LPO programme: 30 Oct 2024 - Karina Canellakis conducts Schumann & Bruckner

2024/25 season at the Southbank Centre

FREE CONCERT PROGRAMME

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14/08/2024

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

Southbank Centre’s Royal Festival Hall Wednesday 30 October 2024 | 6.30pm

Karina Canellakis conducts Schumann & Bruckner R Schumann Overture, Manfred (12’) R Schumann Cello Concerto (26’) Interval (20’) Bruckner Symphony No. 4 (64’) Karina Canellakis conductor Truls Mørk cello Part of

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 Truls Mørk 8 Moments Remembered 9 The Chamber Sessions 10 Programme notes Recommended recordings 15 Next concerts 16 Bruckner on the LPO Label 17 Sound Futures donors 18 Thank you 20 LPO administration

London Philharmonic Orchestra • 30 October 2024 • Karina Canellakis conducts Schumann & Bruckner

Welcome

LPO news

Welcome to the Southbank Centre

The Chamber Sessions: LPO at St John's Waterloo

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.

We’re excited to announce ‘The Chamber Sessions’, a series of hour-long 6.30pm concerts at St John’s Church, Waterloo, in spring 2025. This follows the success of our 2024 chamber series at St John’s.

It’s great to continue our partnership as the church celebrates its 200th year, bringing audiences closer to the music and highlighting the talents of our musicians in a more intimate setting.

The 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.

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

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

You can also email hello@southbankcentre.co.uk or write to us at Southbank Centre, Belvedere Road, London SE1 8XX. Subscribers to our email updates are the first to hear about new events, offers and competitions.

Just head to our website to sign up.

Turn to page 9 for full programme details.

Tickets £12–£15: book now at lpo.org.uk/thechambersessions

Behind the scenes with LPO Friends Earlier today, LPO Friends were treated to an exclusive behind-the-scenes experience, watching Karina Canellakis, Truls Mørk and the Orchestra in rehearsal for tonight's concert and enjoying a rare insight into the preparation and artistry that goes into making each performance so special.

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

As well as exclusive access to a number of private rehearsals each season, LPO Friends membership puts you at the front of the queue for our Southbank Centre concert bookings, and offers invitations to other events and opportunities to meet LPO musicians throughout the year.

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

Membership starts from just £6 per month. Interested in finding out more?

Scan the QR code or visit lpo.org.uk/support

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London Philharmonic Orchestra • 30 October 2024 • Karina Canellakis conducts Schumann & Bruckner

On stage tonight First Violins

Pieter Schoeman* Leader

Chair supported by Neil Westreich

Alice Ivy-Pemberton Co-Leader Vesselin Gellev Sub-Leader Kate Oswin Chair supported by Eric Tomsett

Minn Majoe

Chair supported by Dr Alex & Maria Chan

Elizaveta Tyun Cassandra Hamilton Katalin Varnagy Yang Zhang Alice Apreda Howell Amanda Smith Kate Cole Ricky Gore Jack Greed Alice Hall Katherine Waller

Second Violins

Tania Mazzetti Principal Emma Oldfield Co-Principal Kate Birchall Fiona Higham

Chair supported by David & Yi Buckley

Nancy Elan Nynke Hijlkema Marie-Anne Mairesse Joseph Maher Sioni Williams Sarah Thornett Paula Clifton-Everest Emma Purslow José Nuno Cabrita Matias

Violas

Nicholas Bootiman Guest Principal Benedetto Pollani Katharine Leek Laura Vallejo Martin Wray Chair supported by David & Bettina Harden

Michelle Bruill James Heron Raquel López Bolívar Jisu Song Julia Doukakis Toby Warr Anita Kurowska

Cellos

Leo Melvin Guest Principal Waynne Kwon David Lale Jane Lindsay Francis Bucknall George Hoult Sue Sutherley Helen Thomas Sibylle Hentschel Hee Yeon Cho

