LPO programme: 4 Nov 2022 - Randall Goosby plays Bruch (Alpesh Chauhan, conductor)

Concert programme

A place to call home 2022/23 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 Friday 4 November 2022 | 7.30pm Brighton Dome Concert Hall Saturday 5 November 2022 | 7.30pm A place to call home

Randall Goosby plays Bruch Friday 4 November Chen Yi Momentum* (12’) Saturday 5 November Brahms Hungarian Dances Nos. 1, 6 & 5 (9’) Bruch Violin Concerto No. 1 in G minor (23’) Interval (20’) Brahms Symphony No. 3 in F major (33’) Alpesh Chauhan conductor Randall Goosby violin * Celebrating the 50th Anniversary of Ambassadorial Diplomatic Relations between China and the UK

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

Concerts presented by the London Philharmonic Orchestra in association with Brighton Dome.

Contents 2 3 4 5 6 7 8 12 13 14 16

Welcome LPO news On stage tonight London Philharmonic Orchestra Leader: Pieter Schoeman Alpesh Chauhan Randall Goosby Programme notes Recommended recordings Brahms on the LPO Label Sound Futures donors Thank you LPO administration

The concert on Friday 4 November is being filmed for future broadcast on Marquee TV. We would be grateful if audience noise during the performance could be kept to a minimum, and if audience members could kindly hold applause until the end of each full work. Thank you for your co-operation.

London Philharmonic Orchestra • 4 & 5 November 2022 • Randall Goosby plays Bruch

Friday 4 November 2022

Saturday 5 November 2022

Welcome to the Southbank Centre

Welcome to Brighton Dome

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.

Chief Executive Andrew Comben We hope you enjoy the performance and your visit to Brighton Dome. For your comfort and safety, please note the following: thank you for your co-operation.

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

Latecomers may not be admitted until a suitable break in the performance. Some performances may contain no suitable breaks.

Smoking Brighton Dome is a no-smoking venue.

Interval drinks may be ordered in advance at the bar to avoid queues.

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

Photography is not allowed in the auditorium.

Recording is not allowed in the auditorium.

Mobiles and watches should be switched off before entering the auditorium.

We look forward to seeing you again soon.

A few points to note for your comfort and enjoyment:

The concert at Brighton Dome on 5 November 2022 is presented by the London Philharmonic Orchestra in association with Brighton Dome.

Photography is not allowed in the auditorium.

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

Brighton Dome gratefully acknowledges the support of Brighton & Hove City Council and Arts Council England.

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.

Brighton Dome is managed by Brighton Dome & Brighton Festival, which also runs the annual threeweek Brighton Festival in May. brightondome.org | brightonfestival.org

Tonight’s concert on Marquee TV We are delighted that a selection of concerts from our LPO 2022/23 Royal Festival Hall season are being filmed for broadcast on Marquee TV. This evening’s concert (4 November) is being filmed for broadcast on Saturday 10 December at 7pm. The performance will remain available to watch free of charge for 48 hours without a Marquee TV subscription.

If you would like to subscribe for unlimited access to Marquee TV’s extensive range of music, opera, theatre and dance productions, you can enjoy 50% off with code LPO2022. Visit marquee.tv/ LPO2022 to find out more, enjoy a free trial or subscribe.

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London Philharmonic Orchestra • 4 & 5 November 2022 • Randall Goosby plays Bruch

On stage tonight First Violins

Pieter Schoeman* Leader Chair supported by Neil Westreich

Alice Ivy-Pemberton Kate Oswin Cassi Hamilton Minn Majoe Morane Cohen-Lamberger Yang Zhang Chair supported by Eric Tomsett

Thomas Eisner Katalin Varnagy

Chair supported by Sonja Drexler

Catherine Craig Alice Apreda Howell Ronald Long Amanda Smith Alice Hall

Second Violins

Tania Mazzetti Principal

Chair supported by Countess Dominique Loredan

Emma Oldfield Co-Principal Ashley Stevens Joseph Maher Fiona Higham Chair supported by David & Yi Buckley

Nynke Hijlkema Kate Birchall Claudia Tarrant-Matthews Lyrit Milgram Sioni Williams Jamie Hutchinson Matthew Bain

Violas

Richard Waters Principal Chair supported by Caroline, Jamie & Zander Sharp

Benedetto Pollani Laura Vallejo Martin Wray Jisu Song Raquel López Bolívar Kate De Campos James Heron Daniel Cornford Julia Kornig

Cellos

Bassoons

Bozidar Vukotic

Paul Boyes Guest Principal Patrick Bolton

Guest Principal

Susanna Riddell Sibylle Hentschel Helen Thomas Iain Ward Leo Melvin Julia Morneweg

