LPO programme: 28 Oct 2023 - Canellakis conducts Shostakovich (Karina Canellakis/Jonathan Biss)

2023/24 concert season at the Southbank Centre

Free concert programme

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

Southbank Centre’s Royal Festival Hall Saturday 28 October 2023 | 7.30pm

Canellakis conducts Shostakovich Beethoven Overture, The Creatures of Prometheus, Op. 43 (5’) Beethoven Piano Concerto No. 2 in B flat major, Op. 19 (28’) Interval (20’) Shostakovich Symphony No. 8 in C minor, Op. 65 (62’)

Karina Canellakis conductor Jonathan Biss piano

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 Karina Canellakis 7 Jonathan Biss 8 Programme notes 13 Recommended recordings 14 Next concerts 16 LPO Label 17 Sound Futures donors 18 Thank you 20 LPO administration

London Philharmonic Orchestra • 28 October 2023 • Canellakis conducts Shostakovich

Welcome

LPO news

Welcome to the Southbank Centre 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.

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.

Gramophone Opera Award We’re thrilled that our recording of Tippett’s The Midsummer Marriage with Principal Conductor Edward Gardner, the London Philharmonic Choir and the English National Opera Chorus won Gramophone’s Opera Award 2023, announced on 4 October at the annual Gramophone Awards ceremony. We were also nominated for Orchestra of the Year, and in the Contemporary category for our premiere recording of James MacMillan’s Christmas Oratorio.

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

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Recorded live on 25 September 2021 at the Royal Festival Hall, our performance of The Midsummer Marriage marked an important moment for the Orchestra – not only was it the first concert with Edward Gardner as our Principal Conductor, it was also the first concert with a full audience following the COVID-19 pandemic. The recording, released in September 2022, was also the first commercial recording of the opera in over 50 years.

Drinks You are welcome to bring drinks from the venue’s bars and cafés into the Royal Festival Hall to enjoy during tonight’s concert. Please be considerate to fellow audience members by keeping noise during the concert to a minimum, and please take your glasses with you for recycling afterwards.

Thank you.

Elgar – The Legacy Vol. 2: out now Over the summer we launched a new series of digital recordings celebrating the legacy of Edward Elgar. Volume 2 is out now on all streaming services and captures the complete Elgar recordings made by the LPO during 1950–51, under conductors Adrian Boult and Eduard van Beinum. Highlights include the Cello Concerto performed by Anthony Pini, the Cockaigne Overture, and both Wand of Youth Suites.

Enjoyed tonight’s concert?

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

Scan the QR code to listen now, or find out more about the series at lpo.org.uk/recordings

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London Philharmonic Orchestra • 28 October 2023 • Canellakis conducts Shostakovich

On stage tonight First Violins

Pieter Schoeman* Leader Chair supported by Neil Westreich

Alice Ivy-Pemberton Co-Leader

Kate Oswin

Chair supported by Eric Tomsett

Lasma Taimina

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

Thomas Eisner Cassandra Hamilton Yang Zhang Elizaveta Tyun Katalin Varnagy

Chair supported by Sonja Drexler

Amanda Smith Alice Apreda Howell Ronald Long Rasa Zukauskaite Emma Lisney Gabriela Opacka Julian Schad

Second Violins

Emma Oldfield Principal Ray Liu Helena Smart Claudia Tarrant-Matthews Chair supported by Friends of the Orchestra

Fiona Higham

Chair supported by David & Yi Buckley

Ashley Stevens Nancy Elan Marie-Anne Mairesse Nynke Hijlkema Joseph Maher Sioni Williams Sarah Thornett Kate Cole Harry Kerr

Violas

Oboes

Rachel Roberts

Ian Hardwick* Principal Alice Munday

Guest Principal

Martin Wray Benedetto Pollani Laura Vallejo Lucia Ortiz Sauco Kim Becker Stanislav Popov Linda Kidwell Richard Cookson James Heron Julia Doukakis Jisu Song

Cor Anglais

Sue Böhling* Principal

Chair supported by Dr Barry Grimaldi

Clarinets

Benjamin Mellefont Principal

James Maltby

Cellos

Bass Clarinet

Kristina Blaumane Principal

Paul Richards* Principal

Chair supported by Bianca & Stuart Roden

Peter Martens Nazar Dzhuryn Francis Bucknall David Lale Sue Sutherley Helen Thomas Sibylle Hentschel Jane Lindsay Iain Ward

E-flat Clarinet

Double Basses

Dominic Tyler Simon Estell*

Thomas Watmough Principal

Chair supported by Roger Greenwood

Bassoons

Jonathan Davies Principal Chair supported by Sir Simon Robey

Kevin Rundell* Principal George Peniston Laura Murphy Adam Wynter Colin Paris Thea Sayer Elen Roberts Sam Rice

Contrabassoon

Trombones

Mark Templeton* Principal Chair supported by William & Alex de Winton

David Whitehouse

Bass Trombone

Lyndon Meredith Principal

Tuba

Lee Tsarmaklis* Principal

Timpani

Simon Carrington* Principal

Chair supported by Victoria Robey OBE

Percussion

Andrew Barclay* Principal Chair supported by Gill & Garf Collins

Karen Hutt

Chair supported by Mr B C Fairhall

Tom Edwards Jeremy Cornes Feargus Brennan James Crook

Assistant Conductor Charlotte Politi

Simon Estell* Principal

Horns

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

Flutes

Juliette Bausor Principal Frederico Paixão Stewart McIlwham* Katie Bicknell

Trumpets

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

Piccolos

Stewart McIlwham* Principal

Katie Bicknell

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*Holds a professorship at a London conservatoire

