LPO programme 18 Feb 2026 - Anne-Sophie Mutter plays Tchaikovsky
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 18 February 2026 | 7.30pm
Anne-Sophie Mutter plays Tchaikovsky
Sibelius Pohjola’s Daughter (12’)
Tchaikovsky
Violin Concerto (34’)
Interval (20’)
Beethoven
Symphony No. 7 (36’)
Karina Canellakis conductor
Generously supported by Richard Buxton
Anne-Sophie Mutter violin
Concert generously supported by Sir Simon & Lady Robey CBE
Free pre-concert performance | 6.00pm | Royal Festival Hall
LPO Showcase: Junior Artists
The LPO Junior Artists perform alongside LPO musicians, Foyle Future Firsts and Junior Artist alumni under the baton of Wilson Ng, LPO Fellow Conductor 2025/26. All welcome, no ticket required.
Tonight in 2 minutes
The vibe
Anne-Sophie Mutter plays Tchaikovsky
Tonight’s concert centres on superstar violinist Anne-Sophie Mutter playing one of the most famous and demanding pieces written for the instrument. Before that, we open with a short atmospheric orchestral piece based on an ancient Finnish legend. And after the interval, a symphony by Beethoven that journeys from a bright, confident opening to a slow, solemn march and a whirlwind finale.
Who’s on stage?
Karina Canellakis - conductor
American conductor Karina Canellakis is the London Philharmonic Orchestra’s Principal Guest Conductor. She leads several concerts with the Orchestra each season, both here at the Royal Festival Hall and on tour.
Karina began her musical career as an orchestral violinist in the world-famous Berlin Philharmonic, before turning her hand to conducting. Since then she’s made a name for herself worldwide, and in 2019 became the first female conductor to conduct the First Night of the BBC Proms at the Royal Albert Hall.
Anne-Sophie Mutter - violin
Anne-Sophie Mutter is a big deal in the violin world, with a career spanning nearly five decades on the world’s major concert stages. She’s known not only for her distinctive sound and fearless virtuosity, but also for championing new music, inspiring major composers to write works especially for her.
London Philharmonic Orchestra
Tonight there are over 80 LPO musicians on stage. Our musicians represent over 14 different nationalities, and many enjoy busy solo, chamber and teaching careers alongside their orchestral work. Turn to page 6 to see a full player list.
What to expect
Take your seats...
The Orchestra tune up their instruments, then the conductor, Karina, enters the stage. Once the applause dies down, sit back and enjoy the music ...
Jean Sibelius
Pohjola’s Daughter
Inspired by an ancient Finnish legend, this vivid musical poem paints a sweeping picture of a hero’s impossible quest, full of icy Nordic colours, surging drama, and moments of quiet wonder.
Pyotr Ilyich Tchaikovsky
Violin Concerto with soloist Anne-Sophie Mutter
A concerto is a showpiece for a solo instrument accompanied by the orchestra. You’ll hear the violin sing long, sweeping melodies, chatter playfully over light, dance-like rhythms, and then race through an exhilarating finale. It’s a brilliant showpiece that blends virtuoso sparkle with a warm, romantic heart.
Interval 20 min
Ludwig van Beethoven
Symphony No. 7
Longer classical pieces are often made up of movements, or shorter sections. Applause is usually saved for after the final movement.
Maybe an encore! The soloist might play a little extra surprise piece, if the applause is loud enough!
Beethoven composed nine symphonies, and this is one of the most popular. Throughout the four movements, it’s driven by bold rhythms and a steady sense of forward motion, from a bright, confident opening to a slow, solemn march and a whirlwind finale. It’s pure energy and momentum, with the whole orchestra caught up in the thrill of the dance!
After the final piece, we applaud the Orchestra. The conductor will acknowledge the Leader (chief First Violin), Pieter, and might highlight other players for particular appreciation and applause, with rounds of bows bringing the evening to a celebratory close.
Want to read more? Turn to page 10 for a deeper dive into this evening’s pieces.
Welcome LPO news
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Just announced: Strictly dancers join the LPO
For our Saturday 21 March concert, ‘Four Seasons of Buenos Aires’ at the Queen Elizabeth Hall, we’re excited to welcome BBC One’s Strictly Come Dancing dancers Lauren Oakley and Kai Widdrington, who will perform a live tango on stage during the concert.
We’re thrilled that Lauren and Kai will also join us afterwards for an ‘After Dark’ post-concert performance from 8.30pm in the QEH foyer. LPO string players will perform an intimate set of tango music, featuring more live dance from Lauren and Kai.