* Holds a professorial appointment in London † 4 November only

Contrabassoon

Simon Estell* Principal

Horns

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

Double Basses

Kevin Rundell* Principal Hugh Kluger George Peniston Laura Murphy Tom Walley

Trumpets

Chair supported by William & Alex de Winton

David Johnson

Paul Beniston* Principal Tom Nielsen Guest Principal Anne McAneney*

Flutes

Trombones

Juliette Bausor Principal Joanna Marsh

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

Piccolo

David Whitehouse

Maja Persson

Bass Trombone

Oboes

Josh Cirtina

Ian Hardwick* Principal Alice Munday

Tuba

Lee Tsarmaklis*† Principal

Cor Anglais

Chair supported by Friends of the Orchestra

Sue Böhling*† Principal

Chair supported by Dr Barry Grimaldi

Timpani

Jonathan Phillips

Clarinets

Guest Principal

Benjamin Mellefont

Percussion

Principal

Thomas Watmough

Andrew Barclay* Principal

Chair supported by Roger Greenwood

Chair supported by Gill & Garf Collins

Feargus Brennan† Keith Millar†

Bass Clarinet

Paul Richards*† Principal

Harp

Tamara Young† Guest Principal

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The LPO also acknowledges the following chair supporters whose players are not present at these concerts: The Candide Trust Irina Gofman & Mr Rodrik V. G. Cave Sir Simon Robey Bianca & Stuart Roden

London Philharmonic Orchestra • 4 & 5 November 2022 • Randall Goosby plays Bruch

© Benjamin Ealovega

London Philharmonic Orchestra

Our conductors

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

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

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

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

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 throughout the UK and internationally, performing to sell-out audiences worldwide. Each summer we’re resident at Glyndebourne Festival Opera, combining the magic of opera with Glyndebourne’s glorious setting in the Sussex countryside.

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

Sharing the wonder We’re always at the forefront of technology, finding new ways to share our music globally. You’ll find us online, on streaming platforms, on social media and through our broadcast partnership with Marquee TV. During the pandemic period we launched ‘LPOnline’: over 100 videos of performances, insights and introductions to playlists, which led to us being named runner-up in the Digital Classical Music Awards 2020. During 2022/23 we’ll be working once again with Marquee TV to broadcast selected live concerts, so you can share or relive the wonder from your own living room.

We also release live, studio and archive recordings on our own label, and are the world’s most-streamed orchestra, with over 15 million plays of our content each month. Recent releases include the first volume of a Stravinsky series with Vladimir Jurowski; Tippett’s complete opera The Midsummer Marriage under Edward Gardner, captured in his first concert as

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London Philharmonic Orchestra • 4 & 5 November 2022 • Randall Goosby plays Bruch

Pieter Schoeman Leader

LPO Principal Conductor in September 2021; and James MacMillan’s Christmas Oratorio, recorded at the work’s UK premiere performance in December 2021.

We’re committed to inspiring the next generation of musicians and music-lovers: there’s nothing we love more than seeing the joy of children and families enjoying their first musical moments, and we’re passionate about equipping schools and teachers through schools’ concerts, resources and training.

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

Today’s young instrumentalists are the orchestral members of the future, so we’re committed to offering them opportunities to progress. Our LPO Junior Artists programme is leading the way in creating pathways into the profession for young artists from under-represented communities, and our LPO Young Composers and Foyle Future Firsts schemes support the next generation of professional musicians, bridging the transition from education to professional careers.

© Benjamin Ealovega

Next generations

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

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, Jean-Guihen Queyras, Yannick Nézet-Séguin, Martin Helmchen and Julia Fischer.

2022/23 and beyond We believe in the relevance of our music, and that our programmes must reflect the narratives of modern times. This season we’re exploring themes of belonging and displacement in our series ‘A place to call home’, delving into music by composers including Austrians Erich Korngold and Paul Hindemith, Hungarian Béla Bartók, Cuban Tania León, Ukrainian Victoria Vita Polevá and Syrian Kinan Azmeh. As we celebrate our 90th anniversary we perform works premiered by the Orchestra during its illustrious history. This season also marks Vaughan Williams’s 150th anniversary and we’ll be celebrating with four of his works, as well as both symphonies by Elgar and music by Tippett and Thomas Adès. Our commitment to everything new and creative includes premieres by Brett Dean, Mark Simpson and Heiner Goebbels, as well as new commissions from composers from around the world including Agata Zubel, Elena Langer and Vijay Iyer.

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

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

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

lpo.org.uk

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London Philharmonic Orchestra • 4 & 5 November 2022 • Randall Goosby plays Bruch

Alpesh Chauhan conductor

Cecilia, the Malmö Symphony Orchestra and the BBC National Orchestra of Wales. He enjoys collaborations with distinguished soloists such as Nicola Benedetti, Colin Currie, Pablo Ferrández, Veronika Eberle, Ilya Gringolts, Benjamin Grosvenor, Stephen Hough, Leila Josefowicz, Pavel Kolesnikov, Johannes Moser and Arcadi Volodos, and singers Karen Cargill, Markus Werba and Christianne Stotijn, among others.

© Luca Pezzani

Following his outstanding debut in 2015, Alpesh Chauhan was appointed Principal Conductor of the Filarmonica Arturo Toscanini in Parma, and has performed and recorded much of the great symphonic repertoire including a complete cycle of Brahms symphonies. Alongside the recently critically acclaimed RhineGold, other notable opera titles include Shostakovich’s Lady Macbeth of Mtsensk, West Side Story, and a production of Turandot at the Palau de les Arts Reina Sofía in Valencia.

British conductor Alpesh Chauhan is Principal Guest Conductor of the Düsseldorfer Symphoniker, Associate Conductor of the BBC Scottish Symphony Orchestra and Music Director of Birmingham Opera Company.

