2023/24 concert season at Eastbourne’s Congress Theatre
Concert programme
Principal Conductor Edward Gardner supported by Aud Jebsen Principal Guest Conductor Karina Canellakis Conductor Emeritus Vladimir Jurowski Patron HRH The Duke of Kent KG Artistic Director Elena Dubinets Chief Executive David Burke Leader Pieter Schoeman supported by Neil Westreich
Congress Theatre, Eastbourne Sunday 14 January 2024 | 3.00pm
Elgar’s Cello Concerto Smetana Overture, The Bartered Bride (7’) Elgar Cello Concerto (26’) Interval (20’) Dvořák Symphony No. 7 (38’) Gabriella Teychenné conductor Laura van der Heijden cello
The timings shown are not precise and are given only as a guide. Concert presented by the London Philharmonic Orchestra in association with Eastbourne Borough Council
Contents 2
Welcome LPO news 3 On stage today 4 London Philharmonic Orchestra 6 Gabriella Teychenné 7 Laura van der Heijden 8 Programme notes 12 Next concerts 13 LPO Player Appeal 2023/24 BrightSparks Schools’ Concert 14 Thank you 16 LPO administration
London Philharmonic Orchestra • 14 January 2024 • Elgar’s Cello Concerto
Welcome to the Congress Theatre
LPO news
Theatre Director Chris Jordan
LPO Junior Artists: Overture Day
Welcome to the first concert of 2024 by the London Philharmonic Orchestra here at the Congress Theatre. As always, we are pleased to welcome back the London Philharmonic Orchestra and its patrons.
Applications open soon for our next LPO Junior Artists: Overture Day in Eastbourne, which takes place on Sunday 14 April in partnership with local education hub Create Music.
This season we celebrate 60 years since the LPO gave the first ever performance at the newly-opened Congress Theatre in 1963. The Orchestra has now given over 350 concerts here in Eastbourne, performing with countless esteemed conductors and soloists, as well as introducing many exciting new artists to the stage for the first time.
If you’re a young orchestral player aged 10–15 and Grade 3+ standard, this is your chance to join the London Philharmonic Orchestra family for a day. You’ll meet some of our musicians, play as an ensemble and find out just what it takes to be part of one of the greatest orchestras in the world – for free! Applications open on Monday 5 February. For more information, and to watch a video and hear from previous Overture Day participants, visit lpo.org.uk/overture
The historic theatre in which you are now seated is unique in that it is conceived to be a perfect cube and has fantastic acoustics to enhance your experience of live music. Whether this is your first visit or you are a season regular, we hope you enjoy your experience at our venue. We thank you for continuing to support the concert series. Please sit back in your seats and enjoy the concert and your visit here.
Our Overture Days are free of charge and open to all orchestral players of the appropriate age and standard, but priority is given to young musicians from underrepresented backgrounds and communities who may be eligible for our main LPO Junior Artists programme in the future.
As a courtesy to others, please ensure mobile phones are switched off during the performance. Please also note that photography and recording are not allowed in the auditorium unless announced from the stage. Thank you.
LPO Junior Artists: Overture is generously funded by the Kirby Laing Foundation, TIOC Foundation and The Radcliffe Trust.
BrightSparks Schools’ Concert in Eastbourne On 9 May we’re looking forward to giving our first ever BrightSparks schools’ concert here at Eastbourne’s Congress Theatre! Local Key Stage 2 students (aged 7–11) will be introduced to the Orchestra through a programme of American and America-inspired music, featuring composers Aaron Copland, Errollyn Wallen and Joan Tower. Tickets are £3 per pupil (accompanying teachers free of charge). This includes a free INSET session and written resources for teachers. Booking for schools opens later in the spring – sign up for updates at lpo.org.uk/brightsparks BrightSparks 2023/24 is generously funded by the Rothschild Foundation with additional support from the Candide Trust, Dunard Fund, Rivers Foundation, Mr & Mrs Philip Kan, and Gill and Julian Simmonds.
