LPO concert programme: 30 Mar 2022 - Visions and Utterances (Edward Gardner/Nicolas Hodges)

2021/22 concert season at the Southbank Centre’s Royal Festival Hall

Concert programme

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

Southbank Centre’s Royal Festival Hall Wednesday 30 March 2022 | 7.30pm

Contents

Visions and Utterances

3 4

Missy Mazzoli River Rouge Transfiguration (UK premiere) (10’)

5 6 7 8

Rebecca Saunders to an utterance, for piano and symphony orchestra (UK premiere) (28’) Interval (20’) Mason Bates Liquid Interface, for orchestra and electronica (UK premiere) (23’) George Walker Sinfonia No. 5 (Visions) (UK premiere) (17’)

Edward Gardner conductor

Generously supported by Aud Jebsen

Nicolas Hodges piano With the support of

Part of the Southbank Centre’s SoundState festival 30 March–3 April 2022

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

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

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9 16 17 18 20

Welcome LPO news On stage tonight London Philharmonic Orchestra Leader: Pieter Schoeman Edward Gardner Nicolas Hodges Edward Gardner on tonight’s programme Programme notes Next concerts Sound Futures donors Thank you LPO administration

Free post-concert event The Clore Ballroom, Level 2, Royal Festival Hall Hear behind-the scenes insights from tonight’s composers and musicians.

All welcome.

London Philharmonic Orchestra • 30 March 2022 • Visions and Utterances

Welcome to the Southbank Centre

LPO news Glyndebourne concert for Ukraine: this Sunday, 3 April

We hope you enjoy your visit. We have a Duty Manager available at all times. If you need any information or help, please ask a member of staff.

Eating, drinking and shopping? Take in the views over food and drinks at the Riverside Terrace Cafe, Level 2, Royal Festival Hall. Visit our shops for products inspired by our great cultural experiences, iconic buildings and central London location.

On Sunday 3 April we will join our friends at Glyndebourne Festival Opera for a special one-off concert to raise funds for the people of Ukraine.

Conductor Robin Ticciati unites the Orchestra and a host of Glyndebourne artists – all of whom are donating their time – for an afternoon of music as we stand in solidarity with those affected by war.

All ticket sales and any other proceeds from this event will be donated to the Disasters Emergency Committee’s Ukraine Humanitarian Appeal.

Explore across the site with Beany Green, Côte Brasserie, Foyles, Giraffe, Honest Burger, Las Iguanas, Le Pain Quotidien, Ping Pong, Pret, Strada, Skylon, Spiritland, wagamama and Wahaca.

If you would like to get in touch with us following your visit, please write to: Visitor Contact Team, Southbank Centre, Belvedere Road, London SE1 8XX, or email hello@southbankcentre.co.uk

To find out more, visit glyndebourne.com/events/concert-for-ukraine

We look forward to seeing you again soon.

LPO Junior Artists: Applications open for 2022/23

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

Latecomers will only be admitted to the auditorium if there is a suitable break in the performance.

LPO Junior Artists is a free year-long programme for eight young musicians from backgrounds currently under-represented in professional UK orchestras, offering an immersive, behind-the-scenes experience with the London Philharmonic Orchestra. LPO Junior Artists become part of the LPO family, develop their musicianship, and gain unique insights into the orchestral profession.

Recording is not permitted in the auditorium without the prior consent of the Southbank Centre. The Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended.

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

Applications for our 2022/23 programme are now open. To apply, young musicians will need to:

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Enjoyed tonight’s concert?

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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.

be from a background that is currently underrepresented in professional UK orchestras play an orchestral instrument at Grade 8 standard or above be aged 15–19 on 1 September 2022 be thinking of studying music beyond school

The deadline for applications is 5pm on Friday 22 April 2022. Visit lpo.org.uk/juniorartists to find out more.

You can hear our talented 2021/22 LPO Junior Artists perform alongside LPO players and Foyle Future First musicians at a free pre-concert event on the Royal Festival Hall stage at 6.00pm on Wednesday 13 April.

Conducted by Gabriella Teychenné, the programme includes music by Delius, Bartók, Bizet, and a new commission by Geoffrey King.

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London Philharmonic Orchestra • 30 March 2022 • Visions and Utterances

On stage tonight First Violins

Pieter Schoeman* Leader

Chair supported by Neil Westreich

Vesselin Gellev Sub-Leader Kate Oswin Chair supported by Friends of the Orchestra

Lasma Taimina

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

Minn Majoe Catherine Craig Thomas Eisner Nilufar Alimaksumova Martin Höhmann

Chair supported by Chris Aldren

Chair supported by The Candide Trust

Tania Mazzetti Principal Chair supported by Countess Dominique Loredan

Emma Oldfield Helena Smart Kate Cole Nancy Elan Fiona Higham

Chair supported by David & Yi Buckley

Nynke Hijlkema Kate Cole Joseph Maher Marie-Anne Mairesse Emma Purslow Ashley Stevens

