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AUTUMN CONCERT SEASON 2020

THE STREAM OF LIFE PROGRAMME NOTES WEDNESDAY 7 OCTOBER 2020 | 8PM

VISIONS OF ECSTASY Messiaen Et exspecto resurrectionem mortuorum Schoenberg VerklÃ¤rte Nacht Edward Gardner conductor

Position supported by Mrs Christina Lang Assael

LONDON PHILHARMONIC ORCHESTRA â€¢ 7 OCTOBER 2020

CONTENTS CLICK ON THE HEADINGS TO JUMP TO A SECTION

3 HOW TO WATCH 4 PROGRAMME NOTES: MESSIAEN 6 PROGRAMME NOTES: SCHOENBERG 8 ON STAGE TONIGHT 9 CONDUCTOR: EDWARD GARDNER 10 LONDON PHILHARMONIC ORCHESTRA 11 LEADER: PIETER SCHOEMAN 12 AUTUMN CONCERTS 13 PLAY ON APPEAL 14 THANK YOU 16 SOUND FUTURES DONORS 18 MEMBERSHIPS & DONATIONS 19 CORPORATE PARTNERSHIPS 20 LPO ADMINISTRATION

LONDON PHILHARMONIC ORCHESTRA • 7 OCTOBER 2020

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LONDON PHILHARMONIC ORCHESTRA • 7 OCTOBER 2020

PROGRAMME NOTES OLIVIER MESSIAEN 1908–92

ET EXSPECTO RESURRECTIONEM MORTUORUM (AND I AWAIT THE RESURRECTION OF THE DEAD) (1964–65) – APPROX 35 MINS –

1 ‘OUT OF THE DEPTHS HAVE I CRIED UNTO THEE, O LORD. LORD, HEAR MY VOICE.’

2 ‘CHRIST BEING RAISED FROM THE DEAD DIETH NO MORE; DEATH HATH NO MORE DOMINION OVER HIM.’

3 ‘THE HOUR IS COMING, AND NOW IS, WHEN THE DEAD SHALL HEAR THE VOICE OF THE SON OF GOD.’

4 ‘THEY WILL BE RAISED IN GLORY, WITH A NEW NAME, IN THE JOYFUL CONCERT OF THE STARS AND THE SHOUTS OF THE SONS OF HEAVEN.’

5 ‘AND I HEARD AS IT WERE THE VOICE OF A GREAT MULTITUDE.’ Commissioned by the French state to compose a work commemorating those lost during World War II, Messiaen in 1964–5 came up with this colossal monument. Its scoring for symphonic woodwind and brass with bells, gongs and tam tams, he wrote, ‘destines the work to vast spaces: churches, cathedrals, and even out of doors and on high mountains.’ The first two performances took place in sacred buildings that met this measure and also were dear to the composer for the coloured light shining into them through their stained-glass windows: the SainteChapelle in Paris and Chartres Cathedral. Into their shafts of ultramarine, scarlet, gold and green he projected his own colours of sound. That these places were Catholic sanctuaries also, of course, accorded with his faith. Catholic doctrine, however, was the centre, not the limit, of his belief system. Bells and gongs, in the second movement, present a rhythmic pattern from 4

medieval India, a formula associated with Shiva, who, Messiaen noted, ‘represents the death of death’. Moreover, while at work on the piece, Messiaen posted up in his studio images not only of Romanesque and Gothic churches but of sacred sites in Mexico and Egypt, all of which Et exspecto resembles in its mighty block construction. The theme is not death but resurrection, awaited in the first movement, where low brass intone a ‘cry of the abyss’. After this comes a mosaic honouring Christ as agent of resurrection, the silences, Messiaen observes, being as important as the sounds. In the third movement a signal for resurrection is given out in three symbolic forms: the song of the Uirapuru, an Amazonian bird said to be heard at the moment of death; again silence, plus bell permutations; and a ‘very powerful reverberation of the tam tam’. The mystery has now taken place, and the big fourth movement celebrates it. ‘Three mysterious tam tam

LONDON PHILHARMONIC ORCHESTRA • 7 OCTOBER 2020

COMPOSER PROFILE OLIVIER MESSIAEN strokes, which repeatedly interrupt the musical discourse, symbolise at once the call of the Trinity, the solemn moment of resurrection and the distant melody of the stars.’ Chants on bells and on trumpets express the joy of the resurrected, to which another bird, the Calandra Lark, adds joy and agility. Then all the themes heard so far combine. A massive chorale of praise concludes, ‘an enormous, unanimous, simple fortissimo’. Programme note © Paul Griffiths

THE ORCHESTRATION ‘DESTINES THE WORK TO

VAST SPACES:

CHURCHES, CATHEDRALS, AND EVEN

OUT OF DOORS AND ON

HIGH MOUNTAINS’.