Double Basses

Trumpets

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

Chair supported in memory of Peter Coe

Tom Watts

Trombones

Mark Templeton* Principal

Chair supported by William & Alex de Winton

David Whitehouse Gemma Riley

Kevin Rundell* Principal Hugh Kluger George Peniston Tom Walley

Bass Trombone

Laura Murphy Emma Prince Catherine Ricketts Martin Ludenbach

Lee Tsarmaklis* Principal

Chair supported by William & Alex de Winton

Flutes

Lyndon Meredith Principal

Tuba

Chair supported by William & Alex de Winton

Timpani

Simon Carrington* Principal

Chair supported by Victoria Robey CBE

Juliette Bausor Principal Hannah Grayson

Oboes

Ian Hardwick* Principal Alice Munday

Assistant Conductor Juya Shin

*Professor at a London conservatoire

Clarinets

Benjamin Mellefont* Principal

Chair supported by Sir Nigel Boardman & Prof. Lynda Gratton

James Maltby

Bassoons

Simon Estell* Principal Helen Storey

Chair supported by Friends of the Orchestra

Horns

Annemarie Federle Principal

Chair supported by Victoria Robey CBE

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

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The LPO also acknowledges the following chair supporters whose players are not present at this concert: Gill & Garf Collins Irina Gofman & Mr Rodrik V. G. Cave Roger Greenwood Dr Barry Grimaldi Ryze Power Sir Simon Robey Bianca & Stuart Roden

London Philharmonic Orchestra • 30 October 2024 • Karina Canellakis conducts Schumann & Bruckner

© Mark Allan

London Philharmonic Orchestra

Sharing the wonder worldwide

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

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

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

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

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

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

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London Philharmonic Orchestra • 30 October 2024 • Karina Canellakis conducts Schumann & Bruckner

Pieter Schoeman Leader

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

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

© Benjamin Ealovega

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

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

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

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

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

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

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

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

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

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

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

lpo.org.uk

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London Philharmonic Orchestra • 30 October 2024 • Karina Canellakis conducts Schumann & Bruckner

Karina Canellakis Principal Guest Conductor, London Philharmonic Orchestra

Philharmonic, Chicago Symphony Orchestra and Washington DC’s National Symphony Orchestra.

© Mathias Bothor

This December, Karina returns to the Théâtre des Champs-Elysées in Paris to conduct Poulenc’s Dialogues des Carmélites with Les Siècles. She conducts at least one opera-in-concert each season with the RFO at the Concertgebouw, and this season will lead Janáček’s From the House of the Dead, completing a cycle of Janáček operas over the past three seasons. Last season she also led Wagner’s complete Siegfried, having previously conducted acts from Tristan und Isolde and Die Walküre. She made her Santa Fe Opera debut last summer with Strauss’s Der Rosenkavalier, and in previous seasons has conducted a wide range of operas including Tchaikovsky’s Eugene Onegin and Mozart’s Don Giovanni, Die Zauberflöte and Le nozze di Figaro.

Karina Canellakis has been Principal Guest Conductor of the London Philharmonic Orchestra since September 2021, and recently extended her contract for a further three years, to the end of the 2026/27 season. She has also been Chief Conductor of the Netherlands Radio Philharmonic Orchestra (RFO) since 2019. Universally acclaimed for symphonic and operatic performances characterised by their emotional impact, interpretive depth and technical command, Karina is welcomed by the finest musical institutions across the globe.

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, earning a GRAMMY nomination. Her second album for Pentatone, Bartók’s Bluebeard’s Castle, is due for release in February 2025. Karina and the RFO were also featured artists for the launch of Apple Music Classical with a recording of Beethoven’s Piano Concerto No. 1 with Alice Sara Ott.