Violas

Richard Waters Principal

Chair supported by Caroline, Jamie & Zander Sharp

Ting-Ru Lai Katharine Leek Benedetto Pollani Stanislav Popov

Bass Clarinet/ Contrabass Clarinet Paul Richards* Principal

Bassoons

Jonathan Davies Principal

Chair supported by Sir Simon Robey

Gareth Newman Simon Estell*

Chair supported by William & Alex de Winton

Contrabassoon

Laura Murphy Sam Rice Charlotte Kerbegian

Simon Estell* Principal

Horns

John Ryan* Principal Nicholas Mooney

Flutes

Charlotte Ashton

David Whitehouse

Bass Trombone Tuba

Chair supported by Roger Greenwood

Hugh Kluger George Peniston Tom Walley

Chair supported by William & Alex de Winton

Clarinets

Thomas Watmough Principal

Co-Principal

Mark Templeton* Principal

Lyndon Meredith Principal

E-flat Clarinet

Kevin Rundell* Principal Sebastian Pennar

Trombones

Chair supported by Dr Barry Grimaldi

Benjamin Mellefont Principal Thomas Watmough Paul Richards

Pei-Jee Ng Co-Principal

Double Basses

Chair supported by Sonja Drexler

Sue Böhling* Principal

Chair supported by Bianca & Stuart Roden

Second Violins

Ronald Long Katalin Varnagy

Cor Anglais

Kristina Blaumane Principal

Gabriela Opacka Deborah Gruman

Chair supported by Eric Tomsett

Ian Hardwick* Principal Alice Munday Sue Böhling*

Cellos

David Lale Gregory Walmsley Helen Thomas George Hoult Sibylle Hentschel David Bucknall Jane Lindsay Louise Dearsley

Amanda Smith Yang Zhang

Oboes

Mark Gibbs Daniel Cornford Jennifer Coombes Anna Growns Charles Cross Julia Kornig Abby Bowen

Lee Tsarmaklis* Principal

Timpani

Simon Carrington* Principal Chair supported by Victoria Robey OBE

Percussion

Andrew Barclay* Principal

Chair supported by Gill & Garf Collins

Keith Millar Feargus Brennan Karen Hutt

Harp

Rachel Masters Principal

Piano/Harpsichord Ian Tindale

Accordian

Ilona Suomalainen

Assistant Conductor Gabriella Teychenné

Guest Principal

Guest Principal

Martin Hobbs Mark Vines Co-Principal Gareth Mollison

Hannah Grayson Stewart McIlwham*

Piccolos

Trumpets

Stewart McIlwham*

Paul Beniston* Principal Anne McAneney* Tom Nielsen David Hilton

Principal

Hannah Grayson

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* Holds a professorial appointment in London

London Philharmonic Orchestra • 30 March 2022 • Visions and Utterances

© Mark Allan

London Philharmonic Orchestra

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

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

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

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

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

Recent highlights include Shostakovich’s Symphony No. 11 and Mahler’s Symphony No. 8 under Vladimir Jurowski; a commemorative box set of historic recordings with former Principal Conductor Sir Adrian Boult; and works by Richard Strauss under Klaus Tennstedt, featuring soprano Jessye Norman.

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

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

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

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

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

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London Philharmonic Orchestra • 30 March 2022 • Visions and Utterances

Pieter Schoeman

The London Philharmonic Orchestra is committed to inspiring the next generation of musicians, and recently celebrated the 30th anniversary of its Education and Community department, whose work over three decades has introduced so many people of all ages to orchestral music and created opportunities for people of all backgrounds to fulfil their creative potential.

Its dynamic and wide-ranging programme provides first musical experiences for children and families; offers creative projects and professional development opportunities for schools and teachers; inspires talented teenage instrumentalists to progress their skills; and develops the next generation of professional musicians.

The Orchestra’s work at the forefront of digital technology has enabled it to reach millions of people worldwide. Over the pandemic period the LPO further developed its relationship with UK and international audiences through its ‘LPOnline’ digital content: over 100 videos of performances, insights, and introductions to playlists, which collectively received over 3 million views worldwide and led to the LPO being named runner-up in the Digital Classical Music Awards 2020.

From Autumn 2020 the Orchestra was delighted to be able to return to its Southbank Centre home to perform a season of concerts filmed live and streamed free of charge via Marquee TV.

© Benjamin Ealovega

Leader

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

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

As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. His chamber music partners have included Anne-Sophie Mutter, Veronika Eberle, Patricia Kopatchinskaja, Boris Garlitsky, JeanGuihen Queyras, Yannick Nézet-Séguin and Martin Helmchen.

September 2021 saw the opening of a new live concert season at the Royal Festival Hall, featuring many of the world’s leading musicians including Sheku KannehMason, Klaus Mäkelä, Renée Fleming, Bryn Terfel and this season’s Artist-in-Residence, Julia Fischer.

The Orchestra is delighted to be continuing to offer digital streams to selected concerts throughout the season through its ongoing partnership with Intersection and Marquee TV.

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

lpo.org.uk

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

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

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London Philharmonic Orchestra • 30 March 2022 • Visions and Utterances

Edward Gardner Principal Conductor, London Philharmonic Orchestra

© Benjamin Ealovega

Symphoniker; while returns included engagements with the Gewandhausorchester Leipzig, Montreal Symphony, Deutsches Symphonie-Orchester Berlin, Philharmonia Orchestra and Orchestra del Teatro alla Scala di Milano.

He also continued his longstanding collaborations with the City of Birmingham Symphony Orchestra, where he was Principal Guest Conductor from 2010–16, and the BBC Symphony Orchestra, whom he has conducted at both the First and Last Night of the BBC Proms.

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

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

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

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

During the 2021/22 season Edward conducts the London Philharmonic Orchestra in eleven concerts at the Royal Festival Hall, including five UK premieres.

In September 2021 he and the LPO appeared at the Enescu Festival in Bucharest, and in November they embarked on an extensive tour of Germany with pianist Jan Lisiecki. Following tonight’s concert, he next returns to the LPO on 2 April for Brahms’s German Requiem with the London Philharmonic Choir: see page 16.