OLIVIER MESSIAEN

Olivier Messiaen was born in Avignon but spent almost his entire life in Paris. He entered the Conservatoire at the unusually young age of eleven, returning again in 1941 to teach. One of the highlights of his famous harmony classes – attended by many of the post-war avant-garde, including Pierre Boulez, Iannis Xenakis and Karlheinz Stockhausen – was an analysis of Debussy’s symbolist opera Pelléas et Mélisande, which Messiaen claimed was the source of his own musical awakening when he first received the score as a Christmas present, aged ten. Around that age Messiaen also developed the Catholic faith which became his chief source of spiritual consolation and inspiration. Many of his works illustrate a religious topic or scene, a lifelong attempt to adequately express the infinite, omnipresent and inconceivable nature of God. He departed from these themes in the Tristan trilogy – inspired by the myth of impossible love, which included the leviathan Turangalîla-Symphonie – and in the many works resulting from his tireless transcriptions of birdsong. In his music Messiaen favoured intense imagery, illuminated by highly charged melodies written in his own unique modal language, with rich scoring and a tendency towards orchestral excess – all together a kind of musical sensuality that was his inheritance and debt to Debussy. But he is probably best known for a piece whose origin overshadows its content. Quatuor pour la fin du temps (Quartet for the End of Time) was written during Messiaen’s captivity in a prisoner-of-war camp during World War II. He used the central image of an angel announcing the end of time itself; the appeal of the eternal is not surprising, nor are the expansive horizons suggested by the modest instrumentation. We can only imagine the effect this must have had when, in the freezing winter and pouring rain, on instruments broken and old, he and a group of fellow musicians gave the premiere for the camp’s gathered prisoners and guards. Profile © Mark Parker

LONDON PHILHARMONIC ORCHESTRA • 7 OCTOBER 2020

PROGRAMME NOTES ARNOLD SCHOENBERG 1874–1951

VERKLÄRTE NACHT

(TRANSFIGURED NIGHT) 1899 1943 REVISED VERSION – APPROX 31 MINS –

History has dealt the music of the Second Viennese School something of an unjust reputation. Often perceived as unwieldy and academic, prioritising musical complexity over meaningful expression, the works of Arnold Schoenberg, Anton Webern and Alban Berg are still relatively rare inclusions in concert programmes. But much of their music is easier on the ear than some might expect, bathed in the dying throes of Romanticism. If their music is not immediately expressive to the listener, it is nevertheless grounded in a lyrical impulse. At the premiere of Verklärte Nacht (‘Transfigured Night’) in its original string sextet version in Vienna in 1902, Schoenberg’s audience did not agree. There were horrified gasps at the modernity of its harmonies, derision at the appearance of new chords that ostensibly ‘did not exist’ (‘Then they cannot be performed’, Schoenberg wryly retorted) and shock at the explicit content of its programme. This programmatic work was so unlike anything the public had heard before, combining the grand symphonic poems of Liszt and Strauss with the intimacy of a chamber ensemble, that the concert ended in a riot. Composed in just three weeks while Schoenberg was on holiday in the Austrian countryside in September 1899, Verklärte Nacht would become known as the composer’s first major work and the first to signal his departure from traditional concepts of tonality. Just a few years earlier, Schoenberg had been composing within a recognisable tonal idiom, but in Verklärte Nacht these boundaries begin to be broken down, with intense chromaticism and swathes of near-atonality 6

obscuring familiar tonal reference points. His aim, as he wrote, was not to create a dramatic work in any traditional sense, but rather to give an ‘impression’ through music: ‘My composition was, perhaps, somewhat different from other illustrative compositions … because it does not illustrate any action or drama, but was restricted to portray nature and express human feelings ... in other words, it offers the possibility to be appreciated as “pure” music.’ Inspired by a poem of the same name by the German symbolist poet Richard Dehmel, Verklärte Nacht follows two lovers as they walk through the forest at night, before the woman reveals that she is pregnant with another man’s child. Just as Dehmel’s poem emphasises the emotions at the centre of the story rather than the narrative itself, so Schoenberg’s setting focuses not on their actions, but on the intense psychological drama that unfolds around the woman’s confession and the man’s response. In its structure, Schoenberg loosely follows that of the poem too, dividing his single-movement work into a five-part arch in which sections 1, 3 and 5 describe the lovers and their shadowy surroundings, section 2 presents the woman’s anguished confession and section 4 the man’s quiet declaration of forgiveness. This formal structure is also cemented by a sweeping tonal arc that sees the work open sombrely in D minor, descend into ambiguity at its centre as the woman ‘stumbles on’ with a heavy heart, but emerge resplendently in D major towards the close as the woman declares: ‘You have brought the glow into me, you have made me like a child myself.’ As the couple gaze around them at the beauty of the glittering skies, their love transforms

LONDON PHILHARMONIC ORCHESTRA • 7 OCTOBER 2020

COMPOSER PROFILE ARNOLD SCHOENBERG

Schoenberg was born in 1874 in Vienna to orthodox Jewish parents. At the age of 17 he started working in a bank, while pursuing his passion for music by playing chamber music with friends, taking lessons with the slightly older Alexander Zemlinsky and composing. By his 20s he was producing works he felt merited performance and publication, including Verklärte Nacht for string sextet (1899).

heartbreak into happiness, and the ‘bare, cold wood’ transfigures into a ‘high, bright night’. Although Verklärte Nacht was originally scored for string sextet, it is now better known in the arrangement that Schoenberg made for string orchestra in 1917 and revised once more in 1943, and it is the latter version that we hear tonight. Programme note by Jo Kirkbride

‘YESTERDAY EVENING I HEARD YOUR VERKLÄRTE NACHT, AND I SHOULD CONSIDER IT A SIN OF OMISSION IF I FAILED TO SAY A WORD OF THANKS TO YOU FOR YOUR WONDERFUL SEXTET. I HAD INTENDED TO FOLLOW THE MOTIVES OF MY TEXT IN YOUR COMPOSITION; BUT I SOON FORGOT TO DO SO, I WAS SO ENTHRALLED BY THE MUSIC.’ POET RICHARD DEHMEL TO ARNOLD SCHOENBERG, 12 DECEMBER 1912