His most recent collaboration with the latter, Wagner’s RhineGold, was received to critical acclaim: ‘… The City of Birmingham Symphony Orchestra’s sound [was] controlled with an absolutely sure hand by the company’s Music Director Alpesh Chauhan – who was superb throughout.’ The Telegraph *****

A keen advocate of music education for young people, Alpesh is a patron of Awards for Young Musicians, a UK charity supporting talented young people from disadvantaged backgrounds on their musical journeys.

He has also worked with ensembles such as the National Youth Orchestra of Scotland and the symphony orchestras of the Royal Conservatoire of Scotland and Royal Northern College of Music. He was the conductor of the 2015 BBC ‘Ten Pieces’ film, which brought the world of classical music into secondary schools across the UK and received a distinguished BAFTA Award.

Forthcoming highlights this season include debuts with the Seattle Symphony and Hilary Hahn, the Deutsches Symphonie-Orchester Berlin, the Hallé, the Melbourne, Adelaide and North Carolina symphony orchestras, the Poznań Philharmonic, the Auckland Philharmonia and the Symphony Orchestra of India, as well as returns to the Orchestra Sinfonica Nazionale RAI, Filarmonica Toscanini, Orchestra del Teatro La Fenice, BBC Symphony Orchestra at the Barbican, City of Birmingham Symphony Orchestra and Antwerp Symphony. Further to this, he conducts several recording and symphonic projects with the BBC Scottish Symphony Orchestra and the Düsseldorfer Symphoniker, and community projects with Birmingham Opera Company.

Born in Birmingham, Alpesh Chauhan studied cello under Eduardo Vassallo at the Royal Northern College of Music in Manchester, before continuing at the RNCM to pursue the prestigious Master’s Conducting Course.

He has studied with Stanisław Skrowaczewski, and was mentored by Andris Nelsons and Edward Gardner in his post as Assistant Conductor of the City of Birmingham Symphony Orchestra from 2014–16.

Birmingham Opera Company’s 2019 production of Shostakovich’s Lady Macbeth of Mtsensk, directed by the late Sir Graham Vick, was a triumph and led to Alpesh Chauhan being named ‘Newcomer of the Year’ in the 2021 International Opera Awards. In 2022 he was delighted to receive the Conductor Award from the Italian National Association of Music Critics for ‘Miglior Direttore’ for concerts across Italy in 2021. Alpesh was honoured to receive an OBE in The Queen’s New Year Honours in January 2022 for Services to the Arts.

Alpesh made his London Philharmonic Orchestra debut in February 2022, when he stepped in at short notice to conduct a programme of Prokofiev and Rachmaninoff. He frequently appears as guest conductor with other acclaimed international orchestras including the London Symphony, Philharmonia, BBC Symphony and Royal Philharmonic orchestras, the BBC Philharmonic, the Orchestre National d’Île de France, the Orchestre National de Lille, the Accademia di Santa

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London Philharmonic Orchestra • 4 & 5 November 2022 • Randall Goosby plays Bruch

Randall Goosby violin

Philharmonic Orchestra. Upcoming recital appearances include La Jolla Music Society, Vancouver Recital Series, Philadelphia Chamber Music Society and the Schubert Club International Series featuring works by Boulanger, William Grant Still, Ravel and Beethoven.

© Kaupo Kikkas

June 2021 saw the release of Randall’s debut album for Decca entitled Roots, a celebration of African-American music which explores its evolution from the spiritual through to present-day compositions. Collaborating with pianist Zhu Wang, Randall curated an album paying homage to the pioneering artists that paved the way for him and other artists of colour. It features three world premiere recordings of works by African-American composer Florence Price alongside music by William Grant Still and Coleridge-Taylor Perkinson, plus a newly commissioned piece by Xavier Foley, a fellow Sphinx and Young Concert Artists alumnus.

‘For me, personally, music has been a way to inspire others’ – Randall Goosby’s own words sum up perfectly his commitment to being an artist who makes a difference. Signed exclusively to Decca Classics in 2020 at the age of 24, the American violinist is acclaimed for the sensitivity and intensity of his musicianship alongside his determination to make music more inclusive and accessible, as well as bringing the music of under-represented composers to light.

This is Randall Goosby’s second appearance with the London Philharmonic Orchestra: he made his debut with the Orchestra in October 2021, performing Chevalier de Saint-Georges’s Violin Concerto at Eastbourne’s Congress Theatre.

Randall Goosby is deeply passionate about inspiring and serving others through education, social engagement and outreach activities. He has enjoyed working with non-profit organisations such as the Opportunity Music Project and Concerts in Motion in New York City, as well as participating in community engagement programmes for schools, hospitals and assisted living facilities across the United States.

Randall Goosby was First Prize Winner in the 2018 Young Concert Artists International Auditions. In 2019 he was named the inaugural Robey Artist by Young Classical Artists Trust in partnership with Music Masters in London; and in 2020 he became an Ambassador for Music Masters, a role that sees him mentoring and inspiring students in schools around the UK. In 2010 he won First Prize in the Sphinx Concerto Competition; he is also a recipient of Sphinx’s Isaac Stern Award, a career advancement grant from the Bagby Foundation, and a 2022 Avery Fisher Career Grant. An active chamber musician, he has spent his summers studying at the Perlman Music Program, Verbier Festival Academy and Mozarteum Summer Academy, among others.