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London Philharmonic Orchestra • 14 January 2024 • Elgar’s Cello Concerto
On stage today First Violins
Alice Ivy-Pemberton Leader Minn Majoe Cassandra Hamilton Elizaveta Tyun Katherine Waller Alice Apreda Howell Sophie Phillips Alison Strange Maeve Jenkinson Jamie Hutchinson Alice Hall
Second Violins
Cellos
Waynne Kwon Guest Principal Francis Bucknall Tom Roff Colin Alexander Hee Yeon Cho
Double Basses
Stephen Williams Guest Principal George Peniston Tom Walley
Chair supported by William & Alex de Winton
Laura Murphy
Trumpets
Paul Beniston* Principal Tom Nielsen Co-Principal Anne McAneney*
Trombones
Mark Templeton* Principal
Chair supported by William & Alex de Winton
David Whitehouse
Bass Trombone
Lyndon Meredith Principal
Tuba
Tania Mazzetti Principal Emma Oldfield Co-Principal Nancy Elan Fiona Higham
Flutes
Joseph Maher Claudia Tarrant-Matthews
Piccolo
Camilla Marchant
Chair supported by Victoria Robey CBE
Jessica Coleman Sheila Law
Oboes
* Professor at a London conservatoire
Chair supported by David & Yi Buckley
Chair supported by Friends of the Orchestra
Violas
Konstantin Boyarsky Guest Principal Martin Wray Benedetto Pollani Lucia Ortiz Sauco James Heron Shiry Rashkovsky Raquel López Bolívar Jill Valentine
Stewart McIlwham* Principal Ruth Harrison
Lee Tsarmaklis* Principal
Timpani
Simon Carrington* Principal
Feargus McCready Guest Principal Eleanor Sullivan
Clarinets
Benjamin Mellefont* Principal Thomas Watmough Chair supported by Roger Greenwood
Bassoons
Guylaine Eckersley Guest Principal Emma Harding
Horns
John Ryan* Principal Martin Hobbs Duncan Fuller Jason Koczur Jonathan Farey
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The LPO also acknowledges the following chair supporters whose players are not present at this concert: Gill & Garf Collins Sonja Drexler Mr B C Fairhall Irina Gofman & Mr Rodrik V. G. Cave Dr Barry Grimaldi Bianca & Stuart Roden Caroline, Jamie & Zander Sharp Eric Tomsett Neil Westreich
London Philharmonic Orchestra • 14 January 2024 • Elgar’s Cello Concerto
© Mark Allan
London Philharmonic Orchestra
Our conductors
Uniquely groundbreaking and exhilarating to watch and hear, the London Philharmonic Orchestra has been celebrated as one of the world’s great orchestras since Sir Thomas Beecham founded it in 1932. With every performance we aim to bring wonder to the modern world and cement our position as a leading orchestra for the 21st century.
Our Principal Conductors have included some of the greatest historic names like Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. In 2021 Edward Gardner became our 13th Principal Conductor, taking the Orchestra into its tenth decade. Vladimir Jurowski became Conductor Emeritus in recognition of his impact as Principal Conductor from 2007–21. Karina Canellakis is our current Principal Guest Conductor and Tania León our Composer-in-Residence.
Our home is at the Southbank Centre’s Royal Festival Hall, where we’re at the beating heart of London’s cultural life. You’ll also find us at our resident venues in Brighton, Eastbourne and Saffron Walden, and on tour throughout the UK and internationally, performing to sell-out audiences worldwide. Each summer we’re resident at Glyndebourne Festival Opera, combining the magic of opera with Glyndebourne’s glorious setting in the Sussex countryside.
Soundtrack to key moments Everyone will have heard the London Philharmonic Orchestra, whether it’s playing the world’s National Anthems at every medal ceremony of the London 2012 Olympics and Paralympics, our iconic recording with Pavarotti that made Nessun Dorma a global football anthem, or closing the flotilla at The Queen’s Thames Diamond Jubilee Pageant. And you’ll almost certainly have heard us on the soundtracks for major films including The Lord of the Rings.
Sharing the wonder You’ll find us online, on streaming platforms, on social media and through our broadcast partnership with Marquee TV. During the pandemic period we launched ‘LPOnline’: over 100 videos of performances, insights and introductions to playlists, which led to us being named runner-up in the Digital Classical Music Awards 2020. During 2023/24 we’re once again be working with Marquee TV to broadcast selected live concerts, so you can share or relive the wonder from your own living room.
We also release live, studio and archive recordings on our own label, and are the world’s most-streamed orchestra, with over 15 million plays of our content each month.
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London Philharmonic Orchestra • 14 January 2024 • Elgar’s Cello Concerto
Alice Ivy-Pemberton Leader
Next generations There’s nothing we love more than seeing the joy of children and families enjoying their first musical moments, and we’re passionate about equipping schools and teachers through schools’ concerts, resources and training. Reflecting our values of collaboration and inclusivity, our OrchLab and Open Sound Ensemble projects offer music-making opportunities for adults and young people with special educational needs and disabilities. Our LPO Junior Artists programme is leading the way in creating pathways into the profession for young artists from under-represented communities, and our LPO Young Composers and Foyle Future Firsts schemes support the next generation of professional musicians, bridging the transition from education to professional careers. We also recently launched the LPO Conducting Fellowship, supporting the development of outstanding early-career conductors from backgrounds currently under-represented in the profession.
Alice Ivy-Pemberton joined the London Philharmonic Orchestra as Co-Leader in February 2023. Praised by The New York Times for her ‘sweet-toned playing’, Alice has performed as a soloist, chamber and orchestral musician to international acclaim. While growing up in New York City and studying with Nurit Pacht, Alice made a nationally televised Carnegie Hall debut aged ten, and was a finalist at the Menuhin International Competition at the age of 12.