‘After Dark’ tickets are £10, or free to ticket-holders for the main evening concert.
The LPO Junior Artists programme supports talented teenage musicians from backgrounds currently underrepresented in professional UK orchestras. Junior Artists spend a season with us and become fully immersed in the workings of the LPO. They are each mentored by a member of the Orchestra, and take part in a variety of performances, behind-the-scenes activities and skills workshops, as well as events to inspire future generations of young musicians.
Before tonight’s concert, this year’s Junior Artists will give a free performance in the Royal Festival Hall at 6pm, performing alongside LPO musicians, Foyle Future Firsts and Junior Artist alumni in a celebration of vibrant young talent. They will be conducted by Wilson Ng, LPO Fellow Conductor 2025/26. The programme includes a world premiere by former LPO Young Composer Zach Reading, written especially for and with input from these incredible young musicians. They will also perform music by Beethoven, Debussy and Coleridge-Taylor.
No ticket required, everyone welcome!
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 outstanding early-career conductors from backgrounds underrepresented 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 Kahchun Wong. Our lineup of soloists this season includes violinists Anne-Sophie Mutter, Alina Ibragimova, James Ehnes and Himari; cellist Nicolas Altstaedt; 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.
This season also sees tours to South Korea and across Europe, as well as a wide range of performances and community events in our Brighton, Eastbourne and Saffron Walden residencies.
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
Chair supported by Irina Gofman & Mr Rodrik V. G. Cave
Minn Majoe
Chair supported by Dr Alex & Maria
Chan
Katalin Varnagy
Martin Höhmann
Yang Zhang
Wing Yan Alison Kwok
Thomas Eisner
Chair supported by Ryze Power
Nilufar Alimaksumova
Ronald Long
Julian Schad
Jamie Hutchinson
Second Violins
Emma Oldfield Principal
Claudia Tarrant-Matthews
Nynke Hijlkema
Nancy Elan
Marie-Anne Mairesse
Joseph Maher
Sophie Phillips
Chair supported by Friends of the Orchestra
Kate Birchall
Ashley Stevens
Sioni Williams
Ricky Gore
Kate Cole
Violas
Przemysław Pujanek
Guest Principal
Carys Barnes
Katharine Leek
Martin Wray
Chair supported by David & Bettina
Harden
Benedetto Pollani
Raquel López Bolívar
James Heron
Kate De Campos
Richard Cookson
Charles Cross
On stage tonight
Cellos
Kristina Blaumane Principal
Chair supported by Bianca & Stuart Roden
Waynne Kwon
Chair supported by an anonymous donor
David Lale
Francis Bucknall
Leo Melvin
Helen Thomas
Iain Ward
Rasmus Støier Andersen
Double Basses
Kevin Rundell* Principal
George Peniston
Tom Walley
Chair supported by William & Alex de Winton
Laura Murphy
Chair supported by Ian Ferguson & Susan Tranter
Charlotte Kerbegian
Catherine Ricketts
Flutes
Tom Hancox Guest Principal
Hannah Grayson
Piccolo
Stewart McIlwham* Principal
Oboes
Emanuel Abbühl
Guest Principal
Alice Munday
Chair supported by David & Yi Buckley
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
Bass Clarinet
Paul Richards* Principal
Bassoons
Jonathan Davies* Principal
Chair supported by Sir Simon Robey
Helen Storey*
Contrabassoon
Simon Estell* Principal
Horns
John Ryan* Principal
Mark Vines Co-Principal
Martin Hobbs
Duncan Fuller Gareth Mollison
Trumpets
Paul Beniston* Principal Chair supported by the Williams family in memory of Grenville Williams
Tom Nielsen* Principal Anne McAneney*
Cornets
Tom Nielsen*
Ben Jarvis
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
Marney O’Sullivan Guest Principal
Harp
Sue Blair Guest Principal
Assistant Conductor
Wilson Ng
*Professor at a London conservatoire
The LPO also acknowledges the following chair supporters whose players are not present at this concert:
The Candide Trust
Gill & Garf Collins
Victoria Robey CBE
Malcolm & Alison Thwaites
Joe Topley & Tracey Countryman
London Philharmonic Orchestra • 18 February 2026 • Anne-Sophie Mutter plays Tchaikovsky
Karina Canellakis
Principal Guest Conductor, London Philharmonic Orchestra
Internationally acclaimed for her symphonic and operatic performances characterised by interpretive depth, refinement and emotional impact, Karina Canellakis is welcomed by the finest musical institutions across the globe. She has been Principal Guest Conductor of the London Philharmonic Orchestra since 2021, and is also Chief Conductor of the Netherlands Radio Philharmonic Orchestra.