Tonight is the first of three Royal Festival Hall concerts with the LPO this season – Karina returns this Saturday (2 November) for a concert featuring Tchaikovsky’s Sixth Symphony alongside works by Saariaho and Beethoven with pianist Vadym Kholodenko, and again on 29 January 2025 for a programme of Sibelius and Mozart with pianist Benjamin Grosvenor. Last season she conducted the LPO in three concerts at the Royal Festival Hall, and led the Orchestra on tour to Munich and Vienna.

Since winning the Sir Georg Solti Conducting Award in 2016, Karina has developed close relationships with several of the world’s leading orchestras. She was Principal Guest Conductor of the Berlin Radio Symphony Orchestra from 2019–23, and in 2023/24 was a featured Artist-in-Residence at Vienna’s Musikverein. She has toured Australia and will make her debut in Japan in July 2025.

Already known to many in the classical music world as a virtuoso violinist, Karina was encouraged to pursue conducting by Sir Simon Rattle while playing in the Berlin Philharmonic’s Orchestre-Akademie. She performed for several years as soloist, guest leader and chamber musician, spending many summers at the Marlboro Music Festival, until conducting eventually became her focus.

As Chief Conductor of the Netherlands Radio Philharmonic Orchestra, Karina programmes and leads a diverse and eclectic 2024/25 season of new works by living composers alongside great masterworks, at Amsterdam’s Concertgebouw and the TivoliVredenburg in Utrecht. Symphonic highlights include Mahler’s Third Symphony, Brahms’s German Requiem and Elgar’s The Dream of Gerontius.

Karina Canellakis was born and raised in New York City.

She now makes her home in Amsterdam with her husband and two children.

Guest engagements this season include debuts with the Royal Concertgebouw Orchestra and the Staatskapelle Dresden, as well as return visits to the Munich Philharmonic Orchestra, Bavarian Radio Symphony Orchestra, Orchestre de Paris, New York

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London Philharmonic Orchestra • 30 October 2024 • Karina Canellakis conducts Schumann & Bruckner

Truls Mørk cello

Oslo Philharmonic Orchestra. Other commissions include Victoria Borisova-Ollas’s cello concerto Oh Giselle, Remember Me; Rautavaara’s Towards the Horizon with the BBC Symphony Orchestra and John Storgårds; Haas’s Cello Concerto with the Vienna Philharmonic and Jonathan Nott; Penderecki’s Concerto for Three Cellos with the NHK Symphony Orchestra and Charles Dutoit; and Hafliði Hallgrímsson’s Cello Concerto, co-commissioned by the Oslo Philharmonic, Iceland Symphony and Scottish Chamber orchestras. © Johs Boe

With an impressive recording output, Truls Mørk has recorded many of the great cello concertos for labels such as Virgin Classics, EMI, Deutsche Grammophon, Ondine, Arte Nova and Chandos, many of which have won international awards including Gramophone, Grammy, MIDEM and ECHO Klassik awards. These include Dvořák’s Concerto (Mariss Jansons/Oslo Philharmonic); Britten’s Cello Symphony and Elgar’s Concerto (Sir Simon Rattle/CBSO); Miaskovsky’s Concerto and Prokofiev’s Sinfonia Concertante (Paavo Järvi/CBSO); Dutilleux (Myung-Whun Chung/Orchestre Philharmonique de Radio France); CPE Bach (Bernard Labadie/Les Violons du Roy); Haydn’s Concertos (Iona Brown/Norwegian Chamber Orchestra); and Rautavaara’s Towards the Horizon (John Storgårds/ Helsinki Philharmonic Orchestra), as well as the complete Bach and Britten Cello Suites. Later recordings include Shostakovich’s Concertos with the Oslo Philharmonic Orchestra/Vasily Petrenko; Massenet’s works for cello and orchestra with the Orchestre de la Suisse Romande/Neeme Järvi; and the Saint-Saëns Concertos with the Bergen Philharmonic Orchestra/ Neeme Järvi. His most recent recording features sonatas by Bridge, Britten and Debussy, performed with pianist Håvard Gimse and released on Alpha Classics.