The LPO also acknowledges the following chair supporters whose player is not present at this concert: Caroline, Jamie & Zander Sharp

London Philharmonic Orchestra • 28 October 2023 • Canellakis conducts Shostakovich

© Mark Allan

London Philharmonic Orchestra

Our conductors

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

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

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

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

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

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

Sharing the wonder You’ll find us online, on streaming platforms, on social media and through our broadcast partnership with Marquee TV. During the pandemic period we launched ‘LPOnline’: over 100 videos of performances, insights and introductions to playlists, which led to us being named runner-up in the Digital Classical Music Awards 2020.

During 2023/24 we’re once again be working with Marquee TV to broadcast selected live concerts, so you can share or relive the wonder from your own living room.

We also release live, studio and archive recordings on our own label, and are the world’s most-streamed orchestra, with over 15 million plays of our content each month.

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London Philharmonic Orchestra • 28 October 2023 • Canellakis conducts Shostakovich

Pieter Schoeman Leader

There’s nothing we love more than seeing the joy of children and families enjoying their first musical moments, and we’re passionate about equipping schools and teachers through schools’ concerts, resources and training. Reflecting our values of collaboration and inclusivity, our OrchLab and Open Sound Ensemble projects offer music-making opportunities for adults and young people with special educational needs and disabilities.

Our LPO Junior Artists programme is leading the way in creating pathways into the profession for young artists from under-represented communities, and our LPO Young Composers and Foyle Future Firsts schemes support the next generation of professional musicians, bridging the transition from education to professional careers. We also recently launched the LPO Conducting Fellowship, supporting the development of outstanding early-career conductors from backgrounds currently under-represented in the profession.

© Benjamin Ealovega

Next generations

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.

Looking forward

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

The centrepiece of our 2023/24 season is our spring 2024 festival The Music in You. Reflecting our adventurous spirit, the festival embraces all kinds of expression – dance, music theatre, and audience participation. We’ll collaborate with artists from across the creative spectrum, and give premieres by composers including Tania León, Julian Joseph, Daniel Kidane, Victoria Vita Polevá, Luís Tinoco and John Williams.

Rising stars making their debuts with us in 2023/24 include conductors Tianyi Lu, Oksana Lyniv, Jonathon Heyward and Natalia Ponomarchuk, accordionist João Barradas and organist Anna Lapwood. We also present the long-awaited conclusion of Conductor Emeritus Vladimir Jurowski’s Wagner Ring Cycle, Götterdämmerung, and, as well as our titled conductors Edward Gardner and Karina Canellakis, we welcome back classical stars including Anne-Sophie Mutter, Robin Ticciati, Christian Tetzlaff and Danielle de Niese.

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

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

lpo.org.uk

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

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London Philharmonic Orchestra • 28 October 2023 • Canellakis conducts Shostakovich

Karina Canellakis Principal Guest Conductor, London Philharmonic Orchestra

© Mathias Bothor

After the great successes of Kat’a Kabánova and The Cunning Little Vixen with the Netherlands Radio Philharmonic in previous seasons, this season Karina continues her series of Janáček operas with The Makropulos Case. She will also conduct Strauss’s Der Rosenkavalier for Santa Fe Opera in summer 2024.

Her concert performances of acts of Wagner’s Die Walküre, Tristan und Isolde and Siegfried have met with tremendous critical praise, and she has conducted critically acclaimed productions of Tchaikovsky’s Eugene Onegin; Mozart’s Don Giovanni, Die Zauberflöte and Le nozze di Figaro; David Lang’s the loser; and Peter Maxwell Davies’s The Hogboon.

April 2023 saw the start of a multi-album collaboration between Karina, the Netherlands Radio Philharmonic and Pentatone with their debut release; Bartók’s Concerto for Orchestra and Four Orchestral Pieces.

Karina and the RFO were also featured artists for the launch of Apple Music Classical, in a recording of Beethoven’s Piano Concerto No. 1 with Alice Sara Ott.

Internationally acclaimed for her emotionally charged performances, technical command and interpretive depth, Karina Canellakis has become one of the most in-demand conductors of her generation. She has been Principal Guest Conductor of the London Philharmonic Orchestra since September 2021, and is also Chief Conductor of the Netherlands Radio Philharmonic Orchestra.

Since winning the Sir Georg Solti Conducting Award in 2016, Karina Canellakis has become a guest conductor with leading orchestras around the world including the Bavarian Radio Symphony, Boston Symphony, Chicago Symphony, Cleveland, LA Philharmonic, London Symphony, Munich Philharmonic, Philadelphia, San Francisco Symphony and Vienna Symphony orchestras, the Orchestre de Paris, and the Gewandhausorchester Leipzig. She recently finished a four-year appointment as Principal Guest Conductor of the Berlin Radio Symphony Orchestra.

Tonight’s concert is the second of two performances with the LPO this week, and Karina next returns to the Orchestra on 21 February 2024 to conduct a programme including Brahms’s Fourth Symphony. Following last season’s highly successful tour of Germany with the LPO and pianist Daniil Trifonov, this season she also leads the Orchestra on tour to Munich, Athens and Vienna’s Musikverein, where she is a featured Artist-inResidence for 2023/24.

