LPO programme: 4 Oct 2024 - Patricia Kopatchinskaja plays Shostakovich

2024/25 season at the Southbank Centre

FREE CONCERT PROGRAMME

99524 LH Lindt LPO Excellence Advert Update v2.pdf

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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 Friday 4 October 2024 | 7.30pm

Patricia Kopatchinskaja plays Shostakovich Britten Sinfonia da Requiem (21’) Shostakovich Violin Concerto No. 1 (36’) Interval (20’) Sibelius Symphony No. 5 (31’) Edward Gardner conductor

Generously supported by Aud Jebsen

Patricia Kopatchinskaja violin Part of

Concert generously supported by Victoria Robey CBE

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 Edward Gardner 7 Patricia Kopatchinskaja 8 Moments Remembered 10 Programme notes 14 Recommended recordings 15 Next concerts 16 LPO Label 17 Sound Futures donors 18 Thank you 20 LPO administration

London Philharmonic Orchestra • 4 October 2024 • Patricia Kopatchinskaja plays Shostakovich

Welcome

LPO news

Welcome to the Southbank Centre

Edward Gardner extends his LPO contract

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.

You might have seen the news earlier this month that Edward Gardner has renewed his contract as LPO Principal Conductor until at least 2028. Karina Canellakis has also extended her Principal Guest Conductor contract until 2027, which – along with Conductor Emeritus Vladimir Jurowski – means we retain our enviable conductor lineup for years to come. We’re all looking forward to the musical adventures ahead!

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.

Scan to watch a video of Ed talking about his contract extension and what he loves about the LPO:

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.

Autumn tour adventures Next week the Orchestra embarks on its first major tour of the USA in a decade, with Principal Conductor Edward Gardner and violinists Patricia Kopatchinskaja and Randall Goosby. Spanning the country from West to East Coasts, the two-week tour begins with four concerts across California, before visits to cities in Illinois, Indiana, Michigan, Connecticut and New York, including a performance at Carnegie Hall on 19 October – this will be both Ed Gardner and Patricia Kopatchinskaja’s debuts there.

Last month the Orchestra travelled to Japan with conductor Robin Ticciati and pianist Nobuyuki Tsujii, performing in the cities of Hamamatsu, Nagoya and Osaka, as well as three concerts at Tokyo’s Suntory Hall. The Orchestra was delighted to be sponsored by HSBC for this tour.

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.

During November we’ll be touring closer to home, giving a series of concerts in Vienna and Germany with Edward Gardner and pianist Víkingur Ólafsson, following his Royal Festival Hall performance with us on 6 November. And later in the autumn we’re preparing for another big trip – a major tour of China at the end of December. With conductor Paavo Järvi and cellist Julia Hagen, we’ll perform in Guangzhou, Shenzhen, Shanghai and Beijing, before returning to the UK in the New 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.

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London Philharmonic Orchestra • 4 October 2024 • Patricia Kopatchinskaja plays Shostakovich

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

Lasma Taimina

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

Minn Majoe

Chair supported by Dr Alex & Maria Chan

Thomas Eisner

Chair supported by Ryze Power

Martin Höhmann Alice Hall Yang Zhang Cassandra Hamilton Elizaveta Tyun Nilufar Alimaksumova Amanda Smith Ronald Long Chu-Yu Yang

Second Violins

Tania Mazzetti Principal Emma Oldfield Co-Principal Claudia Tarrant-Matthews Sophie Phillips Nancy Elan Fiona Higham Chair supported by David & Yi Buckley

Marie-Anne Mairesse Ashley Stevens Sioni Williams Kate Cole Jessica Coleman Alison Strange Charlie MacClure Jamie Hutchinson

Violas

Scott Dickinson Guest Principal

Martin Wray

Chair supported by David & Bettina Harden

Katharine Leek Benedetto Pollani Laura Vallejo Lucia Ortiz Sauco

Jisu Song Kate De Campos Linda Kidwell Lukas Bowen Michelle Bruil Julia Doukakis

Clarinets

Cellos

Paul Richards*

Benjamin Mellefont* Principal

Chair supported by Sir Nigel Boardman & Prof. Lynda Gratton

Thomas Watmough Chair supported by Roger Greenwood

Kristina Blaumane Principal

Chair supported by Bianca & Stuart Roden

Bass Clarinet

Paul Richards* Principal

Waynne Kwon David Lale Hee Yeon Cho Nina Kiva Helen Thomas George Hoult Sibylle Hentschel Iain Ward Jane Lindsay