Looking forward The centrepiece of our 2023/24 season is our spring 2024 festival The Music in You. Reflecting our adventurous spirit, the festival embraces all kinds of expression – dance, music theatre, and audience participation. We’ll collaborate with artists from across the creative spectrum, and give premieres by composers including Tania León, Julian Joseph, Daniel Kidane, Victoria Vita Polevá, Luís Tinoco and John Williams.
Alice earned her Bachelors and Masters degrees at The Juilliard School under the tutelage of Itzhak Perlman and Catherine Cho as a fully-funded recipient of the Kovner Fellowship. During her studies she won Juilliard’s Violin Concerto Competition, performed extensively with the New York Philharmonic and The Philadelphia Orchestra, and led orchestras under the baton of Barbara Hannigan, Xian Zhang and Matthias Pintscher. Upon graduating in 2022 she was awarded the Polisi Prize and a Benzaquen Career Advancement Grant in recognition of ‘tremendous talent, promise, creativity, and potential to make a significant impact in the performing arts’.
Rising stars making their debuts with us in 2023/24 include conductors Tianyi Lu, Oksana Lyniv, Jonathon Heyward and Natalia Ponomarchuk, accordionist João Barradas and organist Anna Lapwood. We also present the long-awaited conclusion of Conductor Emeritus Vladimir Jurowski’s Wagner Ring Cycle, Götterdämmerung, and, as well as our titled conductors Edward Gardner and Karina Canellakis, we welcome back classical stars including Anne-Sophie Mutter, Robin Ticciati, Christian Tetzlaff and Danielle de Niese.
An avid chamber musician, Alice has collaborated with Itzhak Perlman, Anthony Marwood, Gil Shaham and members of the Belcea, Doric, Juilliard and Brentano string quartets, and performed with the Chamber Music Society of Lincoln Center. Festival appearances include Music@Menlo, Moritzburg and Yellow Barn. Also a passionate advocate for new music and its social relevance, Alice created Drowning Monuments, a noted multimedia project on climate change that brought together five world premieres for solo violin.
lpo.org.uk
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London Philharmonic Orchestra • 14 January 2024 • Elgar’s Cello Concerto
Gabriella Teychenné
© Simon Pauly
conductor
British conductor Gabriella Teychenné began her musical training as a violinist. A recipient of several musical and academic scholarships, she studied for her undergraduate degree at the University of Cambridge (Trinity College), where she read Political Philosophy She pursued her postgraduate musical studies with a Master’s degree at London’s Royal College of Music, followed by an Artist Diploma from the St Petersburg State Conservatory. She has been described by LPO Conductor Emeritus Vladimir Jurowski as ‘radically passionate’, and by music writer Jessica Duchen as possessing a ‘terrific intelligence, clarity, musicality and focus’.
Gabriella already has several UK and world premieres to her name, and enjoys collaborating with contemporary composers. In 2018 she worked with ensemble unitedberlin in Moscow as part of the ‘other spaces’ festival, and in 2019 she conducted the ‘X-mas Contemporary’ project at the Tonhalle Düsseldorf, which involved commissions from 12 composers performed with baritone Dietrich Henschel. She features on the Berlin recording of the project alongside Vladimir Jurowski, which was released on FARAO Classics and nominated for a 2020 Opus Klassik award. In 2022 Gabriella embarked on a tour with Birmingham Contemporary Music Group to Birmingham, Bologna and Hamburg, where they gave the world premieres of several new contemporary works. These included Emily Howard’s Do we need a new compass?, which Gabriella later recorded with BCMG for an album on NMC.
Today’s concert is Gabriella’s debut with the full London Philharmonic Orchestra, having previously assisted Vladimir Jurowski and conducted an LPO Junior Artists pre-concert performance at the Royal Festival Hall.
In the 2023/24 season Gabriella makes debuts with the Royal Liverpool Philharmonic Orchestra and Ensemble 10:10, and returns to conduct the Kuopio Symphony Orchestra (Finland), the Norrköping Symphony Orchestra (Sweden), the BBC Concert Orchestra in ‘A New Year’s Celebration’ at Saffron Hall, and the Southbank Sinfonia.
Gabriella has also worked with the Residentie Orkest, Southbank Sinfonia, ensemble unitedberlin, BBC Symphony Orchestra, Covent Garden Sinfonia, Orchestre de Chambre de Geneve, ensemble contrechamps, Wutterberisches Kammerorchester Heilbronn, Oulu Symphony Orchestra, Norwegian Radio Orchestra, LUDWIG Orchestra, Deutsche Philharmonie Merck, Orchestre de Picardie and Orchestre Philharmonique de Radio France, and was the youngest laureate of the 2018 Svetlanov Conducting Competition. Her operatic engagements have included Così fan tutte in Lockenhaus, Austria; the world premiere of Tom Smail’s opera Blue Electric in London; The Marriage of Figaro at the Luzerner Theater, and Peter Eötvös’s The Golden Dragon with Nouvel Opéra Fribourg.