Truls Mørk’s compelling performances, combining fierce intensity, integrity and grace, have established him as one of the preeminent cellists of our time. He performs with the most distinguished orchestras including the London Philharmonic Orchestra, Philharmonia Orchestra, Orchestre de Paris, Berlin Philharmonic, Vienna Philharmonic, Royal Concertgebouw Orchestra, Leipzig Gewandhaus Orchestra and Munich Philharmonic. In North America he has appeared with the New York Philharmonic, the Philadelphia and Cleveland orchestras, the Boston Symphony Orchestra and the Los Angeles Philharmonic. Conductor collaborations include Esa-Pekka Salonen, David Zinman, Manfred Honeck, Gustavo Dudamel, Sir Simon Rattle, Kent Nagano, Yannick Nézet-Séguin and Christoph Eschenbach, amongst others.

Truls Mørk’s last appearance with the London Philharmonic Orchestra was in November 2021, when he performed Saint-Saëns’s Cello Concerto No. 1 under Klaus Mäkelä here at the Royal Festival Hall.

Initially taught by his father, Truls Mørk continued his studies with Frans Helmerson, Heinrich Schiff and Natalia Schakowskaya. Early in his career he won the Moscow Tchaikovsky Competition (1982), the Cassado Cello Competition (1983), the Unesco Prize at the European Radio-Union Competition in Bratislava (1983), and the Naumberg Competition in New York (1986).

The 2024/25 season sees Truls return to the Rotterdam and Bergen Philharmonic orchestras, RAI National Symphony Orchestra Turin, Orchestre Phiharmonique de Radio France and Vienna Radio Symphony Orchestra.

A great champion of contemporary music, Truls Mørk has given over 30 premieres. He has also given highly successful performances of Esa-Pekka Salonen’s Cello Concerto, conducted by the composer at the Royal Festival Hall, Lincoln Center and Aix-en-Provence Festival. In collaboration with Klaus Mäkelä, he performed the Salonen Cello Concerto with the Orchestre Philharmonique de Radio France and the

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London Philharmonic Orchestra • 30 October 2024 • Karina Canellakis conducts Schumann & Bruckner

Journeys at the Crossroads of Music and Memory

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

I

s music the ultimate medium of memory?

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

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

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

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

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

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

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

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

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

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

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London Philharmonic Orchestra • 30 October 2024 • Karina Canellakis conducts Schumann & Bruckner

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

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

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

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

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

lpo.org.uk/whats-on/london

Concert generously supported by TIOC Foundation

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

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

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

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

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

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London Philharmonic Orchestra • 30 October 2024 • Karina Canellakis conducts Schumann & Bruckner

Programme notes Robert Schumann 1810–56

Overture, Manfred 1848–49

The character of Manfred, creation of the archRomantic Lord Byron, fascinated many 19th-century artists. In his dramatic poem Manfred, many of the obsessions of the age are brought together, and clothed in compelling dramatic verse. Manfred is an outcast, a wanderer, heroic yet tormented, godlike but tragically flawed – ‘half-dust, half-deity’ is Byron’s description.

But he has a magnificent pride, leading him ultimately to defy Heaven and Hell alike. The settings are wonderful too: a lonely, gloomy castle, Alpine crags, and finally the underworld. To cap it all, Manfred is tormented with guilt for a sin he cannot remember. This turns out to be his incestuous love for his deceased sister, Astarte, but for most of the poem it is the namelessness of Manfred’s ‘crime’ – his unconsciousness of the source of his guilt – that makes it so poignant and intriguing. The fact that Byron regretted publishing Manfred, and expressed the wish that it should never be performed, only added to the drama’s alluring mystique.

