’ (about satire as an indestructible weapon of the weak against the powerful); ‘In the Store’ (about the valour and domestic heroism of Soviet women); and ‘A Career’ (about the toxic force of conformism in Soviet life). For the work’s fourth movement, ‘Fears’, he asked Yevtushenko to create a new poem evoking daily life during the years of Stalinist terror, a time of anonymous denunciations and knocks on the door, when ‘like shadows, fears crept in everywhere.’

The notion of a missile strike at Babyn Yar also underscores the relative fragility of built memorials, material memory, which can always succumb once again to the very forces of destruction they seek to recall. By contrast, the ephemeral art of music remains, in the most positive sense, untouchable. The Thirteenth Symphony endures as a home for conscience, a portal to a doubly tragic wartime past, and a testament to music’s power of witness in a world of disfiguring silence.

On the evening of 18 December 1962, in the Great Hall of the Moscow Conservatory, a chorus sang the words ‘Over Babi Yar, there is no monument.’ And as they did, note by note, the very first monument – and perhaps the most imperishable of all – rose up from the void.

Shostakovich’s other symphonies often place the listener inside the music’s own embattled subjectivity, as if we are looking out onto a disenchanted world through the eyes of one experiencing it. But the Thirteenth inverts this equation, looking down on Soviet life as if critically and objectively from above.

Among Shostakovich’s entire symphonic output, it is the most directly critical of Soviet life, becoming a profound vehicle for exploring what he called ‘the problem of conscience in music’ – and creating for that conscience, again in the composer’s words, ‘a worthy place for it to live in human hearts’.

Jeremy Eichler is a critic and historian based at Tufts University, Massachusetts, as well as the LPO’s inaugural Writer-in-Residence. Portions of these programme notes were adapted from his awardwinning book Time’s Echo: Music, Memory, and the Second World War (Faber, 2023).

Surtitles: English translation by Andrew Huth

Recommended recordings

To this day, the memory of the Second World War and the Holocaust in the former Soviet Union remains an extremely fraught subject. During the tenure of President Boris Yeltsin, there was a relatively open and frank reckoning with the distortions of regimes past.

All of that changed with the arrival of Vladimir Putin, who has called the demise of the Soviet Union ‘the greatest geopolitical catastrophe of the century’. His reign has seen the resurrection of the Soviet national anthem (with new words) alongside the resurrection of state-sponsored Second World War narratives as sacrosanct myths conferring legitimacy on the country as a whole. In 2014, it became a criminal offence to challenge these myths.

by Laurie Watt Schoenberg: A Survivor from Warsaw Gottfried Hornik narrator | Vienna State Opera Choir | Vienna Philharmonic | Claudio Abbado (Deutsche Grammophon) Weinberg: Violin Concerto Gidon Kremer violin | Leipzig Gewandhaus Orchestra | Daniele Gatti (Accentus Music) Shostakovich: Symphony No. 13 (Babi Yar) Alexey Tikhomirov bass | Chicago Symphony Orchestra & Chorus | Riccardo Muti (CSO Resound)

In 2022, Putin launched a new war of aggression, invading Ukraine in order to ‘denazify’ the country, as if the year were 1943 and the Second World War were still raging. The invasion underscores the immensity of the consequences that false historical narratives can exact on the present, and its human costs have been unspeakably tragic. As Russian missiles pounded civilian areas, among the sites struck was the TV tower adjacent to the area of the Babyn Yar massacre, as well as a building slated for future use as a Holocaust memorial museum. ‘The past’, wrote Faulkner, ‘is never dead. It’s not even past.’

We’d love to hear from you We hope you enjoyed tonight’s concert. Could you spare a few moments afterwards to complete a short survey about your experience?

Your feedback is invaluable to us and will help to shape our future plans. Just scan the QR code to begin the survey – thank you.

