Principal Conductor Edward Gardner supported by Aud Jebsen
Principal Guest Conductor Karina Canellakis supported by Richard Buxton
Conductor Emeritus Vladimir Jurowski KBE Patron HRH The Duke of Kent KG
Artistic Director Jesús Herrera Chief Executive David Burke
Leader Pieter Schoeman supported by Neil Westreich
Southbank Centre’s Royal Festival Hall
Wednesday 12 November 2025 | 7.30pm
Romeo and Juliet
Gabriela Lena Frank
Contested Eden (UK premiere) (13’)
Walton
Cello Concerto (30’)
Interval (20’)
Prokofiev
Romeo and Juliet (excerpts) (37’)
Elim Chan conductor
Nicolas Altstaedt cello
Part of
Welcome LPO news
Welcome to the Southbank Centre
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LPO Friends – Behind-the-scenes
Earlier today, LPO Friends enjoyed exclusive, behindthe-scenes access to a Private Members’ Rehearsal with the Orchestra, Elim Chan and Nicolas Altstaedt ahead of tonight’s concert.
If you’d like to see for yourself what goes into putting on an LPO concert – plus enjoy a host of other amazing benefits, like a private bar space and meeting our musicians – join our family of LPO Friends today, from just £6 per month!
Scan the QR code or visit lpo.org.uk/friends to find out more.
LPO Merchandise – on sale tonight
Did you know we’ve launched a brand new range of LPO merchandise? From handy tote bags and eco-friendly water bottles to sylish stationery and cosy clothing – all featuring the iconic LPO pink star – it’s the perfect way to take a little piece of the Orchestra home with you! With prices from just £2, there’s something for every taste and budget.
Check out the merch stall tonight next to the Welcome Desk in the Level 2 Foyer. You can also browse the range and order online at shop.lpo.org.uk
Printed with the planet in mind
The paper used for LPO concert programmes has been sourced from well-managed FSC®-certified forests, recycled materials, and other controlled sources. It is also Carbon Balanced, meaning the carbon impact of its production is offset by the World Land Trust. If you don’t want to take your programme home, please use the recycling bins in the Royal Festival Hall foyers.
Prefer a paper-free option next time? Scan here for PDF versions of all our programmes to read or download on your phone or tablet.
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
Martin Höhmann
Thomas Eisner
Chair supported by Ryze Power
Katalin Varnagy
Nilufar Alimaksumova
Sylvain Vasseur
Amanda Smith
Rebecca Dinning
Caroline Heard
Ruth Schulten
Tayfun Bomboz
Katherine Waller
Second Violins
Tania Mazzetti Principal
Chair supported by The Candide
Trust
Emma Oldfield Co-Principal
Claudia Tarrant-Matthews
Nynke Hijlkema
Joseph Maher
Nancy Elan
Sophie Phillips
Chair supported by Friends of the Orchestra
Kate Birchall
Ashley Stevens
Harry Kerr
Sioni Williams
Vera Beumer
Sheila Law
Olivia Ziani
Violas
Dunia Ershova
Guest Principal
Lucia Ortiz Sauco
Benedetto Pollani
Jisu Song
Laura Vallejo
On stage tonight
Martin Wray
Chair supported by David & Bettina Harden
James Heron
Shiry Rashkovsky
Alistair Scahill
Raquel López Bolívar
Jill Valentine
Jenny Poyser
Cellos
Waynne Kwon Principal
Chair supported by an anonymous donor
David Lale
Francis Bucknall
Daniel Hammersley
Leo Melvin
Hee Yeon Cho
Tom Roff
Julia Morneweg
Jane Lindsay
Victoria Harrild
Double Basses
Kevin Rundell* Principal
Tom Walley
Chair supported by William & Alex de Winton
Laura Murphy
Chair supported by Ian Ferguson & Susan Tranter
Charlotte Kerbegian
Lowri Estell
Adam Wynter
Ben Havinden-Williams
Catherine Ricketts
Flutes
Juliette Bausor Principal Chair supported by Malcolm & Alison Thwaites
Hannah Grayson
Stewart McIlwham*
Piccolos
Stewart McIlwham* Principal
Hannah Grayson
Oboes
Ewan Millar Guest Principal
Alice Munday
Chair supported by David & Yi
Buckley
Sue Böhling*
Cor Anglais
Sue Böhling* Principal Chair supported by Dr Barry Grimaldi
Clarinets
Benjamin Mellefont* Principal
Chair supported by Sir Nigel Boardman & Prof. Lynda Gratton
Thomas Watmough
Chair supported by Roger Greenwood
Paul Richards*
Bass Clarinet
Paul Richards* Principal
Tenor Saxophone
Martin Robertson
Bassoons
Ben Hudson Guest Principal
Helen Storey*
Simon Estell*
Contrabassoon
Simon Estell* Principal
Horns
John Ryan* Principal
Annemarie Federle Principal
Chair supported by Victoria Robey CBE
Martin Hobbs
Mark Vines Co-Principal Gareth Mollison
Trumpets
Paul Beniston* Principal Chair supported by the Williams family in memory of Grenville Williams
Tom Nielsen* Principal Anne McAneney*
Cornet
Tom Nielsen*
Trombones
Mark Templeton* Principal Chair supported by William & Alex de Winton
David Whitehouse
Bass Trombone
Lyndon Meredith Principal
Tuba
Lee Tsarmaklis* Principal
Chair supported by William & Alex de Winton
Timpani
Simon Carrington* Principal
Chair supported by Victoria Robey CBE
Percussion
Andrew Barclay* Principal Chair supported by Gill & Garf Collins
Karen Hutt Co-Principal
Oliver Yates
Feargus Brennan
Oliver Butterworth
Harps
Rosanna Rolton Guest Principal
Tomos Xerri
Piano
Catherine Edwards
*Professor at a London conservatoire
The LPO also acknowledges the following chair supporters whose players are not present at this concert: Sir Simon Robey Bianca & Stuart Roden
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. Our mission is to share wonder with the modern world through the power of orchestral music, which we accomplish through live performances, online, and an extensive education and community programme, cementing our position as a leading orchestra for the 21st century.