There is some fine music in Schumann’s Manfred score, but the outstanding movement is its Overture. This compact, superbly argued symphonic drama is one of the gems of the Romantic orchestral repertoire. First, three thrusting chords register Manfred’s internal strife with tremendous economy; then plaintive woodwind and strings seem to cry out for compassion. However, the tempo soon accelerates and a restless, driven Allegro emerges. For this Overture Schumann chose an especially dark key, E-flat minor – challenging for the strings, yet the sense of strain that creates adds to the intensity. The momentum is gripping, yet at the end, the Allegro peters out, leaving the plaintive woodwind and string figures from the beginning to bring the Overture to an unmistakably tragic conclusion.

Programme note © Stephen Johnson

It isn’t clear when Robert Schumann first discovered Byron’s Manfred, but by 1848 he had become intensely absorbed in it. His wife Clara wrote that the poetry ‘inspired Robert to an extraordinary degree’. Another friend remembered an occasion when Schumann read Manfred aloud: ‘Suddenly his voice failed him, his eyes filled with tears, and he was so overcome with emotion that he could read no further.’ On one level it is easy to see why Manfred should have moved this composer so much. Both Byron and Schumann were complex, hypersensitive and given to emotional extremes; there is concrete evidence that they were both manicdepressive. The mysterious guilt from which Manfred suffers is a frequent symptom of the depressive phase.

And like Manfred, Schumann had a sister who died dreadfully young – in this case by her own hand.

Schumann was also much disturbed by the death of his friend Felix Mendelssohn in 1847. All of these factors may have combined to give extra urgency to the music he wrote to accompany Byron’s play in 1848–49.

Recommended recordings of tonight’s works

by Laurie Watt R Schumann: Overture, Manfred Swedish Chamber Orchestra | Thomas Dausgaard (BIS download) or WDR Sinfonieorchester Köln | Hans Vonk (Warner, with the Cello Concerto performed by Truls Mørk) R Schumann: Cello Concerto Truls Mørk | WDR Sinfonieorchester Köln | Hans Vonk (Warner) Bruckner: Symphony No. 4 London Philharmonic Orchestra | Klaus Tennstedt (LPO Label LPO-0014: see page 16)

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London Philharmonic Orchestra • 30 October 2024 • Karina Canellakis conducts Schumann & Bruckner

Programme notes Robert Schumann 1810–56

Cello Concerto in A minor, Op. 129 1850 Truls Mørk cello

1 Nicht zu schnell [Not too fast]– 2 Langsam [Slowly] – 3 Sehr lebhaft [Very lively] Robert Schumann never wrote a Cello Concerto.

On 2 September 1850, he arrived with his wife Clara in Düsseldorf, where he had accepted the position of Music Director for the city. Düsseldorf fell over itself to welcome the couple; their hotel rooms were decked with flowers, and when Robert entered the hall where he was to hear a concert in his honour, trumpeters sounded a fanfare. Within a month he’d settled into a pleasant and productive routine. He’d work all morning, take a stroll with Clara, lunch at one, and then work until early evening, before repairing to a local restaurant to read the papers and enjoy a stein of beer. And in October 1850, under these happy conditions, and in barely six days, he wrote a ‘Concert Piece [Konzertstück] for Cello with accompaniment for orchestra’.

Courtesy of the Royal College of Music, London

We don’t know why or for whom Schumann wrote it (and it wouldn’t be performed in public until June 1860 – four years after his death). But we do know that he never called it a Cello Concerto. Later musicians, eager to put one of the 19th century’s most subversive creative imaginations back in its box, have done that, and the term has stuck. But Schumann was a professional writer – indeed, one of the most brilliant of all music critics – and he chose his words carefully.

The word ‘concerto’, after all, derives from the idea of competition – and for 19th-century composers, especially German ones, the example of Beethoven’s concertos, mighty battles-royal between orchestra and soloist, was overwhelming.

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London Philharmonic Orchestra • 30 October 2024 • Karina Canellakis conducts Schumann & Bruckner

Programme notes Schumann didn’t think that way; for him, the cello (which he’d played himself as a student), was, like the clarinet and the horn, the Romantic instrument par excellence.

In numerous shorter works he made it the partner in a poetic dialogue with the piano; now, it’s a figure in a dark-hued orchestral landscape – not a battling hero.