Alto Saxophone Kyle Horch

Bassoons

Jonathan Davies* Principal Chair supported by Sir Simon Robey

Dominic Tyler Simon Estell*

Double Basses

Kevin Rundell* Principal Sebastian Pennar

Contrabassoon

Co-Principal

Simon Estell* Principal

Hugh Kluger George Peniston Tom Walley

Horns

Annemarie Federle

Chair supported by William & Alex de Winton

Principal

Laura Murphy Charlotte Kerbegian Lowri Estell

Chair supported by Victoria Robey CBE

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

Flutes

Fiona Kelly Guest Principal Ellie Blamires Stewart McIlwham*

Trumpets

Piccolo/Alto Flute

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

Stewart McIlwham* Principal

Chair supported by Peter Coe

Oboes

Ian Hardwick* Principal Alice Munday Sue Böhling*

Trombones

Cor Anglais

David Whitehouse

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

Sue Böhling* Principal

Bass Trombone

Chair supported by Dr Barry Grimaldi

Lyndon Meredith Principal

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Tuba

Lee Tsarmaklis* Principal

Chair supported by William & Alex de Winton

Timpani

Simon Carrington* Principal Chair supported by Victoria Robey CBE

Percussion

Andrew Barclay* Principal Chair supported by Gill & Garf Collins

Karen Hutt Jeremy Cornes Sarah Mason Oliver Yates

Harps

Sue Blair Guest Principal Tamara Young

Piano/Celeste

Catherine Edwards

Assistant Conductor Juya Shin

*Professor at a London conservatoire

The LPO also acknowledges the following chair supporters whose players are not present at this concert: Sonja Drexler Friends of the Orchestra

London Philharmonic Orchestra • 4 October 2024 • Patricia Kopatchinskaja plays Shostakovich

© Jason Bell

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 • 4 October 2024 • Patricia Kopatchinskaja plays Shostakovich

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 • 4 October 2024 • Patricia Kopatchinskaja plays Shostakovich

Edward Gardner Principal Conductor, London Philharmonic Orchestra

Radio Symphony and Vienna Symphony orchestras.

In the UK, he has had longstanding collaborations with the City of Birmingham Symphony Orchestra, where he was Principal Guest Conductor from 2010-16, and the BBC Symphony Orchestra, whom he has conducted at both the First and Last Night of the BBC Proms.

© Jason Bell

In spring 2025 Edward returns to London’s Royal Opera House to conduct the world premiere of Mark-Anthony Turnage’s Festen, and in June he returns to the Bavarian State Opera for Rusalka, following his debut with Peter Grimes in 2022 and Otello in 2023. Music Director of English National Opera for eight years (2007–15), Edward has also built a strong relationship with New York’s Metropolitan Opera, with productions of The Damnation of Faust, Carmen, Don Giovanni, Der Rosenkavalier and Werther. Elsewhere, he has conducted at La Scala, Chicago Lyric Opera, Glyndebourne Festival Opera and Opéra National de Paris.

Edward Gardner has been Principal Conductor of the London Philharmonic Orchestra since September 2021, recently extending his contract until at least 2028.

He is also Music Director of the Norwegian Opera & Ballet, and Honorary Conductor of the Bergen Philharmonic Orchestra, following his tenure as Chief Conductor from 2015–24.

In February this year, the LPO Label released a recording of Berlioz’s The Damnation of Faust with Edward Gardner, recorded live in February 2023 (LPO-0128).

This follows his recording of Tippett’s The Midsummer Marriage, which won the 2023 Gramophone Opera Award (LPO-0124). A second Tippett disc, featuring the Second Symphony and the Piano Concerto with Steven Osborne, is planned for release next month (LPO-0129: see page 12). In spring 2024 Edward and the LPO were the subject of a TV documentary series on Sky Arts: ‘Backstage with the London Philharmonic Orchestra’, still available to watch on Now TV.