Our home is at the Southbank Centre’s Royal Festival Hall, where we’re at the beating heart of London’s cultural life. You’ll also find us at our resident venues in Brighton, Eastbourne and Saffron Walden, and on tour worldwide. In 2024 we celebrated 60 years as Resident Symphony Orchestra at Glyndebourne Festival Opera, combining the magic of opera with Glyndebourne’s glorious setting in the Sussex countryside.
Soundtrack to key moments
Everyone will have heard the Grammy-nominated London Philharmonic Orchestra, whether it’s playing the world’s National Anthems for every medal ceremony of the London 2012 Olympics and Paralympics, our iconic recording with Pavarotti that made Nessun Dorma a global football anthem, or closing the flotilla at The Queen’s Thames Diamond Jubilee Pageant. And you’ll almost certainly have heard us on the soundtracks for major films including The Lord of the Rings
Sharing the wonder worldwide
We’re one of the world’s most-streamed orchestras, with over 15 million plays of our content each month. In 2023 we were the most successful orchestra worldwide on YouTube, TikTok and Instagram, and in 2024 we featured in a TV documentary series on Sky Arts: ‘Backstage with the London Philharmonic Orchestra’, which was nominated for a 2025 BAFTA. During 2025/26 we’re once again working with Marquee TV to broadcast selected live concerts to enjoy at home.
Our conductors
Our Principal Conductors have included some of the greatest historic names like Sir Adrian Boult, Bernard Haitink, Klaus Tennstedt and Kurt Masur. In 2021 Edward Gardner became our 13th Principal Conductor, and Vladimir Jurowski became Conductor Emeritus. Karina Canellakis is our current Principal Guest Conductor, and Sir George Benjamin our Composer-inResidence.
Next generations
We’re committed to nurturing the next generation of musicians and music-lovers: we love seeing the joy of children and families experiencing their first musical moments, and we’re passionate about inspiring schools and teachers through dedicated concerts, workshops, resources and training. Reflecting our values of
collaboration and inclusivity, our OrchLab and Open Sound Ensemble projects offer music-making opportunities for adults and young people with disabilities and special educational needs.
Today’s young instrumentalists are the orchestra members of the future, and we have a number of opportunities to support their progression. Our LPO Junior Artists programme leads the way in creating pathways into the profession for young artists from under-represented communities, and our LPO Young Composers and Foyle Future Firsts schemes support the next generation of professional musicians, bridging the transition from education to professional careers. We also recently launched the LPO Conducting Fellowship, supporting the development of two outstanding early-career conductors from backgrounds under-represented in the profession.
2025/26 season
This season’s theme, Harmony with Nature, explores humanity’s bond with the natural world through works by Beethoven, Sibelius, Mendelssohn, Elgar and Dvořák; masterpieces of an era that saw nature as a mirror of human emotion. Closer to our own time, we’ll hear from composers as diverse as Duke Ellington, John Luther Adams and Anna Thorvaldsdottir, who have all found a source of creative energy in the processes of nature.
Highlights with Principal Conductor Edward Gardner include symphonies by Tchaikovsky, Mahler, Brahms and Rachmaninov; a pair of concerts spotlighting 20th-century Central European composers; an evening dedicated to Elgar; and a performance of Berg’s Wozzeck to end the season. We’ll also welcome back Karina Canellakis and Vladimir Jurowski, as well as guest conductors including Robin Ticciati, Kirill Karabits, Mark Elder and Elim Chan. Our lineup of soloists this season includes violinists Anne-Sophie Mutter, Alina Ibragimova, James Ehnes and Himari; cellist Sheku Kanneh-Mason; and pianists Yefim Bronfman, Alexandre Kantorow and Tomoko Mukaiyama. The season features nine world and UK premieres, including Tan Dun’s choral ‘Ode to Peace’ Nine, and A Tale of God’s Will (A Requiem for Katrina) by jazz icon Terence Blanchard.
We’re also looking forward to tours to South Korea and across Europe, as well as another season bursting with performances and community events in our Brighton, Eastbourne and Saffron Walden residencies.
lpo.org.uk
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 Amsterdam Concertgebouw, Moscow’s Rachmaninoff Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles, and the Southbank Centre’s Royal Festival Hall. He has also appeared as Guest Leader with many prestigious orchestras across the world. 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 LPO. Highlights have included an appearance as both conductor and soloist in Vivaldi’s Four Seasons, the Brahms Double Concerto with Kristina Blaumane, Florence Price’s Violin Concerto No. 2, and the Britten Double Concerto with Alexander Zemtsov, which was released on the LPO Label to great critical acclaim.
Pieter’s chair in the LPO is generously supported by Neil Westreich.
New video series: ‘Humans of the Orchestra’ Scan the QR code to watch our interview with Pieter
One of the most sought-after artists of her generation, conductor Elim Chan embodies the spirit of contemporary orchestral leadership with her crystalline precision and expressive zeal. She served as Principal Conductor of the Antwerp Symphony Orchestra from 2019–24 and Principal Guest Conductor of the Royal Scottish National Orchestra from 2018–23.
Tonight’s concert marks Elim Chan’s debut with the LPO, and will be followed by a second performance tomorrow evening at The Glasshouse in Gateshead.
Having conducted the First Night of the Proms with the BBC Symphony Orchestra in 2024, Elim Chan returned this year to conduct the renowned Last Night of the Proms. Summer 2025 also saw her reunite with the Boston Symphony Orchestra, Los Angeles Philharmonic and The Cleveland Orchestra, as well as touring with the Concertgebouw Orchestra Young and making her debut at the Musikfest Berlin with the Staatskapelle Berlin.