In October 2025 Karina conducted the London Philharmonic Orchestra in two Royal Festival Hall concerts featuring works by Lili Boulanger, Stravinsky and Mozart, as well as a concert at Saffron Hall, where the LPO is a resident orchestra. Tonight’s concert will be followed by a seven-city European tour with Anne-Sophie Mutter, giving concerts in five German cities, as well as in Vienna and Luxembourg.
October 2025 saw Karina’s first full album release on the LPO’s own label: a pairing of Tchaikovsky’s Fifth and Sixth Symphonies, recorded live in concert at the Royal Festival Hall (LPO-0137: see page 13).
As Chief Conductor of the Netherlands Radio Philharmonic, this season Karina programmes and leads a range of newly commissioned works alongside great masterworks at Amsterdam’s Concertgebouw and the TivoliVredenburg in Utrecht. Other 2025/26 highlights include her debut with the Vienna Philharmonic at the Mozartwoche Salzburg; and her debut at the Hamburg State Opera with Bartók’s Duke Bluebeard’s Castle and Zemlinsky’s A Florentine Tragedy. She returns this season to the Swedish Radio Symphony, Vienna Symphony, Chicago Symphony and San Francisco Symphony orchestras, and also makes her debut with the Orchestre de la Suisse Romande in Geneva.
Karina conducts at least one opera-in-concert each season with the Netherlands Radio Philharmonic Orchestra at the Concertgebouw, and next month will lead Britten’s Peter Grimes featuring Allan Clayton in the title role.
2023 saw the start of a multi-album collaboration between Karina, the Netherlands Radio Philharmonic and Pentatone, with their debut release, Bartók’s Concerto for Orchestra and Four Orchestral Pieces, earning a Grammy nomination. Her second album for Pentatone, Bartók’s Duke Bluebeard’s Castle, was released in April 2025 to glowing international reviews.
Karina has developed close relationships with several of the world’s leading orchestras, regularly returning to the Bavarian Radio Symphony, Orchestre de Paris, Vienna Symphony and Munich Philharmonic, and top American orchestras such as the New York Philharmonic, Los Angeles Philharmonic, Boston, Chicago, and San Francisco symphonies, and the Cleveland and Philadelphia Orchestras. She was Principal Guest Conductor of the Berlin Radio Symphony Orchestra from 2019–23, and in 2023/24 was Artist-in-Residence at Vienna’s Musikverein.
Already known to many in the classical music world as a virtuoso violinist, Karina grew up in New York City. She was encouraged to become a conductor by Sir Simon Rattle while playing in the Berlin Philharmonic as a member of the Karajan-Akademie. She spent several years performing as a soloist, guest leader and chamber musician, until conducting eventually took over after she won the Sir Georg Solti Award in 2016.
Karina Canellakis’s position at the LPO is generously supported by Richard Buxton.
Anne-Sophie Mutter is a musical phenomenon: for nearly five decades she has been a fixture in the world’s major concert halls, making her mark on the classical music scene as a soloist, mentor and visionary. The fourtime Grammy Award winner is equally committed to the performance of traditional composers as to the future of music. So far, she has given world premieres of 34 works – Thomas Adès, Unsuk Chin, Sebastian Currier, Aftab Darvishi, Henri Dutilleux, Sofia Gubaidulina, Witold Lutosławski, Norbert Moret, Krzysztof Penderecki, Sir André Previn, Wolfgang Rihm, Jörg Widmann and John Williams have all composed for her.
Anne-Sophie Mutter has appeared regularly with the LPO, both in London and on tour – in fact, she is by far the soloist who has performed most often with the Orchestra. Their most recent collaboration was in January 2024, when she gave the UK premiere of John Williams’s Violin Concerto No. 2, dedicated to her by the composer. Following tonight’s concert, she will embark on a tour of Germany, Vienna and Luxembourg with the Orchestra and conductor Karina Canellakis.