Highlights of Randall’s 2022/23 season include appearances with The Philadelphia Orchestra under Yannick Nézet-Séguin and with the San Francisco Symphony under Esa-Pekka Salonen, as well as returns to the Philharmonia Orchestra with Santtu-Matias Rouvali, the Los Angeles Philharmonic with ​Dalia Stasevska, the Royal Scottish National Orchestra with Tabita Berglund and the Dallas Symphony Orchestra with ​Karina Canellakis. He will also make his debuts in South Korea in recital, and in Japan with the Orchestra Ensemble Kanazawa and Ryan Wigglesworth, performing Bruch’s Violin Concerto No. 1.

Randall Goosby made his debut with the Jacksonville Symphony aged nine, and with the New York Philharmonic in a Young People’s Concert at Lincoln Center’s Avery Fisher Hall aged 13. A graduate of The Juilliard School, Randall continues his studies there, pursuing an Artist Diploma under Itzhak Perlman and Catherine Cho. He plays a 1735 Giuseppe Guarneri del Gesu, on generous loan from the Stradivari Society.

Summer 2022 included debuts with The Philadelphia Orchestra under Yannick Nézet-Séguin at the Saratoga Performing Arts Centre; at the Amsterdam Concertgebouw with the Antwerp Symphony Orchestra under Elim Chan; and in recital at the Lucerne Festival with pianist Anna Han. Randall also returned to the Hollywood Bowl, performing Bach’s Double Concerto with his mentor, Itzhak Perlman, and the Los Angeles

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London Philharmonic Orchestra • 4 & 5 November 2022 • Randall Goosby plays Bruch

Programme notes Friday 4 November 2022

Chen Yi born 1953

Momentum 1998

Born in the southern Chinese city of Guangzhou, Chen Yi learned the violin at a young age and continued to play the instrument up to her graduate student years at Columbia University in the late 1980s. In fact, during the Cultural Revolution, Chen had continued to practise the violin even after having been sent to the countryside. By the early 1970s she had returned to the city, where she served as violinist with a local operatic group. All of these experiences provided inspiration for her compositions, whether in borrowed operatic and folk tunes, calligraphic gestures, huqin fiddling techniques, imitative sonorities of Chinese traditional instruments, inventive use of percussion, or the vivid depiction of nature. Chen has lived and breathed Chinese operatic tradition and folk culture for decades, while at the same time steeping herself in the study of the Western canon of music.

© Kuandi Photos

Composer profile: Chen Yi Dr Chen Yi transcends musical and cultural boundaries in her blending of Chinese and Western traditions. She studied at the Central Conservatory of Music in Beijing and Columbia University in the US, has taught at the Peabody Conservatory, and currently holds a professorship at the University of Missouri Kansas City.

Dr Chen’s music has been performed and commissioned by the world’s leading musicians and ensembles including Yehudi Menuhin, Yo-Yo Ma, Evelyn Glennie, The Cleveland Orchestra, the BBC and Singapore symphony orchestras, the Seattle, Pacific, and Kansas City symphonies, and the Brooklyn, NY and LA Philharmonics.

Recent premieres include Four Spirits for piano and orchestra, commissioned by the University of North Carolina at Chapel Hill; Pearl River Overture, commissioned by the Guangzhou Symphony Orchestra; Southern Scenes for flute, pipa and orchestra by the Hawaii Symphony Orchestra; Totem Poles for solo organ, commissioned by the American Guild of Organists; and Happy Tune for violin and viola, commissioned and premiered at the Great Lakes Chamber Music Festival 25th anniversary concert.

Momentum is a study of contrasts inspired, in the composer’s words, ‘by the power of ancient totems, the tension of breathing lava (before it breaks up to flow), and the gesture of exaggerated dancing lines in Chinese calligraphy’. While the mood swings from calm to explosive several times in the span of 13 minutes, the piece’s most striking feature is a tuneful eloquence in the winds and strings that pushes modality to the boundaries of atonality. The melodic shape is especially prominent in the violin cadenza and flute/piccolo solos in the middle section, as various orchestral sections evoke tunes reminiscent of Chinese operatic tunetypes and pile them one upon another. While the strings represent the ethereal, sometimes excited by the incandescent winds, the large battery of percussion becomes a counterweight to the entire orchestra.

Written during Chen’s tenure as a professor at the Peabody Conservatory of Music and dedicated to the Peabody Symphony Orchestra and its music director Teri Murai, Momentum was premiered by the dedicatees at the Lincoln Center’s Alice Tully Hall in May 1998.

Dr Chen is a cultural ambassador who believes that music is a universal language, improving understanding between peoples of different cultural backgrounds and helping to bring peace in the world.