Highlights of the 2025/26 season include return engagements with the Royal Concertgebouw Orchestra, New York Philharmonic, Los Angeles Philharmonic, The Cleveland Orchestra, London Symphony Orchestra, Toronto Symphony Orchestra, ORF Radio-Symphonieorchester, Staatskapelle Dresden, Luxembourg Philharmonic and Orchestre de Paris, among others; she also makes her subscription debut with The Philadelphia Orchestra as well as debuts with the Munich Philharmonic, Bamberg Symphony and Montréal Symphony, and the Orchestra of Zürich Opera.
Previous debuts include those with the San Francisco Symphony, Chicago Symphony, Pittsburgh Symphony, Philharmonia Orchestra, Hong Kong Philharmonic, Vienna Symphony and Deutsches SymphonieOrchester Berlin.
Born in Hong Kong, Elim Chan studied at Smith College in Massachusetts, and at the University of Michigan. In 2014, she became the first female winner of the Donatella Flick Conducting Competition, and went on to spend the 2015/16 season as Assistant Conductor at the London Symphony Orchestra, where she worked closely with Valery Gergiev. The following season, Elim joined the Dudamel Fellowship programme at the Los Angeles Philharmonic. She also owes much to the support and encouragement of Bernard Haitink, whose masterclasses she attended in Lucerne in 2015.
German-French cellist Nicolas Altstaedt enjoys a multifaceted career as a soloist, conductor and artistic director. His acclaimed 2010 debut with the Vienna Philharmonic and Gustavo Dudamel at the Lucerne Festival launched collaborations with leading orchestras worldwide including the Royal Concertgebouw, Budapest Festival, Philharmonia, Bavarian Radio Symphony and NHK Symphony orchestras, working with conductors such as Iván Fischer, Esa-Pekka Salonen, Lahav Shani, FrançoisXavier Roth, Gianandrea Noseda and Paavo Järvi. He often performs on period instruments, and regularly collaborates with Il Giardino Armonico and Giovanni Antonini, Philippe Herreweghe, René Jacobs, Jean Rondeau and Thomas Dunford.
Joint appearances and premieres with Thomas Adès, Sofia Gubaidulina, Wolfgang Rihm, Jörg Widmann, Fazıl Say, Heinz Holliger and Liza Lim make Nicolas Altstaedt a passionate advocate for contemporary music. He was chosen by Gidon Kremer as Artistic Director of the Lockenhaus Chamber Music Festival in 2012, and is Artistic Partner of the Tapiola Sinfonietta for the next three seasons. His recordings have received numerous accolades, including the BBC Music Magazine Concerto Award and a Gramophone Classical Music Award.
Nicolas has appeared with the London Philharmonic Orchestra several times, in concerts across the UK and on tour internationally. His most recent Royal Festival Hall appearance with the Orchestra was in April 2024, when he performed Dvořák’s Cello Concerto under Edward Gardner.
Highlights of 2025/26 include debut appearances with the Vienna Radio Symphony, Los Angeles Chamber, Hallé, Philharmonia Zurich and Freiburg Baroque orchestras, as well return engagements with the Budapest Festival Orchestra, Orchestre Philharmonique de Radio France, Orchestre symphonique de Montréal, Swedish Radio Symphony Orchestra, Bergen Philharmonic Orchestra, NAC Orchestra Ottawa, Antwerp Symphony Orchestra and Orchestre National de Lille, among others. Nicolas is Artist-in-Residence at the 2026 Bodenseefestival, while his chamber music highlights include tours of Australia and North America with lutenist Thomas Dunford – including an appearance at Carnegie Hall.
Tonight’s works and our 2025/26 season theme Harmony with Nature
This season, we invite audiences to join us in exploring one of the most urgent conversations of our time –our relationship with the natural world – through the power of music. We’ll marvel at oceans, forests, caves, mountains and wildlife through works by Beethoven, Sibelius, Mendelssohn, Elgar and Dvořák; masterpieces of an era that saw nature as a mirror of human emotion –but also, perhaps, experienced it more immediately and organically than in the digital age.
Closer to our own time, voices as diverse as Duke Ellington, John Luther Adams, Gustavo Díaz-Jerez and Anna Thorvaldsdottir have all found an unquenchable source of creative energy in the processes of nature, from river deltas tovolcanic eruptions. For composers such as Anna Korsun, Gabriela Lena Frank and Terence Blanchard (whose powerful meditation on the aftermath of Hurricane Katrina receives its UK premiere), humanity enters the picture. As destroyer or protector? Or simply as an organic, inextricable part of nature itself?
Throughout the season, we’ll also be partnering with local environmental organisations, and welcoming a host of eminent pre-concert speakers (see right), as we attempt to use the power of classical music to encourage environmental stewardship. We hope you’ll join us!
Check out the full season at lpo.org.uk/harmony-with-nature
‘The Nature Dialogues’
Today’s leading scientists and storytellers illuminate the natural world in a fascinating series of pre-concert talks. Free and open to all, ‘The Nature Dialogues’ invite you to delve deeper into the wonders of nature and discover a fresh perspective on this season’s music. Book your free tickets at lpo.org.uk
Saturday 29 November 2025 | 6pm
Royal Festival Hall
Harmony with Distant Planets
With composer Robert Laidlow and astronomer
David Kipping
Saturday 17 January 2026 | 5pm
Royal Festival Hall
Harmony with the Volcanic World
With broadcaster & writer Kate Humble
Saturday 21 March 2026 | 5pm
Queen Elizabeth Hall
Harmony with our Rivers
With extreme angler, author & broadcaster Jeremy Wade
Wednesday 8 April 2026 | 6pm
Royal Festival Hall
Harmony with our Fragile Earth
With scientist Johan Rockström, environmentalist Tony Juniper and composer Anna Thorvaldsdottir
Friday 17 April 2026 | 6pm
Royal Festival Hall
Harmony with our Changing Planet
With social scientist Gail Whiteman
Programme notes
Gabriela Lena Frank born 1972
Contested Eden 2021 (UK premiere)
1. Canto para California
2. in extremis
‘With each new piece, Frank becomes a more exciting and necessary voice.’