This season, Anne-Sophie Mutter once again reflects her musical versatility and her unrivalled standing in the classical music world with performances in Europe, the Far East and North America. In September 2025, she gave performances of Thomas Adès’s Air – Homage to Sibelius, dedicated to the violinist, and Mozart’s Violin Concerto No. 1 in B flat major, with Cristian Măcelaru and the Orchestre National de France in Bucharest and Paris. A chamber music tour followed in October: with cellist Pablo Ferrández and pianist Yefim Bronfman, she performed Beethoven’s ‘Archduke’ Trio and Tchaikovsky’s Piano Trio in A minor in Germany, Switzerland, Spain and France. At the Vienna
Musikverein in October, Anne-Sophie gave three world premieres: Three Dances by Max Richter, an arrangement of Johann Strauss’s ‘Csardas’ from Die Fledermaus, and When the World Was Waltzing by John Williams.
2026 began with a tour to Taiwan and Hong Kong, during which Anne-Sophie brought John Williams’s Violin Concerto No. 2 to Asia and performed film themes with the Hong Kong Philharmonic and the National Symphony Orchestra Taiwan. Next month, she will perform Beethoven’s Violin Concerto with the Israel Philharmonic under Lahav Shani, and later this spring she embarks on a tour of Germany with the Berlin Baroque Soloists. The programme includes Mozart violin concertos, André Previn’s Violin Concerto No. 2 with two harpsichord interludes – which the composer dedicated to her and which she premiered – as well as Aftab Darvishi’s Likoo for solo violin, commissioned by the violinist and premiered in April 2025.
In August 2026, a residency at the Lucerne Festival will mark Anne-Sophie’s 50th stage anniversary there. The celebrations begin with an artist talk in Meggen, the place where she made her debut in 1976. This will be followed by two concerts: she will conduct the Lucerne Festival Orchestra from her violin, performing Darvishi’s Likoo and concertos by André Previn and Mozart. Penderecki’s Second Violin Concerto (Metamorphosen) – another central work in her oeuvre – is also on the programme. Together with the Pittsburgh Symphony Orchestra under the baton of Manfred Honeck, this multi-layered work, written especially for her by the composer, will be performed as the third part of her stage anniversary in Lucerne.
In collaboration with Alpha Classics, Anne-Sophie Mutter is releasing a series of works written for her under the name ‘ASM Forte Forward’. The first album in the series, ‘East Meets West’, will be released on 27 March 2026 and features works by Darvishi, Chin, Adès and Widmann, while Deutsche Grammophon is honouring her anniversary with a comprehensive catalogue initiative spanning 40 years of collaboration.
Anne-Sophie Mutter dedicates herself to supporting tomorrow’s musical elite and numerous charitable projects. In 2022, she joined the foundation board of the Lucerne Festival. In 1997, she founded the Association of Friends of the Anne-Sophie Mutter Foundation, to which the Anne-Sophie Mutter Foundation was added in 2008. These two charitable institutions provide support for scholarship recipients, tailored to the Fellows’ individual needs.
The Kalevala is the Finnish national epic. Its poetry and stories are drawn from both Finland and Karelia, the lands shared between modern-day Finland and Russia, which have long been a source of dispute. The texts are ancient, but had largely disappeared from Finnish consciousness until Elias Lönnrot published an edition in 1835, from which point the Kalevala again became a symbol of national pride.
A committed patriot, albeit speaking only Swedish at the beginning of his life, Sibelius made a rigorous study of Finnish literary culture, as spurred by his fiancée Aino Järnefelt. Enthralled by the Kalevala, he found ‘pure music’ in its metre, images and atmosphere. ‘All my moods derive from the Kalevala’, he wrote to Aino in 1891, before embarking on what would become his Kullervo Symphony. It began a whole series of works that derived their inspiration, programmes, even rhythms from passages of the Kalevala, including ‘four legends’ about one of the epic’s heroes, Lemminkäinen, and, in 1905–06, a ‘symphonic fantasia’ about Pohjola’s Daughter.
The piece concerns an older hero from the Kalevala, Väinämöinen, who is making his way home from the far north (‘Pohjola’). There, he encounters a strange, beautiful woman, sitting on a rainbow and weaving a cloth of gold. He asks her to join him on his journey, but she challenges him to build a boat from her spindle. Evil spirits intervene and, having failed the task, Väinämöinen has to carry on alone.
Sibelius describes the tale in a vivid, 12-minute sonataform structure, in which a ‘bardic’ cello provides the introduction, the brute force of the brass section speaks of Väinämöinen, and the strings and the woodwind – as well as, notably, the harp (evoking the central spinning wheel) – introduce the beautiful daughter of the title. At last, she laughs shriekingly in Väinämöinen’s face, before he wends his desolate way and recedes into the frozen distance.