Imagine one of one of those solitary wanderers in Caspar David Friedrich’s landscape paintings.

warm-hearted urge to take the listener aside and exchange a tender confidence. Not that the music lacks passion; in fact, in the absence of orchestral bombast, an ardent soloist with a glorious tone is absolutely essential. We need have no worries on that count tonight. Expect to hear reaffirmed musicologist Donald Tovey’s observation that in this deeply personal work, ‘the qualities of the violoncello are exactly those of the beloved enthusiastic dreamer whom we know as Schumann’.

So this isn’t a ‘Concerto’ concerto; its three movements play without a break in an expansive 30-minute arc, and the emphasis is on song rather than fireworks.

Even in the bustling finale, Schumann can’t resist that

Programme note © Richard Bratby

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

Coming soon on the LPO Label: Edward Gardner conducts Tippett Tippett Piano Concerto Tippett Symphony No. 2

LPO-0129

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

Released 29 November 2024

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

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

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London Philharmonic Orchestra • 30 October 2024 • Karina Canellakis conducts Schumann & Bruckner

Programme notes Anton Bruckner 1824–96

Symphony No. 4 in E flat major (‘Romantic’) (Nowak edition, revised 1878 with 1880 Finale)

1 Bewegt, nicht zu schnell [Lively, not too fast] 2 Andante, quasi Allegretto 3 Scherzo: Bewegt [Lively] – Trio: Nicht zu schnell. Keinesfalls schleppend [Not too fast. But not dragging] – Scherzo 4 Finale: Bewegt, doch nicht zu schnell [Lively, but not too fast]

Bruckner was quite clear about it: the Fourth was his ‘Romantic’ Symphony. So why single out this work in particular? All his symphonies are clearly products of the Romantic era, however much they may owe to the counterpoint of Palestrina and Bach, or to the architecture of the great Austrian cathedrals in which Bruckner (a superb organist and a devout Roman Catholic) worked and found spiritual refuge. When it first appeared, the Fourth Symphony was provided with a picturesque descriptive programme, inviting listeners to imagine dawn over a medieval town, processions of knights, hunting scenes, etc. In fact Bruckner probably had little to do with this; almost certainly his arm was twisted by over-zealous friends, anxious to help the still largely sceptical Viennese musical public get to grips with such a long, complex and highly original new work.

© Sueddeutsche Zeitung/Alamy

And yet for many, the Fourth Symphony does have an extraordinary power to conjure up moods or mental pictures. The magical opening – solo horn-calls sounding through quietly shimmering string tremolandos – is clearly forest music, particularly Austrian-German forest music in the Romantic tradition of Schubert, or Weber’s classic nationalist opera Der Freischütz. What this beginning also reveals is Bruckner’s newfound confidence as a symphonist.

From the horn theme, through the long following crescendo to the arrival of the second main theme, fortissimo, on bass brass, the music flows forward like

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London Philharmonic Orchestra • 30 October 2024 • Karina Canellakis conducts Schumann & Bruckner

Programme notes a great river. As the movement unfolds, Bruckner may allow himself pauses for breath or reflection, like a walker stopping to admire a fine view, but soon the steady momentum is re-established. The horn theme returns twice in its original form: at the start of the recapitulation (with a touchingly simple countermelody on flute), and the very end of the movement, where its first phrase sounds out thrillingly on all four horns in unison.

few passages that remained essentially unchanged in the two major revisions Bruckner made of this movement.

Clarifying the form of this Finale caused Bruckner immense trouble, and there is evidence he wasn’t satisfied even after he’d completed this supposedly ‘final’ version. Even some Bruckner lovers have tended to agree with him: certainly there are splendid ideas, but there are also passages in which the music momentarily seems to lose its way. But then Bruckner is attempting something highly original here: not a fast classical finale, but a huge summing up that contrasts dramatic assertion with moments of anxious uncertainty or, in at the other extreme, meditative calm. Give Bruckner the benefit of the doubt, however, and patience is ultimately rewarded, with interest. The long final crescendo, beginning in minor-key darkness with the first theme sounding quietly through shimmering strings, is one of Bruckner’s most superbly engineered symphonic summations, ending in a blaze of major-key glory. In the final moments, horns recall thrillingly the solo horn theme that set everything in motion at the start of the first movement. We have come full circle.