Los Angeles Times
I am a believer of human-driven climate change, reluctantly so. That is what four straight years of apocalyptic fires in your beloved home state will do. My husband and I diligently thin the forests on our California property, installing water tanks and ponds, and covering edifices in fire-resistant stucco. We are regulars at classes at the fire station, and during fire season, have solar power at the ready for electrical outages, and emergency bags in the cars. And at the small music academy that I founded, my staff and I have begun leading classes for musicians about the climate crisis, and talk frankly about lifestyle changes needed in our field.
Contested Eden, in two movements, was a difficult project for me. A few months before the deadline, when asked if I could consider addressing the wildfires of California in my piece for the Cabrillo Festival of Contemporary Music, I was caught off guard. Then, I burst into tears and blurted out yes. What followed was a humbling period of apprehension against tackling the subject. When I did roll up my sleeves, I first wrote what could best be described as a melodramatic soundtrack for a theoretical film documentary on fire. Here’s the fire climbing up a Douglas fir: scurrying violins. There’s the ominous ascending column of smoke over hills before it sinks to the valley floor: horns in sixths to fifths to fourths to thirds to seconds, harmonised to descending bassoons. A solo flute could be the lonely bird hovering over a burned nest. Windchimes for … well, wind and maybe a charred kite. And riffing Ennio Morricone is always good for a firefighter’s vista shot surveying husks of homes against steam and ash.
This went on for a while, a couple of weeks. Ultimately, it was a useful, if mortifying, exorcism of tired cliches I’ll never show anyone, leaving behind just a couple of small usable germs: an original secular psalm, Canto para California, that forms an intimate lyrical first movement, followed by a second movement centred around the concept of in extremis, Latin for ‘in extreme circumstances’.
In extremis … What an apt description for life in California during the past four seasons, a Herculean effort of normality on the part of Californians while death is constantly imminent. Something inside, deep in one’s spirit, simply perseveres even while surrounded by unimaginable chaos and loss.
After an initial slow build-up, the heart of the second movement is a slowly moving violin line that elegiacally descends, over several minutes, moving from the stratospheres down to its lowest register before handing off to the violas, who eventually hand off to the cellos, who hand off to the basses. All the while, against this almost too-long falling arc, brief bits and pieces of earlier pieces I’ve authored come to life, albeit transformed, in the surrounding orchestral landscape before vanishing. Nothing coheres or makes sense, like memories that are of little help and comfort. That’s life in extremis
Yet, the piece ends hopefully, a hint of the work’s opening and original secular psalm in tribute to the Eden that’s my beloved native state. So, while I honestly sometimes want to lie back in a comfortable bed of yesteryear, I recognise the past is going to stay there, and forward is what we’ve got. California’s never been a sleepy state, and an ultimately optimistic embrace of challenges to come is all I see for our future.
Gabriela
Lena Frank, 2021
Contested Eden was commissioned by the Cabrillo Festival of Contemporary Music in Santa Cruz, California, and received its full orchestral premiere at the 2022 Festival under Cristian Măcelaru on on 29 July 2022. Tonight is its first performance outside the USA.
About the composer: Gabriela Lena Frank
Cultural heritage has always been at the centre of Gabriela Lena Frank’s musical life. Born in Berkeley, California, to a mother of mixed Peruvian/Chinese ancestry and a father of Lithuanian/Jewish descent, Gabriela is constantly exploring her multicultural ancestry through her compositions. Inspired by the likes of Bartók and Ginastera, she has travelled extensively throughout South America in pursuit of folklore and indigenous musics that are then incorporated into her own Western classical framework.
In 2025, Gabriela concluded a long-term residency with The Philadelphia Orchestra, marked by the world premiere of Picaflor: A Future Myth. In 2026, her first opera The Last Dream of Frida and Diego will be staged at both the Metropolitan Opera and the Lyric Opera of Chicago. With a libretto by the Pulitzer Prize-winning playwright Nilo Cruz, The Last Dream of Frida and Diego is one of the most successful American operas of the decade, with acclaimed runs at Los Angeles Opera and San Francisco Opera following its 2022 world premiere at San Diego Opera. Later this month, Naxos will release a recording of her and Nilo Cruz’s oratorio Conquest Requiem, with the Nashville Symphony and conductor Giancarlo Guerrero.
Winner of a Latin Grammy, Gabriela Lena Frank also holds a Guggenheim Fellowship and is a member of the American Academy of Arts and Letters. The Washington Post cited her as one of the most significant women composers in history. She has received commissions from leading American orchestras including the Chicago Symphony and Cleveland orchestras. In 2017, she founded the Gabriela Lena Frank Creative Academy of Music (GLFCAM), which helps composers of any aesthetic and demographic, from emerging through to mid-career levels, to develop self-determined 21st-century lives.
Programme notes
William Walton 1902–83
Cello Concerto 1956
Nicolas Altstaedt cello
1. Moderato
2. Allegro appassionato
3. Tema ad improvvisazioni: Lento – Allegro molto
William Walton’s international reputation as a composer was made in the decade leading up to the start of the Second World War, with the First Symphony, the oratorio Belshazzar’s Feast, and the concertos for viola and violin: works which, though traditional in form, struck listeners as refreshingly radical. After the war, his reputation dimmed as commentators began to accuse him of losing touch with the exciting modernity he had
formerly seemed to embody, yet at heart Walton had always been an artist who primarily followed his own compositional instincts, one of which, he declared, was ‘a strong feeling for lyricism’. Time offers perspective, and where some commentators in the 1950s and 60s regretted a ‘creative relaxation’ and ‘lowering of tension’, others might now relish his maturing creative ease and technical refinement.