Karina Canellakis was the first woman to conduct the First Night of the BBC Proms in London in 2019, with the BBC Symphony Orchestra, and returned to the Proms in 2022. She was also the first woman to ever conduct the Nobel Prize Concert, with the Royal Stockholm Philharmonic in 2018.

As Chief Conductor of the Netherlands Radio Philharmonic, this season Karina presents exciting contemporary pieces, new commissions and wellknown masterpieces at the Concertgebouw Amsterdam and TivoliVredenburg in Utrecht. Particular highlights include a concert performance of Wagner’s Siegfried as part of the prestigious Zaterdag Matinee series.

Already known to many in the classical music world for her virtuoso violin playing, Karina was initially encouraged to pursue conducting by Sir Simon Rattle while she was playing regularly in the Berlin Philharmonic for two years as a member of its Orchester-Akademie. She performed for many years as a soloist, guest leader and chamber musician, spending her summers at the Marlboro Music Festival, until conducting eventually became her focus.

Karina’s 2023/24 guest engagements include her debut with the New York Philharmonic, as well as returns to the Boston Symphony, San Francisco Symphony, Los Angeles Philharmonic and Cleveland orchestras, the Berlin Radio Symphony Orchestra, and the NDR Elbphilharmonie in Hamburg.

Karina was born and raised in New York City.

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London Philharmonic Orchestra • 28 October 2023 • Canellakis conducts Shostakovich

Jonathan Biss piano

© Benjamin Ealovega

As well as tonight’s return to the London Philharmonic Orchestra, European engagements this season include performances with Mitsuko Uchida at London’s Wigmore Hall and the Salzburg and Gstaad festivals, and a performance of Beethoven’s Piano Concerto No. 1 with the BBC National Orchestra of Wales under Ryan Bancroft. Jonathan also reunites with the Elias String Quartet for concerts in the UK, culminating at Wigmore Hall. In the new year he will perform works by György Kurtág and Schubert in Milan and Jerusalem. He concludes his European season with the Orchestre de chambre de Paris and conductor Pekka Kuusisto with a performance of Beethoven’s Piano Concerto No. 2 and Timo Andres’s The Blind Banister, part of his ongoing ‘Beethoven/5’ commissioning project in association with the St Paul Chamber Orchestra, which paired each Beethoven concerto with a new concerto composed in response. The project has commissioned a number of today’s leading composers including Brett Dean, Caroline Shaw, Timo Andres, Sally Beamish and Salvatore Sciarrino.

Pianist Jonathan Biss is also a world-renowned educator and critically-acclaimed author who channels his deep musical curiosity into expansive performances and projects in the concert hall and beyond. Praised as ‘a superb pianist and also an eloquent and insightful music writer’ (The Boston Globe) with ‘impeccable taste and a formidable technique’ (The New Yorker), he has appeared internationally as a soloist with the Los Angeles and New York Philharmonics, the Boston, Chicago and San Francisco symphony orchestras and the Cleveland and Philadelphia orchestras, as well as the BBC Symphony Orchestra and Gewandhausorchester Leipzig, among many other ensembles. A performer whose repertoire ranges from the core canon to contemporary commissions, he is also Co-Artistic Director alongside Mitsuko Uchida at the Marlboro Music Festival, where he has spent 15 summers.

Coinciding with the 250th anniversary of Beethoven’s birth in 2020, Jonathan Biss recorded the composer’s complete piano sonatas, and offered insights to all 32 landmark works via his free online Coursera lecture series, ‘Exploring Beethoven’s Piano Sonatas’. The same year, he released his fourth book, UNQUIET: My Life with Beethoven, the first Audible Original by a classical musician and one of Audible’s top audiobooks of 2020.

Jonathan is the recipient of numerous honours including the Leonard Bernstein Award, the Andrew Wolf Memorial Chamber Music Award, an Avery Fisher Career Grant, the Borletti-Buitoni Trust Award and a Gilmore Young Artist Award, and was was the first American chosen to participate in the BBC’s New Generation Artist programme. His albums for EMI have won the Diapason d’Or de l’Année and Edison awards. He is also on the piano faculty of the New England Conservatory.

In the 2023/24 season, Jonathan, who has been heralded as ‘one of today’s foremost Beethoven exponents’ (Chicago Tribune), returns to perform the composer’s music with the St Louis Symphony Orchestra and Stéphane Dénève, the Cincinnati Symphony Orchestra and Ramón Tebar, and The Philadelphia Orchestra and Yannick Nézet-Séguin at Carnegie Hall. Throughout the season he will present a new project that pairs solo piano works by Schubert with new compositions by Alvin Singleton, Tyson Gholston Davis and Tyshawn Sorey, with performances in San Francisco, Boston, Scottsdale, and many other cities. He continues his longstanding collaboration with Mitsuko Uchida, performing Schubert’s music for piano four-hands at Carnegie Hall, Princeton University Concerts and Philadelphia Chamber Music Society.

He will also appear with the Brentano Quartet at venues across the US and Canada.

Jonathan Biss is a third-generation professional musician; his grandmother is Raya Garbousova, one of the first famous female cellists (for whom Samuel Barber composed his Cello Concerto), and his parents are violinist Miriam Fried and violist/violinist Paul Biss.

