LPO concert programme: 28 Nov 2021 Eastbourne - Drama and Sunshine (Larsen-Maguire/Tchetuev)

2021/22 concert season at Congress Theatre

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

Congress Theatre, Eastbourne Sunday 28 November 2021 | 3.00pm

Drama and Sunshine Beethoven Overture, Egmont, Op. 84 (8’) Tchaikovsky Piano Concerto No. 1 in B flat minor, Op. 23 (33’) Interval (20’) Brahms Symphony No. 2 in D major, Op. 73 (39’) Catherine Larsen-Maguire conductor Igor Tchetuev piano

The Steinway concert piano chosen and hired by the London Philharmonic Orchestra for this performance is supplied and maintained by Steinway & Sons, London.

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

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA IN ASSOCIATION WITH EASTBOURNE BOROUGH COUNCIL

Contents 2 Welcome

LPO news 3 On stage today 4 London Philharmonic Orchestra 6 Catherine Larsen-Maguire 7 Igor Tchetuev 8 Programme notes 12 Brahms on the LPO Label 13 Next concerts 14 Thank you 16 LPO administration

London Philharmonic Orchestra • 28 November 2021 • Drama and Sunshine

Welcome to the Congress Theatre

LPO news

Theatre Director Chris Jordan

LPO concerts on Marquee TV Welcome to this afternoon’s performance. We are pleased to welcome back the London Philharmonic Orchestra and its patrons to the Congress Theatre.

We are delighted that a selection of concerts from our 2021/22 Royal Festival Hall season will be filmed and broadcast on Marquee TV this autumn.

Concerts will be available for a limited period to watch for free without a Marquee TV subscription; however 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 LPO2021.

The London Philharmonic Orchestra gave the first ever performance at this Grade II listed building when it originally opened in 1963. This historic building was purpose-built as a theatre and conference venue designed by Bryan and Norman Westwood Architects.

What makes the theatre unique is that it is conceived to be a perfect cube. It has fantastic acoustics to enhance your experience of live music, and so it is thrilling to see the Orchestra back in its Eastbourne home. We thank you for continuing to support the concert series.

Visit marquee.tv/LPO2021 to find out more, enjoy a free trial or subscribe.

Royal Philharmonic Society Award

Please sit back in your seats and enjoy the concert and your visit here. As a courtesy to others, please ensure mobile phones are switched off during the performance.

Thank you.

Vopera’s virtual lockdown production of Ravel’s L’enfant et les sortileges, performed by the LPO and first broadcast in November 2020, has won the Opera and Music Theatre category at the 2021 Royal Philharmonic Society Awards. The winners were announced on 1 November in a ceremony at Wigmore Hall, in which the judging panel said: ‘This digital production burst out of nowhere, courtesy of the newly-formed company Vopera. It’s a spectacular creation that generated welcome employment for a raft of housebound talent, sublimely supported by an ensemble of London Philharmonic players. It lifted spirits and wittily spoke to current times.’

This is the latest in a stream of awards for the production, which was directed by Rachael Hewer, produced by Tamzin Aitken and conducted by Lee Reynolds: it previously won the Opera category of the 2021 South Bank Sky Arts Awards and a 2020 Digital Classical Music Award. vopera20.com

2

London Philharmonic Orchestra • 28 November 2021 • Drama and Sunshine

On stage today First Violins

Vesselin Gellev Leader Lasma Taimina

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

Amanda Smith Ronald Long Alice Hall Robert Yeomans Joseph Devalle Eleanor Bartlett Katherine Waller Esther Hye-Yoon Kim Jeff Moore Gavin Davies

Second Violins

Nandor Farkas Guest Principal Fiona Higham

Chair supported by David & Yi Buckley

Joseph Maher Jessica Coleman Eleonora Consta Alison Strange Nicole Stokes Anna Croad Claudia Tarrant-Matthews Samantha Wickramasinghe

Violas

Double Basses

Kevin Rundell* Principal Sebastian Pennar Co-Principal Hugh Kluger George Peniston