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

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

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

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

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

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

In demand as a guest conductor, the previous two seasons saw Edward debut with the Bavarian Radio Symphony Orchestra, New York Philharmonic, Chicago Symphony Orchestra, Philadelphia Orchestra, San Francisco Symphony, Rundfunk-Sinfonieorchester Berlin, Royal Stockholm Philharmonic and Wiener

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London Philharmonic Orchestra • 30 March 2022 • Visions and Utterances

Nicolas Hodges piano

Lucerne Festival Academy Orchestra, also conducted

by Enno Poppe, at the Musikfest Berlin; the Orchestra Sinfonica di Milano Giuseppe Verdi at Milano Musica/La Scala; and the Dresden Philharmonic Orchestra under Jonathan Nott.

© Eric Richmond

As a soloist, Hodges has appeared with orchestras including the Boston Symphony, Berlin Philharmonic, BBC Symphony, City of Birmingham Symphony, London Symphony, Melbourne Symphony, MET Orchestra, New York Philharmonic, Philharmonia, San Francisco Symphony, Sydney Symphony and Tokyo Philharmonic orchestras, the Tonhalle Orchestra Zurich and the WDR Sinfonieorchester Cologne, under the batons of conductors such as Thomas Adès, Daniel Barenboim, George Benjamin, Martyn Brabbins, Sylvain Cambreling, Susanna Mälkki, Cornelius Meister and François- Xavier Roth.

An active and ever-growing repertoire that encompasses such composers as Beethoven, Berg, Brahms, Debussy, Schubert and Stravinsky reinforces pianist Nicolas Hodges’s superior prowess in contemporary music. Over the past couple of decades Hodges has established himself as one of the world’s leading contemporary music figures, and has close associations with many of today’s most respected composers, conductors, and orchestras. His outstanding virtuosity and innate musicianship give him an assured command over the most strenuous technical complexities, making him a firm favourite among many of today’s most prestigious contemporary composers.

Close collaboration with such contrasting figures as John Adams, Helmut Lachenmann and the late Karlheinz Stockhausen is central to Hodges’s career and many of the world’s most revered composers have dedicated works to him, including Thomas Adès, Gerald Barry, Elliott Carter, James Clarke, Hugues Dufourt, Pascal Dusapin, Beat Furrer, Isabel Mundry, Brice Pauset, Wolfgang Rihm and Miroslav Srnka. Hodges also enjoys a particularly close relationship with Sir Harrison Birtwistle, who recently described him as ‘becoming like my Peter Pears’.

Hodges appears regularly in recital too, at venues such as Carnegie Hall, Wigmore Hall, the Barbican and the Vienna Konzerthaus, and at festivals such as Lucerne, Berlin, Helsinki, Salzburg and the BBC Proms. He collaborates widely with artists including the Arditti Quartet, Adrian Brendel, Colin Currie, Anssi Karttunen, and as a member of Trio Accanto since 2013.

Nicolas Hodges’s varied discography includes Thomas Adès’s piano concerto In Seven Days, with the London Sinfonietta conducted by Thomas Adès (Signum Classics); Pascal Dusapin’s concerto À Quia (BIS); the complete late piano works of Sciarrino (Metronome); and music by Michael Finnissy and Gershwin (Metronome). Hodges has recorded four solo discs on Wergo, including works by Walter Zimmermann, Brice Pauset, Rolf Riehm and Harrison Birtwistle – the last coupled with Beethoven and including the first recording of the prize-winning Gigue Machine – as well as a disc of works by Christian Wolff with Trio Accanto.

Forthcoming discs contain works by Annesley Black, Pierre Boulez and Rebecca Saunders.

In September 2018 it was announced that Hodges’s long-term collaborator, composer Rebecca Saunders, had been selected by Roche Commissions as the 10th recipient in their commissioning series. To an utterance was premiered by Hodges at the Lucerne Festival with the Lucerne Festival Academy Orchestra and Enno Poppe in September 2021, marking the seventh work on which they have collaborated. Further performances of this highly-anticipated work this season include with the

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London Philharmonic Orchestra • 30 March 2022 • Visions and Utterances

Programme notes Edward Gardner on tonight’s programme

© Mark Allan

A welcome from our Principal Conductor

‘In this concert I really wanted to bring something new to the audience, and tonight we have four UK premieres by foreign composers who all deserve to be heard more in the UK. Being part of the Southbank Centre’s SoundState festival was an opportunity for us to explore a wider range of music; and my starting point for this programme was America – that’s part of the theme of the festival itself, so three of the pieces in this concert are American compositions: Missy Mazzola’s River Rouge Transformation, Mason Bates’s Liquid Interface, and George Walker’s Sinfonia No. 5, subtitled Visions.

These three compositions, although they were all written fairly recently, come from completely different worlds.

George Walker’s Sinfonia No. 5 was written right at the end of his his life. He is a composer who British audiences will be getting to know more over the seasons coming up. This piece was written as a response to the 2015 Charleston shooting: it’s a piece of anxiety and tension, but there’s also a deep beauty in his music that speaks directly and movingly to an orchestra and audience.

One of the pleasures of lockdown was getting to know Rebecca Saunders’s music and soundworld.

My entry was her disc of piano music: I recommend it enthusiastically for new listeners to her music.

I was overwhelmed by the two pieces Choler and Crimson. It’s reductive to try to express Rebecca’s musical language in words, so I’m thrilled the LPO and I have an opportunity to bring her music to British audiences. This Concerto has the privilege of being performed by Nicolas Hodges, who has been a passionate advocate for new music and championing contemporary concerti. His commitment to commissioning new work and his brilliance in performing and communicating his passion to audiences is unique.’