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London Philharmonic Orchestra • 14 January 2024 • Elgar’s Cello Concerto
Laura van der Heijden cello
© Venetia Jollands
Orchestra of Wales, BBC Philharmonic and Royal Philharmonic Orchestra, as well as with the Academy of St Martin in the Fields, the European Union and English chamber orchestras, the New Zealand Symphony Orchestra, the Yomiuri Nippon Symphony Orchestra in Japan, the BBC Concert Orchestra at the 2018 BBC Proms, and the Melbourne Symphony Orchestra in the opening concert of the inaugural BBC Proms Australia. She has performed at venues including Wigmore Hall, Kings Place, LSO St Luke’s, Leeds Town Hall, Usher Hall Edinburgh, Snape Maltings, Saffron Hall, St George’s Bristol, the Tchaikovsky Concert Hall in Moscow, Amsterdam’s Royal Concertgebouw, the Opernhaus Zürich, Tokyo’s Metropolitan Theatre and Prague’s Smetana Hall. She has made numerous appearances on BBC Radio 3’s In Tune, and has worked with such distinguished musicians as Sir Andrew Davis, Karl-Heinz Steffens, Kirill Karabits, Ryan Wigglesworth, Huw Watkins, Krzysztof Chorzelski, the Redon Quartet and the Brodsky Quartet.
Admired for her captivating sonority and creative programming, Laura van der Heijden is renowned for her exceptional talent and musicianship as both a soloist and chamber musician.
Also a passionate chamber musician, Laura is a key member of the critically-acclaimed Kaleidoscope Collective, who perform a wide variety of repertoire across the UK and beyond. She also regularly collaborates with the likes of Jâms Coleman, Timothy Ridout, Katya Apekisheva and Max Baillie, and has given recitals at Wigmore Hall, the West Cork and Beverley chamber music festivals, Harrogate International Festival, Cheltenham Festival, Music in the Round, Oxford’s Holywell Music Room and the Oxford Lieder Festival. In summer 2023 she perfomed at the Miesbach Festival, Germany.
The 2023/24 season sees the completion of her year as Artist in Focus at Kings Place, London; Haydn’s Cello Concerto No. 2 with the City of Birmingham Symphony Orchestra; touring in the USA with Kaleidoscope Collective; and chamber projects in Bern with violinist Hyeyoon Park, in Arnhem with the Redon Quartet, and at the Lammermuir and Dartington festivals. Recitals with her longstanding chamber partner, pianist Jâms Coleman, include performances at St George’s Bristol and at the Cello Biennale, Amsterdam. Recent highlights include touring with the Brno Philharmonic Orchestra; performing with the BBC Symphony Orchestra under Alpesh Chauhan at the Barbican as part of the George Walker ‘Total Immersion’ project; and appearances with Aurora Orchestra, Britten Sinfonia, the Scottish Chamber Orchestra, and the BBC Scottish Symphony Orchestra in the world premiere of a new concerto by Cheryl Frances-Hoad entitled Earth, Sea, Air. Laura also gave solo and chamber recitals at the 2023 BBC Proms, at the Royal Concertgebouw in Amsterdam, at Wigmore Hall including with Hilary Hahn and Kaleidoscope Collective, at the Cheltenham Music Festival, and at Bad Kissingen Summer Festival.
Laura’s first album on Chandos Records, ‘Pohádka’, featuring works by Janáček and Dvořák, was released in 2022 to critical acclaim. Further releases include Mozart Piano Quartets with chamber partners Francesca Dego, Timothy Ridout and Federico Colli, and ‘Transfigured’ with Kaleidoscope in 2023. Laura was winner of the BBC Young Musician competition aged 15. Her 2018 debut album, ‘1948’, won the 2018 Edison Klassiek Award and the 2019 BBC Music Magazine Newcomer of the Year Award. The disc, featuring Russian music for cello and piano with pianist Petr Limonov, was hailed as ‘a thought-provoking debut disc from an impressive and intelligent young cellist’ (Gramophone).
Laura made her debut with the London Philharmonic Orchestra in January 2020, when she performed Haydn’s Cello Concerto No. 1 here at Eastbourne’s Congress Theatre. Other leading orchestras with whom she has performed include the Philharmonia Orchestra, BBC Scottish Symphony Orchestra, BBC National
Laura is a graduate of St John’s College, Cambridge, and is currently studying for a Masters with Antje Weithaas at the Hochschule für Musik Hanns Eisler in Berlin. She plays a late 17th-century cello by Francesco Ruggieri of Cremona, on generous loan from a private collection.