Programme note © Joanna Lee

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London Philharmonic Orchestra • 4 & 5 November 2022 • Randall Goosby plays Bruch

Programme notes Saturday 5 November 2022

Johannes Brahms 1833–97

Hungarian Dances 1869

No. 1 in G minor No. 6 in D major No. 5 in G minor Everybody knows the story of the record company executive who turned down The Beatles, and in doing so waved goodbye to a colossal fortune. Not very far behind him must stand the Budapest publisher Johann Nepomuk Dunkl, who in 1867 rejected outright the first two books of Brahms’s Hungarian Dances. Whatever Brahms’s feelings at the time, it turned out to be lucky for him. When the Dances were published two years later by the more prestigious company Simrock, they quickly became extraordinarily popular, displayed (if not always played) on salon and parlour pianos all over the Western world.

as he seemed to believe. As a young man, he’d had been enormously impressed by the playing of the Hungarian violinist Eduard Reményi (whom he accompanied at the piano), and by the folk tunes Reményi played – Brahms was particularly taken with their complex and vibrant rhythmic patterns. His great friend, the Hungarian composer and virtuoso violinist Joseph Joachim, later played and sent him many more, and some of these formed the basis of the four sets of Hungarian Dances published in 1869 (Books I & II) and 1880 (Books III & IV).

The problem – from the point of view of a pure-minded Hungarian nationalist – was that many of these tunes were of Gypsy (or, as we would now say, ‘Romani’) extraction, and therefore questionable. For Brahms however, this appears to have been irrelevant, if he was ever seriously aware of it. What fascinated him was the opportunity these tunes offered to extend his own horizons as a composer. Dance No. 1 gives a good indication of the kind of thing Brahms learned.

The melody is rhythmically irregular (six-bar phrases instead of the conventional four) and enhanced by touches of flavoursome chromaticism – the musical equivalent of strong paprika. No. 6 is even more deliciously irregular, with ambiguous phrase-lengths and accents shifted deliberately onto ‘wrong’ beats.

And No. 5 is the best-known of the set, with its confident minor-key swagger and its teasing changes of tempo. But there’s nothing arch about Brahms’s use of such devices: by this stage they had become so much features of his own style that it’s hard to say what is ‘genuine’ folk music and what is original Brahms.

The influence of the Hungarian Dances was widespread. They inspired Dvořák’s equally popular sets of Slavonic Dances, and later the piano rags of Scott Joplin, and through them a whole generation of Black American jazz musicians. Hard as it may be to picture Brahms, the great patrician German symphonist, as a forefather of jazz, that just shows that truth often is stranger than fiction. It didn’t stop there: recently English rapper Professor Green used Hungarian Dance No. 5 in his ‘Upper Clapton Dance’, while American electro-house musician Steve Aoki has also paid tribute in his deliciously entitled ‘Phat Brahms’.

With such hindsight it’s easy to mock poor Dunkl, but his reason for turning down the Hungarian Dances may not have been simple short-sightedness. Dunkl, and his son Norbert, were passionate enthusiasts for Hungarian national culture, at a time when demands for Hungarian calls for independence from Austrian domination where growing more insistend. Brahms’s dances are nowhere near as authentically ‘Hungarian’

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London Philharmonic Orchestra • 4 & 5 November 2022 • Randall Goosby plays Bruch

Programme notes Max Bruch 1838–1920

Violin Concerto No. 1 in G minor 1866

Randall Goosby violin

1 Vorspiel (Prelude): Allegro moderato 2 Adagio 3 Finale: Allegro energico Vorspiel – ‘Prelude’ – and its role is, in many ways preparatory. The opening is hushed, expectant, the violin emerging with a series of improvisatory phrases, gradually growing in strength. A dark, turbulent Allegro movement emerges from this. There is a gentler, contrasting middle section, but the storm builds again. As this reaches its climax we might expect a full ‘recapitulation’, bringing back both main themes and leading to a virtuosic conclusion. Instead the violin sweeps upwards into a powerful, impassioned outburst for full orchestra, and we sense the scene changing.

It would be good to think that Max Bruch derived some solid financial gain from the huge popularity of his First Violin Concerto. Sadly, the opposite is true.

Bruch wrote the Concerto in 1866, when he was 28.

Bruch clearly realised that it needed more work, so he took the inspired decision to consult the leading virtuoso Joseph Joachim, who was later to play such an important part in helping his friend Brahms refine and enrich the solo part in his famous Violin Concerto.

Joachim gave the premiere of the revised Bruch Concerto in 1868, where it brought Bruch his first big and enduring success. Unwisely, Bruch then sold it to the publisher Cranz for a one-off payment, which meant that for years he had to endure seeing the work appear on concert billings all over the world, eclipsing most of his later works, whilst the takings went elsewhere. At the end of the First World War, when he was pitifully short of money, Bruch tried to raise some cash by offering his copy of the manuscript for sale in America, but he died without receiving a penny.

As the tempo slows to Adagio, the violin enters with a long-breathed, exquisite melody. This is the Concerto’s ‘Big Tune’, and we can now sense that the first movement has in fact been a preparation for this moment, and for the beautifully judged meditation on this melody that follows. The Finale moves on very effectively from the Adagio’s serene ending. Nervously excited at first, it quickly gains in strength until the violin sweeps in with a majestic virtuosic theme. If the slow movement was the great lyrical flowering we had been waiting for, the Finale brings the full explosion of technical display anticipated in that ‘Prelude’ first movement, building to a rousing conclusion.