His progress as a professional composer in Vienna was made difficult by the modernity of his outlook. Deeply attached to the classics, from Bach through Mozart and Beethoven to Brahms, he believed respect for the past meant progress. In 1901 he moved to Berlin, and there met Richard Strauss and began his work as a teacher, but two years later he returned to Vienna, where he drew close to Mahler and gained Anton Webern and Alban Berg among his pupils. The development of his music now was rapid: there is a sense in the fast, dense First Chamber Symphony (1906) of a hurtling towards atonality – a goal he reached in his Second Quartet (1907–8). Gurrelieder, a work for soloists, chorus and huge orchestra, was completed in the new style in 1911. From that year he was back in Berlin, until he was called up for service in the Austrian army. He then settled just outside Vienna, continuing to teach but not to compose, for the revolution he had brought about – the opening of music to dissonance, floating rhythm, formal fluidity and extremes of expression and irony – had left him creatively exhausted and confused. Only in the 1920s did he start composing freely once more, using his new 12-tone technique and returning to standard forms. In 1925 he moved to Berlin again, to teach at the Prussian Academy. There he produced some of his most masterly works (Third Quartet, 1927; Orchestral Variations, 1926–8) and started his opera Moses und Aron. But soon after the Nazis took power in 1933, he left, reaffirmed his Jewish faith and found refuge in Los Angeles. His American works – which include his Fourth Quartet (1936) and concertos for violin (1935– 6) and piano (1942) – have a new largeness and richness, often because they come back close to tonality. He died in 1951. Profile © Paul Griffiths 7

LONDON PHILHARMONIC ORCHESTRA โ ข 7 OCTOBER 2020

ON STAGE TONIGHT FIRST VIOLINS Pieter Schoeman* LEADER Chair supported by Neil Westreich

Vesselin Gellev SUB-LEADER Kate Oswin Lasma Taimina Chair supported by Irina Gofman & Mr Rodrik V. G. Cave

Minn Majoe Catherine Craig Thomas Eisner Yang Zhang Chair supported by Eric Tomsett

Martin Hรถhmann Katalin Varnagy

Sue Sutherley Tom Roff Philip Taylor DOUBLE BASSES Kevin Rundell* PRINCIPAL Sebastian Pennar CO-PRINCIPAL Hugh Kluger George Peniston FLUTES Juliette Bausor PRINCIPAL Hannah Grayson Clare Childs

Chair supported by Sonja Drexler

SECOND VIOLINS Tania Mazzetti PRINCIPAL Chair supported by Countess Dominique Loredan

Emma Oldfield Helena Smart Kate Birchall Ashley Stevens Nancy Elan Marie-Anne Mairesse Fiona Higham Chair supported by David & Yi Buckley

Joseph Maher Nynke Hijlkema VIOLAS Richard Waters PRINCIPAL Ting-Ru Lai Benedetto Pollani Laura Vallejo David Quiggle PRINCIPAL Katharine Leek Alistair Scahill Stanislav Popov Joseph Fisher Martin Wray CELLOS Kristina Blaumane PRINCIPAL Chair supported by Bianca & Stuart Roden

Pei-Jee Ng CO-PRINCIPAL Francis Bucknall David Lale Laura Donoghue Elisabeth Wiklander Gregory Walmsley 8

PICCOLOS Stewart McIlwham* PRINCIPAL Katherine Bicknell OBOES Ian Hardwick* PRINCIPAL Alice Munday Katherine Bryer COR ANGLAIS Sue Bรถhling* PRINCIPAL Chair supported by Dr Barry Grimaldi

CLARINETS Benjamin Mellefont PRINCIPAL Emma Burgess James Maltby E FLAT CLARINET Thomas Watmough PRINCIPAL Chair supported by Roger Greenwood

BASS CLARINET Paul Richards* PRINCIPAL BASSOONS Jonathan Davies PRINCIPAL

HORNS John Ryan* PRINCIPAL Martin Hobbs Mark Vines CO-PRINCIPAL Gareth Mollison Elise Campbell Duncan Fuller TRUMPETS Paul Beniston* PRINCIPAL James Fountain* PRINCIPAL Anne McAneney* David Hilton TROMBONES Mark Templeton* PRINCIPAL Chair supported by William & Alex de Winton

David Whitehouse Tom Berry BASS TROMBONE Simon Minshall TUBA Lee Tsarmaklis* PRINCIPAL BASS SAXHORN George Ellis PERCUSSION Andrew Barclay* PRINCIPAL Chair supported by Andrew Davenport

Henry Baldwin CO-PRINCIPAL Keith Millar Simon Carrington* Chair supported by Victoria Robey OBE

Feargus Brennan Karen Hutt * Holds a professorial appointment in London

Chair supported by Sir Simon Robey

Gareth Newman Emma Harding CONTRABASSOON Simon Estell* PRINCIPAL

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Caroline, Jamie & Zander Sharp

LONDON PHILHARMONIC ORCHESTRA • 7 OCTOBER 2020

TONIGHT'S CONDUCTOR EDWARD GARDNER LPO PRINCIPAL CONDUCTOR DESIGNATE Position supported by Mrs Christina Lang Assael

the Bavarian Radio Symphony Orchestra and Orchestre Philharmonique de Radio France; projects postponed by COVID-19 include the Cleveland Orchestra, Chicago and Montreal symphony orchestras, Deutsches Symphonie-Orchester Berlin and Finnish Radio Symphony Orchestra. He also continues his 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 Nights of the BBC Proms.