Few compositions reflect this post-war period of serene craftsmanship more affectingly than the Cello Concerto. Composed in 1956, it was the first important work he produced following the lukewarm reception of his first opera, Troilus and Cressida, and must indeed have seemed an old-fashioned work at a time when ‘modern’ might mean Messiaen, Stockhausen or Boulez, not lyrical Romanticism. Walton’s wife Susana apparently later claimed that the work was a celebration of their marriage, but while that may be so, in fact (and as was usually the case in Walton’s later career) it was the result of a commission, on this occasion from the great Russian cellist Gregor Piatigorsky. Piatigorsky premiered it with the Boston Symphony Orchestra under Charles Munch in January 1957, and was thrilled with it: ‘I can’t thank you enough for the wonderful concerto you gave to the world’, he wrote. ‘I will play [it with the] great love and admiration I have for it and you.’
It is not hard to imagine it as a player’s dream. However modern it may or may not have seemed 70 years ago, there is no mistaking the touching poetic voice that
Programme notes
speaks through it, established right at the opening where a brief, atmospherically scored oscillating figure from the orchestra quickly gives on to a tenderly meditative solo cello theme, which intertwines delicately with the woodwind. The form of the movement is loose, the skilfully drawn melodic lines apparently enough in themselves to help it find its way, though there are hints of sonata form in the return of the opening theme, as well as in the appearance of what seems like a formal ‘second theme’, richer and more expansive, and instigated by four gentle notes on solo horn.
The second movement is the fastest of the three, a scherzo of recognisably Waltonian flavour and orchestral brilliance. The cello part is virtuosic,
the music in general nervy, as if with a hint of the night; even when two slower episodes come to calm the mood, the solo role remains vulnerable to the jitters.
The title of the finale reflects the fact that its solemn and stately slow theme is subjected to a process perhaps too free to be called variation. The dramatically contrasted ‘improvisations’ include two for solo cello and one for orchestra; after the second cello solo, the music shifts unexpectedly to the mood of glinting tranquility in which the Concerto had begun. In a peaceful epilogue, the first movement’s opening theme eventually reappears, along with that of the finale, to bring the work to a peaceful close.
An announcement will be made five minutes before the end of the interval.
Coming soon on the LPO Label
ELGAR: THE DREAM OF GERONTIUS
Recorded live at the 2022 BBC Proms
London Philharmonic Orchestra
Edward Gardner conductor
Allan Clayton Gerontius | James Platt Priest/Angel of the Agony
Jamie Barton Angel | London Philharmonic Choir | Hallé Choir
Out Friday 21 November on CD and all major streaming platforms
Scan to pre-save now
Programme notes
Sergei Prokofiev
1891–1953
Romeo and Juliet (excerpts)
1935
Montagues and Capulets
Juliet as a Young Girl
Friar Laurence Masks
Romeo and Juliet
The Death of Tybalt
Romeo and Juliet Before Parting
Romeo at Juliet’s Tomb
From 1933 onwards, after 15 years in the West, Sergei Prokofiev started to return more and more frequently to Moscow. Genuinely idealistic about his new life, in 1934 he wrote of his creative aims in the Soviet newspaper Izvestiya. ‘Soviet music must be melodious; moreover the melody must be simple and comprehensible […] not an old-fashioned simplicity, but a new simplicity.’ So when the radical theatre director Sergei Radlov suggested a collaboration on a ballet version of Romeo and Juliet, Prokofiev saw it as chance to show the ‘new simplicity’ in action. The Bolshoi Theatre gave him the use of a country house at Polenovo, and between July and September 1935 Prokofiev wrote the entire score.
Then the political realities began to bite. The Bolshoi declared the ballet ‘undanceable’ and the ballet was premiered instead in Brno, Czechoslovakia in December 1938. It was 11 January 1940 before it was finally staged in Russia, at Leningrad’s Kirov Theatre. Even then, there were difficulties. The choreographer, Leonid Lavrovsky, imposed a political message on the story: ‘the conflict between the outmoded beliefs of the Middle Ages, and the progressive ideals of the Renaissance’. Meanwhile,
Programme notes
the dancers were in revolt. A joke ran round the Kirov: ‘For never was a story of more woe / Than Prokofiev’s music for Romeo’.
Yet the performance was a success. Galina Ulanova danced Juliet in that Kirov production, and one night, at a post-show party, she invited Prokofiev to join her in a foxtrot. ‘He seemed always to be hearing some rhythm of his own’, she recalled. ‘But as the dance gradually gathered momentum, I started to feel confident and free. At last I caught my partner’s unusual and utterly marvellous rhythm.’ Romeo and Juliet’s ‘unusual and utterly marvellous rhythm’ has now entered the repertoire of every major ballet company in the world.
In 1936, when no theatrical performance seemed likely, Prokofiev selected 15 of the ballet’s 52 numbers and turned them into two concert suites – a third followed in 1946. Tonight’s sequence utilises movements from the first two suites.
Montagues and Capulets: A huge, slowly building discord depicts the moment in the story when the Prince commands the Montagues and Capulets to keep the peace. This leads directly into a menacing, slowmotion dance for the two rival families.
Juliet as a Young Girl: The 14-year-old Juliet portrayed as a vivacious scherzo; tender interludes for flutes, saxophone and yearning strings portray her budding emotions.
Friar Laurence: ‘We have still known thee for a holy man’: chant-like melodies and warmly expressive string writing evoke both the Friar’s piety and his compassion.