Just as saddening is the thought that Bruch was not able to take pride in the success of his G minor Violin Concerto, because it really is an outstandingly beautiful and original work. Bruch calls his first movement

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

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London Philharmonic Orchestra • 4 & 5 November 2022 • Randall Goosby plays Bruch

Programme notes Johannes Brahms 1833–97

Symphony No. 3 in F major 1883

1 Allegro con brio 2 Andante 3 Poco allegretto 4 Allegro Immediately after this ‘motto’ comes a magnificent downward plunging violin theme. Its opening phrase is a direct quotation from another Third Symphony: that of the young Brahms’s mentor, encourager and in many ways surrogate father Robert Schumann. Schumann’s final descent into madness and attempted suicide in 1854 was a profound shock for Brahms. Most of Brahms’s first movement is carried along by a strong, buoyant forward current; but just before the return of the first themes the tempo slows markedly and Brahms quotes one of his own choral works, Begräbnisgesang, ‘Funeral Song’, composed not long after Schuman’s death – listen out for heavy descending scales in the bass, lugubriously scored. Suddenly the opening F–A–F motif returns with full force. It’s as though Brahms pays momentary tribute to his beloved, and still profoundly missed friend, but then rallies himself. Schumann may be no more, but his spirit lives on in Brahms himself – as Schumann himself prophesied.

Brahms’s Third Symphony is in many ways the subtlest, certainly the least ‘epic’ of his symphonic works.

Notice the way that all four movements conclude quietly – it’s hard to think of a symphony composed before this one that totally avoids demonstrative endings. Sometimes – especially in the middle two movements – the style and expression are closer to chamber music: there are intimate dialogues between solo woodwind instruments, while the beautiful long horn solo in the third movement, with its delicate string accompaniment, is closer in style to the gloriously romantic Horn Trio of 1865 than to anything in the other three symphonies.

Beyond that, the older Brahms’s habitual mask of ‘classical objectivity’ slips more often here than in any of his other big orchestral works. The Third Symphony begins with the wind instruments outlining a rising three-note motif which dominates the first movement and returns to wind up the argument at the end of the finale: all very intellectually rigorous, one might say – typical Brahms. Un-typically, however, Brahms indicated that this motif had a specific meaning: the three notes, F–A–F, ‘spelt’ a motto in German, Frei aber froh – ‘Free but happy’ – an expression of proud defiance, perhaps, by famously lifelong bachelor.

But listen to the way Brahms flattens the second note of the opening motif, A, and adds a questioning dissonance underneath. The word aber (‘but’) is therefore emphasised – a note of doubt.

The middle two movements are much gentler, and scored for reduced forces (no trumpets, drums or contrabassoon). The opening woodwind melody of the Andante, with its answering phrases on low strings, is like a pastoral hymn, but the more searching second theme (clarinet, bassoon with rich supporting string chords) leads into more troubled regions. Pastoral imagery is also suggested in the following Poco allegretto. The rustling string figures accompaniment the gorgeous cello melody may evoke rustling foliage.

The idea of a prevailing forest setting is confirmed when the opening melody is taken up at length by the

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London Philharmonic Orchestra • 4 & 5 November 2022 • Randall Goosby plays Bruch

Programme notes horn – for German-speaking composers the horn is the romantic woodland instrument.

Recommended recordings

by Laurie Watt

The finale brings the stormiest, most driven music in the whole Symphony, though the darkly purposeful opening is momentarily interrupted by a kind of brief reverie (woodwind against more rustling strings), followed by a sombre hymn-like figure, pianissimo – more ‘funeral’ music? From this an impassioned, striving Allegro springs to life. One may be led to expect a noisily triumphant, or perhaps tragic conclusion. But at the end it is the element of reverie (again woodwind and rustling strings) that prevails, leading – with superb emotional logic – to a quite return of the Symphony’s original ‘motto’ and ‘Schumann’ themes. No triumph, no tragedy, the music seems to say – just peaceful acceptance.

Chen Yi: Momentum Singapore Symphony Orchestra | Lan Shui (BIS) Brahms: Hungarian Dances Vienna Philharmonic | Fritz Reiner (Decca Classic Sound) Bruch: Violin Concerto No. 1 Julia Fischer | Tonhalle-Orchester Zürich | David Zinman (Decca) or Kyung-Wha Chung | London Philharmonic Orchestra | Klaus Tennstedt (Warner download) Brahms: Symphony No. 3 London Philharmonic Orchestra | Vladimir Jurowski (LPO Label LPO-0075: see below) or London Philharmonic Orchestra Klaus Tennstedt (LPO Label LPO-0068: see below)

Brahms & Bruch programme notes © Stephen Johnson

LPO-0075

LPO-0068

Brahms’s Symphony No. 3 on the LPO Label

Brahms Symphonies Nos. 3 & 4

Brahms Symphonies Nos. 1 & 3

Vladimir Jurowski conductor

Klaus Tennstedt conductor

Recorded live at the Southbank Centre’s Royal Festival Hall on 27 October 2010 (No. 3) and 28 May 2011 (No. 4)

Recorded at the Southbank Centre’s Royal Festival Hall on 14 October 1992 (No. 1) and 7 April 1983 (No. 3)

Available on CD from all good outlets, and to download or stream online via Spotify, Apple Music, Idagio and others.