In Mason Bates’s Liquid Interface we hear so much jazz inflection and rhythmic vitality from the same stable as John Adams. The work is in fact four short tone-poems, and I love the way that Mason compartmentalises different worlds: the worlds of nature, of glaciers, of a city with a sort of almost Ravel La Valse jazz interpretation feeling of decadence that dissolves right at the end.

Missy Mazzoli is somewhat known to our audiences, mainly through her opera Breaking the Waves. Her music is full of momentum and drive.

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London Philharmonic Orchestra • 30 March 2022 • Visions and Utterances

Programme notes Missy Mazzoli born 1980

River Rouge Transfiguration 2013 (UK premiere)

‘ … all around me and above me as far as the sky, the heavy, composite, muffled roar of torrents of machines, hard wheels obstinately turning, grinding, groaning, always on the point of breaking down but never breaking down.’ © Marylene Mey

– Louis-Ferdinand Céline (1894–1961), from Journey to the End of the Night

I first fell in love with Detroit while on tour with my band, Victoire, in 2010. When I returned home to New York I dove into early Detroit techno from the late 1980s, Céline’s novel Journey to the End of the Night and early 20th-century photographs by Charles Sheeler, who documented Detroit’s River Rouge Plant in 1927 through a beautiful, angular photo series. In my research I was struck by how often the landscape of Detroit inspired a kind of religious awe, with writers from every decade of the last century comparing the city’s factories to cathedrals and altars, and Vanity Fair even dubbing Detroit ‘America’s Mecca’ in 1928. In Mark Binelli’s recent book Detroit City Is the Place to Be, he even describes a particular Sheeler photograph, CrissCrossed Conveyors, as evoking ‘neither grit nor noise but instead an almost tabernacular grace. The smokestacks in the background look like the pipes of a massive church organ, the titular conveyor belts forming the shape of what is unmistakably a giant cross’.

massive, resonant and unexpected. The ‘grit’ is again and again folded into string and brass chorales that collide with each other, collapse, and rise over and over again.

River Rouge Transfiguration was commissioned by the Detroit Symphony in honour of Elaine Lebenbom, and first performed on 31 May 2013 by the Detroit Symphony, conducted by Leonard Slatkin. Thank you to the Detroit Symphony, Leonard Slatkin, Erik Ronmark, Rebecca Zook, Farnoosh Fathi, Katy Tucker and Mark Binelli.

Missy Mazzoli

This image, of the River Rouge Plant as a massive pipe organ, was the initial inspiration for River Rouge Transfiguration. This is music about the transformation of grit and noise (here represented by the percussion, piano, harp and pizzicato strings) into something

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London Philharmonic Orchestra • 30 March 2022 • Visions and Utterances

Programme notes Rebecca Saunders born 1967

to an utterance, for piano and symphony orchestra 2020 (UK premiere) Nicolas Hodges piano

utterance /’Лt(ə)r(ə)ns/ n. something uttered, a spoken word, murmured, disclosed, breathed, a statement, or vocal sound; an act of uttering; vocal expression; the manner and power of speaking; logic, philosophy an element of spoken language linguistics. a speech sequence consisting of one or more words and preceded and followed by silence; ME C1400; OF C13, oultrance, from oultrer, to carry to excess, to pass beyond; L.:ultrā beyond to an utterance archaic + literary: the bitter end, the utmost, or last, extremity – to the brink of, at the precipice

© Astrid Ackermann

‘The word connects the visible trace with the invisible thing, the absent thing, the thing that is desired or feared, like a frail emergency bridge flung over an abyss.’

Exactitude, from Six Memos for the Next Millennium, Italo Calvino.

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London Philharmonic Orchestra • 30 March 2022 • Visions and Utterances

Programme notes The solo piano within this concerto was conceived as a disembodied voice.

It seeks to tell its own story in endless variations, wavering, almost painful and inevitably unsustainable on an uncertain quest.

It seeks its final silence through its own excess of speaking: an incessant, compulsive soliloquy.

A musical protagonist being, on the precipice of non-being, among shadowy presences caught in limbo.

As an image unfolds during the monologue, as it traces and seeks, it blurs, defies meaning, to finally lapse at the precipice of materialising.

Rebecca Saunders

Composer profile: Rebecca Saunders With her distinctive and intensely striking sonic language, Berlin-based British composer Rebecca Saunders is a leading international representative of her generation. Born in London, she studied composition with Nigel Osborne in Edinburgh and Wolfgang Rihm in Karlsruhe.

Saunders’s music has been performed by many prestigious ensembles, soloists and orchestras including Ensemble Musikfabrik, Klangforum Wien, Ensemble Modern, Quatuor Diotima, Ensemble Dal Niente, Asko|Schönberg, the Arditti Quartet, Ensemble Resonanz, Ensemble Recherche, ICE, the Neue Vocalsolisten, Ensemble Remix, SWRSO, WDRSO and the BBCSO, amongst many others.

Saunders pursues an intense interest in the sculptural and spatial properties of organised sound. chroma I– XXI (2003–21), Stasis and Stasis Kollektiv (2011/16) are expanding spatial collages of up to 25 chamber groups and sound sources set in radically different architectural spaces. insideout, a 90-minute collage for a choreographed installation, created in collaboration with Sasha Waltz, was her first work for the stage and received over 100 international performances. In 2017, Yes, an 80-minute spatial installation composition, was written for Musikfabrik, Donatienne Michel-Dansac and Enno Poppe for the extraordinary architectural spaces of the Berlin Philharmonie and the St Eustache Cathedral in Paris.

