LPO/Marquee TV digital concert programme: Haydn’s Creation

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2023/24 concert season

Filmed live at the Southbank Centre’s Royal Festival Hall

Haydn’s Creation

Broadcast Saturday 13 April 2024

Digital concert programme

Edward Gardner conductor

Generously supported by Aud Jebsen

Louise Alder soprano

Allan Clayton tenor

Michael Mofidian bass-baritone

London Philharmonic Choir

Artistic Director: Neville Creed

Part of the LPO festival

London Philharmonic Orchestra on Marquee TV • 13 April 2024 • Haydn’s Creation


Click on the headings to jump to a section 3

Concert performed at the Southbank Centre’s Royal Festival Hall on 2 March 2024 and filmed by Intersection. This concert was generously supported by Victoria Robey CBE.

The LPO would like to acknowledge the generosity of all of its members, supporters and donors.

Thank you for your support.

On stage
London Philharmonic Orchestra
Leader: Pieter Schoeman
Edward Gardner
Tonight’s soloists 9 London Philharmonic Choir 10 Programme note 14 The Creation: text 19 Marquee TV 20 Thank you 22 Sound Futures donors 23 LPO administration

First Violins

Pieter Schoeman* Leader

Chair supported by Neil Westreich

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

Katalin Varnagy

Chair supported by Sonja Drexler

Cassandra Hamilton

Elizaveta Tyun

Martin Höhmann

Nilufar Alimaksumova

Alice Apreda Howell

Second Violins

Emma Oldfield Principal

Claudia Tarrant-Matthews

Chair supported by Friends of the Orchestra

Helena Smart

Nynke Hijlkema

Marie-Anne Mairesse

Joseph Maher

Ashley Stevens

Nancy Elan

Sioni Williams

Sarah Thornett


Nick Bootiman Guest Principal

Katharine Leek

Laura Vallejo

Martin Wray

Benedetto Pollani

James Heron

Raquel López Bolívar

Mark Gibbs


Richard Birchall Guest Principal

David Lale

Francis Bucknall

Hee Yeon Cho

Tom Roff

George Hoult

On stage

Double Basses

Kevin Rundell* Principal

Hugh Kluger

George Peniston

Michael Fuller Flutes

Juliette Bausor Principal

Eleanor Blamires

Ruth Harrison


Ian Hardwick* Principal

Alice Munday


Benjamin Mellefont* Principal Chair supported by Sir Nigel Boardman & Prof.

Lynda Gratton

Thomas Watmough

Chair supported by Roger Greenwood


Jonathan Davies* Principal Chair supported by Sir Simon Robey

Helen Storey


Simon Estell* Principal


Annemarie Federle Principal Chair supported by Victoria Robey CBE

Martin Hobbs


Paul Beniston* Principal

Anne McAneney*


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

David Whitehouse

Bass Trombone

Lyndon Meredith Principal


Simon Carrington* Principal Chair supported by Victoria Robey CBE


Catherine Edwards

Assistant Conductor

Charlotte Politi

*Professor at a London conservatoire

The LPO also acknowledges the following chair supporters whose players are not present at this concert:

David & Yi Buckley

Gill & Garf Collins

Mr B C Fairhall

Dr Barry Grimaldi

Bianca & Stuart Roden

Ryze Power

Click here to meet our members

TV • 13 April 2024 • Haydn’s Creation
London Philharmonic Orchestra on Marquee

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

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 2023/24 we’re once again working 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 Tania León our Composer-in-Residence.

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 one of the world’s moststreamed orchestras, with over 15 million plays of our content each month.

4 London Philharmonic Orchestra on Marquee TV • 13 April 2024 • Haydn’s Creation
© Mark Allan

Next generations

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.

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

This season

The centrepiece of our 2023/24 season is our spring 2024 festival The Music in You. Reflecting our adventurous spirit, the festival embraces all kinds of expression – dance, music theatre, and audience participation. We’re collaborating with artists from across the creative spectrum, and giving premieres by composers including Tania León, Julian Joseph, Daniel Kidane, Victoria Vita Polevá, Luís Tinoco and John Williams.

Rising stars making their debuts with us in 2023/24 include conductors Tianyi Lu, Oksana Lyniv, Jonathon Heyward and Natalia Ponomarchuk, accordionist João Barradas and organist Anna Lapwood. We also present the long-awaited conclusion of Conductor Emeritus Vladimir Jurowski’s Wagner Ring Cycle, Götterdämmerung, and, as well as our titled conductors Edward Gardner and Karina Canellakis, we welcome back classical stars including Anne-Sophie Mutter, Robin Ticciati, Christian Tetzlaff and Danielle de Niese.


Pieter Schoeman Leader

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

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

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.

5 London Philharmonic Orchestra on Marquee TV • 13 April 2024 • Haydn’s Creation
© Benjamin Ealovega

Edward Gardner

Principal Conductor, London Philharmonic Orchestra

Edward Gardner has been Principal Conductor of the London Philharmonic Orchestra since September 2021. He is also Chief Conductor of the Bergen Philharmonic, a position he will relinquish at the end of the 2023/24 season. From August 2024 he will undertake the Music Directorship of the Norwegian Opera and Ballet, having been their Artistic Advisor since February 2022.

This season Edward conducts the LPO in ten concerts at the Southbank Centre’s Royal Festival Hall. In October 2023 he toured with the Orchestra to South Korea and Taiwan, and this season also takes them to major European cities including Paris, Munich, Frankfurt, Hamburg and Bruges. As part of the LPO's cross-arts festival ‘The Music in You’ in March 2024, Edward conducted concerts including Haydn’s The Creation; a reinvention of Szymanowski’s ballet Harnasie in collaboration with choreographer Wayne McGregor; Weill’s Seven Deadly Sins; and Mozart’s Mass in C minor. Other highlights with the Orchestra this season include Holst’s The Planets and Stravinsky’s Petrushka

Edward opened the Bergen Philharmonic season in September with Mahler’s Symphony No. 1. He completes his tenure as Chief Conductor at the closing of next summer's Bergen International Festival, conducting Mahler’s Symphony No. 8. The orchestra will be joined by several choirs, including the Edvard Grieg Kor, of which Edward is the Principal Conductor.

As Artistic Advisor of the Norwegian National Opera and Ballet, this season Edward will conduct a triple-bill of Schumann’s Frauen-Liebe und Leben, Bartók’s Bluebeard’s Castle and Zemlinsky’s A Florentine Tragedy. Future plans with the company include a Wagner Ring Cycle commencing in spring 2026.