Growing up surrounded by music, Jonathan began his piano studies at the age of six, with his first musical collaborations alongside his mother and father. He studied with Evelyne Brancart at Indiana University and Leon Fleisher at the Curtis Institute of Music.

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London Philharmonic Orchestra • 28 October 2023 • Canellakis conducts Shostakovich

Programme notes Ludwig van Beethoven 1770–1827

Overture, The Creatures of Prometheus, Op. 43 1801

the dances from the later part of the score in one of his most substantial sets of piano variations, and from there took it on into the mighty finale of the ‘Eroica’ Symphony.

Beethoven and ballet may seem unlikely companions, but in the early part of his career the great man produced two of them: a youthful Ritterballett (‘Knights’ Ballet’) on subjects related to German nationhood composed for the Bonn court in 1790; and Die Geschöpfe des Prometheus (‘The Creatures of Prometheus’), commissioned by the Viennese court ballet and first performed at the Burgtheater on 28 March 1801.

Photo courtesy of the Royal College of Music, London

Ballet’s existence in Vienna in the second half of the 18th century had been somewhat on-off: considerable popularity in the 1760s and 70s, when it had rivalled Italian opera and numbered Gluck among its leading composers, had been followed by a decline in interest in the ’80s, and then by the establishment of a sizeable new company in 1796. Typically, a ballet would not form a whole evening’s entertainment – it was more likely to follow the performance of a play or an opera – and might consist of one or two acts, offering a sequence of dances sometimes (but not always) linked by plot. The exact details of the plot of Prometheus are unknown, but the classical subject is a familiar one: the figure who creates two beings from clay with the help of fire stolen from the gods and then instructs them in human arts and passions. Beethoven’s overture and 17 dances achieved 28 performances, a respectable total without being enough to qualify as a success, and no further ballet commissions were forthcoming.

The short Overture is more sparkling curtain-raiser than dramatic scene-setter, and the ‘off-key’ opening, the scampering string theme, trippingly syncopated wind melody and swirling conclusion offer none of the strong musical hints of the action to come that characterise the later overtures to Leonore and Egmont. But although the music of this ballet, roughly contemporary with the First Symphony, shows Beethoven in lighthearted vein, something in the subject-matter – Prometheusas creative artist and educator, perhaps – must have struck home; he subsequently used one of

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London Philharmonic Orchestra • 28 October 2023 • Canellakis conducts Shostakovich

Programme notes Ludwig van Beethoven 1770–1827

Piano Concerto No. 2 in B flat major, Op. 19 1787–95

Jonathan Biss piano

1 Allegro con brio 2 Adagio 3 Rondo: Molto allegro Eleven years after Mozart’s move to Vienna, and nearly a year after his death there in 1791, the 21-year-old Beethoven arrived to absorb the atmosphere of what was arguably the musical capital of the world and to study with the world’s most famous composer – ‘to receive the spirit of Mozart from the hands of Haydn’ as a friend back in Bonn put it. But it was as a virtuoso pianist in private salons that he first made his name, mostly with improvisations so daring that one fellow performer had to concede that ‘he is no man, he’s a devil; he’ll play me and all of us to death’.

When it came to formal composition Beethoven was more circumspect, however, and it was only in 1795 that he chose to make his first public appearance in a work of his own. This was a piano concerto performed at the Burgtheater on 29 March and ‘received with unanimous applause’, and although we do not know which concerto this was, it is usually assumed to have been the one now known as ‘No. 2’, composed before ‘No. 1’ but eventually published after it.

included the replacement of the original Adagio and Rondo with the movements we have now, and evidently the state of both concertos remained fluid for quite a while; Beethoven did not even make a fair copy of the piano part of No. 2 until he prepared it for publication in 1801.

Concerto No. 2 uses a relatively small orchestra – no clarinets, trumpets or drums – but Beethoven quickly shows that, like Mozart, he can create a cheerily martial atmosphere without them. In fact, the fanfare figures of the opening bars pop up throughout the first movement, imparting much of its flavour as well as providing a driving developmental force. So too, though, does the brief, winding violin phrase that answers that fanfare’s first statement; the movement’s second important theme – split between the violins and arriving after an unexpected key-shift to D flat major – is directly derived from it, as is the piano’s nonchalant first entry, though here the relationship is subtle enough to make it seem like a new theme. Beethoven must have liked the effect of that key-shift, too, for he re-creates it several times in the subsequent course of the movement.

As it happens, not even this concerto was Beethoven’s first – the piano part survives for a concerto in E flat from 1784 – but with evidence suggesting that it was begun in the late 1780s, when its composer was still in Bonn, ‘No. 2’ is certainly among the earliest of his works to be heard in concert halls today. Whatever the truth, we do know that both No. 1 and No. 2 were performed in Prague in 1798, and that somewhere along the line a number of revisions were made – a sure sign of an ongoing performance history. For No. 2 these revisions

The Adagio is broad and serene and, like many of Beethoven’s early slow movements, encrusted with elaborate piano figuration. There is a broodingly emotional quality here, and the climax of the movement comes in a brief, drooping recitative-like passage for the soloist, marked to be played ‘con gran espressione’.