Edward Gardner was announced as the London Philharmonic Orchestra's Principal Conductor Designate in July 2019. He will become Principal Conductor from September 2021, succeeding Vladimir Jurowski. Chief Conductor of the Bergen Philharmonic since October 2015, Edward Gardner has led the orchestra on multiple international tours and at the BBC Proms and the Edinburgh International Festival. In demand as a guest conductor, the previous two seasons saw Edward debut with the New York Philharmonic, Chicago Symphony Orchestra, Philadelphia Orchestra, San Francisco Symphony, Berlin Radio Symphony, Royal Stockholm Philharmonic, Vienna Symphony, and the Royal Opera House in a new production of Káťa Kabanová; while returns included engagements with the Gewandhausorchester Leipzig, Philharmonia Orchestra, Orchestra del Teatro alla Scala di Milano and Royal Opera House (Massenet’s Werther). Highlights with the Bergen Philharmonic during the 2020/21 season include Verdi’s Macbeth in concert, undertaking a European tour, and celebrating Beethoven’s 250th anniversary with a two-week festival. Guest conducting highlights include performances with 9

Music Director of English National Opera for ten years (2006–15), Edward also has an ongoing relationship with New York’s Metropolitan Opera, where he has conducted productions of La damnation de 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. 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. Born in Gloucester in 1974, Edward was educated at the University of 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 receiving an OBE for Services to Music in the Queen’s Birthday Honours (2012).

LONDON PHILHARMONIC ORCHESTRA • 7 OCTOBER 2020

LONDON PHILHARMONIC ORCHESTRA

PRINCIPAL CONDUCTOR AND ARTISTIC ADVISOR VLADIMIR JUROWSKI PRINCIPAL CONDUCTOR DESIGNATE EDWARD GARDNER SUPPORTED BY MRS CHRISTINA LANG ASSAEL PRINCIPAL GUEST CONDUCTOR KARINA CANELLAKIS • LEADER PIETER SCHOEMAN SUPPORTED BY NEIL WESTREICH PATRON HRH THE DUKE OF KENT KG • CHIEF EXECUTIVE DAVID BURKE

One of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with its reputation as one of the UK’s most forward-looking ensembles. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, releases CDs and downloads on its own label, and reaches thousands of people every year through activities for families, schools and local communities. The Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the world’s greatest conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is the Orchestra’s current Principal Conductor and Artistic Advisor, and in 2017 we celebrated the tenth anniversary of this extraordinary partnership. In July 2019 Edward Gardner was announced as the Orchestra’s Principal Conductor Designate, and will take up the position when Jurowski’s tenure concludes in September 2021. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Outside London, the Orchestra 10

has flourishing residencies in Brighton, Eastbourne and at Saffron Hall in Essex, and performs regularly around the UK. Each summer the Orchestra takes up its annual residency at Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra. Touring remains a large part of the Orchestra’s life: highlights of recent seasons included a major tour of Asia including South Korea, Taiwan and China, as well as performances in Belgium, France, Germany, The Netherlands, Spain, Greece, Switzerland and the USA. The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 100 releases available on CD and to download.

LONDON PHILHARMONIC ORCHESTRA • 7 OCTOBER 2020

PIETER SCHOEMAN LEADER

Chair supported by Neil Westreich In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Music Award for Ensemble. The London Philharmonic Orchestra is committed to inspiring the next generation of musicians. It recently celebrated the 30th anniversary of its Education and Community department, whose work over three decades has introduced so many people of all ages to orchestral music and created opportunities for people of all backgrounds to fulfil their creative potential. Its dynamic and wide-ranging programme provides first musical experiences for children and families; offers creative projects and professional development opportunities for schools and teachers; inspires talented teenage instrumentalists to progress their skills; and develops the next generation of professional musicians. The Orchestra’s work at the forefront of digital technology has enabled it to reach millions of people worldwide: all its recordings are available to download and stream and, as well as a YouTube channel and podcast series, the Orchestra has a lively presence on social media. Over the lockdown period the LPO has sustained its relationship with UK and international audiences through ‘LPOnline’, reaching many thousands of people. From initial individual player performances recorded at home, to online engagement intitiatives such as its wellbeing strand Lean In and Listen, the Orchestra progressed over time to larger-scale split-screen performances, before finally being able to play together in small chamber groups for the free LPO Summer Sessions from Henry Wood Hall, as well as small-scale outdoor performances at Glyndebourne. This autumn the Orchestra returns at last to its Royal Festival Hall home to perform 13 fulllength concerts filmed live and streamed for audiences to enjoy at home via Marquee TV. lpo.org.uk

Pieter Schoeman was appointed Leader of the London Philharmonic Orchestra in 2008, having previously been Co-Leader since 2002. Born in South Africa, Pieter made his solo debut aged 10 with the Cape Town Symphony Orchestra. Five years later, while studying with Jack de Wet, he won the World Youth Concerto Competition in Michigan. Aged 17, he moved to the US to further his studies in Los Angeles and Dallas. In 1991 his talent was spotted by Pinchas Zukerman who, after several consultations, recommended that he move to New York to study with Sylvia Rosenberg. 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 and Martin Helmchen. 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 Barcelona, Bordeaux, Lyon, Baltimore and BBC Symphony orchestras, and the Rotterdam and BBC Philharmonic orchestras. In April 2016 he was Guest Concertmaster with the Leipzig Gewandhaus Orchestra for Kurt Masur’s memorial concert. Pieter is a Professor of Violin at Trinity Laban Conservatoire of Music & Dance in London. He has given public masterclasses in Los Angeles, New York, Wrocław, Shanghai, Taipei and London. Pieter proudly plays strings by Thomastik-Infeld. 11