Masks: Romeo, Benvolio and Mercutio enter the Capulets’ ball in disguise. Their music is poised and cautious, gradually increasing in confidence.
Romeo and Juliet: Morning in Juliet’s bedroom, a lyrical, sunlit love scene.
The Death of Tybalt: Racing strings and clattering xylophone depict the swordfight between Tybalt and Mercutio. Mercutio is killed, and the music turns to a savage march as Romeo moves in to avenge his friend. The brass shriek warnings over slashing chords.
Romeo and Juliet Before Parting: The score’s final love duet, tender, fragile and – as befits the two lovers’ fate –torn by ominous and anguished premonitions.
Romeo at Juliet’s Tomb: Romeo witnesses Juliet’s funeral, and an anguished lament for strings becomes the music of the procession itself.
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Wednesday 26 November 2025
7.30pm
Elgar In the South (Alassio)
Elgar Sea Pictures
Elgar Sospiri
Elgar Enigma Variations
Edward Gardner conductor
Beth Taylor mezzo-soprano
With the generous support of the Elgar Society in celebration of its 75th anniversary.
This concert also celebrates The Duke of Kent’s 90th birthday and 45 years of His Royal Highness’s Patronage of the LPO.
Supported by Cockayne Grants for the Arts, a Donor Advised Fund, held at The Prism Charitable Trust.
Free pre-concert talk | 6pm ‘Harmony with Distant Planets’ With composer Robert Laidlow & astronomer David Kipping. Book free tickets via lpo.org.uk
Sheku Kanneh-Mason
Beth Taylor
Edward Gardner
The Nature Dialogues
A series of fascinating free pre-concert talks as part of our 2025/26 season theme, Harmony with Nature
From stars to storms, wildlife to oceans, some of today’s leading scientists and storytellers illuminate the natural world and discover a fresh perspective on this season’s music. Book your free tickets now at lpo.org.uk
Saturday 29 November 2025
6pm
Royal Festival Hall
Harmony with Distant Planets
With composer Robert Laidlow and astronomer David Kipping
Saturday 21 March 2026
5pm
Queen Elizabeth Hall
Harmony with our Rivers
With extreme angler, author & broadcaster Jeremy Wade
Friday 17 April 2026
6pm
Royal Festival Hall
Harmony with our Changing Planet
With social scientist Gail Whiteman
Saturday 17 January 2026
5pm
Royal Festival Hall
Harmony with the Volcanic World
With broadcaster & writer Kate Humble
Wednesday 8 April 2026, 6pm
Royal Festival Hall
Harmony with our Fragile Earth
With scientist Johan Rockström, environmentalist Tony Juniper and composer Anna Thorvaldsdottir
Sound Futures donors
We are grateful to the following donors for their generous contributions to our Sound Futures campaign. Thanks to their support, we successfully raised £1 million by 30 April 2015 which has now been matched pound for pound by Arts Council England through a Catalyst Endowment grant. This has enabled us to create a £2 million endowment fund supporting special artistic projects, creative programming and education work with key venue partners including our Southbank Centre home. Supporters listed below donated £500 or over. For a full list of those who have given to this campaign please visit lpo.org.uk/soundfutures
Masur Circle
Arts Council England
Dunard Fund
Victoria Robey CBE
Emmanuel & Barrie Roman
The Underwood Trust
Welser-Möst Circle
William & Alex de Winton
John Ireland Charitable Trust
The Tsukanov Family Foundation
Neil Westreich
Tennstedt Circle
Valentina & Dmitry Aksenov
Richard Buxton
The Candide Trust
Michael & Elena Kroupeev
Kirby Laing Foundation
Mr & Mrs Makharinsky
Alexey & Anastasia Reznikovich
Sir Simon Robey
Bianca & Stuart Roden
Simon & Vero Turner
The late Mr K Twyman
Solti Patrons
Ageas
John & Manon Antoniazzi
Gabor Beyer, through BTO
Management Consulting AG
Jon Claydon
Mrs Mina Goodman & Miss Suzanne Goodman
Roddy & April Gow
The Jeniffer & Jonathan Harris
Charitable Trust
Mr James R.D. Korner OBE
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
Thank you
As a registered charity, we are extremely grateful to all our supporters who have given generously to the LPO over the past year to help 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
William & Alex de Winton
Catherine Høgel & Ben Mardle
Aud Jebsen
In memory of Paul Morgan
In memory of Donald Pelmear
In memory of Rita Reay
Sir Simon & Lady Robey CBE
In memory of Peter J Watson