Flutes

Stewart McIlwham* Principal Hannah Grayson

Oboes

Daniel Finney Guest Principal James Hulme

Clarinets

Thomas Watmough Principal

Chair supported by Roger Greenwood

Paul Richards

Bassoons

Simon Estell* Principal Emma Harding

Horns

John Ryan* Principal Diego Incertis Sánchez Guest Principal

Martin Hobbs Fabian van de Geest Gareth Mollison

Rachel Roberts Guest Principal Katharine Leek Benedetto Pollani Julia Kornig Jill Valentine Raquel Bolivar Sarah Malcolm Kim Becker

Paul Beniston* Principal James Fountain* Principal Anne McAneney*

Cellos

Trombones

Benjamin Hughes Guest Principal Gregory Walmsley Elisabeth Wiklander Susanna Riddell Iain Ward Jane Lindsay

Trumpets

David Whitehouse Principal Peter Crocker

3

Bass Trombone

Lyndon Meredith Principal

Tuba

Lee Tsarmaklis* Principal

Timpani

Simon Carrington* Principal

Chair supported by Victoria Robey OBE

* Holds a professorial appointment in London

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Chris Aldren Gill & Garf Collins William & Alex de Winton Sonja Drexler Friends of the Orchestra Dr Barry Grimaldi Countess Dominique Loredan Sir Simon Robey Bianca & Stuart Roden Caroline, Jamie & Zander Sharp Eric Tomsett Neil Westreich

London Philharmonic Orchestra • 28 November 2021 • Drama and Sunshine

© Benjamin Ealovega

London Philharmonic Orchestra

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

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

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

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

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

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

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

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

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

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

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

4

London Philharmonic Orchestra • 28 November 2021 • Drama and Sunshine

Today’s Leader

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

Vesselin Gellev

Bulgarian violinist Vesselin Gellev has been the London Philharmonic Orchestra’s Sub-Leader since 2007.

Praised by the New York Times for his ‘warmth and virtuosic brilliance’, Vesselin has been a featured soloist with the London Philharmonic Orchestra, Spoleto Festival Orchestra, New Haven Symphony Orchestra and Juilliard Orchestra, among others. He won First Prize at the Concert Artists Guild Competition in New York as a member of the Antares Quartet, and has recorded several albums and toured worldwide as Concertmaster of Kristjan Järvi’s Grammy-nominated Absolute Ensemble.

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.

Prior to joining the LPO, Vesselin was Leader of the New Haven Symphony Orchestra in the USA and the Spoleto Festival Orchestra in Italy. He performs regularly as Guest Leader with numerous orchestras in the UK and abroad including the Royal Philharmonic Orchestra, City of Birmingham Symphony Orchestra, Royal Scottish National Orchestra, BBC National Orchestra of Wales, Mahler Chamber Orchestra, MDR Leipzig Radio Symphony Orchestra, Stavanger Symphony Orchestra, Accademia Nazionale di Santa Cecilia and Orchestra of the Deutsche Oper Berlin.

lpo.org.uk

Vesselin received Bachelor and Master of Music degrees from The Juilliard School, New York, as a student of Robert Mann. He has served on the violin and chamber music faculties of Cornell University in Ithaca, NY and the Eleazar de Carvalho Music Festival in Fortaleza, Brazil.

5

London Philharmonic Orchestra • 28 November 2021 • Drama and Sunshine

Catherine Larsen-Maguire conductor

Catherine Larsen-Maguire places great emphasis on working with younger musicians and enjoys working with youth ensembles around the world; 2021 includes projects with the Young Israel Philharmonic and the Landesjugendensemble Neue Musik Berlin. She was a jury member for the Besançon Competition in 2017 and 2019, and for five years held a guest professorship in conducting at the University of the Arts, Berlin.

Born in Manchester and now based in Berlin, Catherine Larsen-Maguire read music at Cambridge University.

She then studied the bassoon at the Royal Academy of Music in London and at the Karajan Academy in Berlin.

