LPO/Marquee TV digital concert programme: Alpesh Chauhan conducts Brahms - 10 December 2022

2022/23 concert season Filmed live at the Southbank Centre’s Royal Festival Hall

Alpesh Chauhan conducts Brahms Digital concert programme

Chen Yi Momentum Brahms Symphony No. 3

Alpesh Chauhan conductor

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

Emma Oldfield Co-Principal Ashley Stevens

Joseph Maher

Fiona Higham

Chair supported by David & Yi Buckley

Kate Birchall

Nynke Hijlkema

Claudia Tarrant-Matthews

Sioni Williams

Anna Croad Jamie Hutchinson Matthew Bain

Violas

Sascha Bota Guest Principal Martin Wray Benedetto Pollani

Jisu Song

Laura Vallejo

Raquel López Bolívar James Heron

Kate De Campos Daniel Cornford Julia Kornig

On stage

Cellos

Bozidar Vukotic Guest Principal Helen Thomas

Sibylle Hentschel

Iain Ward

Leo Melvin Julia Morneweg Louise Dearsley Daniel Crompton

Double Basses

Kevin Rundell* Principal Hugh Kluger George Peniston

Laura Murphy

Tom Walley

Chair supported by William & Alex de Winton David Johnson

Flutes

Juliette Bausor Principal Joanna Marsh

Piccolo Maja

Persson

Oboes

Ian Hardwick* Principal Chris Vettraino

Cor Anglais

Sue Böhling* Principal Chair supported by Dr Barry Grimaldi

Clarinets

Benjamin Mellefont Principal Thomas Watmough Chair supported by Roger Greenwood

Bass Clarinet

Paul Richards* Principal

Bassoons

Paul Boyes Guest Principal Patrick Bolton

Contrabassoon

Simon Estell* Principal

Horns

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

Trumpets

Paul Beniston* Principal Tom Nielsen Guest Principal Anne McAneney*

Trombones

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

Bass Trombone Josh Cirtina

Tuba

Lee Tsarmaklis* Principal Chair supported by Friends of the Orchestra

Timpani

Jonathan Phillips Guest Principal

Percussion

Andrew Barclay* Principal Chair supported by Gill & Garf Collins Feargus Brennan Keith Millar

Harp

Tamara Young Guest Principal

* Holds a professorial appointment in London

The LPO also acknowledges the following chair supporters whose players are not present at this concert: The Candide Trust | Irina Gofman & Mr Rodrik V. G. Cave | Sir Simon Robey | Victoria Robey OBE | Bianca & Stuart Roden Caroline, Jamie & Zander Sharp

London Philharmonic Orchestra

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 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.

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.

Our conductors

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-inResidence.

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

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 including The Rite of Spring and The Firebird; Tippett’s complete

© Mark Allan

Pieter Schoeman Leader

opera The Midsummer Marriage under Edward Gardner, captured in his first concert as LPO Principal Conductor in September 2021; and James MacMillan’s Christmas Oratorio, recorded at the work’s UK premiere performance in December 2021.

Next generations

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.

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 and Heiner Goebbels, as well as new commissions from composers from around the world including Agata Zubel, Elena Langer and Vijay Iyer.

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.

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.

© Benjamin Ealovega

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.

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 *****

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.

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

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.

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.

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.

© Luca Pezzani

Programme notes

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.

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.

Programme note © Joanna Lee

Composer profile: Chen Yi © Kuandi Photos

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.

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 notes

Johannes Brahms

Symphony No. 3 in F major

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.

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.

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

Programme notes

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

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.

Programme notes © Stephen Johnson

Marquee TV

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Marquee TV is available online, on iOS and Android apps, Amazon Prime, Amazon Fire, Apple TV, Android TV, Comcast X1, Cox, Roku, and Samsung TV. Subscriptions start at just £8.99 per month and are available for purchase at marquee.tv

Follow @MarqueeartsTV on Instagram, Facebook, and Twitter to stay up to date on the latest launches.

In September 2021, Edward Gardner took to the podium for his first concert as Principal Conductor.

Celebrating 90 years &

In 1961 we were the first British orchestra to tour to Australia.

In 1987, with a commitment to sharing orchestral music with as wide and diverse an audience as possible, we established our Education and Community programme.

“ I fell in love with my husband, 38 years ago, at an LPO concert featuring Tchaikovsky’s 5th Symphony in White Rock, Hastings.”

LPO audience member

“ My first ever LPO concert was in July 1953: The opening Ruslan&Ludmilla overture thrilled me! A fan for life.”

LPO supporter

“ The first time I ever picked up a horn I was 5 years old, attending an LPO Have a Go Session. It’s now my instrument and I’m an LPO Junior Artist.”

LPO Junior Artist 2022/23

In 2021, thrilled to be reunited with live audiences, we gave London’s first performance of Tippett’s The Midsummer Marriage in 17 years.