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London Philharmonic Orchestra • 14 January 2024 • Elgar’s Cello Concerto
Programme notes Bedřich Smetana 1824–84
Overture, The Bartered Bride 1866
Widely regarded as ‘the father of Czech music’, Bedřich Smetana was one of the most significant figures in the development of Czech music during the 19th century. Internationally he is perhaps best known for his symphonic cycle Má vlast (‘My Fatherland’), which portrays the history, legends and landscape of his native Bohemia, as well as his 1866 comic opera The Bartered Bride.
Photo courtesy of the Royal College of Music, London
Composed during a period when Smetana was fervently exploring nationalistic themes in his music, The Bartered Bride is set in a Czech village, and revolves around the story of a young woman named Mařenka and her love interest, Jeník. The plot involves the theme of arranged marriages and the clash between traditional rural life and the desires of the younger generation. From the outset, the Overture captivates with its energetic folk-inspired themes, transporting listeners to the heart of a Bohemian village. Smetana skilfully weaves traditional dance rhythms, rich melodies and dynamic contrasts, creating a tapestry that mirrors the opera’s themes of love, identity, and the clash between tradition and modernity. As we hear the sparkling interplay between the strings, and the infectious dance motifs, it is easy to imagine the bustling village square, the playful exchanges between characters, and the unfolding drama that awaits.
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London Philharmonic Orchestra • 14 January 2024 • Elgar’s Cello Concerto
Programme notes Edward Elgar 1857–1934
Cello Concerto 1919
Laura van der Heijden cello
1 Adagio – Moderato 2 Lento – Allegro molto 3 Adagio 4 Allegro – Moderato – Allegro, ma non troppo A lilting second theme brings warmer visions, then the main Moderato theme returns, building as before to a full-orchestral climax, before the cello leads the music back to a sombre E minor. After a few hesitant, broken phrases, the cello suddenly springs out of the starting gate like a greyhound. Before long this racing, playful scherzo seems to recapture something of the younger Elgar’s glad confidence.
The Cello Concerto, premiered in 1919, was the last major work Elgar completed. The following year, his wife Alice died, and without her support and encouragement Elgar fell into near-creative silence for the best part of a decade. Yet already the music seems to be haunted by a sense of something either lost or about to be lost. Like many of his contemporaries, Elgar had come to realise that the catastrophe of the First World War had brought to an end what he had called the ‘glad confident morning’ of the Edwardian era, the age that had seen his rise from provincial obscurity to international fame.
The slow movement is an exquisitely tender aria for cello and reduced orchestra. Eventually the cello’s singing seems to falter mid-phrase, and then the finale begins, brisk and martial. Has the Elgar of the ‘Pomp and Circumstance’ marches found his stride again? But in time the music subsides into a slower, heartrending outpouring, led by the cello, culminating in a hushed reminiscence of the slow movement. At last the three chords from the Concerto’s opening return. The martial music resumes, but only briefly, bringing the Concerto to a stoically resolute, firmly minor-key ending.
Still, Elgar’s Cello Concerto is no unrelieved lament. The four movements contain a wide range of moods and colours. The solo cello part in particular is beautifully conceived for the instrument, bringing out its dancing agility and warm singing tone so effectively that it has become a firm favourite with cellists the world over. The very opening is glorious cello writing: three sonorous full chords followed by a poignant recitative, ending in a ringing fortissimo on the cello’s bottom string. Violas then begin the Moderato main movement with a wistful, wandering theme, unaccompanied.
Programme note © Stephen Johnson
Interval – 20 minutes An announcement will be made five minutes before the end of the interval.
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London Philharmonic Orchestra • 14 January 2024 • Elgar’s Cello Concerto
Programme notes Antonín Dvořák 1841–1904
Symphony No. 7 in D minor, Op. 70 1885
1 Allegro maestoso 2 Poco adagio 3 Scherzo: vivace 4 Finale: Allegro The Seventh might not be Dvořák’s most popular symphony, but it’s arguably his best. In the composer’s own mind, he simply had to deliver something special for the London Philharmonic Society, who had commissioned the piece in 1884. His career was at a crossroads: success had finally come, offers were being made, and contacts were putting themselves forward. Brahms and others were urging Dvořák to consider a move from his hometown of Prague to Vienna or Berlin. All Dvořák had to do – in his own mind – was prove that he could write first-class symphonic music already; music that didn’t rely overtly on indigenous Czech folk themes and that demonstrated a firm grasp of symphonic thought. On that front, Dvořák more than succeeded with his Seventh Symphony. It was first performed on 22 April 1885 in St James’s Hall, London, and was immediately hailed as a masterpiece. As a symphony it’s near flawless, and certainly Dvořák’s most organic and wellargued. For that, the composer had Brahms to thank. Dvořák had recently heard Brahms’s Third Symphony, whose taut, concise and clear-cut structure is wholly evident here. There are also a good few points of direct comparison: both symphonies contain radiant horn solos (you’ll hear Dvořák’s in his second movement) and both are stalked by a sense of underlying darkness. That darkness – perhaps ‘severity’ is a better word – had been uncommon in Dvořák’s music up to this point. The Seventh was the composer’s first symphony written in a minor key and it only rarely finds the major.