Important influences in the development of her conducting skills were John Carewe, George Hurst and former London Philharmonic Orchestra Principal Conductor Vladimir Jurowski, whom she assisted on several occasions early in her career.

Following ten years as principal bassoonist at the Komische Oper Berlin, Catherine Larsen-Maguire turned her focus exclusively to conducting in 2012, having acquired an extensive knowledge of the repertoire, a superlative musical ear and an in-depth awareness of orchestra psychology. Since then, she has become a sought-after conductor with orchestras in Europe as well as South America. In addition to tonight’s debut with the London Philharmonic Orchestra, the 2021/22 season also sees debuts with the BBC National Orchestra of Wales and Royal Northern Sinfonia; and the Geneva Chamber Orchestra and Fribourg Chamber Orchestra in Switzerland, as well as returns to the Slovenian Radio Symphony Orchestra and Orquesta Filarmónica de la UNAM in Mexico City, with whom she enjoys longstanding relationships, and the Tenerife Symphony Orchestra, following a successful debut there in 2020.

Alongside the standard orchestral canon, Catherine Larsen-Maguire also has a special interest in contemporary music and has directed the first performances of numerous works, including Gordon Kampe’s Gefährliche Operette for the Ruhrtriennale, and the North American premiere of James MacMillan’s Oboe Concerto with Nigel Shore. Her collaborations include Klangforum Wien, Ensemble Musikfabrik, Ensemble Resonanz, Ensemble ascolta and ensemble united berlin, while 2021/22 includes her debut with Ensemble Modern, as well as a joint project with Scottish Ensemble, Ensemble Resonanz and the Trondheim Soloists.

6

London Philharmonic Orchestra • 28 November 2021 • Drama and Sunshine

Igor Tchetuev piano

Ruhr, the Braunschweig Festival, the Sintra Festival, the Schleswig-Holstein Festival, the Louvre Auditorium, the Chopin Festival Paris, the Accademia Filharmonica Romana in Rome and the Montpellier Festival, not to mention the festival of La Roque d’Anthéron, where he gave an acclaimed evening recital of Chopin’s 24 Études.

Igor’s recordings have received numerous awards: these include Prokofiev Violin Sonatas with violinist Andrey Bielov (Naxos); Romantic Etudes, featuring works by Schumann, Chopin, Liszt and Scriabin (Tri-M Classic); Three Chopin Sonatas (Orfeo); and Schnittke’s Complete Piano Sonatas (Caro Mitis), which won the German Radio Critics’ Prize, an R10 in Classica-Repertoire in France and a magnificent article in Gramophone magazine.

His latest recordings are the first five volumes of his Complete Beethoven Sonatas (Caro Mitis) and a Medtner recording with violinist Chloë Hanslip (Hyperion).

Igor Tchetuev was born in Sebastopol, Ukraine, in 1980.

At the age of 14 he won the Grand Prix at the International Vladimir Krainev Young Pianists’ Competition (Ukraine) and was a student of Maestro Krainev. In 1998, at the age of 18, he was the First Prize Laureate of the Ninth Arthur Rubinstein International Piano Master Competition, where he was also voted ‘Audience Favourite’.

From the 2021/22 season, Igor Tchetuev was appointed Professor at the Haute Ecole de Musique de Lausanne (HEMU).

Igor Tchetuev has been invited to appear with such orchestras as the Orchestre National de France under Neeme Järvi, the WDR Köln under Semyon Bychkov, the Mariinsky Orchestra under Valery Gergiev, the Orchestre National de Montpellier under Ari Rasilainen, the Bilbao Symphony Orchestra under Günter Neuhold, the Russian National Philharmonic under Ken-David Masur, the Orchestre Pasdeloup at the Salle Pleyel, the Israel Philharmonic Orchestra, the Orchestre National de Bordeaux, the Bern Philharmonic, the Prague Symphony Orchestra and the Orchestre Philharmonique de Marseille. He has performed under such conductors as Evgeny Svetlanov, Valery Gergiev, Semyon Bychkov, Neeme Järvi, Günther Herbig, Vladimir Spivakov, Mark Elder, Rafael Frühbeck de Burgos, Maxim Vengerov, Alexander Dmitriev, Maxim Shostakovich, and many others. Today’s concert is his debut with the London Philharmonic Orchestra.