In demand as a guest conductor, recent seasons have seen Edward make debuts with the Cleveland Symphony, Staatskapelle Berlin, Bavarian Radio Symphony, New York Philharmonic, Philadelphia, San Francisco Symphony, Berlin Radio Symphony and Vienna Symphony orchestras; while returns have included engagements with the Chicago Symphony, Montreal Symphony and Philharmonia orchestras, the Gewandhausorchester Leipzig, the Deutsches Symphonie-Orchester Berlin, and the Orchestra del Teatro alla Scala di Milano. He also continued his longstanding collaboration with the City of Birmingham Symphony Orchestra, where he was Principal Guest Conductor from 2010–16, and with the BBC Symphony Orchestra, whom he has conducted at both the First and Last Nights of the BBC Proms.

Music Director of English National Opera for eight years (2007–15), Edward has also built a strong relationship with New York’s Metropolitan Opera, where he has conducted productions of The Damnation of Faust, Carmen, Don Giovanni, Der Rosenkavalier and Werther In London he made his Royal Opera House debut in 2019 in a new production of Káťa Kabanová, followed by Werther a season later. Elsewhere, he has conducted at the Bavarian State Opera, La Scala, Chicago Lyric Opera, Glyndebourne Festival Opera and Opéra National de Paris, and this season he will conduct a double-bill of Bartók’s Bluebeard’s Castle and Poulenc's La voix humaine at Teatro di San Carlo.

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, which appointed him its inaugural Sir Charles Mackerras Conducting Chair in 2014.

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

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

6 London Philharmonic Orchestra on Marquee TV • 13 April 2024 • Haydn’s Creation
© Mark Allan

Louise Alder soprano (Gabriel/Eve)

Louise Alder studied at the Royal College of Music International Opera School, where she was the inaugural Kiri Te Kanawa Scholar. She won the Dame Joan Sutherland Audience Prize at the 2017 Cardiff Singer of the World Competition and the Young Singer Award at the 2017 International Opera Awards.

Louise last appeared in concert with the LPO in October 2018, when she was a soloist in Poulenc’s Stabat Mater and Orff’s Carmina Burana under Jérémie Rhorer at the Royal Festival Hall.

Recent highlights have included Susanna (Le nozze di Figaro) for the Vienna State Opera, the Bavarian State Opera and the Opernhaus Zürich; Zerlina (Don Giovanni) for the Royal Opera House, Covent Garden, and the Teatro Real in Madrid; Gretel (Hänsel und Gretel) and Marzelline (Fidelio) for the Bavarian State Opera; Sophie (Der Rosenkavalier) for the Vienna State Opera and the Glyndebourne Festival; Anne Trulove (The Rake’s Progress) for the Glyndebourne Festival; and Cleopatra (Giulio Cesare) for the Theater an der Wien and Oper Frankfurt. In concert she has sung with the London Symphony Orchestra under Sir Simon Rattle, the Berlin Philharmonic under Kirill Petrenko, the New York Philharmonic under Harry Bicket, and the Royal Concertgebouw Orchestra under Sir John Eliot Gardiner.

Louise’s recital appearances include the BBC Proms, Graz Musikverein and Oper Frankfurt with Gary Matthewman; Wigmore Hall with both Joseph Middleton and James Baillieu; the Schubertiade Schwarzenberg with Daniel Heide; and the Oxford Lieder Festival and Fundación Privada Victoria de los Ángeles in Barcelona with Sholto Kynoch. In the 2023/24 season she curates a season-long residency at London’s Wigmore Hall.

Allan Clayton tenor (Uriel)

Allan Clayton is established as one of the most exciting and sought-after singers of his generation. He studied at St John’s College, Cambridge, and the Royal Academy of Music in London. An Associate of the Royal Academy of Music and a former BBC New Generation Artist from 2007–09, his awards include The Queen’s Commendation for Excellence and a Borletti-Buitoni Trust Fellowship. In 2021 he was awarded an MBE in The Queen’s Birthday Honours.

Allan garnered huge praise as the lead role in Brett Dean’s opera Hamlet, which received its world premiere at the 2017 Glyndebourne Festival with the London Philharmonic Orchestra under Vladimir Jurowski, and won the 2019 Gramophone Contemporary Award. In 2018 Allan sang Froh in a concert performance of Wagner’s Das Rheingold with the LPO under Vladimir Jurowski at the Royal Festival Hall, and in 2019 he made his role debut as Faust in Berlioz’s La damnation de Faust at Glyndebourne under Robin Ticciati, again with the LPO. In October 2019 he sang John/Narrator 1 in Elgar’s The Apostles under Martyn Brabbins with the LPO at the Royal Festival Hall.

Recent performances include HK Gruber’s Frankenstein at the Royal Opera House, Covent Garden; In the Market for Love, an updated version of Offenbach’s Mesdames de La Halle, with the LPO for Glyndebourne’s 2020 Garden Opera series; and the title role of Peter Grimes in a new production at the Teatro Real Madrid and the Royal Opera House, Covent Garden. His 2022 debut at New York’s Metropolitan Opera in the title role in the US premiere of Dean’s Hamlet was met with widespread critical acclaim, which he then followed with Peter Grimes, about which The New York Times declared: ‘A tenor claims his place among the Met Opera’s stars.’

7 London Philharmonic Orchestra on Marquee TV • 13 April 2024 • Haydn’s Creation
© Gerard Collett © Sim Canetty-Clarke

Michael Mofidian bass-baritone (Raphael/Adam)

Praised by The Times for his ‘immense, dark-hued voice that’s even-toned from top to (very deep) bottom’, Michael Mofidian is increasingly in demand in opera, concert and recital.

Tonight is his debut with the London Philharmonic Orchestra. This season he also makes his debut at the Teatro Real Madrid as Créon in Cherubini’s Médée. He returns to Covent Garden as Colline (La bohème) and Pfleger des Orest (Elektra); makes his German operatic debut as Polyphemus (Acis and Galatea) for Potsdam Winteroper, and his role debut as Nick Shadow (The Rake’s Progress) at The Grange Festival, before returning to Pesaro’s Rossini Opera Festival as Fenicio (Ermione) and Lord Sidney (Il viaggio a Reims). In concert, he sings Tippett’s A Child of Our Time with the Royal Scottish National Orchestra at the Edinburgh International Festival under Sir Andrew Davis, and Bach’s St Matthew Passion with the National Symphony Orchestra of Ireland.