The finale, as in all of Beethoven’s concertos, is a Rondo,

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London Philharmonic Orchestra • 28 October 2023 • Canellakis conducts Shostakovich

Programme notes here with four statements of the main theme separated by contrasting episodes. The movement’s character is established by the playful rhythmic catch of the main theme, and there are some knowing hints at the fashionable, percussive ‘Turkish’ style along the way.

Mozart may have been the model, but the spirit here is pure youthful Beethoven.

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

More piano highlights this autumn Hélène Grimaud

Julian Joseph

3 Nov 2023: Hélène Grimaud plays Ravel’s Piano Concerto in G 22 Nov 2023: Julian Joseph plays Gershwin’s Rhapsody in Blue 6 Dec 2023: Tom Borrow plays Beethoven’s Piano Concerto No. 5 (Emperor)

lpo.org.uk 10

London Philharmonic Orchestra • 28 October 2023 • Canellakis conducts Shostakovich

Programme notes Dmitri Shostakovich 1906–75

Symphony No. 8 in C minor, Op. 65 1943

1 Adagio – Allegro non troppo 2 Allegretto 3 Allegro non troppo – 4 Largo – 5 Allegretto Of the three ‘war’ symphonies that Shostakovich wrote between 1941 and 1945, it was the first, No. 7, the inspirational ‘Leningrad’, that drew most attention at the time. Partly composed in Leningrad during the siege by German forces in 1941, it came to symbolise Russian resistance to the terrors and deprivations of the ‘Great Patriotic War’, especially after a copy was smuggled to the USA, where numerous enthusiastically received performances of it were seen as emblematic of Russian-American solidarity in the face of the Nazi threat.

The next symphony, No. 8, composed in the space of just two months at an artists’ retreat in the summer of 1943, caused less excitement; reaction to its premiere in Moscow later in the year was muted, and none of the major papers reviewed it. This was despite the fact that Shostakovich had declared in a recent interview that ‘it reflects my thoughts, feelings and elevated creative mood, which could not help being influenced by the joyful news of the Red Army’s victories ...

[It] contains many tragic and dramatic inner conflicts.

But on the whole it is an optimistic, life-asserting work.’

If that led people to expect another ‘Leningrad’, a second stirring celebration of Russian heroism, no wonder they were puzzled by No. 8, a work of Mahlerian emotional complexity and violent power whose message is far from being so clear-cut, and in which optimism in particular seems for the most part to struggle just to survive.

Continued overleaf

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London Philharmonic Orchestra • 28 October 2023 • Canellakis conducts Shostakovich

Programme notes Perhaps the people of influence sensed something of the alternative interpretation suggested in 1979

by Solomon Volkov’s controversial book Testimony, claiming to present Shostakovich’s true thoughts as related to the author, in which we are told that ‘the war brought much new sorrow and much new destruction, but I haven’t forgotten the terrible pre-war years ...

Too many of our people died and were buried in places unknown to anyone, not even their relatives.

I think constantly of those people, and in almost every major work I try to remind others of them.’ By 1956, eight years after Shostakovich had also come under fire from the authorities for ‘formalism’, the composer was lamenting that the ‘work into which I put so much thought and feeling’ had not been performed in the Soviet Union for many years.

but, propelled by horrifying transformations of the earlier throbbing accompaniment figure, the music soon builds to a fff climax. This gives out onto two faster sections, the first shrilly agitated and the second a grim march, at the end of which percussion rolls pitch us into an even more ear-splitting climax featuring restatements of the three-note motif from the opening.

In formal terms, this is the moment of recapitulation, but the first thing we hear after a stunned silence is a long and heartbreakingly mournful cor anglais solo.

The earlier themes then return in a new order as the movement winds down to a hushed ending.

The first of the march-scherzos follows. At first it seems to be in celebratory, almost ‘Russian nationalist’ mood, but its attempts at carefree jollity (borrowed from a movement in the second Jazz Suite of 1938) are repeatedly stamped out by interventions and transformations that are variously sarcastic, ugly, grotesque or macabre. The second march shows not even a hint of a smile, however, being a relentless moto perpetuum of mechanistic brutality, with an absurd, self-important trumpet melody for a central ‘trio’; if it is a depiction of militaristic totalitarianism it could hardly be more damning.

Subsequently, however, the stock of the Eighth has risen to the point where it is now seen as one of the greatest of all his works. It may be that it is the ever-increasing distance in time from the War and from Shostakovich’s predicament as a Soviet artist that has enabled it to emerge to advantage, less encumbered and in a more revealing light. For all that the War continues to maintain a strong presence in our collective emotional consciousness – a presence that Shostakovich’s music of that time undoubtedly still connects with – the details of it recede, with the result that a work such the Eighth can begin to be seen more as a symphony that is great in its own right and on its own ‘symphonic’ terms. Yes, it is a ‘war’ symphony, if that helps; but it is also a symphony by a towering master of the genre, for whom, however much we may pore over the background, the music ultimately does the real talking.