Each year Igor Tchetuev gives a number of appearances at renowned venues and festivals including the St Petersburg Festival, the Mariinsky Theatre, La Scala, Milan, the Berlin Philharmonie, the Wiener Staatsoper; London’s Wigmore Hall, the Théâtre des ChampsElysées, the Festival de Menton, the Colmar International Festival, the Menuhin Festival Gstaad, the Klavierfestival

7

London Philharmonic Orchestra • 28 November 2021 • Drama and Sunshine

Programme notes Ludwig van Beethoven 1770–1827

Overture, Egmont, Op. 84 1810

Revolution was in the air when Johann Wolfgang von Goethe wrote his play Egmont in 1786. America had declared independence from Britain in 1776, and in 1789 the French were to begin the long and bloody process of overthrowing their own absolute monarchy.

Egmont is set in the Netherlands in the 16th century, then brutally repressed by occupying Spanish forces.

The hero, Count Egmont, rouses the Flemish people in revolt against Spanish tyranny. Eventually he is arrested, and an attempt to rescue him by his lover, Klärchen, fails.

Klärchen poisons herself, and Egmont is executed – but not before he has had a vision of freedom personified as Klärchen herself, who crowns Egmont with a laurel wreath. Egmont offers his death as a sacrifice for his people, confident that freedom will prevail.

Despite the play’s subversive message, Goethe’s Egmont was staged by the Viennese Imperial Court Theatre in 1810, and it was for this production that Beethoven wrote his powerfully dramatic Overture.

Beethoven’s impassioned sympathy for Egmont’s cause can be felt at every stage: the slow introduction, alternately stern and plaintive, leads to an urgent, obsessive Allegro that could easily be the first movement of a tragic symphony. As the music seems to be preparing to a grim final climax, the music is suddenly cut off. Silence follows, then a few plaintive chords for woodwind – surely the moment of Egmont’s execution.

Then, without any attempt at transition, the mood is catapulted into a bright F major and the Overture hurtles to an ecstatic conclusion. In the play – and in the context of Beethoven’s own time – this vision of ‘Crowned Freedom’ is still only a far-off hope.

Ludwig van Beethoven Photo courtesy of the Royal College of Music, London

8

London Philharmonic Orchestra • 28 November 2021 • Drama and Sunshine

Programme notes Pyotr Ilyich Tchaikovsky 1840–93

Piano Concerto No. 1 in B flat minor, Op. 23 1874 Igor Tchetuev piano 1 Allegro non troppo e molto maestoso – Allegro con spirito 2 Andantino semplice – Prestissimo 3 Allegro con fuoco Tchaikovsky was always terribly vulnerable to criticism.

So one can readily imagine the effect on him when the pianist and composer Nikolai Rubinstein pronounced judgement on his newly completed First Piano Concerto. From the start, Tchaikovsky had been particularly keen that Rubinstein perform the Concerto in one of his prestigious concerts. But when Tchaikovsky played the first movement to Rubinstein, on Christmas Eve 1874, the response was withering. ‘It turned out that my concerto was worthless and unplayable’, Tchaikovsky recalled soon afterwards, ‘passages were so fragmented, so clumsy, so badly written that they were beyond rescue; the work itself was bad, vulgar; in places I had stolen from other composers; only two or three pages were worth preserving; the rest must be thrown away or completely rewritten.’

Fortunately for us, Tchaikovsky didn’t follow Rubinstein’s advice and destroy the Concerto; instead he recovered his nerve and sent it to the German pianist and conductor Hans von Bülow, whose reaction could hardly have been more different: the Concerto, Bülow replied, was ‘so original in thought (yet never affected), so noble, so strong, so interesting in details ... In short, this is a real pearl and you deserve the gratitude of all pianists.’ And that, broadly speaking, is how posterity has come to view the First Piano Concerto. Even so, Tchaikovsky did make some revisions after hearing the work in concert.