15

Next Royal Festival Hall concerts lpo.org.uk

Swan Lake Friday 29 November 2024 | 7.30pm Weber Overture, Oberon Tchaikovsky Variations on a Rococo Theme Tchaikovsky Selections from Swan Lake Tianyi Lu conductor Zlatomir Fung cello

Strauss, Berg & Brahms Wednesday 15 January 2025 | 7.30pm R Strauss Metamorphosen Berg Violin Concerto Brahms Symphony No. 2 Edward Gardner conductor Isabelle Faust violin

On the Transmigration of Souls Saturday 18 January 2025 | 7.30pm Haydn Missa in tempore belli György Kurtág Petite musique solennelle John Adams On the Transmigration of Souls Vladimir Jurowski conductor Anna Devin soprano Hanna Hipp mezzo-soprano Rupert Charlesworth tenor Trevor Eliot Bowes bass London Philharmonic Choir Tiffin Youth Choir

London Philharmonic Orchestra • 27 November 2024 • A Dark Century

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

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

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

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

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

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

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

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

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

17

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 • 27 November 2024 • A Dark Century

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

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

Artistic Director’s Circle

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

Orchestra Circle Mr & Mrs Philip Kan Neil Westreich

Principal Associates

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

Associates

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

Gold Patrons

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

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

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

Silver Patrons

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

Bronze Patrons

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

Principal Supporters

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

18

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

Supporters

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

Hon. Benefactor Elliott Bernerd

London Philharmonic Orchestra • 27 November 2024 • A Dark Century

Thank you

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

Thomas Beecham Group Members

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

LPO Corporate Circle Principal

Bloomberg Carter-Ruck Solicitors French Chamber of Commerce Ryze Power

Tutti

German-British Chamber of Industry & Commerce Lazard Natixis Corporate Investment Banking Walpole

Preferred Partners

Board of the American Friends of the LPO

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

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

In-kind Sponsor Google Inc

Trusts and Foundations

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

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

and all others who wish to remain anonymous.

19

London Philharmonic Orchestra • 27 November 2024 • A Dark Century

London Philharmonic Orchestra Administration Board of Directors

New Generation Board

Finance

Marketing

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

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

Frances Slack Finance Director

Kath Trout Marketing & Communications Director

Advisory Council

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

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

General Administration

Education & Community

Elena Dubinets Artistic Director

Talia Lash Education & Community Director

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

Lowri Davies Eleanor Jones Education & Community Project Managers

Concert Management

Hannah Smith Education & Community Co-ordinator

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

Claudia Clarkson Regional Partnerships Manager

Maddy Clarke Tours Manager

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

Archives Philip Stuart Discographer

Madeleine Ridout Glyndebourne & Projects Manager

Development

Gillian Pole Recordings Archive

Alison Jones Concerts & Artists Co-ordinator

Laura Willis Development Director Rosie Morden Individual Giving Manager

Professional Services

Owen Mortimer Corporate Relations Manager

Dora Kmezić Concerts & Recordings Co-ordinator

Anna Quillin Trusts & Foundations Manager

Tom Cameron Concerts & Tours Assistant

Eleanor Conroy Development Events Manager

Matthew Freeman Recordings Consultant

Al Levin Development Co-ordinator

Andrew Chenery Orchestra Personnel Manager

Holly Eagles Development Assistant

Helen Phipps Orchestra & Auditions Manager

Nick Jackman Campaigns & Projects Director

Sarah Thomas Martin Sargeson Librarians

Kirstin Peltonen Development Associate

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

Charles Russell Speechlys Solicitors Crowe Clark Whitehill LLP Auditors Dr Barry Grimaldi Honorary Doctor Mr Chris Aldren Honorary ENT Surgeon Mr Simon Owen-Johnstone Hon. Orthopaedic Surgeon London Philharmonic Orchestra 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Box Office: 020 7840 4242 Email: admin@lpo.org.uk lpo.org.uk Printer John Good Ltd

Benjamin Wakley Deputy Stage Manager

20

Redefining Healthcare

Situated in the heart of London’s Marylebone district, OneWelbeck is one of the UK’s largest private medical facilities for outpatient diagnostics, therapies and minimally invasive surgeries. With over 300 consultants partnered across 17 specialist centres of practice, OneWelbeck delivers a better standard of treatment to our patients.

Our facilities include: 9-storey facility in central London UK’s only 3D mole mapping service Dedicated chronic pain clinic Dedicated sleep centre In-house pharmacy Cutting edge imaging machines 020 3653 2000

1 Welbeck Street, London, W1G 0AR

Find out more