Michael Mofidian was born in Glasgow and graduated from the University of Cambridge and the Royal Academy of Music. From 2018–20 he was a member of the Jette Parker Young Artists Programme at the Royal Opera House, and in the 2021/22 season was engaged by the Grand Théâtre de Genève as a member of their studio. Since then he has performed at the Salzburg and Glyndebourne festivals, as soloist at the First Night of the 2021 BBC Proms with the BBC Symphony Orchestra under Dalia Stasevska, and last year with the BBC Scottish Symphony Orchestra under Ryan Wigglesworth. He has also performed with the Accademia Nazionale di Santa Cecilia under Sir Antonio Pappano. Future engagements include with Welsh National Opera, the Bavarian State Opera and the Glyndebourne Festival.

The Creation on the LPO Label

Klaus Tennstedt conductor

Lucia Popp soprano (Gabriel/Eve)

Anthony Rolfe Johnson tenor (Uriel)

Benjamin Luxon baritone (Raphael/Adam)

London Philharmonic Orchestra & Choir


Recorded live at the Southbank Centre’s Royal Festival Hall on 19 February 1984

‘The playing and choral singing are consistently thrilling’

The Guardian, 10 February 2006

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

8 London Philharmonic Orchestra on Marquee TV • 13 April 2024 • Haydn’s Creation
© Marie Fady
Scan or click to listen now

London Philharmonic Choir

Patron HRH Princess Alexandra President Sir Mark Elder Artistic Director Neville Creed Chairman Tessa Bartley Choir Manager Bethea Hanson-Jones Accompanist Jonathan Beatty

Founded in 1947 as the chorus for the London Philharmonic Orchestra, the London Philharmonic Choir is widely regarded as one of Britain’s finest choirs. For the last seven decades the Choir has performed under leading conductors, consistently meeting with critical acclaim and recording regularly for television and radio.

Enjoying a close relationship with the London Philharmonic Orchestra, the Choir frequently joins it for concerts in the UK and abroad. Recent highlights have included Mahler’s Symphony No. 2, Tippett’s The Midsummer Marriage and A Child of Our Time, Janáček’s Glagolitic Mass, Schoenberg’s Gurrelieder and Berlioz’s Damnation of Faust, all under LPO Principal Conductor Edward Gardner; Mahler’s Symphony No. 3 with Robin Ticciati; the UK premieres of James MacMillan’s Christmas Oratorio with the Choir’s President, Sir Mark Elder, and Tan Dun’s Buddha Passion; Walton’s Belshazzar’s Feast with Marin Alsop; Mahler’s Symphonies Nos. 2 & 8 and Tallis’s Spem in alium with Vladimir Jurowski; Beethoven’s Missa Solemnis with Sir Mark Elder; and Haydn’s The Creation with Sir Roger Norrington.

The Choir appears annually at the BBC Proms, and performances have included the UK premieres of Mark-Anthony Turnage’s A Relic of Memory and Goldie’s Sine Tempore in the Evolution! Prom. In recent years the Choir has also given performances of works by Beethoven, Elgar, Howells, Liszt, Orff, Vaughan Williams, Verdi and Walton. This year for the first time, the Choir has taken part in the ‘Films in Concert’ series at the Royal Albert Hall, performing the score for Amadeus

A well-travelled choir, it has visited numerous European countries and performed in Kuala Lumpur, Hong Kong and Australia. The Choir has appeared twice at the Touquet International Music Masters Festival and was delighted to travel to the Théâtre des Champs-Elysées, Paris, in December 2017 to perform Bach’s Christmas Oratorio with the London Philharmonic Orchestra.

The Choir prides itself on its inclusive culture, achieving first-class performances from its members, who are volunteers from all walks of life.

The London Philharmonic Choir’s performance tonight is dedicated to the memory of Aidan Jones, former member (1979–2015) and Chairman (1987–92).




Annette Argent

Tessa Bartley

Hilary Bates

Amy Brewster

Coco Burch

Charlotte Cantrell

Megan Cunnington

Issy Davies

Aimee Desmond

Rachel Gibbon

Sofia GonzalesMorales

Rosie Grigalis

Lily Guenault

Jane Hanson

Sasha Holland

Ashley Jordan

Joy Lee

Clare Lovett

Maddie Lovett

Janey Maxwell

Sally Morgan

Elizabeth Ortiz

Marie Power

Danielle Roman

Victoria Smith

Ronnie Spinks

Susan Thomas

Sze Ying Chan


Emma Barslund

Alison Biedron

Jenny Burdett

Andrei Caracoti*

Pat Dixon*

Andrea Easey

Carmel Edmonds

Miranda Fern

Pauline Finney

Bethea HansonJones

Judy Jones

Julia King

Andrea Lane

Claire LawrenceSmales*

Ethel Livermore*

Laetitia Malan

Ian Maxwell

Beth O’Brien

Nicola Prior

Angela Schmitz

Natasha Sofla

Annette Strzedulla

Muriel Swijghuisen


Susi Underwood

Jenny Watson


Tim Appleby

Kevin Cheng

James Clarke

Gary Cupido

Alan Glover

Josh Haley

David Hoare

Stephen Hodges

James Hopper

Alex Marshall

Daisy Rushton

Christopher Stuart

Don Tallon

Tony Valsamidis

Mikolaj Walczak

Toby Wilson


Martyn Atkins

Jonathon Bird

Peter Blamire

Marcus Daniels

Myrddin Edwards

Paul Fincham

Ian Fletcher

Gary Freer

Ian Frost

Luke Hagerty

Alan Hardwick

Christopher Harvey

David Hodgson

Rylan Holey

Borja Ibarz Gabardos

Michael Jenkins

Nigel Ledgerwood



John D Morris

Will Parsons

Johannes Pieters

Simon Potter

Gershon Silins

Edwin Smith

Philip Tait

Alex Thomas

*Alto soli in final chorus: ‘Praise the Lord’

Supported by lpc.org.uk

9 London Philharmonic Orchestra on Marquee TV • 13 April 2024 • Haydn’s Creation

Joseph Haydn


The Creation 1797

Louise Alder soprano (Gabriel/Eve)

Allan Clayton tenor (Uriel)

Michael Mofidian bass-baritone (Raphael/Adam)

London Philharmonic Choir

When the 58-year-old Joseph Haydn arrived in London on 1 January 1791, after a two-week journey from Vienna, he sparked a Georgian media frenzy. Haydn was fascinated by Britain, enthusiastically noting down his reactions to everything from Royal Navy warships to Cockney slang. But nothing had prepared him for the impact of the British choral tradition, which he encountered in May 1791 at the massive Handel Commemoration Festival at Westminster Abbey. An orchestra and chorus of over a thousand performed Israel in Egypt and Messiah to a huge and receptive audience.