Bülow made a few recommendations, as did the pianist Edward Dannreuther. Dannreuther’s comments in

Pyotr Ilyich Tchaikovsky Photo courtesy of the Royal College of Music, London

9

London Philharmonic Orchestra • 28 November 2021 • Drama and Sunshine

Programme notes particular must have been made with great tact, because the normally touchy Tchaikovsky thanked him for his ‘very sensible and practical suggestions’, and took them to heart when he revised the Concerto in 1878 – and possibly when he refined it further in 1888. That is the version we hear regularly today.

Bülow’s comments about originality and nobility are borne out right from the start. A few bars of dark fanfare, led by the horns, are swept aside by the piano’s sonorous major-key chords, then one of Tchaikovsky’s grandest and most glorious long melodies surges in on strings. After a period of extended development this theme is dropped, never to return again – to the disappointment of some first-time listeners, yet in fact this tune turns out to contain the seeds of many important themes to come. The long first movement is also striking for the way it dramatises the relationship between piano and orchestra – sometimes an heroic struggle, sometimes closer to a tender or turbulent love affair. After this, the Andantino middle movement offers gentle relief, its faster central section based on a French folk-tune Tchaikovsky used to sing with his brothers Modest and Anatoly, ‘One must have fun, dance and sing’. Then the finale is a terrific, exhilarating workoutcum-fireworks-display based on a Ukrainian folksong, with another splendid ‘Big Tune’, which returns in triumph to end this passionate, stunningly theatrical Concerto.

Our LPO podcast, LPO Offstage, is now in its third series! Hosted by presenter and MOBO Award-winning saxophonist YolanDa Brown, the weekly podcast takes you behind-the-scenes of the LPO, bringing you closer than ever to the world of orchestral music.

Episodes this series include insights into sharing a desk as a string player, the role of the Orchestra’s Librarians, and a look at how streamed concerts come together for broadcast.

Find LPO Offstage on Apple Podcasts, Spotify, Acast, or wherever you listen.

• Highly commended in the 2020 Digital Classical Music Awards

Interval – 20 minutes

• The Sunday Times ‘Pick of the Best Podcasts’

An announcement will be made a few minutes before the end of the interval.

lpo.org.uk/podcast YolanDa Brown

10

London Philharmonic Orchestra • 28 November 2021 • Drama and Sunshine

Programme notes Johannes Brahms 1833–97

Symphony No. 2 in D major, Op. 73 1877

1 Allegro non troppo 2 Adagio non troppo 3 Allegretto grazioso, quasi andantino 4 Allegro con spirito It took Brahms around 20 years to finish his First Symphony; the Second was composed in just a few months. Brahms’s relief at the triumphant success of the First Symphony’s premiere in 1876 was immense: the following summer he took a holiday at the lakeside resort of Pörtschach in the Austrian Alpine region of Carinthia, and almost immediately another symphony began to take form. In September 1877 he met his close confidante Clara Schumann, who reported to the conductor Hermann Levi that ‘Brahms is in good spirits, delighted with his summer holiday and has, in his head at least, a new Symphony in D major; he already has the first movement down on paper.’

that flows like a broad, sunlit river. This is also one of Brahms’s most appealingly melodious symphonic first movements, and yet so many of its thematic ideas grow from the horn theme at the start and from the cellos’ and basses’ tiny introductory motif. The fluency and fertility of this Symphony’s first movement may well stem from Brahms’s ‘delighted’ state of mind, and from the apparent ease with which he composed it.

If the first movement does have its darker, more turbulent moments, these are surely passing shadows amid prevailing warm sunlight. But in the Adagio non troppo that follows, there are moments when Brahms’s remarks about ‘melancholy’ and ‘grief’ may not seem so wide of the mark. The first theme, nobly sung by cellos with a rich bass accompaniment, does have an ‘elegiac’ quality. After the lilting second theme, the mood grows troubled until, in a moment of eerie hush, trombone and tuba sound darkly through nervous tremolando strings: a romantic vista momentarily opens out, reminiscent of the painter Caspar David Friedrich’s melancholic, ruinhaunted landscapes.