In 2024/25 – his fourth season as Principal Conductor – Edward conducts nine LPO concerts at the Royal Festival Hall. Next week he and the Orchestra embark on a major tour of the US, again with Patricia Kopatchinskaja, as well as violinist Randall Goosby.

Later in the season Edward is joined by more superb soloists including Víkingur Ólafsson, Isabelle Faust and Augustin Hadelich, and presents works including Strauss’s mighty Alpine Symphony, Ravel’s Daphnis and Chloe and Mahler’s Symphony No. 8.

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

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

Edward opened his inaugural season as Music Director of the Norwegian Opera & Ballet with concert performances of Wagner’s The Flying Dutchman and Mahler’s ‘Resurrection’ Symphony. He will later conduct two fully staged operas; Verdi’s La traviata and Janáček’s The Cunning Little Vixen, following earlier productions of Bartók’s Bluebeard’s Castle, Zemlinsky’s A Florentine Tragedy and Verdi’s Un ballo in maschera.

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

In demand as a guest conductor, this season Edward appears with the Bavarian Radio Symphony, Frankfurt Radio, Dallas Symphony, New World Symphony, Minnesota, Seoul Philharmonic, Sydney Symphony and West Australian Symphony orchestras. Debuts in recent seasons have included with the New York Philharmonic, the Philadelphia and Cleveland Orchestras, and the San Francisco Symphony, Staatskapelle Berlin, Berlin

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

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London Philharmonic Orchestra • 4 October 2024 • Patricia Kopatchinskaja plays Shostakovich

Patricia Kopatchinskaja violin

Belgium, where she will continue to actively support themes related to environmental protection and sustainability through innovatively curated projects.

She also holds the position of Associated Artist of the SWR Experimentalstudio, one of the most important international research centres in the field of electronic music.

© Marco Borggreve

This season, Patricia channels her creative prowess and versatility into performances at the Venice Biennale, the BBC Proms and the Lucerne Festival, and an appearance with the New York Philharmonic. In 2024 she honours Schoenberg’s 150th anniversary by performing his monumental Violin Concerto with the BBC Symphony and Vienna Symphony orchestras, the Dresden Philharmonic, the Orchestre Philharmonique de Radio France and the Deutsche Kammerphilharmonie Bremen, to name just a few.

Patricia Kopatchinskaja’s focus is to get to the heart of the music – to its meaning for us, here and now. With a combination of depth, brilliance and humour, she brings an inimitable sense of theatrics to her music. Described

by The New York Times as ‘​a player of rare expressive energy and disarming informality, of whimsy and theatrical ambition’, Patricia’s distinctive approach always conveys the core of a work, whether an out-ofthe-box performance of a traditional repertoire classic or an original, experimental staged project.

A trusted partner of the LPO for over a decade, following tonight’s concert, Patricia will join them and Edward Gardner on an extensive US tour spanning from West to East Coasts, and culminating in a concert at New York’s Carnegie Hall on 19 October. This season she also reunites with Ensemble Resonanz for a new project, playground, which lightheartedly deconstructs our familiar world, reassembles it, and leads the audience on an adventure of discovery. The programme features a new double concerto by Dai Fujikura alongside flautist Claire Chase.

A boundary-crosser who thrives on the challenge of musical experiments and describes contemporary music as her lifeblood, Patricia’s absolute priority is the music of the 20th and 21st centuries and collaborations with living composers such as Francisco Coll, Luca Francesconi, Michael Hersch, Márton Illés, György Kurtág, Esa-Pekka Salonen, Aureliano Cattaneo, Stefano Gervasoni, and many others. She directs staged concerts at venues on both sides of the Atlantic and collaborates with leading orchestras, conductors and festivals worldwide.