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London Philharmonic Orchestra • 14 January 2024 • Elgar’s Cello Concerto
Programme notes Even so, the joy and bustle associated with Dvořák’s music is somehow ever-present – either fighting to be heard or peering through the composer’s minor-key colourings. Perhaps it’s the composer’s profusion of rich melodies that keeps the Symphony so consistently radiant even when resolutely rooted in the minor (as in the demonic dance of the Scherzo, for example).
Tune In: new issue out now Hot off the press is the Spring 2024 edition of our twice-yearly LPO magazine, Tune In. Scan the QR code or visit issuu.com/londonphilharmonic to read it online, or call 020 7840 4200 to request a copy in the post.
So organic and rich in cross-referencing is the Seventh’s music that an analysis of its themes and their origins is best left for academics. What’s worth listening out for in the first movement, however, is the restlessness of Dvořák’s lower strings, which helps create a feeling of impending stormy weather; throughout, instruments enter in a fragmentary fashion, each seeming to stride into the conversation with a conflicting view. Dvořák’s second movement is a continuous, river-like flow of inspired melodies opening with what sounds like an ancient chorale in a serene F major, the key that also closes the movement. The aforementioned horn solo that comes later represents one of the Symphony’s only moments of warmth; a sudden appearance of the sun between clouds. Though the third movement features an idyllic Trio section, it’s surrounded by a demonic dance built from an insistent, syncopated figure that combines duple and triple time in reference to the furiant, a Czech folk dance.
We’d love to hear from you We hope you enjoyed today’s concert. Could you spare a few moments to complete a short survey about your experience? Your feedback is invaluable to us and will help to shape our future plans.
Dvořák didn’t want to over-egg his use of devices and themes from Czech folk music in the Symphony, and uses them similarly fleetingly and subtly in his finale. This movement is a fierce tussle, relieved only by its bright secondary idea cast in a major key and first heard on cellos, supported by lightly ornamenting violins. Dvořák seems to triumph over the movement’s nervous energy as he introduces a theme of distinctly Czech character on the flutes. In a dramatic coda, the Symphony’s final paragraph, the music finally finds victory as it discovers the warmth of D major.
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Programme note © Andrew Mellor
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Still to come this season at the Congress Theatre PICTURES AT AN EXHIBITION Sunday 11 February 2024 | 3.00pm Brahms Violin Concerto Mussorgsky Pictures at an Exhibition Kahchun Wong conductor Francesca Dego violin
‘THIS SINGAPORE-BORN BALL OF ENERGY AND CHARM IS A NAME TO WATCH.’ The Observer on Kahchun Wong
RANDALL GOOSBY PLAYS MOZART Sunday 24 March 2024 | 3.00pm
Mozart Ballet Music from Idomeneo Mozart Violin Concerto No. 3 Prokofiev Romeo and Juliet (excerpts) Gemma New conductor Randall Goosby violin
‘[GEMMA NEW’S] LEADERSHIP WAS THE PICTURE OF CONFIDENCE: BOLDLY ENERGIZED, SMARTLY PACED, EVERY CUE IN PLACE.’ Boston Classical Review
Tickets from £16 Students £7 (exc. premium seats) eastbournetheatres.co.uk Ticket Office: 01323 412000
LPO PLAYER APPEAL 2023/24 A message from our musicians
As proud custodians of this incredible Orchestra, we believe that our work is vitally important to society. We know that music supports wellbeing, provides inspirational experiences, and sparks joy and creativity, and we want to ensure that we can continue to do this for generations to come.
Please consider making a donation, of whatever size you can, to help us share joyful moments and the wonder of music that you’ve enjoyed with us. Hear from Stewart, Alice, Alice and Martin at lpo.org.uk/playerappeal
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You can donate to the Player Appeal in a number of ways:
• Scan the QR code or visit lpo.org.uk/playerappeal • Call our Development team on 020 7840 4212 or 020 7840 4225 to donate over the phone • Send a cheque, made payable to London Philharmonic Orchestra, to the address on page 16 Thank you for your support!
BrightSparks Schools’ Concert Coming to Eastbourne in 2024!
Thursday 9 May 2024 Congress Theatre, Eastbourne
This season we’re very excited to bring our popular BrightSparks schools’ concerts to Eastbourne for the first time! This daytime performance is an opportunity for Key Stage 2 children to experience the thrill of hearing a full orchestra.