LONDON PHILHARMONIC ORCHESTRA • 7 OCTOBER 2020

MORE ONLINE CONCERTS THIS AUTUMN WEDNESDAY 14 OCTOBER 2020

WEDNESDAY 4 NOVEMBER 2020

SATURDAY 5 DECEMBER 2020

Julian Anderson Van Gogh Blue* Nielsen Violin Concerto Beethoven Symphony No. 7

Vivaldi La stravaganza, Concerto No. 1 Schubert Symphony No. 2 Thomas Larcher Ouroboros Reger Variations and Fugue on a Theme by Mozart, Op. 132

Ravel Le tombeau de Couperin Schubert Symphony No. 6 Jonathan Dove Vadam et circuibo civitatem (a cappella) Prokofiev Piano Concerto No. 3

Thierry Fischer conductor Pieter Schoeman violin (Chair supported by Neil Westreich) Kristina Blaumane cello (Chair supported by Bianca and Stuart Roden)

Thomas Søndergård conductor Alexander Gavrylyuk piano London Philharmonic Choir

John Storgårds conductor Simone Lamsma violin *Supported by Resonate. Resonate is a PRS Foundation initiative in partnership with the Association of British Orchestras, BBC Radio 3 and Boltini Trust.

Generously supported by Cockayne – Grants for the Arts and The London Community Foundation.

WEDNESDAY 21 OCTOBER 2020 Anna Clyne Prince of Clouds R Strauss Suite, Le bourgeois gentilhomme Beethoven Symphony No. 8 Mark Elder conductor* Pieter Schoeman violin (Chair supported by Neil Westreich) Tania Mazzetti violin (Chair supported by Countess Dominique Loredan) * Please note change of conductor: sadly Karina Canellakis is no longer able to conduct this concert, owing to the current travel and quarantine restrictions between the UK and the Netherlands.

WEDNESDAY 28 OCTOBER 2020 Sibelius The Bard Magnus Lindberg Cello Concerto No. 2 (UK premiere) Ravel Trois poèmes de Stéphane Mallarmé Schubert Symphony No. 1 Joshua Weilerstein conductor* Anssi Karttunen cello Sally Matthews soprano * Please note change of conductor: sadly Jukka-Pekka Saraste is no longer able to conduct this concert, owing to the current travel and quarantine restrictions between the UK and Switzerland.

This concert will be broadcast live at 7.30pm on Wednesday 21 October on BBC Radio 3, as part of the Southbank Centre’s Inside Out festival.

WEDNESDAY 11 NOVEMBER 2020 Chevalier de Saint-Georges Overture, L’amant anonyme Beethoven Piano Concerto No. 4 Beethoven Ah! Perfido Beethoven Symphony No. 4 Daniele Rustioni conductor Nicolas Namoradze piano Sophie Bevan soprano Concert generously supported by Mrs Aline Foriel-Destezet. This concert will be broadcast live at 7.30pm on Friday 23 October on BBC Radio 3, as part of the Southbank Centre’s Inside Out festival.

WEDNESDAY 25 NOVEMBER 2020 Schubert Symphony No. 3 Penderecki Concertino for Trumpet and Orchestra Lotta Wennäkoski Verdigris (London premiere) Sibelius Symphony No. 5 Hannu Lintu conductor Gábor Boldoczki trumpet Concert generously supported by This concert is supported in part by the Adam Mickiewicz Institute through Polska Music Programme and their partnership with LOT Polish Airlines.

WEDNESDAY 9 DECEMBER 2020 J S Bach Orchestral Suite No. 1 Elena Kats-Chernin Piano Concerto No. 3 (European premiere) Enescu Decet, Op. 14* Enescu Chamber Symphony* Vladimir Jurowski conductor Tamara-Anna Cislowska piano Concert supported by the *Generously supported by the Romanian Cultural Institute.

WEDNESDAY 16 DECEMBER 2020 J S Bach Brandenburg Concerto No. 5 Brett Dean The Players (UK premiere) Stravinsky Pulcinella (complete) Vladimir Jurowski conductor Pieter Schoeman violin (Chair supported by Neil Westreich) Juliette Bausor flute Catherine Edwards harpsichord James Crabb accordion Angharad Lyddon soprano Sam Furness tenor David Soar bass Generously supported by Cockayne – Grants for the Arts and The London Community Foundation.

WEDNESDAY 30 DECEMBER 2020 Vivaldi Overture, La verità in cimento Spohr Symphony No. 2 Honegger Pastorale d’été Bliss Rout James MacMillan Sinfonietta Vladimir Jurowski conductor Mary Bevan soprano

WEDNESDAY 2 DECEMBER 2020 Prokofiev Symphony No. 1 (Classical) Anders Hillborg Bach Materia Schubert Overture in B flat, D470 Schubert Symphony No. 5 Thomas Søndergård conductor Pekka Kuusisto violin 12

PLAY ON APPEAL HELP US CONTINUE TO SHARE THE WONDER OF MUSIC WITH EVERYONE Whether you are a seasoned concert-goer or new to orchestral music, we are delighted to present our autumn season of concerts, on Marquee TV, free of charge for everyone for the first seven days of broadcast. As you enjoy this performance please consider, if you are able, making a donation to support the Orchestra. The LPO has always been an orchestra of the people, for the people, and is driven by an inclusive spirit. Despite facing an uncertain future because of the ongoing devastating impact of the COVID-19 pandemic, we are committed to sharing as much music as possible: to delivering world-class performances to global audiences; to inspiring school students of all ages at our BrightSparks concerts and recordings; to nurturing a fully-inclusive next generation of talented instrumentalists and composers; and to enriching the lives of disadvantaged people and people with disabilities of all ages through the power of music. We may be back on stage, but with the doors to our concerts sadly closed and with no box office income, it is only with your help that we can continue to provide these concerts and our vital Education and Community Programme. With the help of our generous supporters we have made great progress back to the concert platform and are another step closer to returning as the Orchestra you know and love. With your help we will still be here when the time comes to throw our open our doors and welcome you back into the hall to be inspired, moved, challenged and uplifted by the music of the London Philharmonic Orchestra. Thank you to everyone who has supported our Play On Appeal so far. It is with your kind support that we have been able to build back the Orchestra to return to the concert platform for our autumn season.