Patricia Kopatchinskaja’s discography includes over 30 recordings, among them the Grammy Award-winning Death and the Maiden with the Saint Paul Chamber Orchestra, which was also recreated as a semi-staged filmed performance with Camerata Bern. Recent releases include Plaisirs Illuminés with cellist Sol Gabetta and Camerata Bern, which was saluted with a BBC Music Magazine Award, and Le monde selon George Antheil with pianist Joonas Ahonen (both on Alpha Classics). A revival of the project Maria Mater Meretrix with soprano Anna Prohaska, a musical mosaic of women throughout the centuries, was also released on CD last season, as well as a new recording with pianist Fazıl Say which was awarded an ‘Editor’s Choice’

by Gramophone. Last season also saw the release of the album Take 3 with clarinettist Reto Bieri and pianist Polina Leschenko – a testament to the enduring partnership of these three artists, celebrating their shared musical journey and musical origins.

From the 2024/25 season, Patricia will serve as Artistic Partner of the SWR Symphony Orchestra in Germany.

A virtuoso, storyteller and all-around phenomenon, she will design her own programmes, spanning both established concert formats and innovative theatrical and interdisciplinary approaches. Among these is the staged concert The Peace Project, which reflects on centuries of existential suffering caused by war through a kaleidoscope of Baroque and modern works. The project addresses the numerous reports from war zones, the violent disruption of daily life, and the constant fear for one’s life and loved ones. Patricia will also be Artist-in-Residence at the 2025 Klarafestival in

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London Philharmonic Orchestra • 4 October 2024 • Patricia Kopatchinskaja plays Shostakovich

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 • 4 October 2024 • Patricia Kopatchinskaja plays Shostakovich

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.

More star violinists this season lpo.org.uk

Friday 25 October 2024

James Ehnes

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.

Bruch’s Violin Concerto No. 2

Wednesday 27 November 2024

Gidon Kremer

Weinberg’s Violin Concerto

Wednesday 15 January 2025

Isabelle Faust

Berg’s Violin Concerto

Sunday 22 January 2025

Alice Ivy-Pemberton Vivaldi’s Four Seasons

lpo.org.uk/whats-on/london

Wednesday 26 February 2025

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).

Augustin Hadelich Britten’s Violin Concerto

Saturday 1 March 2025

Nikolaj Szeps-Znaider

Tchaikovsky’s Violin Concerto

Wednesday 26 March 2025

Alina Ibragimova

Prokofiev’s Violin Concerto No. 1 Saturday 5 April 2025

Vilde Frang

© Tom Kates

R Schumann’s Violin Concerto

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London Philharmonic Orchestra • 4 October 2024 • Patricia Kopatchinskaja plays Shostakovich

Programme notes Benjamin Britten 1913–1976

Sinfonia da Requiem 1940

1 Lacrymosa 2 Dies irae 3 Requiem aeternam Born in the East Anglian seaside town of Lowestoft in 1913, Benjamin Britten showed early gifts as a composer, studying with Frank Bridge before a less fruitful time at the Royal College of Music in London.

His association with the poet W H Auden, with whom he undertook various collaborations, was in part behind his departure with Peter Pears in 1939 for the United States, where opportunities seemed plentiful, away from the petty jealousies and inhibitions of his own country, where musical facility and genius often seemed the objects of suspicion.

Roland Haupt

The outbreak of war brought its own difficulties. Britten and Pears were firmly pacifist in their views, but were equally horrified at the excesses of National Socialism and sufferings that the war brought. Britten’s nostalgia for his native country and region led to their return to England in 1942, when they rejected the easy option of nominal military service as musicians in uniform in favour of overt pacifism, but were able to give concerts and recitals, often in difficult circumstances, offering encouragement to those who heard them. The re-opening of Sadler’s Wells and the staging of Britten’s opera Peter Grimes started a new era in English opera.

The English Opera Group was founded and a series of chamber operas followed, with larger-scale works that established Britten as a composer of the highest stature, a position recognised shortly before his early death by his elevation to the peerage, the first English composer ever to be so honoured.

The Sinfonia da Requiem was written in response to a commission in the autumn of 1939 from the Japanese government for a work to mark the 2600th anniversary

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London Philharmonic Orchestra • 4 October 2024 • Patricia Kopatchinskaja plays Shostakovich

Programme notes of the founding of the imperial dynasty. The occasion was to include new compositions by Richard Strauss, Jacques Ibert and Sándor Veress, but Britten’s symphony was rejected by the commissioning committee, who took exception to the nature of the work and its apparent Christian content, although it had initially received approval. Britten had, in any case, resolved to write a composition imbued with as much of the spirit of pacifism as was possible. The official concert duly took place in Tokyo, with Britain unrepresented, and Strauss at his most bombastic.