The typical Bruckner slow movement is a profound, songful Adagio meditation. Here, however, we have something closer to a funeral march, or at least a melancholy nocturnal procession. But although the tempo marking – Andante, quasi Allegretto – suggests a mobile pace, the underlying pulse feels slow, the landscape even more spacious than that opened out in the Symphony’s opening pages. The feeling of immense shadowy space is enhanced by the second theme: violas singing long, calm phrases through quiet pizzicato (plucked) chords. There are moments of mesmerising stillness, in which solo woodwinds and horns call to each other like birds across wide distances.

This movement could have been written to illustrate the marvellous German word Waldeinsamkeit: the unique sense of aloneness one feels in a forest. Eventually this march theme rouses itself to a magnificent climax.

But the splendour soon fades, and we are left with the march rhythm on solitary timpani, and sadly falling phrases on horn, viola and clarinet.

Programme note © Stephen Johnson

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The Fourth Symphony’s descriptive programme compares the Scherzo to hunting scenes. All very apt – up to a point. But there is something almost cosmic about this music, as though the horses were careering across the skies rather than thundering over the earth.

The slower central Trio section, however, is a delicious example of the cosy, rustic Bruckner: a lazily contented Ländler (country cousin of the Viennese waltz) is murmured by oboe and clarinet. Then the ‘cosmically’ galloping Scherzo returns in full.

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The Finale is the longest and most exploratory of the four movements. Bruckner claimed that the main theme came to him in a dream, played by a friend who told Bruckner, ‘The first three movements of the Romantic (Fourth) Symphony are ready, and we’ll soon find the theme for the fourth. Go to the piano and play it for me.’

Bruckner tells us: ‘I was so excited that I woke up, leaped out of bed and wrote the theme down, just as I’d heard it.’ Almost certainly this dream-given idea is the elemental unison theme for full orchestra that enters at the height of the first crescendo – strikingly, one of the

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Next Royal Festival Hall concerts lpo.org.uk

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Edward Gardner © Jason Bell

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conducted by Stanisław Skrowaczewski

conducted by Klaus Tennstedt

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

London Philharmonic Orchestra • 30 October 2024 • Karina Canellakis conducts Schumann & Bruckner

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

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

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

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

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

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

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

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

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

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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 • 30 October 2024 • Karina Canellakis conducts Schumann & Bruckner

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

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

Artistic Director’s Circle

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

Orchestra Circle Mr & Mrs Philip Kan Neil Westreich

Principal Associates

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

Associates

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

Gold Patrons

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

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

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

Silver Patrons

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

Bronze Patrons

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

Principal Supporters

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

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

Supporters

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

Hon. Benefactor Elliott Bernerd

London Philharmonic Orchestra • 30 October 2024 • Karina Canellakis conducts Schumann & Bruckner

Thank you

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

Thomas Beecham Group Members

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

LPO Corporate Circle Principal

Bloomberg Carter-Ruck Solicitors French Chamber of Commerce Ryze Power

Tutti

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

Preferred Partners

Board of the American Friends of the LPO

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

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

In-kind Sponsor Google Inc

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

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

and all others who wish to remain anonymous.

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London Philharmonic Orchestra • 30 October 2024 • Karina Canellakis conducts Schumann & Bruckner

London Philharmonic Orchestra Administration Board of Directors

New Generation Board

Finance

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

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

Frances Slack Finance Director

Kath Trout Marketing & Communications Director

Advisory Council

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

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

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Elena Dubinets Artistic Director

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

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