Since 2013 Saunders has also written an expansive series of solos, duos and concertos for performers with whom she has collaborated closely over many years.

Saunders has received numerous prizes, including the prestigious Ernst von Siemens Music Prize 2019, the Happy New Ears Prize 2015, the Hindemith Prize, the Mauricio Kagel Music Prize, as well as several Royal Philharmonic Society and BASCA British Composer Awards.

In 2022 Saunders is Composer-in-Residence at Casa da Música in Porto and at the Dresden Philharmonie.

Saunders is in great demand as a composition tutor and teaches regularly at, amongst others, the Darmstadt Summer Courses and at the Impuls Academy in Graz. She lives in Berlin and is a member of the Academies of Arts in Berlin, Dresden and Munich.

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

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London Philharmonic Orchestra • 30 March 2022 • Visions and Utterances

Programme notes Mason Bates born 1977

Liquid Interface, for orchestra and electronica 2007 (UK premiere)

1 Glaciers Calving 2 Scherzo Liquido 3 Crescent City 4 On the Wannsee Water has influenced countless musical endeavours – La Mer and Siegfried’s Rhine Journey quickly come to mind – but it was only after living on Berlin’s enormous Lake Wannsee did I become consumed with a new take on the idea. If the play of the waves inspired Debussy, then what about water in its variety of forms?

Liquid Interface moves through all of them, inhabiting an increasingly hotter world in each progressive movement. ‘Glaciers Calving’ opens with huge blocks of sound drifting slowly upwards through the orchestra, finally cracking off in the upper register. (Snippets of actual recordings of glaciers breaking into the Antarctic, supplied by the adventurous radio journalist Daniel Grossman, appear at the opening.) As the thaw continues, these sonic blocks melt into aqueous, blurry figuration. The beats of the electronics evolve from slow trip-hop into energetic drum ‘n bass. The ensuing ‘Scherzo Liquido’ explores water on a micro-level: droplets splash from the speakers in the form of a variety of nimble electronica beats, with the orchestra swirling around them.

The temperature continues to rise as we move into ‘Crescent City’, which examines the destructive force as water grows from the small-scale to the enormous.

This is illustrated in a theme and variations form in which the opening melody, at first quiet and lyrical, gradually accumulates a trail of echoing figuration behind it. In a

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London Philharmonic Orchestra • 30 March 2022 • Visions and Utterances

Programme notes nod to New Orleans, which knows the power of water all too well, the instruments trail the melody in a reimagination of Dixieland swing. As the improvisatory sound of a dozen soloists begins to lose control, verging into big-band territory, the electronics – silent in this movement until now – enter in the form of a distant storm.

Composer profile Mason Bates Composer of the Grammy-winning opera The (R)evolution of Steve Jobs, Mason Bates is imaginatively transforming the way classical music is created and experienced as a composer, DJ, and curator. During his term as the first Composer-in-Residence at the Kennedy Center for the Performing Arts, he presented a diverse array of artists on his KC Jukebox using immersive production and stagecraft. Championed by legendary conductors from Riccardo Muti to Michael Tilson Thomas, his symphonic music is the first to receive widespread acceptance for its unique integration of electronic sounds, and he was named the most-performed composer of his generation in a recent survey of American music.

At the peak of the movement, with an enormous wake of figuration swirling behind the soaring melody, the orchestra is buried in an electronic hurricane of processed storm sounds. We are swept into the muffled depths of the ocean. This water-covered world, which relaxes into a kind of balmy, greenhouse paradise, is where we end the symphony in ‘On the Wannsee’.

A simple, lazy tune bends in the strings above ambient sounds recorded at a dock on Lake Wannsee. At near pianissimo throughout, the melody floats lazily upwards through the humidity and – at the work’s end – finally evaporates.

Liquid Interface was commissioned by the National Symphony Orchestra, and first performed on 22 February 2007 in Washington, DC, by the National Symphony Orchestra conducted by Leonard Slatkin.

The piece is dedicated to composer John Corigliano.

Bates has also composed for films, including Gus Van Sant’s The Sea of Trees starring Matthew McConaughey and Naomi Watts. A diverse artist exploring the ways classical music integrates into contemporary culture, he serves on the faculty of the San Francisco Conservatory of Music.

Mason Bates

May 2022 sees the premiere of Philharmonia Fantastique: The Making of the Orchestra, a concerto for orchestra and animated film.

A collaboration with Gary Rydstrom of Lucasfilm and Jim Capobianco of Aerial Contrivance, the work explores the connection between creativity and technology with the help of a magical Sprite, who flies through instruments as they are played.

The work was commissioned by Chicago Symphony Orchestra, Dallas Symphony Orchestra, National Symphony Orchestra, Pittsburgh Symphony Orchestra, San Francisco Symphony and the American Youth Symphony.

Other premieres include a new piano concerto for Daniil Trifonov for the Philadelphia Orchestra and the San Francisco Symphony, Hymn for the Future for Yo-Yo Ma, Soundcheck in C Major for the opening of The Shell with the San Diego Symphony, and a new concert opener, The Rhapsody of Steve Jobs.

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London Philharmonic Orchestra • 30 March 2022 • Visions and Utterances

Programme notes George Walker 1922–2018

Sinfonia No. 5 (Visions) 2016 (UK premiere)

The son of a doctor in Washington, DC, Walker studied piano from an early age and gave his first public recital aged 14. That same year he was admitted to the Oberlin College Conservatory; he graduated at 18 with honours.