In the event, the Sinfonia da Requiem, dedicated to the memory of Britten’s parents, had its first performance in March 1941 at Carnegie Hall in New York, with the Philharmonic Symphony Orchestra conducted by John Barbirolli.

Britten, in his programme notes for the first performance, described the opening movement, Lacrymosa, as a slow marching lament with three principal motifs, the first heard from the cellos and answered by a solo bassoon, the second based on the interval of a major seventh, and the third alternating chords on flute and trombones. The first section leads to an extended crescendo and a climax based on the first motif. The second movement, Dies irae, which follows without a break, he describes as a Dance of Death. It leads directly to the final Requiem aeternam, with its principal melody announced by the flutes, finally returning before the sustained clarinet note with which the work ends.

Programme note © Keith Anderson (from Naxos 8.557196) © Naxos Rights US, Inc.

Dmitri Shostakovich 1906–75

Violin Concerto No. 1 in A minor, Op. 77 1947–48

Patricia Kopatchinskaja violin

1 Nocturne: Moderato 2 Scherzo: Allegro 3 Passacaglia: Andante – Cadenza 4 Burlesque: Allegro con brio – Presto Composing in Soviet Russia was never an easy task, with Shostakovich all too aware of the gagging powers of the regime, as when his 1934 opera Lady Macbeth of the Mtsensk District failed to impress. Sadly, matters were only going to worsen, with Shostakovich and other leading composers becoming the target of Stalin’s chief propogandist Andrey Zhdanov in February

1948. The entire group, including Prokofiev and Khachaturian, saw their works banned due to ‘formalism’ – a term the authorities were never keen to define. It was a grave time, which also saw Shostakovich removed from his post at the Moscow Conservatory. While he knew that any attempt to mount serious new works in such an environment was

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London Philharmonic Orchestra • 4 October 2024 • Patricia Kopatchinskaja plays Shostakovich

Programme notes futile, he continued to compose for his desk drawer, in the hope that a thaw would follow. Chief among these works was the First Violin Concerto in A minor.

Begun in July 1947, work was continuing when Zhdanov issued his decree.

outpouring indicates there is much to be said. The presence of the Dies irae hints that judgement is on its way, but that is only realised in the Scherzo. This is a wild danse macabre, looking to the apparent portrait of Stalin in Shostakovich’s Tenth Symphony. The dance here employs the composer’s musical cipher DSch – D, E flat, C, B natural – as well as Jewish folk material, all at a time of rising anti-Semitism in the Soviet Union.

Inspiration had come came from the Odessa-born violinist David Oistrakh, to whom the Concerto was dedicated and who gave the premiere. That first performance in Leningrad had to wait until 1955, however, after the deaths of both Zhdanov and Stalin, though the Concerto was soon performed elsewhere, including in New York, where Oistrakh made a crucial recording with The Philadelphia Orchestra and Dimtri Mitropoulos.

The imposing Passacaglia returns us to the formalities of the Moderato, with the woodwind and low brass suggesting the religiosity of an organ. When the soloist finally enters, the music speaks more of private grief amid this public mourning. Yet as much as the soloist tries to bend the orchestra to its will, the Passacaglia’s ominous tread continues, until, finally, the violinist seizes control and hurtles into a staggering cadenza.

This in turn provides the springboard to the finale, its unbridled glee delivered with a devilish glint in the eye.

The work begins with a sense of dread, though the opening Nocturne is intensely lyrical too. While its principal theme’s dotted rhythms hint at Baroque detachment, the long-spun nature of the soloist’s

Programme note © Gavin Plumley

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 22 November 2024 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 • 4 October 2024 • Patricia Kopatchinskaja plays Shostakovich

Programme notes Jean Sibelius 1865–1957

Symphony No. 5 in E flat major, Op. 82 1915

1 Tempo molto moderato – Allegro moderato 2 Andante mosso, quasi allegretto 3 Allegro molto – Un pochettino largamente

In the early 1910s Sibelius could add to his own financial and health problems those of his beloved Finland itself.