As enquiries flooded in about the new Symphony, Brahms gleefully set out leading his eager admirers down the wrong path. To Clara, Brahms reported that the first movement was ‘quite elegiac in character.’

To his publisher, Fritz Simrock, he wrote that, ‘The new Symphony is so melancholy that you won’t be able to bear it. I have never written anything so sad … you must put a black edge round the score to give an outward show of grief.’ So one can imagine Brahms’s smile of satisfaction when he saw the effect of his new Symphony’s opening on his singularly ill-prepared friends. Where Symphony No. 1 launched itself with anguished high strings and obsessively pounding timpani, the Second Symphony begins – after the tiniest of introductions on cellos and basses – with a horn and woodwind theme that positively glows with pleasure.

From this grows a magnificent long first movement

The third movement, on the other hand, is one of the most playful things Brahms ever composed. We begin with a gentle, graceful pastoral dance theme for woodwind with pizzicato cellos. Suddenly, however, the tempo lurches forward (doubles, in fact) and a racing – but at first still hushed – Presto non assai begins.

The whole movement is a kind of affectionate contest between these two types of movement. The slower

11

London Philharmonic Orchestra • 28 November 2021 • Drama and Sunshine

original dance music wins, but as it does so, the key turns minor, the mood wistful, again possibly ‘elegiac’ – if only for a moment.

On the LPO Label

Any passing shadows are banished by the fleet-footed finale. Here there are constant reminders of how much Brahms admired Haydn, the master of symphonic musical wit – and sometimes wicked humour. There is one more moment of romantic mystery (more soft, darkvoiced bass brass sounding through rustling strings) at the heart of this movement, but the ending is uproarious high spirits, culminating in a great shout of joy from high trombones. Then with four emphatic major-key chords, the symphony Brahms called his ‘lieblicher Ungeheuer’ – his ‘lovely monster’ – ends.

Programme notes © Stephen Johnson

Brahms Symphonies Nos. 1 & 2

Johannes Brahms

Vladimir Jurowski conductor London Philharmonic Orchestra £10.99 | LPO–0043 Recorded live at the Southbank Centre’s Royal Festival Hall on 25 May 2008 (Symphony No. 1) and 27 September 2008 (Symphony No. 2)

‘The ending is roofraising, and I’m glad that they left the applause in …

I felt like joining in.’

BBC Radio 3’s ‘Building a Library’

All LPO Label releases are available on CD from all good retailers, and to download or stream via Spotify, Apple Music, Idagio and others.

12

Next LPO concerts at the Congress Theatre Beethoven’s Pastoral Symphony

Daydreams and Fantasies

Sunday 16 January 2022 3.00pm

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

Beethoven Overture, Fidelio Beethoven Piano Concerto No. 4 Beethoven Symphony No. 6 (Pastoral) Matthew Coorey conductor Joanna MacGregor piano

Sunday 13 March 2022 3.00pm

Holly Mathieson conductor Martin James Bartlett piano

Sheku Kanneh-Mason plays Shostakovich

Spirit of the City

Sunday 20 February 2022 3.00pm

Coleridge-Taylor Ballade Bruch Violin Concerto No. 1 Vaughan Williams Symphony No. 2 (London)

Mussorgsky Khovanschina: Introduction ‘Dawn of the Moscow River’ Shostakovich Cello Concerto No. 2 Borodin Symphony No. 2 Jonathan Bloxham conductor Sheku Kanneh-Mason cello