HELP US PLAY ON 13

To make a donation visit lpo.org.uk/donate or call Rosie Morden, Individual Giving Manager, on 020 7840 4212

LONDON PHILHARMONIC ORCHESTRA • 7 OCTOBER 2020

THANK YOU We are extremely grateful to all donors who have given generously to the LPO over the past year. Your generosity helps maintain the breadth and depth of the LPO’s activities, as well as supporting the Orchestra both on and off the concert platform.

Artistic Director’s Circle Anonymous donors Mrs Aline Foriel-Destezet Mrs Christina Lang Assael Sir Simon & Lady Robey OBE Orchestra Circle The Candide Trust William & Alex de Winton Mr & Mrs Philip Kan Neil Westreich Principal Associates Richard Buxton In memory of Brenda Lyndoe Casbon In memory of Ann Marguerite Collins Hamish & Sophie Forsyth The Tsukanov Family Associates An anonymous donor Steven M. Berzin Irina Gofman & Mr Rodrik V. G. Cave Gill & Garf Collins Countess Dominique Loredan Mr & Mrs Makharinsky George Ramishvili Stuart & Bianca Roden Julian & Gill Simmonds In memory of Hazel Amy Smith Deanie & Jay Stein Gold Patrons An anonymous donor David & Yi Buckley In memory of Allner Mavis Channing Andrew Davenport Sonja Drexler Peter & Fiona Espenhahn Marie-Laure Favre-Gilly de Varennes de Beuill Virginia Gabbertas MBE Mr Roger Greenwood Francis & Marie-France Minkoff Dame Theresa Sackler Eric Tomsett Andrew & Rosemary Tusa The Viney Family Jenny Watson CBE

Silver Patrons Dr Christopher Aldren David Burke & Valerie Graham The Rt Hon. The Lord Burns GCB Bruno De Kegel Ulrike & Benno Engelmann Simon & Meg Freakley Pehr G Gyllenhammar John & Angela Kessler Geoff & Meg Mann The Metherell Family Andrew Neill Mikhail Noskov & Vasilina Bindley Tom & Phillis Sharpe Laurence Watt Guy & Utti Whittaker Grenville & Krysia Williams Bronze Patrons Anonymous donors Michael Allen Mr Philip Bathard-Smith Sir Peter Bazalgette Sally Bridgeland In memory of Julie Bromley The Earl & Countess of Chichester Mr John H Cook Howard & Veronika Covington David Ellen David & Jane Gosman Mr Gavin Graham Mrs Dorothy Hambleton Malcolm Herring The Jackman Family Jan & Leni Du Plessis Jamie & Julia Korner Rose & Dudley Leigh Drs Frank & Gek Lim Geoff & Meg Mann Mrs Elizabeth Meshkvicheva Peter & Lucy Noble Mr Michael Parlof Marianne Parsons Dr Wiebke Pekrull Jacopo Pessina Mr Roger Phillimore Gillian Pole Mr Michael Posen Sir Bernard Rix Tom & Phillis Sharpe Matthew Stephenson & Roman Aristarkhov Charlotte Stevenson

Mr Robert Swannell Tony & Hilary Vines Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Marina Vaizey Mr John Weekes Christopher Williams Principal Supporters Anonymous donors Dr Manon Antoniazzi Mr Mark Astaire Sir John Baker Mrs A Beare Mr Bernard Bradbury Dr Carlos Carreno Desmond & Ruth Cecil Mr Julien Chilcott-Monk Mr & Mrs Stewart Cohen David & Liz Conway Mr Alistair Corbett Mr Simon Douglas Mr Richard Fernyhough Mrs Janet Flynn Mrs Ash Frisby Mr Stephen Goldring Mr Milton Grundy The Jeniffer & Jonathan Harris Charitable Trust Michael & Christine Henry J Douglas Home Ivan Hurry Per Jonsson Alexandra Jupin & John Bean Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Paul & Brigitta Lock Mr Peter Mace Nicholas & Lindsay Merriman Andrew T Mills Mr Gerald Pettit Mr James Pickford Mr Christopher Querée Mr Robert Ross Mr David Russell Priscylla Shaw Nigel Silby Martin & Cheryl Southgate Mr & Mrs G Stein Dr Peter Stephenson Mr Ian Tegner Howard & Sheelagh Watson Mr John Wright

Supporters Anonymous donors Ralph & Elizabeth Aldwinckle Julian & Annette Armstrong Mr John Barnard Mr John D Barnard Damaris, Richard & Friends Mr David Barrett Mr Andrew Botterill Mr Lawrence Alfred Bradley Richard & Jo Brass Mr Shaun Brown Mr Alan C Butler Lady Cecilia Cadbury Alison Clarke & Leo Pilkington J Clay Mr Joshua Coger Mr Martin Compton Miss Tessa Cowie Mr David Davies Mr Roderick Davies Mr David Devons Anthony & Jo Diamond Christopher Fraser OBE Mrs Adele Friedland & Friends Mr Daniel Goldstein Mr & Mrs Jeffrey Herrmann Dr Joan Hester Mr David Hodgson The Jackman Family Mr Justin Kitson Richard & Briony Linsell Mr David MacFarlane Dame Jane Newell DBE Mr Stephen Olton Mr David Peters Mr & Mrs Graham & Jean Pugh Mr Kenneth Shaw Ruth Silvestre Barry & Gillian Smith Ms Natalie Spraggon & David Thomson Ms Mary Stacey Ms Janette Storey Ms Caroline Tate Mr Peter Thierfeldt Dr Ann Turrall Michael & Katie Urmston Dr June Wakefield Mr Dominic Wallis Joanna Williams Mr C D Yates Mr Anthony Yolland