We were the first orchestra to perform at Glyndebourne Festival Opera in 1964.

2011 saw us record the national anthems for the London 2012 Olympic Games!

In 2016 LPO Junior Artists was launched, a programme offering young musicians from under-represented backgrounds a pathway into the music profession.

Formed with a bold purpose: to rival the greatest orchestras in the world, this year the London Philharmonic Orchestra celebrates its 90th birthday.

2022/23 concert season at the Southbank Centre’s Royal Festival Hall

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

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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.

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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 Scops Arts Trust

Sir William Boremans' Foundation

The John S Cohen Foundation

The Stanley Picker Trust

The Thriplow Charitable Trust

Vaughan Williams Foundation

The Victoria Wood Foundation

The Viney Family

The Barbara Whatmore Charitable Trust

and all others who wish to remain anonymous.

Board of the American Friends of the LPO

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

Simon Freakley Chairman

Kara Boyle

Jon Carter

Jay Goffman

Alexandra Jupin

Natalie Pray

Damien Vanderwilt

Marc Wasserman

Elizabeth Winter

Catherine Høgel Hon. Director Jenifer L. Keiser, CPA, EisnerAmper LLP

LPO International Board of Governors

Natasha Tsukanova Co-Chair

Martin Höhmann Co-Chair

Mrs Irina Andreeva

Steven M. Berzin

Shashank Bhagat

Veronika Borovik-Khilchevskaya Marie-Laure Favre Gilly de Varennes de Bueil Aline Foriel-Destezet

Irina Gofman

Countess Dominique Loredan

Olivia Ma

George Ramishvili

Sophie Schÿler-Thierry

Jay Stein

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 OBE

Simon Burke

Simon Callow CBE

Desmond Cecil CMG

Sir Alan Collins KCVO CMG

Andrew Davenport

Guillaume Descottes

Cameron Doley

Christopher Fraser OBE

Jenny Goldie-Scot

Jonathan Harris CBE FRICS

Marianna Hay MBE

Nicholas Hely-Hutchinson DL

Amanda Hill

Rehmet Kassim-Lakha

Jamie Korner

Geoff Mann

Clive Marks OBE FCA

Stewart McIlwham

Andrew Neill

Nadya Powell

Sir Bernard Rix

Victoria Robey OBE

Baroness Shackleton

Thomas Sharpe KC

Julian Simmonds

Barry Smith

Nicholas Snowman OBE Martin Southgate Chris Viney Laurence Watt Elizabeth Winter

General Administration

Elena Dubinets Artistic Director

David Burke Chief Executive Chantelle Vircavs PA to the Executive

Concert Management

Roanna Gibson Concerts and Planning Director

Graham Wood Concerts and Recordings Manager

Maddy Clarke Tours Manager

Madeleine Ridout Glyndebourne and Projects Manager

Alison Jones Concerts and Recordings Co-ordinator

Robert Winup Concerts and Tours Assistant

Matthew Freeman Recordings Consultant

Andrew Chenery Orchestra Personnel Manager

Sarah Thomas Martin Sargeson Librarians

Laura Kitson Stage and Operations Manager

Stephen O’Flaherty Deputy Operations Manager Felix Lo Orchestra and Auditions Manager

Finance

Frances Slack Finance Director Dayse Guilherme Finance Manager

Jean-Paul Ramotar Finance and IT Officer

Education and Community Talia Lash Education and Community Director

Lowri Davies Hannah Foakes Education and Community Project Managers

Hannah Smith Education and Community Co-ordinator

Development

Laura Willis Development Director Rosie Morden Individual Giving Manager

Siân Jenkins Corporate Relations Manager

Anna Quillin Trusts and Foundations Manager

Katurah Morrish Development Events Manager

Eleanor Conroy Al Levin

Development Assistants

Nick Jackman Campaigns and Projects Director

Kirstin Peltonen Development Associate

Marketing

Kath Trout Marketing and Communications Director

Sophie Harvey Marketing Manager

Rachel Williams Publications Manager

Harrie Mayhew Website Manager

Gavin Miller Sales and Ticketing Manager

Ruth Haines Press and PR Manager

Greg Felton Digital Creative Hayley Kim Marketing Co-ordinator

Alicia Hartley Marketing Assistant

Archives

Philip Stuart Discographer

Gillian Pole Recordings Archive

Professional Services

Charles Russell Speechlys Solicitors

Crowe Clark Whitehill LLP Auditors

Dr Barry Grimaldi Honorary Doctor

Mr Chris Aldren Honorary ENT Surgeon Mr Simon Owen-Johnstone Hon. Orthopaedic Surgeon

London Philharmonic Orchestra

89 Albert Embankment

London SE1 7TP

Tel: 020 7840 4200 Box Office: 020 7840 4242 Email: admin@lpo.org.uk lpo.org.uk

Cover photo Silent Studio © James Wicks