This horrifying episode crashes to a halt on a rudely aggressive drum-roll, and probably few listeners would expect at this point that the next movement is about to follow straight on, even less that it is to be a noble and generously unfolding passacaglia. The spacious, mysteriously undulating bass line is stated 12 times, forcefully at first to combat the drum-roll, but quickly subsiding as variations are calmly spun over it in gently shifting colours. The movement then slides without a break into the finale, which starts in apparently lighthearted vein with a trio for bassoons. Further relaxed episodes follow, but when a fugue opens up the tension builds with it as reminders of the horrors of earlier movements begin to appear, culminating in a shattering reappearance of the violent climax of the first movement. Following this the music winds down, but without its former cheerfulness, as if stung by the memory of this final outburst. Eventually the Symphony dies quietly away, but if its lack of a real sense of peaceful repose does not quite affirm for us Shostakovich’s assertion that ‘everything that is dark and gloomy will perish and disappear, and the beautiful will triumph’, it at least allows us reason to hope.

Like Mahler, Shostakovich was freely pragmatic in his approach to formal outline in his symphonies – only six of the 15 are in the ‘traditional’ four movements.

The Eighth has a particularly Mahlerian shape, its five movements containing two adjacent march-scherzos, a spacious and wide-ranging finale, and, to start, an epic sonata-form slow movement that in terms of duration makes up almost half the work. It opens darkly in the lower strings, sounding in the very first bar a three-note motif – a note followed by an adjacent note and then the first note again – that will recur memorably and in many guises throughout the Symphony. The texture builds eerily until a more lyrically relaxed tune is heard on violins over a gently throbbing accompaniment. After this has been heard a second time, the development section begins quietly and almost with the calm flavour of a fugal exposition,

Programme notes © Lindsay Kemp

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London Philharmonic Orchestra • 28 October 2023 • Canellakis conducts Shostakovich

Karina Canellakis returns

Recommended recordings of tonight’s works

by Laurie Watt

Wednesday 21 February 2024 7.30pm Royal Festival Hall

Beethoven: The Creatures of Prometheus London Philharmonic Orchestra | Klaus Tennstedt (Warner Classics)

Mussorgsky (orch. Shostakovich) Dawn on the Moscow River (Prelude to Khovanshchina) Shostakovich Cello Concerto No. 1 Brahms Symphony No. 4

Beethoven: Piano Concerto No. 2 Martin Helmchen | Deutsches SymphonieOrchester Berlin | Andrew Manze Shostakovich: Symphony No. 8 Royal Concertgebouw Orchestra | Bernard Haitink (Decca Virtuoso) or Leningrad Philharmonic Orchestra | Yevgeny Mravinsky (Alto)

Karina Canellakis conductor Pablo Ferrández cello

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Next LPO concerts at the Southbank Centre’s Royal Festival Hall HÉLÈNE GRIMAUD PLAYS RAVEL Friday 3 November 2023 | 7.30pm

Dukas The Sorcerer’s Apprentice Ravel Piano Concerto in G Stravinsky Petrushka (1947 revised version) Edward Gardner conductor Hélène Grimaud piano Hélène Grimaud’s performance is generously supported by HSH Dr Donatus, Prince of Hohenzollern.

JULIAN JOSEPH PLAYS GERSHWIN Wednesday 22 November 2023 | 7.30pm

Julian Joseph Spiritual Fiction or Fact?

(No. 5 of Symphonic Stories: The Great Exception) Gershwin Rhapsody in Blue Saint-Saëns Symphony No. 3 (Organ) Jader Bignamini conductor Julian Joseph piano Julian Joseph Trio Anna Lapwood organ

TICCIATI CONDUCTS MAHLER Saturday 25 November 2023 | 7.30pm Mahler Symphony No. 3 Robin Ticciati conductor Alice Coote mezzo-soprano London Philharmonic Choir Trinity Boys Choir

LPO.ORG.UK

THE

FIREBIRD SUNDAY 29 OCTOBER 2023 SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL CONCERT 12.00–1.00PM ACTIVITIES 10.00–11.45AM

Edward Gardner conductor Rachel Leach presenter London Philharmonic Orchestra

Weaving a tale of good versus evil, The Firebird will captivate audiences and provide an unforgettable first concert experience for all the family.

Recommended for children aged 6+ and their families.

Join us from 10.00am for free pre-concert activities.

LPO.ORG.UK/FUNHARMONICS

Coming soon on the LPO Label Edward Gardner conducts

Berlioz: The Damnation of Faust LPO-0128

Recorded live at the Royal Festival Hall, 4 Feb 2023

Apple Music Classical exclusive release: 3 November 2023 General release: 3 February 2024

Karen Cargill Marguerite John Irvin Faust Christopher Purves Mephistopheles Jonathan Lemalu Brander London Philharmonic Choir London Symphony Chorus London Youth Choirs

Look for the Apple Music Classical app for iPhone and Android in the App Store or Google Play Store.

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Latest releases on the LPO Label

JAMES MACMILLAN

STRAVINSKY VOL. 2

Mark Elder conductor Lucy Crowe soprano | Roderick Williams baritone London Philharmonic Choir

Vladimir Jurowski conductor

CHRISTMAS ORATORIO

LPO-0125 Released November 2022 Scan to listen or find out more

COMING SOON

JUROWSKI CONDUCTS

LPO-0126 Released April 2023 Scan to listen or find out more

COMING SOON

BERLIOZ

STRAVINSKY VOL. 3

Edward Gardner conductor Karen Cargill | John Irvin | Christopher Purves Jonathan Lemalu | London Philharmonic Choir London Symphony Chorus | London Youth Choirs

Vladimir Jurowski conductor Angharad Lyddon | Sam Furness | Matthew Rose Elizabeth Atherton | Maria Ostroukhova Joel Williams | Theodore Platt | Joshua Bloom Maxim Mikhailov | London Philharmonic Choir

THE DAMNATION OF FAUST

Apple Music Classical exclusive release 3 Nov 2023 General release 3 Feb 2024 (LPO-0128)

JUROWSKI CONDUCTS

LPO-0127 Due for release Spring 2024

Our CDs are available from all good outlets, and all releases are available to download or stream online.