Orchestra Circle
Richard Buxton
In memory of Nicola Goodman
Mr & Mrs Philip Kan
Neil Westreich
Principal Associates
An anonymous donor
Steven M. Berzin
Irina Gofman & Mr Rodrik V. G Cave
George Ramishvilli
In memory of Kenneth Shaw
The Tsukanov Family
Associates
Anonymous donors
Sir Nigel Boardman & Prof. Lynda Gratton
Garf & Gill Collins
Michelle Crowe Hernandez & Christian Hernandez
Ian Ferguson & Susan Tranter
Stuart & Bianca Roden
Malcolm & Alison Thwaites
The Williams Family in memory of Grenville Williams
Gold Patrons
An anonymous donor
David & Yi Buckley
Dr Alex & Maria Chan
In memory of Allner Mavis
Channing
In memory of Peter Coe
John & Sam Dawson
Fiona Espenhahn
Mr Roger Greenwood
Sally Groves MBE
David & Bettina Harden
Eugene & Allison Hayes
Malcolm Herring
Mrs Asli Hodson
Mrs Elizabeth Meshkvicheva
Julian & Gill Simmonds
Eric Tomsett
The Viney Family
Guy & Utti Whittaker
Silver Patrons
An anonymous donor
David Burke & Valerie Graham
Mr Luke Gardiner
The Jeniffer and Jonathan Harris
Charitable Trust
Mr & Mrs Andrew Neill
Clandia Wu & Hiu Fung Ng
Simon & Lucy Owen-Johnstone
Andrew & Cindy Peck
Mr Roger Phillimore
Tom & Phillis Sharpe
Laurence Watt
Joanna Williams
Bronze Patrons
Anonymous donors
Miram Al Rasheed
Michael Allen
Gabriela Andino-Benson
Irina Bednaya
Nicholas Berwin
Mrs Amna Boheim
Dame Colette Bowe
Lorna & Christopher Bown
Mr Bernard Bradbury
Dr Anthony Buckland
Desmond & Ruth Cecil
Mr John H Cook
Cameron & Kathryn Doley
Elena & Sergey Dubinets
Harron Ellenson & Charles Miller
Smith
Cristina & Malcolm Fallen
Christopher Fraser OBE
Charles Fulton
Gini & Richard Gabbertas
Jenny & Duncan Goldie-Scot
Mr Daniel Goldstein
David & Jane Gosman
Mr Gavin Graham
Mrs Dorothy Hambleton
Iain & Alicia Hasnip
J Douglas Home
Mr & Mrs Ralph Kanza
Neil & Karen Reynolds
Mrs Irina Kiryukhina
Rose & Dudley Leigh
Wg. Cdr. M T Liddiard OBE JP RAF
Drs Frank & Gek Lim
Svetlana London
Richard & Judy Luddington
Mr & Mrs Makharinsky
Andrew T Mills
John Nickson & Simon Rew
Peter & Lucy Noble
Mikhail Noskov & Vasilina Bindley
Mr Stephen Olton
Nigel Phipps & Amanda McDowall
Mr Michael Posen
Marie Power
Sir Bernard Rix
Baroness Shackleton
Tim Slorick
Joe Topley & Tracey Countryman
John & Madeleine Tucker
In memory of Doris Tylee
Mr & Mrs John & Susi Underwood
Sophie Walker
Jenny Watson CBE
Elena Y. Zeng
Principal Supporters
Anonymous donors
Dr M. Arevuo
Mrs Carol Ann Bailey
Mr John D Barnard
Roger & Clare Barron
Mr Geoffrey Bateman
Mrs A Beare
Adam J. Brunk & Madeleine
Haddon
Simon Burke & Rupert King
David & Liz Conway
Mr Alistair Corbett
David Devons
Deborah Dolce
Sir Timothy Fancourt
Jonathan Franklin
Professor Erol & Mrs Deniz Gelenbe
Steve & Cristina Goldring
Prof Emeritus John Gruzelier
Sebastian Arun Hansjee
Nick Hely-Hutchinson
Michael & Christine Henry
Mrs Farrah Jamal
Bruce & Joanna Jenkyn-Jones
Per Jonsson
Julian & Annette Armstrong
Mr Ian Kapur
Gee Lee
Dr Peter Mace
Mr Nikita Mishin
Allison Mollerberg
Simon Moore
Dr Simon Moore
Mrs Terry Neale
Mr Matthew Pearson
Mr James Pickford
Filippo Poli
Sukand Ramachandran
Mr Martin Randall
Mr Robert Ross
Mr Andrea Santacroce & Olivia
Veillet-Lavallée
Aniruddha Sharma
Priscylla Shaw
Michael Smith
Erika Song
Mr & Mrs G Stein
Andrew & Rosemary Tusa
Ben Valentin KC
Christine Warsaw
Mr Rodney Whittaker
Christopher Williams
Supporters
Anonymous donors
Ralph & Elizabeth Aldwinckle
Alison Clarke & Leo Pilkington
Mr Philip Bathard-Smith
Mrs Martha Brooke
Mr Julien Chilcott-Monk
Miss Tessa Cowie
St Peter’s Composers, Bexhill-on-Sea
Dorothy Hobden
The Jackman Family
Jan Leigh & Jan Rynkiewicz
Mr Mack Lindsey
Mr David MacFarlane
Simon & Fiona Mortimore
Dana Mosevics
Dame Jane Newell DBE
Michael Noyce
Mr & Mrs Graham & Jean Pugh
Emilie Sydney-Smith
Ms Caroline Tate
Craig Terry
Tony & Hilary Vines
Dr Ann Turrall
Dr June Wakefield
Mr John Weekes
Mr C D Yates
Hon. Benefactor
Elliott Bernerd
Hon. Life Members
Alfonso Aijón
Carol Colburn Grigor CBE
Robert Hill
Keith Millar
Victoria Robey CBE
Mrs Jackie Rosenfeld OBE
Cornelia Schmid
Timothy Walker CBE AM
Laurence Watt
Thomas Beecham Group Members
An anonymous donor
Sir Nigel Boardman & Prof. Lynda Gratton
David & Yi Buckley
Dr Alex & Maria Chan
Garf & Gill Collins
William & Alex de Winton
Ian Ferguson & Susan Tranter
The Friends of the LPO
Irina Gofman & Mr Rodrik V. G.