Haydn was profoundly affected – both by the music, and by the overwhelming communal response it provoked. ‘He confessed’, recounted one of his first biographers, Giuseppe Carpani, ‘that when he heard the compositions of Hendl [sic] in London, he was struck as if he had been put back to the beginning of his studies and had known nothing up to that moment.’ Haydn returned to Austria determined to create something with the same power and popularity. And he wanted it to be heard and enjoyed by his friends in Britain too.

Before leaving London for the last time in 1795, Haydn had been given an English libretto for an oratorio based on Milton’s Paradise Lost, in which three angels and Adam and Eve retell the opening verses of the Book of Genesis. We don’t know who wrote it, though Haydn was assured that it had originally been intended for Handel. Modest about his grasp of English, he hesitated to set it in the original, so he enlisted one of Vienna’s most knowledgeable music-lovers, Baron Gottfried van

Swieten, who ‘resolved to clothe the poem in German garb’. Van Swieten’s translation is the text that Haydn set as Die Schöpfung – and which he had translated back into English as The Creation. Completed in the autumn of 1797, Die Schöpfung/The Creation became the first work in musical history to be published bilingually. It would soon become almost as popular as Messiah in the English-speaking world, and this evening we hear a recent English revision by Paul McCreesh.

The astonishing, tonally ambiguous prelude to The Creation, ‘The Representation of Chaos’, is itself a radical masterpiece, and it’s long had musicologists purring with approval. But Haydn planned it as part of a far greater design. Chaos is defeated by the most dazzlingly powerful affirmation of tonality in all classical music – a mighty burst of C major as God creates light. And throughout the whole work, passages of relaxation (the radiant soprano aria ‘With verdure clad’, the rosy dawn that opens Part 3) and of playful humour (all those sound-effects, and a bubbly comic-opera duet for Adam and Eve) are balanced by music of visionary grandeur.

Learning from Handel, Haydn structured his oratorio around big, stirring choruses. As thrilling to sing as they are to hear, ‘Awake the harp’, ‘The heavens are telling’ and ‘Achieved is the glorious work’ match Handelian majesty with classical symphonic sweep. And then there are the moments where he simply expresses Biblical ideas in some of the happiest music of the Age of Enlightenment – Haydn freely admitted that he ‘was never so devout as when I was working on

10 London Philharmonic Orchestra on Marquee TV • 13 April 2024 • Haydn’s Creation
Programme note

Programme notes

The Creation’. Yet his faith was as much about joy as awe: ‘Whenever I think of God’, he famously remarked, ‘I can imagine only a Being infinitely great and infinitely good, and the idea of this latter attribute of the divine nature fills me with such confidence, such joy, that I should set even a miserere in tempo allegro.’

But Haydn was emphatically not naïve. At Mozart’s suggestion, Haydn had joined the Viennese Masonic lodge ‘Zur wahren Eintracht’(True Concord) in February 1785, and his personal library contained a range of banned philosophical texts. He didn’t just take the Bible’s word for the splendour of the Universe – in June 1792 he’d sought out the astronomer William Herschel at Windsor, and studied it for himself through the world’s most advanced telescope. Similarly, in The Creation, the very noblest music celebrates the limitless potential of Creation’s highest achievement – humanity. Written three years before Beethoven’s first symphony, the arias ‘Now heaven in fullest glory shines’ and ‘In native worth and honour clad’ are surely the crowning moment of the 18th-century Enlightenment in classical music.

Haydn’s contemporaries felt it then, as we feel it today. Haydn’s final public appearance was at a performance of The Creation at the University of Vienna in honour of his 76th birthday, on 27 March 1808. Salieri was at the keyboard, and Beethoven was in the audience (afterwards, as Haydn left, he kneeled to kiss the old man’s hand). At the words ‘Und es ward Licht’ the entire audience erupted into spontaneous applause. Haydn, no longer able to stand unaided, raised his arms to heaven and declared, as strongly as his weakened voice allowed, ‘Not from me – it all comes from above.’

The Creation in English, by Paul McCreesh

The Creation is now generally sung in German, yet there is no doubt that Haydn wished for the immediate impact which can only be created by performing the work in the audience’s own language. There have been many attempts to adapt and rewrite parts of the English text, but in preparation for the 2008 Gabrieli Consort & Players recording (DG Archiv 477736-1) I decided to give the libretto a complete and thorough revision, in the hope of creating a version which speaks directly and comfortably to English listeners, and is more worthy of Haydn’s sublime music. Often very simple changes to word order, or the insertion of a word with the correct number of syllables, can make for considerably more beautiful (and more comprehensible) English and, crucially, a better relationship between the text and Haydn’s music.

Part 1

The text begins on page 14.

1 Overture. The Representation of Chaos

After a mighty chord of C, Haydn depicts the infinite void in a prelude that sounds modern even today.

Recitative and chorus: In the beginning

A hushed recitative prepares for the overwhelming creation of Light.

2 Aria (Uriel) and chorus: Now vanish before the holy beams

A fresh and joyful song for the first morning of Creation.

3 Recitative (Raphael): And God made the firmament Haydn depicts the elements orchestrally before introducing each one in turn.

11 London Philharmonic Orchestra on Marquee TV • 13 April 2024 • Haydn’s Creation

Programme note

4 Aria (Gabriel) and chorus: The marvellous work beholds amaz’d. A virtuoso soprano aria blossoms into an exuberant chorus of praise.

5 Recitative (Raphael): And God said: Let the waters under the heaven

6 Aria (Raphael): Rolling in foaming billows

Haydn’s orchestra depicts the sea, mountains and river valleys in music that prefigures Beethoven’s ‘Pastoral’ Symphony.

7 Recitative (Gabriel): And God said: Let the earth bring forth grass

8 Aria (Gabriel): With verdure clad

This serene and lovely aria, with its 6/8 metre and birdsong-like woodwind writing, takes the 18th-century pastoral style to its rapturous peak.

9 Recitative (Uriel): And the heavenly host

10 Chorus: Awake the harp

For the first time in the work Haydn sets out to emulate the mighty Handel choruses that had so inspired him in London.