Sunday 24 April 2022 3.00pm

Tom Gauterin conductor Daniel Pioro violin

Book online eastbournetheatres.co.uk Ticket Office 01323 412000

London Philharmonic Orchestra • 28 November 2021 • Drama and Sunshine

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

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

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

Orchestra Circle

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

Principal Associates

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

Associates

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

Gold Patrons

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

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

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

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 Carlos Carreno Mr Julien Chilcott-Monk Mr & Mrs Stewart Cohen David & Liz Conway Mr Alistair Corbett Andrew Davenport Mr Simon Douglas Mr Richard Fernyhough Mrs Janet Flynn Mrs Ash Frisby 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 Richard & Briony Linsell Paul & Brigitta Lock Mr Peter Mace Nicholas & Lindsay Merriman Andrew T Mills Simon & Fiona Mortimore John Nickson & Simon Rew Mr James Pickford

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 Jamie & Julia Korner Rose & Dudley Leigh Drs Frank & Gek Lim

14

Michael & Carolyn Portillo Mr David Russell Colin Senneck & the Hartley and District LPO Group Nigel Silby Mr Brian Smith Martin & Cheryl Southgate Mr & Mrs G Stein Dr Peter Stephenson Mr Ian Tegner Dr June Wakefield Howard & Sheelagh Watson 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 Nick & Rebecca Beresford Mr Paul Bland Mr Keith Bolderson Mr Andrew Botterill Julian & Margaret Bowden & Mr Paul Michel Richard & Jo Brass Mr & Mrs Shaun Brown Mr Alan C Butler Lady Cecilia Cadbury Mrs Marilyn Casford Alison Clarke & Leo Pilkington J Clay Mr Joshua Coger Mr Martin Compton Mr Martin Connelly Mr Stephen Connock Miss Tessa Cowie Mr David Davies Mr Roderick Davies Mr David Devons Anthony & Jo Diamond Miss Sylvia Dowle Mr Andrew Dyke Mr Declan Eardly Mrs Maureen Erskine Mr Peter Faulk Mr Joe Field Ms Chrisine Louise Fluker Mr Kevin Fogarty Mr Richard France Mr Bernard Freudenthal

London Philharmonic Orchestra • 28 November 2021 • Drama and Sunshine

Thank you

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

LPO International Board of Governors

Hon. Benefactor

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

Elliott Bernerd

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

Corporate Donors

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

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

LPO Corporate Circle Leader freuds Sunshine

Principal Berenberg Bloomberg Carter-Ruck French Chamber of Commerce

Thomas Beecham Group Members

Tutti Lazard Russo-British Chamber of Commerce Walpole

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

Trialist Allianz Musical Insurance

Preferred Partners

Gusbourne Estate Lidl Lindt & Sprüngli Ltd London Orthopaedic Clinic Steinway

In-kind Sponsor Google Inc

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:

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

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.

15

London Philharmonic Orchestra • 28 November 2021 • Drama and Sunshine

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

Barry Smith Martin Southgate Chris Viney Laurence Watt Elizabeth Winter

Finance

General Administration

Jean-Paul Ramotar Finance and IT Officer

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

*Player-Director

Grace Ko Tours Manager

Advisory Council

Alison Jones Concerts and Recordings Co-ordinator

Martin Höhmann Chairman Christopher Aldren Dr Manon Antoniazzi Roger Barron Richard Brass Helen Brocklebank 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

Frances Slack Finance Director

Development Laura Willis Development Director Stef Woodford Corporate Relations Manager Rosie Morden Individual Giving Manager

Christina Perrin Concerts and Tours Assistant

Anna Quillin Trusts and Foundations Manager

Matthew Freeman Recordings Consultant

Priya Radhakrishnan Georgia Wiltshire Development Assistants

Andrew Chenery Orchestra Personnel Manager Sarah Thomas Martin Sargeson Librarians

Nick Jackman Campaigns and Projects Director

Laura Kitson Stephen O’Flaherty Stage Managers

Kirstin Peltonen Development Associate

Damian Davis Transport Manager

Marketing

Felix Lo Orchestra and Auditions Manager

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

16

Gavin Miller Box Office Manager Ruth Knight Press and PR Manager Sophie Harvey Digital and Residencies Marketing 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 Chris Aldren Honorary ENT Surgeon Mr Brian Cohen Mr Simon Owen-Johnstone Hon. Orthopaedic Surgeons 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