London Philharmonic Orchestra • 28 October 2023 • Canellakis conducts Shostakovich

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

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

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

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

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

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

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

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

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

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

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

London Philharmonic Orchestra • 28 October 2023 • Canellakis conducts Shostakovich

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

The American Friends of the London Philharmonic Orchestra Anonymous donors Mrs Aline Foriel-Destezet Aud Jebsen In memory of Mrs Rita Reay Sir Simon & Lady Robey OBE

Orchestra Circle

William & Alex de Winton Edward Gardner & Sara Övinge Patricia Haitink Catherine Høgel & Ben Mardle Mr & Mrs Philip Kan Neil Westreich

Principal Associates

Richard Buxton Gill & Garf Collins In memory of Brenda Lyndoe Casbon In memory of Ann Marguerite Collins Irina Gofman & Mr Rodrik V. G. Cave George Ramishvili The Tsukanov Family Mr Florian Wunderlich

Associates

Mrs Irina Andreeva In memory of Len & Edna Beech Steven M. Berzin The Candide Trust John & Sam Dawson HSH Dr Donatus, Prince of Hohenzollern Stuart & Bianca Roden In memory of Hazel Amy Smith

Gold Patrons

Iain & Alicia Hasnip Eugene & Allison Hayes J Douglas Home Molly Jackson Mrs Farrah Jamal Mr & Mrs Jan Mr & Mrs Ralph Kanza Mr Peter King Jamie & Julia Korner Rose & Dudley Leigh Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Drs Frank & Gek Lim Mr & Mrs Makharinsky Mr Gordon McNair Andrew T Mills Denis & Yulia Nagy Andrew Neill Jamie Njoku-Goodwin Peter & Lucy Noble Oliver & Josie Ogg Mr Stephen Olton Simon & Lucy Owen-Johnstone Mr Roger Phillimore Mr Michael Posen Saskia Roberts John Romeo Priscylla Shaw Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Karina Varivoda Grenville & Krysia Williams Joanna Williams

David & Yi Buckley In memory of Allner Mavis Channing Sonja Drexler Peter & Fiona Espenhahn Mr B C Fairhall Hamish & Sophie Forsyth Virginia Gabbertas MBE Mr Roger Greenwood Malcolm Herring Julian & Gill Simmonds Eric Tomsett The Viney Family Guy & Utti Whittaker

Silver Patrons

Dame Colette Bowe David Burke & Valerie Graham Cameron & Kathryn Doley Ulrike & Benno Engelmann Dmitry & Ekaterina Gursky The Jeniffer & Jonathan Harris Charitable Trust John & Angela Kessler Mrs Elena & Mr Oleg Kolobov Mrs Elizabeth Meshkvicheva Mikhail Noskov & Vasilina Bindley Tom & Phillis Sharpe Mr Joe Topley & Ms Tracey Countryman Andrew & Rosemary Tusa Jenny Watson CBE Laurence Watt

Principal Supporters

Anonymous donors Ralph & Elizabeth Aldwinckle Mr John D Barnard Roger & Clare Barron Dr Simona Cicero & Mr Mario Altieri Mr Alistair Corbett Guy Davies David Devons Igor & Lyuba Galkin Prof. Erol & Mrs Deniz Gelenbe In memory of Enid Gofton Alexander Greaves Prof. Emeritus John Gruzelier Michael & Christine Henry Mrs Maureen Hooft-Graafland Per Jonsson Mr Ian Kapur Ms Elena Lojevsky Pippa Mistry-Norman Mrs Terry Neale John Nickson & Simon Rew

Bronze Patrons

Anonymous donors Chris Aldren Michael Allen Mrs A Beare Mr Anthony Blaiklock Lorna & Christopher Bown Mr Bernard Bradbury Simon Burke & Rupert King Desmond & Ruth Cecil Mr John H Cook Deborah Dolce Ms Elena Dubinets David Ellen Christopher Fraser OBE Mr Daniel Goldstein David & Jane Gosman Mr Gavin Graham Lord & Lady Hall Mrs Dorothy Hambleton

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Mr James Pickford Filippo Poli Mr Robert Ross Martin & Cheryl Southgate Mr & Mrs G Stein Christopher Williams

Supporters

Anonymous donors Mr Francesco Andronio Julian & Annette Armstrong Mr Philip Bathard-Smith Emily Benn Mr Julien Chilcott-Monk Alison Clarke & Leo Pilkington Mr Peter Coe Mr Joshua Coger Miss Tessa Cowie Caroline Cox-Johnson Mr Simon Edelsten Will Gold Mr Stephen Goldring Mr & Mrs Graham & Jean Pugh Mr Geordie Greig Mr Peter Imhof The Jackman Family Mr David MacFarlane Paul & Suzanne McKeown Nick Merrifield Dame Jane Newell DBE Mr David Peters Nicky Small Mr Brian Smith Mr Michael Timinis Mr & Mrs Anthony Trahar Tony & Hilary Vines Mr John Weekes Mr Roger Woodhouse Mr C D Yates