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London Philharmonic Orchestra • 4 & 5 November 2022 • Randall Goosby plays Bruch

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

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

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

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

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

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

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

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

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

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

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

London Philharmonic Orchestra • 4 & 5 November 2022 • Randall Goosby plays Bruch

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 Aud Jebsen In memory of Mrs Rita Reay Sir Simon & Lady Robey OBE

Orchestra Circle

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

Principal Associates

Richard Buxton Gill & Garf Collins In memory of Brenda Lyndoe Casbon In memory of Ann Marguerite Collins Sally Groves MBE George Ramishvili

Associates

Mrs Irina Andreeva In memory of Len & Edna Beech Steven M. Berzin Ms Veronika BorovikKhilchevskaya The Candide Trust Irina Gofman & Mr Rodrik V. G. Cave Patricia Haitink The Lambert Family Charitable Trust Countess Dominique Loredan Stuart & Bianca Roden In memory of Hazel Amy Smith The Tsukanov Family The Viney Family

Gold Patrons

An anonymous donor Chris Aldren David & Yi Buckley In memory of Allner Mavis Channing Sonja Drexler Jan & Leni Du Plessis The Vernon Ellis Foundation Peter & Fiona Espenhahn Hamish & Sophie Forsyth Mr Roger Greenwood Malcolm Herring

Mr & Mrs Ralph Kanza Mrs Elena & Mr Oleg Kolobov Rose & Dudley Leigh Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Drs Frank & Gek Lim Mr Nicholas Little Geoff & Meg Mann Mrs Elizabeth Meshkvicheva Andrew T Mills Peter & Lucy Noble Mr Roger Phillimore Mr Michael Posen Mr Anthony Salz Ms Nadia Stasyuk Charlotte Stevenson Joe Topley Mr & Mrs John C Tucker Timothy Walker CBE AM Jenny Watson CBE Grenville & Krysia Williams

John & Angela Kessler Julian & Gill Simmonds Eric Tomsett Andrew & Rosemary Tusa Guy & Utti Whittaker Mr Florian Wunderlich

Silver Patrons

Dame Colette Bowe David Burke & Valerie Graham John & Sam Dawson Bruno De Kegel Ulrike & Benno Engelmann Virginia Gabbertas MBE Dmitry & Ekaterina Gursky The Jeniffer & Jonathan Harris Charitable Trust Catherine Høgel & Ben Mardle Sir George Iacobescu Jamie & Julia Korner Mr & Mrs Makharinsky Mr Nikita Mishin Andrew Neill Tom & Phillis Sharpe Mr & Mrs John & Susi Underwood Laurence Watt Grenville & Krysia Williams

Principal Supporters

Anonymous donors Dr Manon Antoniazzi Julian & Annette Armstrong Mr John D Barnard Mr Geoffrey Bateman Mr Philip Bathard-Smith Mrs A Beare Dr Anthony Buckland Dr Simona Cicero & Mr Mario Altieri Mr Peter Coe Mrs Pearl Cohen David & Liz Conway Mr Alistair Corbett Ms Mary Anne Cordeiro Ms Elena Dubinets Mr Richard Fernyhough Jason George Mr Christian Grobel Prof Emeritus John Gruzelier Mark & Sarah Holford Mrs Maureen Hooft-Graafland Per Jonsson Mr Ian Kapur Ms Kim J Koch Ms Elena Lojevsky Mrs Terry Neale John Nickson & Simon Rew Oliver & Josie Ogg Ms Olga Ovenden Mr James Pickford Filippo Poli Sir Bernard Rix Mr Robert Ross Priscylla Shaw

Bronze Patrons

Anonymous donors Michael Allen Mr Mark Astaire Nicholas & Christine Beale Mikhail Noskov & Vasilina Bindley Mr Anthony Blaiklock Lorna & Christopher Bown Mr Bernard Bradbury Simon Burke & Rupert King Desmond & Ruth Cecil Mr Evgeny Chichvarkin Mr John H Cook Georgy Djaparidze Deborah Dolce Cameron & Kathryn Doley Mariana Eidelkind & Gene Moldavsky David Ellen Ben Fairhall Mr Richard & Helen Gillingwater Mr Daniel Goldstein David & Jane Gosman Mr Gavin Graham Lord & Lady Hall Mrs Dorothy Hambleton Martin & Katherine Hattrell Michael & Christine Henry Mr Steve Holliday J Douglas Home

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Martin & Cheryl Southgate Mr & Mrs G Stein Dr Peter Stephenson Joanna Williams Christopher Williams Ms Elena Ziskind

Supporters

Anonymous donors Ralph & Elizabeth Aldwinckle Mr & Mrs Robert Auerbach Mrs Julia Beine Harvey Bengen Miss YolanDa Brown Miss Yousun Chae Mr Julien Chilcott-Monk Alison Clarke & Leo Pilkington Mr Joshua Coger Miss Tessa Cowie Mr David Devons Patricia Dreyfus Mr Martin Fodder Christopher Fraser OBE Will Gold Ray Harsant Mr Peter Imhof The Jackman Family Mr David MacFarlane Dame Jane Newell DBE Mr Stephen Olton Mari Payne Mr David Peters Ms Edwina Pitman Mr & Mrs Graham & Jean Pugh Mr Giles Quarme Mr Kenneth Shaw Mr Brian Smith Ms Rika Suzuki Tony & Hilary Vines Dr June Wakefield Mr John Weekes Mr C D Yates