Russia was strengthening its grip on the province, suspending parliament and attempting to drive out the Finnish language. As Europe slipped towards war, Finland, aligned with Russia, faced mass slaughter and the annihilation of its timber exporting industry. ‘In a deep mire again, but already I am beginning to see dimly the mountain that I shall ascend’, wrote a knowing Sibelius, ‘God opens his door for a moment and his orchestra is playing the Fifth Symphony.’

Courtesy of the Royal College of Music, London

So, the new symphony was rapidly forming in Sibelius’s mind. Themes included the onset of spring and the spirit of the composer’s country home at Järvenpää. Then, on 12 April 1914, Sibelius witnessed a sight that would affect him profoundly and write the Fifth Symphony’s main theme for him. It was a flock of 16 swans, soaring upwards from the Järvenpää lake for their migration.

‘One of my greatest experiences’, Sibelius wrote in his diary, ‘the Fifth Symphony’s final theme … legato in the trumpets.’

At the time of the Symphony’s Helsinki premiere on 8 December 1915, there were four movements. Sibelius later amalgamated his first movement and scherzo into the opener that was eventually published and that we know now. After the initial, blossoming theme on glowing horns and woodwinds the music gains momentum and folds outwards, the orchestra falling over itself in contrary motion towards the proclamation of a major fourth by the trumpet. The opening motif soon appears again, returning in another form as the

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London Philharmonic Orchestra • 4 October 2024 • Patricia Kopatchinskaja plays Shostakovich

Programme notes Symphony is injected with optimism by an upwardpining theme – again in the trumpets.

Recommended recordings of tonight’s works

Those gestures sow the seeds for Sibelius’s finale, in which the double basses are soon heard spelling out a fifth that augments as the bottom note drops twice, stepping back up in the manner of an ostinato. Here are the Järvenpää swans. As it’s taken up by the horns, the theme gains the pace and grandeur of flight, like the rise and fall of an avian wing. Suddenly, the music shifts key: Sibelius’s long-held bass note or ‘pedal note’ disappears like the falling away of a runway. The swans – magically, gloriously – take flight.

by Laurie Watt Britten: Sinfonia da Requiem New Philharmonia Orchestra | Benjamin Britten (Decca) Shostakovich: Violin Concerto No. 1 Alina Ibragimova | State Academic Symphony Orchestra of Russia ‘Evgeny Svetlanov’ | Vladimir Jurowski (Hyperion)

Soon they can be heard in the distance again, returning as if for a last farewell. Once more they soar upwards, cutting through a tangling, churning orchestral texture as if to break free from earthly concerns. Six stern orchestral jabs bid them a final salute.

Sibelius: Symphony No. 5 London Philharmonic Orchestra | Paavo Berglund (LPO Label LPO-0065: see page 16)

Programme note © Andrew Mellor

We’d love to hear from you

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Your feedback is invaluable to us and will help to shape our future plans.

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A Hero’s Life Friday 25 October 2024 7.30pm

Next Royal Festival Hall concerts lpo.org.uk

Ravel Mother Goose (complete ballet) Bruch Violin Concerto No. 2 R Strauss Ein Heldenleben Mark Elder conductor James Ehnes violin

Karina Canellakis conducts Schumann & Bruckner Wednesday 30 October 2024 6.30pm (Please note start time) R Schumann Overture, Manfred R Schumann Cello Concerto Bruckner Symphony No. 4 Karina Canellakis conductor Truls Mørk cello

Tchaikovsky’s Sixth Saturday 2 November 2024 7.30pm Saariaho Lumière et Pesanteur Beethoven Piano Concerto No. 3 Tchaikovsky Symphony No. 6 (Pathétique) Karina Canellakis conductor Vadym Kholodenko piano

Víkingur Ólafsson plays Brahms Wednesday 6 November 2024 7.30pm Brahms Piano Concerto No. 1 Freya Waley-Cohen Mother Tongue (world premiere)* Bartók The Miraculous Mandarin Suite Edward Gardner conductor Víkingur Ólafsson piano *Commissioned by the London Philharmonic Orchestra