LONDON PHILHARMONIC ORCHESTRA • 7 OCTOBER 2020

THANK YOU – CONTINUED –

Hon. Benefactor Elliott Bernerd Hon. Life Members Alfonso Aijón Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Mrs Jackie Rosenfeld OBE Laurence Watt LPO International Board of Governors Natasha Tsukanova Chair Steven M. Berzin (USA) Veronika Borovik-Khilchevskaya (Cyprus) Marie-Laure Favre Gilly de Varennes de Bueil (France) Aline Foriel-Destezet (France) Irina Gofman (Russia) Countess Dominique Loredan (Italy) Olivia Ma (Greater China Area) Olga Makharinsky (Russia) George Ramishvili (Georgia) Victoria Robey OBE (USA) Jay Stein (USA) Thomas Beecham Group Members David & Yi Buckley The Candide Trust Gill & Garf Collins Andrew Davenport William & Alex de Winton Sonja Drexler The Friends of the LPO Irina Gofman Roger Greenwood Dr Barry Grimaldi Mr & Mrs Philip Kan John & Angela Kessler Countess Dominique Loredan Sir Simon Robey Victoria Robey OBE Bianca & Stuart Roden Caroline, Jamie & Zander Sharp Julian & Gill Simmonds Eric Tomsett Neil Westreich Guy & Utti Whittaker

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 Jill Dyal Alexandra Jupin William A. Kerr Kristina McPhee Natalie Pray Antony Phillipson Hon. Chairman Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Connecticut Gala Committee Bea Crumbine & Jill Dyal Co-Chairmen Rodica Brune Mandy DeFilippo Rachel Franco Nick Gutfreund Mary Hull Steve Magnuson Natalie Pray Victoria Robey OBE Lisa & Scot Weicker Corporate Donors AT&T Barclays L Catterton CHANEL Fund for Women in the Arts and Culture Paul Hastings LLP Payne Hicks Beach Pictet Bank Velocity Black White & Case LLP

LPO Corporate Circle Leader freuds Sunshine Principal Berenberg Carter-Ruck French Chamber of Commerce Tutti Ageas Lazard Russo-British Chamber of Commerce Walpole Preferred Partners After Digital Lidl Lindt & Sprüngli Ltd London Orthopaedic Clinic Steinway In-kind Sponsor Google Inc Trusts and Foundations The Bernarr Rainbow Trust The Boltini Trust Sir William Boreman’s Foundation Borletti-Buitoni Trust Boshier-Hinton Foundation The Candide Trust The Chalk Cliff Trust Cockayne – Grants for the Arts The David Solomons Charitable Trust The D’Oyly Carte Charitable Trust Dunard Fund Ernst von Siemens Music Foundation The Fidelio Charitable Trust Foyle Foundation Garrick Charitable Trust The Leche Trust Lucille Graham Trust John Horniman’s Children’s Trust John Thaw Foundation The Idlewild Trust Kirby Laing Foundation The Lawson Trust Andrew Lloyd Webber Foundation

The London Community Foundation Lord & Lady Lurgan Trust Marsh Christian Trust Adam Mickiewicz Institute PRS Foundation The Radcliffe Trust Rivers Foundation The R K Charitable Trust Romanian Cultural Institute RVW Trust Schroder Charity Trust Serge Rachmaninoff Foundation The Steel Charitable Trust Spears-Stutz Charitable Trust The Thistle Trust The Thomas Deane Trust The Thriplow Charitable Trust The Viney Family Garfield Weston Foundation The Barbara Whatmore Charitable Trust The William Alwyn Foundation and all others who wish to remain anonymous. The LPO would also like to acknowledge all those who have made donations to the Play On Appeal and who have supported the Orchestra during the current pandemic.

LONDON PHILHARMONIC ORCHESTRA • 7 OCTOBER 2020

SOUND FUTURES DONORS We are grateful to the following donors for their generous contributions to our Sound Futures campaign. Thanks to their support, we successfully raised £1 million by 30 April 2015 which has now been matched pound for pound by Arts Council England through a Catalyst Endowment grant. This has enabled us to create a £2 million endowment fund supporting special artistic projects, creative programming and education work with key venue partners including our Southbank Centre home. Supporters listed below donated £500 or over. For a full list of those who have given to this campaign please visit lpo.org.uk/soundfutures.

Masur Circle Arts Council England Dunard Fund Victoria Robey OBE Emmanuel & Barrie Roman The Underwood Trust Welser-Möst Circle William & Alex de Winton John Ireland Charitable Trust The Tsukanov Family Foundation Neil Westreich Tennstedt Circle Valentina & Dmitry Aksenov Richard Buxton The Candide Trust Michael & Elena Kroupeev Kirby Laing Foundation Mr & Mrs Makharinsky Alexey & Anastasia Reznikovich Sir Simon Robey Bianca & Stuart Roden Simon & Vero Turner The late Mr K Twyman Solti Patrons Ageas John & Manon Antoniazzi Gabor Beyer, through BTO Management Consulting AG Jon Claydon Mrs Mina Goodman & Miss Suzanne Goodman Roddy & April Gow The Jeniffer & Jonathan Harris Charitable Trust Mr James R.D. Korner Christoph Ladanyi & Dr Sophia LadanyiCzernin 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 QC 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

WONDER AT THE WORLD OF THE LONDON PHILHARMONIC ORCHESTRA

LONDON PHILHARMONIC ORCHESTRA • 7 OCTOBER 2020

MEMBERSHIPS AND DONATIONS There are many ways in which you can support the LPO at this time: by making a donation, joining as a member, or buying a gift membership for someone else. With your help we can ensure that this Orchestra will not only survive, but thrive. However you choose to give at this time, we remain committed to our supporters and will continue to deliver a range of benefits and exclusive opportunities.