11 Recitative (Uriel): And God said: Let there be lights

12 Recitative (Uriel): In brightest splendour

The newly created Sun rises in a radiant and festive D major for full orchestra. The Moon receives cooler treatment.

13 Chorus with soli: The heavens are telling

A worthy successor to Handel’s Hallelujah and a stirring climax to the first part of the oratorio.

Part 2

14 Recitative (Gabriel): And God said: Let the waters bring forth

15 Aria (Gabriel): On mighty pens

After an orchestral introduction of symphonic proportions, Haydn depicts the creation of the birds: clarinet, bassoons and flute respectively portray the larks, turtle-doves and nightingale.

16 Recitative (Raphael): And God created great whales

God creates great whales: low strings provide a suitably solemn accompaniment to His words.

17 Recitative (Raphael): And the angels struck their immortal harps

18 Trio: Most beautiful appear

The three angels admire in turn the newly created hills, birds and fishes. Typically lighthearted touches paint the picture in the orchestra; flute for the circling birds, and, for the whale, what else but the double bass? The trio leads into …

Chorus with soli: The Lord is great

A bustling hymn of praise: chorus and soloists intertwining to brilliant and majestic effect.

12 London Philharmonic Orchestra on Marquee TV • 13 April 2024 • Haydn’s Creation

Programme notes

19 Recitative (Raphael): And God said: Let the earth bring forth the living creature

20 Recitative (Raphael): Straight opening her fertile womb

The orchestra depicts the new-created animals – from lion down to worm – before Raphael admires each one in turn.

21 Aria (Raphael): Now heaven in fullest glory shines

Trumpets and drums give a regal dignity to Raphael’s description of Creation.

22 Recitative (Uriel): And God created Man

God creates Man: the music briefly evokes both wonder and tenderness.

23 Aria (Uriel): In native worth and honour clad

In this broad and noble aria, Haydn celebrates the Enlightenment’s vision of Humanity; the courage, dignity, intellect and capacity for love of Adam and Eve are all expressed in the music. The key of C suggests the innocence and perfection of humanity before the Fall.

24 Recitative (Raphael): And God saw everything

25 Chorus: Achieved is the glorious work

Creation is complete; the entire heavenly host joins in vigorous song.

Trio: On thee each living soul awaits

Over a radiant woodwind chorale, the three angels praise God – and hint solemnly at the potential consequences, should Adam and Eve turn from their Creator.

Chorus: Achieved is the glorious work

Haydn completes the chorus and rounds off Part 2 with a powerful double fugue.

Part 3

26 Introduction and Recitative (Uriel): In rosy mantle

The orchestral prelude depicts morning in Eden: three flutes gently paint the idyllic dawn.

27 Duet (Adam and Eve) with chorus: By thee with bliss, O bounteous Lord

In an atmosphere of rapturous calm, Adam and Eve sing an expressive hymn to the Creation. The music soon spills over into out-and-out celebration.

28 Recitative (Adam and Eve): Our duty have we now perform’d Adam and Eve, having praised God, now start to notice each other.

29 Duet (Adam and Eve): Graceful consort

Love-duet gives way to childlike playfulness, as Adam and Eve realise that life is even more joyful together.

30 Recitative (Uriel): O happy pair

In a brief echo of Milton, the angel warns lest the happy pair seek to know more than they should.

31 Finale, chorus and soli: Praise the Lord

A mighty and rousing double fugue ends the work with a final shout of praise.

Programme note © Richard Bratby

13 London Philharmonic Orchestra on Marquee TV • 13 April 2024 • Haydn’s Creation

The Creation: text

Part 1


The Representation of Chaos

Recitative [accompagnato] and chorus


In the beginning God created the heaven and the earth. and the earth was without form, and void; and darkness was upon the face of the deep.


And the spirit of God mov’d upon the face of the waters. And God said, Let there be light: and there was light.



And God saw the light, that it was good: and God divided the light from the darkness.

Aria and chorus


Now vanish before the holy beams the gloomy, dismal shades of darkness; the first of days appears! Disorder yields and order fair prevails. Affrighted fly hell’s spirits, black in throngs; down they sink in the deepest abyss to endless night.


Despairing, cursing rage, attends their rapid fall.

A new-created world springs up at God’s command.

Recitative [accompagnato]


And God made the firmament, and divided the waters which were under the firmament from the waters which were above the firmament: and it was so. Outrageous, dreadful storms now arise; as chaff by the winds impell’d are the clouds. By heaven’s fire the sky is enflam’d, and awful roll the thunders on high. At his command, rise from the floods, reviving showers of rain, the dreary wasteful hail, the light and flaky snow.

Aria and chorus


The glorious heav’nly hierarchy,

the marvellous work beholds amaz’d. And to the ethereal vaults resounds the praise of God, and of the second day.


And to the ethereal vaults resounds the praise of God, and of the second day.



And God said: Let the waters under the heaven be gathered together unto one place, and let the dry land appear: and it was so. And God called the dry land Earth, and the gath’ring of waters called he Seas, and God saw that it was good.



Rolling in foaming billows, uplifted roars the boisterous sea. Mountains and rocks now emerge, into the clouds their tops ascend. Through verdant plains outstretching wide the rivers flow, in serpent error. Softly purling glideth on through silent vales the limpid brook.



And God said: Let the earth bring forth grass, the herb yielding seed, and the fruit tree yielding fruit after his kind, whose seed is in itself, upon the earth: and it was so.



With verdure clad, the fields appear delightful to the ravish’d sense; by flowers sweet and gay adorned is the charming sight. The fragrant herbs give forth their scent, here shoots the healing plant. With copious fruit the spreading boughs are hung. In leafy arches twine the shady groves. O’er lofty hills majestic forests rise.



And the heavenly host the third day proclaimed, praising God, and saying:



Awake the harp, the lyre awake! With shouts of joy, your voices raise!

14 London Philharmonic Orchestra on Marquee TV • 13 April 2024 • Haydn’s Creation

The Creation: text

In triumph proclaim the might of the Lord! For all the heav’ns and the earth has he clothed in glorious attire.



And God said: Let there be lights in the firmament of heaven to divide the day from the night, and to give light upon the earth; and let them be for signs, and for seasons, and for days, and for years. He made the stars also.