Tickets £3 per pupil (accompanying teachers free of charge). This includes a free INSET session and written resources for teachers. Booking for schools opens later in the spring – for updates sign up at lpo.org.uk/brightsparks
London Philharmonic Orchestra • 14 January 2024 • Elgar’s Cello Concerto
Thank you We are extremely grateful to all donors who have given generously to the LPO over the past year. Your generosity helps maintain the breadth and depth of the LPO’s activities, as well as supporting the Orchestra both on and off the concert platform.
Artistic Director’s Circle
The American Friends of the London Philharmonic Orchestra Anonymous donors Mrs Aline Foriel-Destezet Aud Jebsen In memory of Mrs Rita Reay Sir Simon & Lady Robey CBE
Orchestra Circle
William & Alex de Winton Edward Gardner & Sara Övinge Patricia Haitink Catherine Høgel & Ben Mardle Mr & Mrs Philip Kan Neil Westreich
Principal Associates
Richard Buxton Gill & Garf Collins In memory of Brenda Lyndoe Casbon In memory of Ann Marguerite Collins Irina Gofman & Mr Rodrik V. G. Cave George Ramishvili The Tsukanov Family Mr Florian Wunderlich
Associates
Mrs Irina Andreeva In memory of Len & Edna Beech Steven M. Berzin The Candide Trust John & Sam Dawson HSH Dr Donatus, Prince of Hohenzollern Stuart & Bianca Roden In memory of Hazel Amy Smith
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David & Yi Buckley In memory of Allner Mavis Channing Sonja Drexler Peter & Fiona Espenhahn Mr B C Fairhall Hamish & Sophie Forsyth Virginia Gabbertas MBE Mr Roger Greenwood Malcolm Herring Julian & Gill Simmonds Eric Tomsett The Viney Family Guy & Utti Whittaker
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John Nickson & Simon Rew Mr James Pickford Filippo Poli Mr Robert Ross Martin & Cheryl Southgate Mr & Mrs G Stein Christopher Williams
Supporters
Anonymous donors Mr Francesco Andronio Julian & Annette Armstrong Mr Philip Bathard-Smith Emily Benn Mr Julien Chilcott-Monk Alison Clarke & Leo Pilkington Mr Peter Coe Mr Joshua Coger Miss Tessa Cowie Caroline Cox-Johnson Mr Simon Edelsten Will Gold Mr Stephen Goldring Mr & Mrs Graham & Jean Pugh Mr Geordie Greig Mr Peter Imhof The Jackman Family Mr David MacFarlane Paul & Suzanne McKeown Nick Merrifield Dame Jane Newell DBE Mr David Peters Nicky Small Mr Brian Smith Mr Michael Timinis Mr & Mrs Anthony Trahar Tony & Hilary Vines Mr John Weekes Mr Roger Woodhouse Mr C D Yates
Hon. Benefactor Elliott Bernerd
Hon. Life Members Alfonso Aijón Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Keith Millar Victoria Robey CBE Mrs Jackie Rosenfeld OBE Timothy Walker CBE AM Laurence Watt
London Philharmonic Orchestra • 14 January 2024 • Elgar’s Cello Concerto
Thank you
Thomas Beecham Group Members
Trusts and Foundations
German-British Chamber of Industry & Commerce Lazard Natixis Corporate Investment Banking Sciteb Ltd Walpole
ABO Trust The Barbara Whatmore Charitable Trust BlueSpark Foundation The Boltini Trust Borrows Charitable Trust Cockayne – Grants for the Arts The London Community Foundation Dunard Fund Ernst von Siemens Music Foundation Foyle Foundation Garrick Charitable Trust The Golsoncott Foundation Idlewild Trust Institute Adam Mickiewicz John Coates Charitable Trust John Horniman’s Children’s Trust John Thaw Foundation Kirby Laing Foundation The Kurt Weill Foundation for Music The Lennox Hannay Charitable Trust Lord and Lady Lurgan Trust Lucille Graham Trust The Marchus Trust PRS Foundation The R K Charitable Trust The Radcliffe Trust Rivers Foundation Rothschild Foundation Scops Arts Trust TIOC Foundation The Thriplow Charitable Trust Vaughan Williams Foundation The Victoria Wood Foundation The Viney Family
Preferred Partners
and all others who wish to remain anonymous.