Friends

Benefactors

Support the orchestra that you love. Get priority booking for our Southbank Centre concerts plus access to final rehearsals.

Join a circle of dedicated supporters and get access to the Beecham Bar, special events and Glyndebourne.

From £60

From £600

Gifts in wills

Thomas Beecham Group

Help others to experience the wonder of music by remembering the Orchestra in your will.

Give a major supporting gift and build significant relationships within the Orchestra. Donors can choose to have their gift associated with a player’s chair. From £5,000

lpo.org.uk/support/individuals 020 7840 4212 18

CORPORATE PARTNERSHIPS Partner with the London Philharmonic Orchestra and enjoy the opportunity to align your business with a world-class orchestra who are committed to delivering music throughout the pandemic. Whether streaming from the concert stage to a global audience, or delivering as much Education and Community work as possible to children, talented young musicians and people with disabilities, the LPOâ€™s activity is varied, engaging, and delivers meaningful benefits to its audiences, participants and partners. A partnership with the LPO offers companies significant brand exposure and an opportunity to meet CSR needs at a time when charitable community work is facing severe disruption.

Principal Partner

OrchLab Project Partner

Principal Supporters

Andrew Lloyd Webber Foundation

lpo.org.uk/corporate 020 7840 4210

Andrew Lloyd Webber Foundation Andrew Lloyd Webber Foundation

Andrew Lloy Founda

LONDON PHILHARMONIC ORCHESTRA • 7 OCTOBER 2020

LPO ADMINISTRATION BOARD OF DIRECTORS Victoria Robey OBE Chairman Martin Höhmann* President Gareth Newman* Vice-President Dr Catherine C. Høgel Vice-Chairman Henry Baldwin* Roger Barron David Buckley Bruno De Kegel Tanya Joseph Al MacCuish Stewart McIlwham* Pei-Jee Ng* Andrew Tusa Neil Westreich David Whitehouse* * Player-Director

ADVISORY COUNCIL Martin Höhmann Chairman Rob Adediran Christopher Aldren Dr Manon Antoniazzi Richard Brass Helen Brocklebank Simon Callow CBE Desmond Cecil CMG Sir Alan Collins KCVO CMG Andrew Davenport William de Winton Cameron Doley Edward Dolman Christopher Fraser OBE Lord Hall of Birkenhead CBE Jonathan Harris CBE FRICS Marianna Hay Amanda Hill Rehmet Kassim-Lakha Jamie Korner Geoff Mann Clive Marks OBE FCA Stewart McIlwham Andrew Neill Jamie Njoku-Goodwin Nadya Powell Sir Bernard Rix Victoria Robey OBE Baroness Shackleton Thomas Sharpe QC Julian Simmonds Barry Smith Martin Southgate Andrew Swarbrick Sir John Tooley Chris Viney Laurence Watt Elizabeth Winter 20

GENERAL ADMINISTRATION David Burke Chief Executive CONCERT MANAGEMENT Roanna Gibson Concerts Director Graham Wood Concerts and Recordings Manager Fabio Sarlo Glyndebourne and Projects Manager Grace Ko Tours Manager Alison Jones Concerts and Recordings Co-ordinator Christina Perrin Concerts and Tours Assistant Matthew Freeman Recordings Consultant Andrew Chenery Orchestra Personnel Manager Sarah Holmes Sarah Thomas Librarians Laura Kitson Stephen O’Flaherty Stage Managers Damian Davis Transport Manager Hannah Verkerk Orchestra Co-ordinator and Auditions Administrator EDUCATION AND COMMUNITY Isabella Kernot Education and Community Director (maternity leave) Lindsay Wilson Education and Community Director (maternity cover) Talia Lash Education and Community Manager Emily Moss Education and Community Project Manager Hannah Tripp Education and Community Project Co-ordinator

DEVELOPMENT Laura Willis Development Director Vicky Moran Development Events Manager Christina McNeill Corporate Relations Manager Rosie Morden Individual Giving Manager Anna Quillin Trusts and Foundations Manager Izzy Keig Lewis Hammond Development Assistants ~ Nick Jackman Campaigns and Projects Director Kirstin Peltonen Development Associate FINANCE Frances Slack Finance Director Dayse Guilherme Finance Manager Jean-Paul Ramotar Finance & IT Officer MARKETING Kath Trout Marketing Director Mairi Warren Marketing Manager Alexandra Lloyd Projects and Residencies Marketing Manager Megan Macarte Box Office Manager (maternity leave) Alice Harvey Box Office Manager (maternity cover) Rachel Williams Publications Manager Rachel Smith Website Manager Greg Felton Digital Creative Georgie Gulliver Marketing Assistant

PUBLIC RELATIONS Premier classical@premiercomms.com Tel: 020 7292 7355/ 020 7292 7335 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 Brian Cohen Mr Simon Owen-Johnstone Honorary Orthopaedic Surgeons 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 The London Philharmonic Orchestra Limited is a registered charity No. 238045. COVER ARTWORK Ross Shaw @ JMG Studio