Subsequently, he attended the elite Curtis Institute of Music. After making his New York recital debut and appearing as soloist with the Philadelphia Orchestra, Walker continued his studies in France with the esteemed teacher Nadia Boulanger (who also instructed Aaron Copland, Lennox Berkeley, Elliott Carter and other accomplished composers), and at the Eastman School of Music, where he earned a doctoral degree in composition. While remaining active as a pianist and a teacher (he served on the faculties of Rutgers University, the Peabody Conservatory and other institutions), Walker produced an impressive body of compositions. These were commissioned and performed by major orchestras including the Boston Symphony, St Louis Symphony, Baltimore Symphony, New York Philharmonic, Saint Paul Chamber, Cleveland and Minnesota orchestras.

Over the course of his career, Walker’s compositional style evolved to encompass complex rhythms, novel sonorities, pointillist textures and other late-modernist developments. Although cognisant of the contributions of Black artists in other fields of music (the slow movement of his Piano Concerto, for example, was written in 1975 as an elegy for the recently deceased Duke Ellington), he rarely evoked jazz or popular styles in his work.

George Walker, who passed away in 2018 aged 96, distinguished himself as both a pianist and a composer.

In the former capacity he appeared as soloist with the Philadelphia Orchestra, the Baltimore Symphony and other major ensembles, and as a recitalist at New York’s Town Hall, London’s Wigmore Hall and other venues in both Europe and the US. As a composer he produced solo piano pieces, chamber music, songs and orchestral works. These brought numerous honours, including the Pulitzer Prize for music in 1996, the first time that prestigious award had been won by an AfricanAmerican composer.

Completed in 2016, this work, the last of Walker’s five orchestral Sinfonias, testifies to the longevity of his creative prowess. (The composer was well into his nineties when he wrote it.) This work received its world premiere in 2019, when the Seattle Symphony presented it under the direction of Thomas Dausgaard.

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London Philharmonic Orchestra • 30 March 2022 • Visions and Utterances

Programme notes Sinfonia No. 5 exists in two versions: one for orchestra alone, a second with spoken text for five narrators.

Tonight’s performance presents the former version.

There is, in addition, a provision for performing the work with projected imagery by photographer and filmmaker Frank Schramm. A neighbour of Walker in New Jersey, Schramm became a friend and frequent visitor during the composer’s last years. He created an evocative portrait of Walker that now hangs in the Smithsonian Museum’s National Portrait Gallery in Washington, DC, and, at the composer’s request, a video that can be used to accompany the second half of Sinfonia No. 5.

It displays, darkly, waters of the Atlantic Ocean and photographs attesting the fate of Africans brought across those waters to the New World.

– he reportedly finished Visions at least in part as an emotional response to the Charleston shootings.

The Sinfonia’s initial paragraph establishes the dramatic tone and late-modern idiom that pervades the singlemovement piece, as well as most of the musical ideas with which Walker builds it. Especially notable is a strong phrase rising within the string choir in the opening measures, following a few prefatory sonorities. Variations of that phrase, and the interjections that punctuate it, form much of what follows. Other developments include powerful brass chords (often taking the form of two-note figures) and martial fanfares; declarations in ringing octaves from Walker’s own instrument, the piano; and a rhythmically steady ‘walking’ bass line. All of these developments yield music of distinctly American muscularity, but Walker also introduces a more pastoral element, initially appearing as a brief interlude for flute and other woodwinds. Despite several recurrences, this tranquil strand of music makes little headway until relatively late in the composition. Even so, the relatively gentle episode that eventually emerges soon gives way again to the prevailing sense of agitation. The composition ends with a recollection of an iridescent chord heard in its very first moments.

These images alone might explain the composition’s subtitle, Visions. Yet they resonate with another strain of meaning that influenced the character of Sinfonia No. 5.

Although Walker began composing the piece beforehand, he had completed only preliminary work when, in June 2015, a young white supremacist shot and killed nine black parishioners at a historic church in Charleston, South Carolina. Walker was, of course, deeply disturbed by the massacre. Although not given to programmatic statements in his work – that is, to concrete musical allusions to specific real-world events

Programme note © Paul Schiavo

OFFSTAGE Our weekly podcast, LPO Offstage, takes a look behindthe-scenes of the LPO, bringing you closer than ever to the world of orchestral music. Hosted by MOBO Awardwinning saxophonist and presenter YolanDa Brown.

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

lpo.org.uk/podcast

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

Julia Fischer plays Elgar

Saturday 2 April 2022

Wednesday 13 April 2022

L Boulanger Psalm 129 Messiaen Le tombeau resplendissant Brahms A German Requiem

Elgar Violin Concerto Enescu Symphony No. 2

Edward Gardner conductor Christiane Karg soprano Roderick Williams baritone London Philharmonic Choir The Rodolfus Choir

Mitsuko Uchida plays Beethoven Saturday 9 April 2022 Helmut Lachenmann Marche fatale (UK premiere) Beethoven Piano Concerto No. 4 Bruckner Symphony No. 6 Vladimir Jurowski conductor Mitsuko Uchida piano

Vladimir Jurowski conductor Julia Fischer violin

A Gala Evening with Renée Fleming Friday 22 April 2022 Dvořák Othello Overture Verdi Ballet Music from Otello Verdi Willow Song & Ave Maria from Otello R Strauss Introduction, Moonlight & Finale from Capriccio Enrique Mazzola conductor Renée Fleming soprano Generously supported by Mrs Aline Foriel-Destezet

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

London Philharmonic Orchestra • 30 March 2022 • Visions and Utterances

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

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

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

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

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

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

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

The Maurice Marks Charitable Trust Mr Paris Natar The Rothschild Foundation Tom & Phillis Sharpe The Viney Family