Recitative [accompagnato]


In brightest splendour rises now the sun, and darts his rays; an eager, joyful bridegroom, a giant, glad and proud, to run his measured course. With gentle steps, and softer, silv’ry beams, steals the moon, through still and silent night. The boundless span of heaven’s vault is now adorn’d with numberless golden stars, and the sons of God announced the fourth day thus, in song divine, with joy proclaiming his might:

Trio and chorus


The heavens are telling the glory of God; the firmament displays the wonder of his works.


As day after day his power declares; And night after night his honour affirms.


The heavens are telling the glory of God; the firmament displays the wonder of his works.


In all the lands resounds the word, never unperceived, ever understood.


The heavens are telling the glory of God; the firmament displays the wonder of his works.

Part 2

Recitative [accompagnato]


And God said: Let the waters bring forth abundantly

the moving creature that hath life, and fowl that may fly above the earth in the open firmament of heaven.



On mighty pens uplifted soars the eagle aloft, and cleaves the sky in swiftest flight to the blazing sun. The merry lark bids welcome to the morn, and cooing calls the tender dove his mate.

From every bush and grove resound the nightingale’s delightful, liquid notes. No grief affected yet her breast, nor to a mournful tale were tun’d her soft, enchanting lays.

Recitative [accompagnato]


And God created great whales, and every living creature that moveth, and God blessed them, saying: Be fruitful all! Multiply ye wing’d and feather’d tribes, and sing from every tree! Multiply, ye finny tribes, and fill each wat’ry deep! Be fruitful, grow and multiply, rejoice in him, your Lord and God!



And the angels struck their immortal harps, and the wonders of the fifth day sang.

Trio and chorus


Most beautiful appear, with verdure young adorn’d the gently sloping hills. Their narrow, sinuous veins distil in crystal drops the fountain fresh and bright.


In lofty circles play, and flutter through the sky the cheerful flocks of birds. And in the flying whirl their glittering plumes are dyed like rainbows by the sun.


See flashing midst the waters bright a thousand fry that dart through rolling waves. Upheaved from the deep, see the immense Leviathan sports on the foaming spray.

15 London Philharmonic Orchestra on Marquee TV • 13 April 2024 • Haydn’s Creation

The Creation: text


How many are thy works, O God! Who may their numbers tell?


The Lord is great and great his might; his glory lasts for ever and for evermore.



And God said: Let the earth bring forth the living creature after his kind; cattle, and creeping thing, and beast of the earth, after his kind.

Recitative [accompagnato]


Straight opening her fertile womb, the earth obeys the word, and teems with creatures numberless, in perfect forms and fully grown. Cheerfully roaring, stands the tawny lion. With sudden leaps the flexible tiger appears. The nimble stag rears up his branching head. With flying mane, the noble steed springs up and neighs, with spirit proud. The cattle in herds peacefully graze on fields and meadows green. And o’er the leas are scattered flocks of fleecy, meek and bleating sheep. Unnumber’d as the sands, in whirls arise great swarms of insects. In long dimension creeps with sinuous trace the worm.



Now heaven in fullest glory shines; earth smiles in all her rich attire. The air is fill’d with feather’d fowl; the water swells with shoals of fish; by heavy beasts the ground is trod. But all the work was not complete, there wanted yet that wondrous being that God’s creation should admire and praise his works with heart and voice.

Recitative URIEL

And God created man in his own image. In the image of God created he him. Male and female created he them. He breathed into his nostrils the breath of life, and man became a living soul.


In native worth and honour clad, with beauty, strength and courage bless’d, to heav’n erect and tall he stands, a man, the lord and king of nature all. His noble, gen’rous brow sublime, declares a wisdom deep within, and in his eyes with brightness shines the soul, the breath and image of his God. With fondness leans upon his breast the partner for him form’d, a woman fair, a graceful spouse. Her softly smiling virgin-looks, of flow’ry spring a mirror, speak love, delight and bliss.



And God saw everything that he had made; and behold, it was very good; and the heavenly choir thus closed the sixth day, in song divine.

Trio and chorus


Achieved is the glorious work; the Lord delights in all he sees. In lofty strains let us rejoice, our song shall be the praise of God!


On thee each living soul awaits; from thee, O Lord, they beg their meat. Thou openest thy hand, and sated are they all.


But when, O Lord, thy face is hid, with sudden terror they are struck. Thou tak’st their breath away; they vanish into dust.


Thou sendest forth thy breath again, and life with vigour fresh returns. Revived earth unfolds new force and new delights.


Achieved is the glorious work, our song shall be the praise of God! Glorious be his name for ever; he sole on high, exalted, reigns. Alleluia.

16 London Philharmonic Orchestra on Marquee TV • 13 April 2024 • Haydn’s Creation

The Creation: text

Part 3

Recitative [accompagnato]


In rosy mantle now appears, by sweetest sounds awak’d, the morning, young and fair. From heav’n’s eternal realm, pure harmony descends on ravish’d earth. Behold the blissful pair, as hand in hand they go!

Their radiant eyes shine with heartfelt joy and thanks. And so with cheerful noise, their God they soon will praise. Then let our voices ring, united with their song!

Duet and chorus


By thee with bliss, O bounteous Lord, the heav’n and earth are fill’d. This world, so great, so wonderful, thy mighty hand has fram’d.


For ever blessed be his pow’r! His name be ever magnified!


Of stars the fairest, O how sweetly thou crown’st the smiling dawn. How brighten’st thou, O sun, the day, thou eye and soul of all!


Proclaim in your extended course the glorious pow’r and might of God!


And thou that rul’st the silent night, and all ye starry host spread wide and everywhere his praise in joyful songs around!


Ye mighty elements, by whose pow’r are ceaseless changes made, ye misty vapours and dewy steams, that rise and fall through th’air, acclaim and praise our God and Lord!


Acclaim and praise our God and Lord! Great is his name, and great his might!


Ye purling fountains, tune his praise, and wave your tops, ye pines! Ye plants exhale, ye flowers breathe on him your balmy scent!


Ye that on lofty mountains tread, and ye that lowly creep, ye birds that sing at heaven’s gate, and ye, that swim the deep,


Ye living creatures, praise the Lord! All with life and breath!


Ye valleys, hills and shady woods bear witness to our song. From morn to eve shall you repeat our grateful hymn of praise.


Hail bounteous Lord! Creator, hail! Thy word called forth this wondrous frame. The heav’ns and earth thy pow’r proclaim; we praise thee now and evermore.