Cave
Mr Roger Greenwood
Barry Grimaldi
David & Bettina Harden
Mr & Mrs Philip Kan
Mr & Mrs John Kessler
Sir Simon Robey
Victoria Robey OBE
Stuart & Bianca Roden
Julian & Gill Simmonds
Malcolm & Alison Thwaites
Eric Tomsett
Neil Westreich
Guy & Utti Whittaker
LPO Corporate Members
Bloomberg
Carter-Ruck Solicitors
French Chamber of Commerce
German-British Chamber of Industry & Commerce
Lazard
Natixis Corporate & Investment
Banking
Ryze Power
Virgin Money
Walpole
Preferred
Google
Lay & Wheeler
Partners
Lindt & Sprüngli
Mayer Brown
Steinway & Sons
Welbeck
Thank you
Trusts and Foundations
ABO Trust
Art Mentor Foundation Lucerne
Candide Trust
Cockayne – Grants for the Arts
David Solomons Charitable Trust
Dunard Fund
Foyle Foundation
Garfield Weston Foundation
The Baily Thomas Charitable Fund
The Boshier-Hinton Foundation
The Golsoncott Foundation
Jerwood Foundation
John Thaw Foundation
John Horniman’s Children’s Trust
The Ian Askew Charitable Trust
Idlewild Trust
Institute Adam Mickiewicz
Kirby Laing Foundation
The Lennox Hannay Charitable Trust
Lord and Lady Lurgan Trust
Lucille Graham Trust
The Marchus Trust
Margaret Killbery Foundation
Maria Bjӧrnson Memorial Fund
The 29th May 1961 Charitable Trust
PRS Foundation
The Radcliffe Trust
Rivers Foundation
Rothschild Foundation
Scops Arts Trust
Sir William Boreman’s Foundation
The John S Cohen Foundation
TIOC Foundation
Vaughan Williams Foundation
The Viney Family
The Barbara Whatmore Charitable Trust
and 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:
Hannah Young Chair
Lora Aroyo
Jon Carter
Alexandra Jupin
Natalie Pray MBE
Dr Irene Rosner David
Marc Wassermann
Catherine Høgel Hon. Director
LPO International Board of Governors
Natasha Tsukanova Chair
Steven M. Berzin
Shashank Bhagat
Irina Gofman
Olivia Ma
George Ramishvili
Florian Wunderlich
London Philharmonic Orchestra Administration
Board of Directors
Dr Catherine C. Høgel Chair
Nigel Boardman Vice-Chair
Mark Vines* President
Kate Birchall* Vice-President
Emily Benn
David Buckley
David Burke
Simon Burke
Simon Carrington*
Michelle Crowe Hernandez
Deborah Dolce
Simon Estell*
Jesús Herrera
Tanya Joseph
Minn Majoe*
Tania Mazzetti*
Jamie Njoku-Goodwin OBE
Neil Westreich
David Whitehouse*
*Player-Director
Advisory Council
Roger Barron Chairman
Christopher Aldren
Kate Birchall
Amna Boheim
Richard Brass
Helen Brocklebank
YolanDa Brown OBE
David Burke
Simon Callow CBE
Desmond Cecil CMG
Jane Coulson
Andrew Davenport
Guillaume Descottes
Cameron Doley
Lena Fankhauser
Christopher Fraser OBE
Jenny Goldie-Scot
Jonathan Harris CBE FRICS
Nick Hely-Hutchinson DL
Jesús Herrera
Dr Catherine C. Høgel
Martin Höhmann
Jamie Korner OBE
Andrew Neill
Nadya Powell
Sir Bernard Rix
Victoria Robey CBE
Baroness Shackleton
Thomas Sharpe KC
Julian Simmonds
Daisuke Tsuchiya
Mark Vines
Chris Viney
Laurence Watt
Elizabeth Winter
New Generation Board
Ellie Ajao
Peter De Souza
Vivek Haria
Rianna Henriques
Zerlina Vulliamy
General Administration
Jesús Herrera
Artistic Director
David Burke
Chief Executive
Alicia Downie
PA to the Executive & Office Manager
Concert Management
Roanna Gibson
Concerts & Planning Director
Graham Wood Concerts & Recordings Manager
Aimee Walton
Tours Manager
Madeleine Ridout
Glyndebourne & Projects Manager
Alison Jones
Concerts & Artists Co-ordinator
Alice Drury
Tours & Projects Assistant
Matthew Freeman
Recordings Consultant
Andrew Chenery
Orchestra Personnel Manager
Helen Phipps Orchestra & Auditions Manager
Sarah Thomas Martin Sargeson Librarians
Laura Kitson
Stage & Operations Manager
Stephen O’Flaherty Deputy Operations Manager
Benjamin Wakley
Deputy Stage Manager
Finance
Frances Slack
Finance Director
Dayse Guilherme Finance Manager
Jean-Paul Ramotar IT Manager & Finance Officer
Education & Community
Talia Lash
Education & Community Director
Eleanor Jones
Lowri Thomas Education & Community Project Managers
Ellie Leon Education & Community Co-ordinator
Claudia Clarkson Regional Partnerships Manager
Development
Laura Willis
Development Director (maternity leave)
Olivia Highland Development Director (maternity cover)
As a registered charity, it is thanks to the vital support we receive from our individual supporters, corporate partners, and trusts and foundations that the LPO can present such vibrant and varied concert programmes of world-class quality.
Such support also enables the LPO to drive lasting social impact through our industry-leading education and community programme, supporting rising talent, those affected by homelessness, and adults and young people with disabilities – designed to build and diversify the talent pipeline and share the unique joy and power of music more widely.
Donate
Whether you make a checkout donation, give to an appeal, or choose to remember the LPO with a gift in your Will, donations of all sizes make an impact. Your support will help us continue to promote diversity and inclusivity in classical music and nurture the next generation of talent.
Join
Joining one of our membership schemes will not only support the Orchestra and our mission, but will also give you access to a host of exclusive benefits designed to enhance your experience and build a closer relationship with the Orchestra and our family of supporters – from private rehearsals, to members’ bars, private events and priority booking. Membership starts at just £6 per month.
Partner
We’re virtuosos of creative collaboration, expertly crafting bespoke partnerships that hit the right notes. We tailor each bespoke partnership to your strategic business objectives, combining exceptional experiences that deepen client relationships, forge new connections, elevate your brand, and create buzzworthy content that leaves audiences captivated by a compelling brand story.
We’re also passionate about using music and our work to increase social value. By partnering together across a shared purpose and values, we can leave a positive, lasting impact on the communities we engage, deepening your CSR and SDG commitments.
Find out how you can support at lpo.org.uk/support us