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

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

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

London Philharmonic Orchestra • 30 March 2022 • Visions and Utterances

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

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

Artistic Director’s Circle

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

Orchestra Circle

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

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

Associates

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

Gold Patrons

An anonymous donor Chris Aldren David & Yi Buckley David Burke & Valerie Graham David & Elizabeth Challen

In memory of Allner Mavis Channing Sonja Drexler The Vernon Ellis Foundation Peter & Fiona Espenhahn Marie-Laure Favre-Gilly de Varennes de Beuill Mr Roger Greenwood Malcolm Herring John & Angela Kessler Dame Theresa Sackler Scott & Kathleen Simpson Eric Tomsett Andrew & Rosemary Tusa The Viney Family Guy & Utti Whittaker

Silver Patrons

Mrs A Beare The Rt Hon. The Lord Burns GCB Bruno De Kegel Jan & Leni Du Plessis Ulrike & Benno Engelmann Simon & Meg Freakley Pehr G Gyllenhammar The Jeniffer & Jonathan Harris Charitable Trust Catherine Høgel & Ben Mardle Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Sofiya Machulskaya Mrs Elizabeth Meshkvicheva The Metherell Family Andrew Neill Peter & Lucy Noble Marianne Parsons Tom & Phillis Sharpe Laurence Watt Grenville & Krysia Williams

Bronze Patrons

Anonymous donors Michael Allen Dr Manon Antoniazzi Julian & Annette Armstrong Roger & Clare Barron Mr Philip Bathard-Smith Sir Peter Bazalgette Mikhail Noskov & Vasilina Bindley Mr Bernard Bradbury Sally Bridgeland In memory of Julie Bromley Desmond & Ruth Cecil Mr John H Cook Howard & Veronika Covington John & Sam Dawson

Cameron & Kathryn Doley David Ellen Christopher Fraser OBE Virginia Gabbertas MBE David & Jane Gosman Mr Gavin Graham Mrs Dorothy Hambleton J Douglas Home The Jackman Family Mr & Mrs Ralph Kanza Jamie & Julia Korner Rose & Dudley Leigh Drs Frank & Gek Lim Nicholas & Felicity Lyons Geoff & Meg Mann Harriet & Michael Maunsell Marianne Parsons Dr Wiebke Pekrull Mr Gerald Pettit Mr Roger Phillimore Gillian Pole Mr Michael Posen Mr Christopher Querée Sir Bernard Rix Mr Robert Ross Priscylla Shaw Patrick & Belinda Snowball Charlotte Stevenson Mr Robert Swannell Joe Topley Tony & Hilary Vines Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Marina Vaizey Jenny Watson CBE Mr John Weekes Christopher Williams

Principal Supporters

Anonymous donors Dr R M Aickin Mr Mark Astaire Sir John Baker Tessa Bartley Mr Geoffrey Bateman Mrs Julia Beine Mr Anthony Boswood Dr Anthony Buckland Dr Carlos Carreno Mr Julien Chilcott-Monk Mr & Mrs Stewart Cohen David & Liz Conway Mr Alistair Corbett Andrew Davenport Mr Simon Douglas Mr B C Fairhall Mr Richard Fernyhough Mrs Janet Flynn Mrs Ash Frisby

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Jason George Mr Stephen Goldring Mr Daniel Goldstein Mr Milton Grundy Prof. Emeritus John Gruzelier Nerissa Guest & David Foreman Michael & Christine Henry Mark & Sarah Holford Ivan Hurry Per Jonsson Alexandra Jupin & John Bean Mr Ian Kapur Ms Kim J Koch Richard & Briony Linsell Paul & Brigitta Lock Mr Peter Mace Nicholas & Lindsay Merriman Andrew T Mills Simon & Fiona Mortimore Mrs Terry Neale John Nickson & Simon Rew Mr James Pickford Michael & Carolyn Portillo Mr David Russell Colin Senneck & the Hartley and District LPO Group Mr John Shinton Nigel Silby Mr Brian Smith Martin & Cheryl Southgate Mr & Mrs G Stein Dr Peter Stephenson Mr Ian Tegner Dr June Wakefield Howard & Sheelagh Watson Joanna Williams Roger Woodhouse Mr John Wright

Supporters

Anonymous donors Ralph & Elizabeth Aldwinckle Alexander & Rachel Antelme Julian & Annette Armstrong Lindsay Badenoch Mr Mark Bagshaw & Mr Ian Walker Mr John Barnard Mr John D Barnard Damaris, Richard & Friends Mr David Barrett Diana Barrett Mr Simon Baynham Harvey Bengen Nick & Rebecca Beresford Mr Paul Bland Mr Keith Bolderson Mr Andrew Botterill

Julian & Margaret Bowden & Mr Paul Michel Richard & Jo Brass Mr & Mrs Shaun Brown Mr Alan C Butler Lady Cecilia Cadbury Mrs Marilyn Casford Alison Clarke & Leo Pilkington J Clay Mr Joshua Coger Mr Martin Compton Mr Martin Connelly Mr Stephen Connock Miss Tessa Cowie Mr David Davies Mr Roderick Davies Mr David Devons Anthony & Jo Diamond Miss Sylvia Dowle Patricia Dreyfus Mr Andrew Dyke Mr Declan Eardly Mrs Maureen Erskine Mr Peter Faulk Mr Joe Field Ms Chrisine Louise Fluker Mr Kevin Fogarty Mr Richard France Mr Bernard Freudenthal Mrs Adele Friedland & Friends Will Gold Mrs Alison Goulter Mr Andrew Gunn Mr K Haines Mr Martin Hale Roger Hampson Mr Graham Hart Mr & Mrs Nevile Henderson The Jackman Family Martin Kettle Mr Justin Kitson Ms Yvonne Lock Mrs Sally Manning Belinda Miles Dr Joe Mooney Christopher & Diane Morcom Dame Jane Newell DBE Oliver & Josie Ogg Mr Stephen Olton Mari Payne Mr David Peters Nadya Powell Ms Caroline Priday Mr Richard Rolls Mr Richard Rowland Mr & Mrs Alan Senior Tom Sharpe Mr Kenneth Shaw Ruth Silvestre