Recitative ADAM

Our duty have we now perform’d, in off’ring up to God our thanks. Now follow me, dear partner of my life! Thy guide I’ll be, and every step wakes new delight within our breast, at the wonders all around. Then may’st thou know the high degree of bliss the Lord has granted us, and with devoted heart confess his boundless love. Come, follow me! Thy guide I’ll be.


O thou, for whom I am!

My help, my shield, my all! Thy will is law to me; so God, our Lord, ordains. For such obedience brings me joy, contentment and honour.


Graceful consort!

At thy side softly fly the golden hours. Every moment brings new rapture, every care is put to rest.

17 London Philharmonic Orchestra on Marquee TV • 13 April 2024 • Haydn’s Creation

The Creation: text


Spouse adored!

At thy side purest joys o’erflow the heart. Life and all I am is thine; my reward shall be thy love.


The dew-dropping morning, O how she gladdens all!

The cool breezy evening, O how she quickens all!

How pleasing is the savour of the fruit!

How charming is the smell of fragrant blooms! But without thee, what is to me the morning dew, the evening breeze, the sav’ry fruit, the fragrant bloom?

With thee is every joy enhanced, with thee delight is ever new; with thee is life incessant bliss; thine it all shall be.

Recitative URIEL

O happy pair, and always happy yet, unless, by false conceit misled, ye strive for more than granted is, and more would know, than know ye should!


Praise the Lord, lift up your voices!

Thank him, thank our God for all his wonders. Celebrate his power and glory!

Let his name resound on high!

God’s mighty pow’r shall last for evermore, Amen.

English text revised by Paul McCreesh 2006 and 2009 (© Paul McCreesh 2009)

18 London Philharmonic Orchestra on Marquee TV • 13 April 2024 • Haydn’s Creation

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TV • 13 April 2024 • Haydn’s Creation

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

The American Friends of the London Philharmonic Orchestra

Anonymous donors

Mrs Aline Foriel-Destezet

Aud Jebsen

In memory of Mrs Rita Reay

Sir Simon & Lady Robey CBE

Orchestra Circle

William & Alex de Winton

Edward Gardner & Sara Övinge

Patricia Haitink

Catherine Høgel & Ben Mardle

Mr & Mrs Philip Kan

Neil Westreich

Principal Associates

An anonymous donor

Richard Buxton

Gill & Garf Collins

In memory of Brenda Lyndoe


In memory of Ann Marguerite


Irina Gofman & Mr Rodrik V. G.