Edward Gardner © Jason Bell

LPO-0065

LPO-0057

LPO-0005

Sibelius Symphonies on the LPO Label

Sibelius Symphony No. 2 Sibelius Symphony No. 7 Paavo Berglund conductor London Philharmonic Orchestra

Sibelius Pohjola’s Daughter Sibelius Symphony No. 5 Sibelius Symphony No. 5 Sibelius Symphony No. 6 Lutosławski Concerto for Orchestra Sibelius The Swan of Tuonela Jukka-Pekka Saraste conductor London Philharmonic Orchestra

Paavo Berglund conductor London Philharmonic Orchestra

All LPO Label releases are available to buy on CD, and to download or stream via Spotify, Apple Music, Idagio and others. Scan the QR codes to listen now or find out more.

Edward Gardner conducts

Berlioz: The Damnation of Faust Recorded live at the Royal Festival Hall, 4 February 2023

LPO-0128

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

‘If I have to go to hell, I’ve decided, I want the London Philharmonic Orchestra and Edward Gardner to come with me.’

The Times ★★★★

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

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Scan to listen now

London Philharmonic Orchestra • 4 October 2024 • Patricia Kopatchinskaja plays Shostakovich

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

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

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

Masur Circle Arts Council England Dunard Fund Victoria Robey 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 • 4 October 2024 • Patricia Kopatchinskaja plays Shostakovich

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

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

Artistic Director’s Circle

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 Sonja Drexler Hamish & Sophie Forsyth Virginia Gabbertas MBE Jenny & Duncan Goldie-Scot Mr Roger Greenwood

Wg. Cdr. M T Liddiard OBE JP RAF Drs Frank & Gek Lim 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

Malcolm Herring Julian & Gill Simmonds 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

Principal Supporters

Anonymous donors 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

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Mr Stephen Olton Mr James Pickford Mr Robert Ross 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 Julian & Annette Armstrong 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 Mr Stephen 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 • 4 October 2024 • Patricia Kopatchinskaja plays Shostakovich

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 Sonja Drexler 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 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 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 • 4 October 2024 • Patricia Kopatchinskaja plays Shostakovich

London Philharmonic Orchestra Administration Board of Directors

New Generation Board

Finance

Marketing

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 Priya Radhakrishnan Zerlina Vulliamy

Frances Slack Finance Director

Kath Trout Marketing & Communications Director

General Administration

Education & Community

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

Elena Dubinets Artistic Director

Talia Lash Education & Community Director

David Burke Chief Executive

Lowri Davies Eleanor Jones Education & Community Project Managers

Concert Management Roanna Gibson Concerts & Planning Director

Hannah Smith Education & Community Co-ordinator

Graham Wood Concerts & Recordings Manager Maddy Clarke Tours Manager

Claudia Clarkson Regional Partnerships Manager

Madeleine Ridout Glyndebourne & Projects Manager

Development

Alison Jones Concerts & Artists Co-ordinator Dora Kmezić Concerts & Recordings Co-ordinator

Holly Eagles Development Assistant

Sarah Thomas Martin Sargeson Librarians

Nick Jackman Campaigns & Projects Director Kirstin Peltonen Development Associate

Laura Kitson Stage & Operations Manager Stephen O’Flaherty Deputy Operations Manager Benjamin Wakley Deputy Stage Manager

Georgie Blyth Press & PR Manager Greg Felton Digital Creative Alicia Hartley Digital & Marketing Co-ordinator Isobel Jones Marketing Co-ordinator

Archives Philip Stuart Discographer

Professional Services

Al Levin Development Co-ordinator

Helen Phipps Orchestra & Auditions Manager

Josh Clark Data, Insights & CRM Manager

Rosie Morden Individual Giving Manager

Eleanor Conroy Development Events Manager

Andrew Chenery Orchestra Personnel Manager

Gavin Miller Sales & Ticketing Manager

Gillian Pole Recordings Archive

Anna Quillin Trusts & Foundations Manager

Matthew Freeman Recordings Consultant

Rachel Williams Publications Manager

Laura Willis Development Director

Owen Mortimer Corporate Relations Manager

Tom Cameron Concerts & Tours Assistant

Sophie Lonergan (née Harvey) Marketing Manager

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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