London Philharmonic Orchestra • 30 March 2022 • Visions and Utterances

Thank you

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

Hon. Benefactor Elliott Bernerd

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

Thomas Beecham Group Members Chris Aldren David & Yi Buckley Gill & Garf Collins William & Alex de Winton Sonja Drexler The Friends of the LPO Irina Gofman Roger Greenwood Dr Barry Grimaldi Mr & Mrs Philip Kan John & Angela Kessler Countess Dominique Loredan Sir Simon Robey Victoria Robey OBE Bianca & Stuart Roden Caroline, Jamie & Zander Sharp Julian & Gill Simmonds Eric Tomsett Neil Westreich Guy & Utti Whittaker

Corporate Donors

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

LPO Corporate Circle Leader freuds Sunshine

Principal Berenberg Bloomberg Carter-Ruck French Chamber of Commerce

Tutti Lazard Russo-British Chamber of Commerce Walpole

Trialist Allianz Musical Insurance Ogilvy UK Sciteb

Preferred Partners Gusbourne Estate Lidl Lindt & Sprüngli Ltd OneWelbeck Steinway

In-kind Sponsor Google Inc

Trusts and Foundations

The Boltini Trust Borrows Charitable Trust Boshier-Hinton Foundation The Candide Trust Cockayne – Grants for the Arts The London Community Foundation The David Solomons Charitable Trust The D’Oyly Carte Charitable Trust Dunard Fund Ernst von Siemens Music Foundation

The Fidelio Charitable Trust Foyle Foundation Garrick Charitable Trust The Leche Trust Lucille Graham Trust John Horniman’s Children’s Trust John Thaw Foundation The Idlewild Trust Kirby Laing Foundation The Marchus Trust Adam Mickiewicz Institute PRS Foundation The Radcliffe Trust Rivers Foundation The R K Charitable Trust Romanian Cultural Institute Rothschild Foundation RVW Trust Schroder Charity Trust Scops Arts Trust Serge Rachmaninoff Foundation Sir William Boreman’s Foundation Souter Charitable Trust The Stanley Picker Trust The Thomas Deane Trust The Thriplow Charitable Trust The Vaughan Williams Charitable Trust The Victoria Wood Foundation The Viney Family The Barbara Whatmore Charitable Trust The William Alwyn Foundation and all others who wish to remain anonymous.

The LPO would also like to acknowledge all those who have made donations to the Play On Appeal and who have supported the Orchestra during the COVID-19 pandemic.

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

Simon Freakley Chairman Jay Goffman Alexandra Jupin William A. Kerr Kristina McPhee Natalie Pray Damien Vanderwilt Elizabeth Winter Victoria Robey OBE Hon. Director Jenifer L. Keiser, CPA, EisnerAmper LLP

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

London Philharmonic Orchestra • 30 March 2022 • Visions and Utterances

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

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

Barry Smith Martin Southgate Chris Viney Laurence Watt Elizabeth Winter

Finance

General Administration

Jean-Paul Ramotar Finance and IT Officer

Frances Slack Finance Director Dayse Guilherme Finance Manager

Elena Dubinets Artistic Director David Burke Chief Executive Chantelle Vircavs PA to the Executive

Education and Community Talia Lash Interim Education and Community Director

Concert Management

Rebecca Parslow Education and Community Project Manager

Roanna Gibson Concerts Director

Hannah Foakes Tilly Gugenheim Education and Community Project Co-ordinators

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

Development Laura Willis Development Director

Grace Ko Tours Manager

Scott Tucker Development Events Manager

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

Felix Lo Orchestra and Auditions Manager

Greg Felton Digital Creative Kiera Lockard Marketing Assistant

Archives Philip Stuart Discographer Gillian Pole Recordings Archive

Professional Services Charles Russell Speechlys Solicitors Crowe Clark Whitehill LLP Auditors Dr Barry Grimaldi Honorary Doctor

Mr Simon Owen-Johnstone Hon. Orthopaedic Surgeon

Kirstin Peltonen Development Associate

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

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Sophie Harvey Digital and Residencies Marketing Manager

Rosie Morden Individual Giving Manager

Nick Jackman Campaigns and Projects Director

Freddie Jackson Assistant Stage Manager

Ruth Haines (née Knight) Press and PR Manager

Mr Chris Aldren Honorary ENT Surgeon

Priya Radhakrishnan Georgia Wiltshire Development Assistants

Laura Kitson Stephen O’Flaherty Stage Managers

Gavin Miller Sales and Ticketing Manager

Stef Woodford Corporate Relations Manager

Anna Quillin Trusts and Foundations Manager

Sarah Thomas Martin Sargeson Librarians

Harrie Mayhew Website Manager

London Philharmonic Orchestra 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Box Office: 020 7840 4242 Email: admin@lpo.org.uk lpo.org.uk Cover photo James Wicks 2021/22 season identity JMG Studio Printer John Good Ltd