George Ramishvili

The Tsukanov Family

Mr Florian Wunderlich


Mrs Irina Andreeva

In memory of Len & Edna Beech

Steven M. Berzin

Sir Nigel Boardman & Prof. Lynda


The Candide Trust

John & Sam Dawson

HSH Dr Donatus, Prince of Hohenzollern

Stuart & Bianca Roden

In memory of Hazel Amy Smith

Gold Patrons

David & Yi Buckley

Dr Alex & Maria Chan

In memory of Allner Mavis


Sonja Drexler

Peter & Fiona Espenhahn

Mr B C Fairhall

Hamish & Sophie Forsyth

Virginia Gabbertas MBE

Jenny & Duncan Goldie-Scot

Mr Roger Greenwood

Malcolm Herring

Julian & Gill Simmonds

Eric Tomsett

The Viney Family

Guy & Utti Whittaker

Silver Patrons

Dame Colette Bowe

David Burke & Valerie Graham

Clive & Helena Butler

Cameron & Kathryn Doley

Ulrike & Benno Engelmann

Dmitry & Ekaterina Gursky

The Jeniffer & Jonathan Harris

Charitable Trust

John & Angela Kessler

Mrs Elena & Mr Oleg Kolobova

Mrs Elizabeth Meshkvicheva

Mikhail Noskov & Vasilina


Tom & Phillis Sharpe

Mr Joe Topley & Ms Tracey


Andrew & Rosemary Tusa

Jenny Watson CBE

Laurence Watt

Bronze Patrons

Anonymous donors

Chris Aldren

Michael Allen

Mrs A Beare

Mr Anthony Blaiklock

Lorna & Christopher Bown

Mr Bernard Bradbury

Simon Burke & Rupert King

Desmond & Ruth Cecil

Mr John H Cook

Deborah Dolce

Ms Elena Dubinets

David Ellen

Cristina & Malcolm Fallen

Christopher Fraser OBE

Mr Daniel Goldstein

David & Jane Gosman

Mr Gavin Graham

Lord & Lady Hall

Mrs Dorothy Hambleton

Iain & Alicia Hasnip

Eugene & Allison Hayes

J Douglas Home

Molly Jackson

Mrs Farrah Jamal

Mr & Mrs Jan

Mr & Mrs Ralph Kanza

Mr Peter King

Jamie & Julia Korner

Rose & Dudley Leigh

Wg. Cdr. & Mrs M T Liddiard OBE


Drs Frank & Gek Lim

Mr & Mrs Makharinsky

Mr Gordon McNair

Andrew T Mills

Denis & Yulia Nagy

Andrew Neill

Jamie Njoku-Goodwin

Peter & Lucy Noble

Oliver & Josie Ogg

Mr Stephen Olton

Simon & Lucy Owen-Johnstone

Andrew & Cindy Peck

Mr Roger Phillimore

Mr Michael Posen

Saskia Roberts

John Romeo

Priscylla Shaw

Mr & Mrs John C Tucker

Mr & Mrs John & Susi


Karina Varivoda

Grenville & Krysia Williams

Joanna Williams

Principal Supporters

Anonymous donors

Ralph & Elizabeth Aldwinckle

Mr John D Barnard

Roger & Clare Barron

Dr Anthony Buckland

Dr Simona Cicero & Mr Mario


Mr Alistair Corbett

Guy Davies

David Devons

Igor & Lyuba Galkin

Prof. Erol & Mrs Deniz Gelenbe

In memory of Enid Gofton

Alexander Greaves

Prof. Emeritus John Gruzelier

Michael & Christine Henry

Mrs Maureen Hooft-Graafland

Bruce & Joanna Jenkyn-Jones

Per Jonsson

Mr Ian Kapur

Ms Elena Lojevsky

Dr Peter Mace

Pippa Mistry-Norman

Miss Rebecca Murray

Mrs Terry Neale

John Nickson & Simon Rew

Mr James Pickford

Filippo Poli

Mr Robert Ross

Martin & Cheryl Southgate

Mr & Mrs G Stein

Ben Valentin KC

Mr Rodney Whittaker

Christopher Williams


Anonymous donors

Mr Francesco Andronio

Julian & Annette Armstrong

Mr Philip Bathard-Smith

Emily Benn

Mr Julien Chilcott-Monk

Alison Clarke & Leo Pilkington

Mr Peter Coe

Mr Joshua Coger

Miss Tessa Cowie

Caroline Cox-Johnson

Mr Simon Edelsten

Will Gold

Mr Stephen Goldring

Mr & Mrs Graham & Jean Pugh

In memory of Derek Gray

Mr Geordie Greig

Mr Peter Imhof

The Jackman Family

Mr David MacFarlane

Paul & Suzanne McKeown

Nick Merrifield

Simon & Fiona Mortimore

Dame Jane Newell DBE

Mr David Peters

Nicky Small

Mr Brian Smith

Mr Michael Timinis

Mr & Mrs Anthony Trahar

Tony & Hilary Vines

Dr June Wakefield

Mr John Weekes

Mr Roger Woodhouse

Mr C D Yates

Hon. Benefactor

Elliott Bernerd

Hon. Life Members

Alfonso Aijón

Kenneth Goode

Carol Colburn Grigor CBE

Pehr G Gyllenhammar

Robert Hill

Keith Millar

Victoria Robey CBE

Mrs Jackie Rosenfeld OBE

Timothy Walker CBE AM

Laurence Watt

London Philharmonic Orchestra on Marquee TV
13 April 2024
Haydn’s Creation

Thomas Beecham Group Members

David & Yi Buckley

Gill & Garf Collins

William & Alex de Winton

Sonja Drexler

Mr B C Fairhall

The Friends of the LPO

Roger Greenwood

Dr Barry Grimaldi

Mr & Mrs Philip Kan

John & Angela Kessler

Sir Simon Robey

Victoria Robey CBE

Bianca & Stuart Roden

Caroline, Jamie & Zander Sharp

Julian & Gill Simmonds

Eric Tomsett

Neil Westreich

Guy & Utti Whittaker

Corporate Donor


LPO Corporate Circle



Carter-Ruck Solicitors

French Chamber of Commerce

Ryze Power


German-British Chamber of Industry & Commerce


Natixis Corporate Investment



Preferred Partners


Lindt & Sprüngli Ltd

Neal’s Yard




In-kind Sponsor

Google Inc

Trusts and Foundations

ABO Trust

The Barbara Whatmore Charitable Trust

BlueSpark Foundation

The Boltini Trust

Borrows Charitable Trust

Cockayne – Grants for the Arts

The London Community Foundation

Dunard Fund

Ernst von Siemens Music Foundation

Foyle Foundation

Garrick Charitable Trust

The Golsoncott Foundation

Idlewild Trust

Institute Adam Mickiewicz

John Coates Charitable Trust

John Horniman’s Children’s Trust

John Thaw Foundation

Kirby Laing Foundation

The Kurt Weill Foundation for Music

The Lennox Hannay Charitable Trust

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

The Thriplow Charitable Trust

Vaughan Williams Foundation

The Victoria Wood Foundation

The Viney Family 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 MBE

Damien Vanderwilt

Marc Wassermann

Elizabeth Winter

Catherine Høgel Hon. Director

LPO International Board of Governors

Natasha Tsukanova Co-Chair

Martin Höhmann Co-Chair

Mrs Irina Andreeva

Steven M. Berzin

Shashank Bhagat

HSH Dr Donatus, Prince of Hohenzollern

Aline Foriel-Destezet

Irina Gofman

Olivia Ma

George Ramishvili

Florian Wunderlich

TV • 13 April 2024 • Haydn’s Creation
London Philharmonic Orchestra on Marquee
Thank you

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


John & Manon Antoniazzi

Gabor Beyer, through BTO Management Consulting AG

Jon Claydon

Mrs Mina Goodman & Miss Suzanne


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)

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

22 London Philharmonic Orchestra on Marquee TV • 13 April 2024 • Haydn’s Creation

London Philharmonic Orchestra Administration

Board of Directors

Dr Catherine C. Høgel Chair

Nigel Boardman Vice-Chair

Martin Höhmann* President

Mark Vines* Vice-President

Emily Benn

Kate Birchall*

David Burke

Michelle Crowe Hernandez

Deborah Dolce

Elena Dubinets

Tanya Joseph

Hugh Kluger*

Katherine Leek*

Minn Majoe*

Tania Mazzetti*

Jamie Njoku-Goodwin

Neil Westreich

Simon Freakley (Ex officio –

Chairman of the American Friends of the LPO)


Advisory Council

Roger Barron Chairman

Christopher Aldren

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

Chris Viney

Laurence Watt

Elizabeth Winter

New Generation Board

Ellie Ajao

Peter De Souza

Vivek Haria

Rianna Henriques

Connor Huss

Pasha Orleans-Foli

Priya Radhakrishnan

Zerlina Vulliamy

General Administration

Elena Dubinets Artistic Director

David Burke Chief Executive

Chantelle Vircavs

PA to the Executive and Employee Relations Manager

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

Matthew Freeman Recordings Consultant

Andrew Chenery Orchestra Personnel Manager

Sarah Thomas

Martin Sargeson


Laura Kitson Stage and Operations Manager

Stephen O’Flaherty Deputy Operations Manager

Benjamin Wakley Assistant Stage Manager

Felix Lo Orchestra and Auditions Manager


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

Eleanor Jones

Education and Community

Project Managers

Hannah Smith

Education and Community Co-ordinator

Claudia Clarkson

Regional Partnerships Manager


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 Co-ordinators

Nick Jackman

Campaigns and Projects Director

Kirstin Peltonen

Development Associate


Kath Trout

Marketing and Communications Director

Sophie Harvey Marketing Manager

Rachel Williams Publications Manager

Gavin Miller

Sales and Ticketing Manager

Ruth Haines

Press and PR Manager

Hayley Kim

Residencies and Projects

Marketing Manager

Greg Felton

Digital Creative

Alicia Hartley

Digital and Marketing Co-ordinator

Isobel Jones

Marketing Assistant


Philip Stuart Discographer

Gillian Pole Recordings Archive

Professional Services

Charles Russell Speechlys Solicitors

Crowe Clark Whitehill LLP


Dr Barry Grimaldi

Honorary Doctor

Mr Chris Aldren


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


Cover photo

Silent Studio @ James Wicks

TV • 13 April 2024 • Haydn’s Creation
London Philharmonic Orchestra on Marquee
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