Hon. Benefactor Elliott Bernerd

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

London Philharmonic Orchestra • 28 October 2023 • Canellakis conducts Shostakovich

Thank you

Thomas Beecham Group Members

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

Corporate Donor Barclays

LPO Corporate Circle Principal

Bloomberg Carter-Ruck Solicitors French Chamber of Commerce

Tutti

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

Trusts and Foundations

Board of the American Friends of the LPO

ABO Trust The Barbara Whatmore Charitable Trust BlueSpark Foundation The Boltini Trust Borrows Charitable Trust Cockayne – Grants for the Arts The London Community Foundation Dunard Fund Ernst von Siemens Music Foundation Foyle Foundation Garrick Charitable Trust Idlewild Trust Institute Adam Mickiewicz John Coates Charitable Trust John Horniman’s Children’s Trust John Thaw Foundation Kirby Laing Foundation The Kurt Weill Foundation for Music Lord and Lady Lurgan Trust Lucille Graham Trust The Marchus Trust PRS Foundation The R K Charitable Trust The Radcliffe Trust Rivers Foundation Rothschild Foundation Scops Arts Trust TIOC Foundation The Thriplow Charitable Trust Vaughan Williams Foundation The Victoria Wood Foundation The Viney Family

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 Damien Vanderwilt Marc Wassermann Elizabeth Winter Catherine Høgel Hon. Director Jenifer L. Keiser, CPA, EisnerAmper LLP

LPO International Board of Governors Natasha Tsukanova Co-Chair Martin Höhmann Co-Chair Mrs Irina Andreeva Steven M. Berzin Shashank Bhagat HSH Dr Donatus, Prince of Hohenzollern Aline Foriel-Destezet Irina Gofman Olivia Ma George Ramishvili Sophie Schÿler-Thierry Florian Wunderlich

and all others who wish to remain anonymous.

Preferred Partners Jeroboams Lindt & Sprüngli Ltd Neal’s Yard OneWelbeck Sipsmith Steinway

In-kind Sponsor Google Inc

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London Philharmonic Orchestra • 28 October 2023 • Canellakis conducts Shostakovich

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

Advisory Council Roger Barron Chairman Christopher Aldren Richard Brass Helen Brocklebank YolanDa Brown OBE David Buckley Simon Burke Simon Callow CBE Desmond Cecil CMG Sir Alan Collins KCVO CMG Andrew Davenport Guillaume Descottes Cameron Doley Christopher Fraser OBE Jenny Goldie-Scot Jonathan Harris CBE FRICS Marianna Hay MBE Nicholas Hely-Hutchinson DL Amanda Hill Dr Catherine C. Høgel Martin Höhmann Rehmet Kassim-Lakha Jamie Korner Geoff Mann Andrew Neill Nadya Powell Sir Bernard Rix Victoria Robey OBE Baroness Shackleton Thomas Sharpe KC Julian Simmonds Barry Smith Martin Southgate Chris Viney

Laurence Watt Elizabeth Winter

Education and Community

General Administration

Talia Lash Education and Community Director

Elena Dubinets Artistic Director

Lowri Davies Hannah Foakes Education and Community Project Managers

David Burke Chief Executive Chantelle Vircavs PA to the Executive and Employee Relations Manager

Hannah Smith Education and Community Co-ordinator

Concert Management Roanna Gibson Concerts and Planning Director

Claudia Clarkson Regional Partnerships Manager

Graham Wood Concerts and Recordings Manager

Development Laura Willis Development Director

Maddy Clarke Tours Manager

Rosie Morden Individual Giving Manager

Madeleine Ridout Glyndebourne and Projects Manager

Siân Jenkins Corporate Relations Manager

Alison Jones Concerts and Recordings Co-ordinator

Anna Quillin Trusts and Foundations Manager

Robert Winup Concerts and Tours Assistant

Katurah Morrish Development Events Manager

Matthew Freeman Recordings Consultant

Eleanor Conroy Al Levin Development Co-ordinators

Andrew Chenery Orchestra Personnel Manager Sarah Thomas Martin Sargeson Librarians

Nick Jackman Campaigns and Projects Director

Laura Kitson Stage and Operations Manager

Kirstin Peltonen Development Associate

Marketing

Stephen O’Flaherty Deputy Operations Manager

Kath Trout Marketing and Communications Director

Benjamin Wakley Assistant Stage Manager Felix Lo Orchestra and Auditions Manager

Sophie Harvey Marketing Manager Rachel Williams Publications Manager

Finance

Gavin Miller Sales and Ticketing Manager

Frances Slack Finance Director

Ruth Haines Press and PR Manager

Dayse Guilherme Finance Manager

Hayley Kim Residencies and Projects Marketing Manager

Jean-Paul Ramotar Finance and IT Officer

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Greg Felton Digital Creative Alicia Hartley Digital and Marketing Co-ordinator Isobel Jones 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 Simon Owen-Johnstone Hon. Orthopaedic Surgeon London Philharmonic Orchestra 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Box Office: 020 7840 4242 Email: admin@lpo.org.uk lpo.org.uk Cover illustration Selman Hoşgör 2023/24 season identity JMG Studio Printer John Good Ltd