Hon. Benefactor Elliott Bernerd

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

London Philharmonic Orchestra • 4 & 5 November 2022 • Randall Goosby plays Bruch

Thank you

Thomas Beecham Group Members

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 Donor Barclays

LPO Corporate Circle Principal Berenberg Bloomberg Carter-Ruck French Chamber of Commerce

Tutti Lazard Walpole

Trusts and Foundations

Board of the American Friends of the LPO

ABO Trust BlueSpark Foundation The Boltini Trust Borrows Charitable Trust The Candide Trust Cockayne – Grants for the Arts The London Community Foundation The D’Oyly Carte Charitable Trust Dunard Fund Ernst von Siemens Music Foundation Foyle Foundation Garrick Charitable Trust John Horniman’s Children’s Trust John Thaw Foundation Institute Adam Mickiewicz Kirby Laing Foundation The Marchus Trust The Radcliffe Trust Rivers Foundation Rothschild Foundation RVW Trust Scops Arts Trust Sir William Boremans' Foundation The John S Cohen Foundation The Stanley Picker Trust The Thriplow Charitable Trust The Vaughan Williams Charitable Trust The Victoria Wood Foundation The Viney Family The Barbara Whatmore Charitable Trust

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 Jon Carter Jay Goffman Alexandra Jupin Natalie Pray Damien Vanderwilt Elizabeth Winter Catherine Høgel Hon. Director Jenifer L. Keiser, CPA, EisnerAmper LLP

LPO International Board of Governors Natasha Tsukanova Co-Chair Martin Höhmann Co-Chair Mrs Irina Andreeva Steven M. Berzin Veronika Borovik-Khilchevskaya Marie-Laure Favre Gilly de Varennes de Bueil Aline Foriel-Destezet Irina Gofman Countess Dominique Loredan Olivia Ma George Ramishvili Jay Stein

and all others who wish to remain anonymous.

Trialist Sciteb

Preferred Partners Gusbourne Estate Jeroboams Lindt & Sprüngli Ltd OneWelbeck Steinway

In-kind Sponsor Google Inc

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London Philharmonic Orchestra • 4 & 5 November 2022 • Randall Goosby plays Bruch

London Philharmonic Orchestra Administration Board of Directors

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

Advisory Council

Martin Höhmann Chairman Christopher Aldren Dr Manon Antoniazzi Roger Barron Richard Brass Helen Brocklebank YolanDa Brown Simon Burke Simon Callow CBE Desmond Cecil CMG Sir Alan Collins KCVO CMG Andrew Davenport Guillaume Descottes Cameron Doley Christopher Fraser OBE Jonathan Harris CBE FRICS Marianna Hay MBE Nicholas Hely-Hutchinson DL 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

Finance

Thomas Sharpe KC Julian Simmonds Barry Smith Martin Southgate Chris Viney Laurence Watt Elizabeth Winter

Frances Slack Finance Director Dayse Guilherme Finance Manager Jean-Paul Ramotar Finance and IT Officer

General Administration

Education and Community

Elena Dubinets Artistic Director

Talia Lash Education and Community Director

David Burke Chief Executive Chantelle Vircavs PA to the Executive

Hannah Foakes Lowri Davies Education and Community Project Managers

Concert Management Roanna Gibson Concerts and Planning Director

Hannah Smith Education and Community Project Co-ordinator

Graham Wood Concerts and Recordings Manager Maddy Clarke Tours Manager Alison Jones Concerts and Recordings Co-ordinator Robert Winup Concerts and Tours Assistant

Laura Kitson Stage and Operations Manager

Archives Philip Stuart Discographer Gillian Pole Recordings Archive

Crowe Clark Whitehill LLP Auditors

Siân Jenkins Corporate Relations Manager

Dr Barry Grimaldi Honorary Doctor

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

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Alicia Hartley Marketing Assistant

Rosie Morden Individual Giving Manager

Kirstin Peltonen Development Associate

Felix Lo Orchestra and Auditions Manager

Greg Felton Digital Creative

Charles Russell Speechlys Solicitors

Nick Jackman Campaigns and Projects Director

Stephen O’Flaherty Deputy Operations Manager

Sophie Harvey Digital and Residencies Marketing Manager

Professional Services

Eleanor Conroy Al Levin Development Assistants

Sarah Thomas Martin Sargeson Librarians

Ruth Haines Press and PR Manager

Laura Willis Development Director

Katurah Morrish Development Events Manager

Andrew Chenery Orchestra Personnel Manager

Gavin Miller Sales and Ticketing Manager

Development

Anna Quillin Trusts and Foundations Manager

Matthew Freeman Recordings Consultant

Harrie Mayhew Website Manager

Mr Chris Aldren Honorary ENT Surgeon Mr Simon Owen-Johnstone Hon. Orthopaedic Surgeon London Philharmonic Orchestra 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Box Office: 020 7840 4242 Email: admin@lpo.org.uk lpo.org.uk Cover illustration Simon Pemberton/Heart 2022/23 season identity JMG Studio Printer John Good Ltd