David & Yi Buckley Gill & Garf Collins William & Alex de Winton Sonja Drexler Mr B C Fairhall The Friends of the LPO Roger Greenwood Dr Barry Grimaldi Mr & Mrs Philip Kan John & Angela Kessler Sir Simon Robey Victoria Robey CBE Bianca & Stuart Roden Caroline, Jamie & Zander Sharp Julian & Gill Simmonds Eric Tomsett Neil Westreich Guy & Utti Whittaker
Corporate Donor Barclays
LPO Corporate Circle Principal
Bloomberg Carter-Ruck Solicitors French Chamber of Commerce
Tutti
Board of the American Friends of the LPO We are grateful to the Board of the American Friends of the London Philharmonic Orchestra, who assist with fundraising for our activities in the United States of America: Simon Freakley Chairman Kara Boyle Jon Carter Jay Goffman Alexandra Jupin Natalie Pray Damien Vanderwilt Marc Wassermann Elizabeth Winter Catherine Høgel Hon. Director Jenifer L. Keiser, CPA, EisnerAmper LLP
LPO International Board of Governors Natasha Tsukanova Co-Chair Martin Höhmann Co-Chair Mrs Irina Andreeva Steven M. Berzin Shashank Bhagat HSH Dr Donatus, Prince of Hohenzollern Aline Foriel-Destezet Irina Gofman Olivia Ma George Ramishvili Sophie Schÿler-Thierry Florian Wunderlich
Jeroboams Lindt & Sprüngli Ltd Neal’s Yard OneWelbeck Sipsmith Steinway
In-kind Sponsor Google Inc
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London Philharmonic Orchestra • 14 January 2024 • Elgar’s Cello Concerto
London Philharmonic Orchestra Administration Board of Directors
General Administration
Dr Catherine C. Høgel Chair Martin Höhmann* President Mark Vines* Vice-President Emily Benn Kate Birchall* David Burke Deborah Dolce Elena Dubinets Tanya Joseph Hugh Kluger* Katherine Leek* Minn Majoe* Tania Mazzetti* Jamie Njoku-Goodwin Andrew Tusa Neil Westreich Simon Freakley (Ex officio – Chairman of the American Friends of the London Philharmonic Orchestra) *Player-Director
Elena Dubinets Artistic Director
Advisory Council Roger Barron Chairman Christopher Aldren Richard Brass Helen Brocklebank YolanDa Brown OBE David Buckley Simon Burke Simon Callow CBE Desmond Cecil CMG Sir Alan Collins KCVO CMG Andrew Davenport Guillaume Descottes Cameron Doley Christopher Fraser OBE Jenny Goldie-Scot Jonathan Harris CBE FRICS Marianna Hay MBE Nicholas Hely-Hutchinson DL Amanda Hill Dr Catherine C. Høgel Martin Höhmann Rehmet Kassim-Lakha Jamie Korner Geoff Mann Andrew Neill Nadya Powell Sir Bernard Rix Victoria Robey CBE Baroness Shackleton Thomas Sharpe KC Julian Simmonds Barry Smith Martin Southgate Chris Viney Laurence Watt Elizabeth Winter
Education and Community Talia Lash Education and Community Director
David Burke Chief Executive Chantelle Vircavs PA to the Executive and Employee Relations Manager
Lowri Davies Hannah Foakes Education and Community Project Managers
Concert Management
Hannah Smith Education and Community Co-ordinator
Roanna Gibson Concerts and Planning Director
Claudia Clarkson Regional Partnerships Manager
Graham Wood Concerts and Recordings Manager Maddy Clarke Tours Manager
Development Laura Willis Development Director
Madeleine Ridout Glyndebourne and Projects Manager
Rosie Morden Individual Giving Manager
Alison Jones Concerts and Recordings Co-ordinator
Siân Jenkins Corporate Relations Manager Anna Quillin Trusts and Foundations Manager
Robert Winup Concerts and Tours Assistant Matthew Freeman Recordings Consultant
Katurah Morrish Development Events Manager
Andrew Chenery Orchestra Personnel Manager
Eleanor Conroy Al Levin Development Co-ordinators
Sarah Thomas Martin Sargeson Librarians Laura Kitson Stage and Operations Manager
Nick Jackman Campaigns and Projects Director
Stephen O’Flaherty Deputy Operations Manager
Kirstin Peltonen Development Associate
Benjamin Wakley Assistant Stage Manager
Marketing
Felix Lo Orchestra and Auditions Manager
Kath Trout Marketing and Communications Director
Finance
Sophie Harvey Marketing Manager
Frances Slack Finance Director
Rachel Williams Publications Manager
Dayse Guilherme Finance Manager
Gavin Miller Sales and Ticketing Manager
Jean-Paul Ramotar Finance and IT Officer
Ruth Haines Press and PR Manager Hayley Kim Residencies and Projects Marketing Manager
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Greg Felton Digital Creative Alicia Hartley Digital and Marketing Co-ordinator Isobel Jones Marketing Assistant
Archives Philip Stuart Discographer Gillian Pole Recordings Archive
Professional Services Charles Russell Speechlys Solicitors Crowe Clark Whitehill LLP Auditors Dr Barry Grimaldi Honorary Doctor Mr Chris Aldren Honorary ENT Surgeon Mr Simon Owen-Johnstone Hon. Orthopaedic Surgeon London Philharmonic Orchestra 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Box Office: 020 7840 4242 Email: admin@lpo.org.uk lpo.org.uk Cover illustration Selman Hoşgör 2023/24 season identity JMG Studio Printer John Good Ltd