If there is a sense of reawakening, perhaps even of rebirth, to the start of Tchaikovsky’s Violin Concerto, it is an entirely appropriate one. Only days before he started composing it in March 1878, he had been picking at a new piano sonata with scant success: ‘Am I played out?’, he wrote in a letter. ‘I have to squeeze out of myself weak and worthless ideas and ponder every bar.’ He was writing from the house at Clarens near Lake Geneva, where he was staying as part of his six-month escape from Russia following the personal disaster and resultant mental breakdown (there had even been a suicide attempt) provoked by his illconsidered marriage the previous year. In that period of wandering, he had completed both the Fourth Symphony and the opera Eugene Onegin, but begun very little that was new in itself.
It was now, however, that the arrival of Josef Kotek, a violinist and former pupil from the Moscow Conservatory (and possibly a former lover), brought a recovery in the composer’s spirits. The two spent much time playing chamber music together, and within three days Tchaikovsky was enthusiastically at work on the Violin Concerto. The sketches were completed eleven days later and the scoring a fortnight after that, by which time Tchaikovsky had also managed to provide a new slow movement to replace the original (which survives as Méditation for violin and piano). The work got a lukewarm reception at its first performance in Vienna in 1881 with Adolf Brodsky as soloist, but the
Programme notes
Russian premiere in Moscow nine months later set it firmly on the way to the popularity it enjoys today.
Of the pieces Tchaikovsky and Kotek played through together, one that particularly impressed the composer was Édouard Lalo’s new Symphonie espagnole for violin and orchestra, both for its ‘freshness’ and for the fact that ‘like Léo Delibes and Bizet, [Lalo] does not strive for profundity, but carefully avoids the routine, seeks out new forms, and thinks more about musical beauty than observing established traditions, as the Germans do’. That freshness certainly finds its way into Tchaikovsky’s Concerto, which inhabits a very different world from the tortured emotionalism of his recent symphony and opera. But there is something here, too, of the unforced and unassuming formal simplicity of Lalo’s approach, though this is not to say that it is without craft. The first movement is a sonata form with an elegant introduction and two clearly discernible big
melodies amid some more fleeting themes, all bound together by subtly glinting thematic connections. ‘Musical beauty’ is also present; like Mendelssohn in his Violin Concerto – whose formal quirk of a cadenza placed before the moment of recapitulation it also recalls – Tchaikovsky manages effortlessly to make natural partners of lyrical grace and virtuoso brilliance.
Tchaikovsky’s designation of the slow movement as a Canzonetta acknowledges its essentially song-like nature (complete with woodwind introduction and play-out), but does little to hint at its Slavic melancholy. That Russian flavour is then raised to a newly boisterous level in a Finale that sports two dance-like themes, the first excitably athletic, the second a more lyrical one whose innate soulfulness quickly overcomes the rustic drones with which it first appears.
An announcement will be made five minutes before the end of the interval.
Tchaikovsky’s Violin Concerto on the LPO Label
Tchaikovsky Violin Concerto
Lalo Symphonie espagnole for violin and orchestra
Augustin Hadelich violin
Vasily Petrenko conductor (Tchaikovsky)
Omer Meir Wellber conductor (Lalo)
London Philharmonic Orchestra
LPO-0094
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Programme notes
Ludwig van Beethoven 1770–1827
Symphony No. 7 in A major 1811–12
1.
Poco sostenuto – Vivace
2.
Allegretto
3.
Presto – Assai meno presto
4.
Allegro con brio
Four years separate Beethoven’s Sixth and Seventh symphonies, four years in which Beethoven’s health went into steep decline. Over the course of six months between 1811 and 1812 he was twice ordered by doctors to spend time at a spa in the Bohemian town of Teplitz to help him recover from a spate of illness. His diaries from this time convey his despondency and heartache, even admitting to thoughts of suicide. Where then, did Beethoven find the sunny demeanour that characterises his Seventh Symphony? Brisk, joyous and radiating warmth, it is one of Beethoven’s most carefree symphonic works, a symphony that Richard Wagner would later call ‘the apotheosis of the dance herself’.
Beethoven, for his part, referred to it as his ‘Grand Symphony in A’, adding in a letter to the impresario Johann Peter Salomon that he considered it ‘one of my best works’. And ‘grand’ is certainly a fitting description. The introduction to the opening Vivace is longer than any symphonic introduction ever composed before: it takes Beethoven nearly four suspense-laden minutes to reach the Vivace, by which time the last thing we are expecting is the ebullient romp that follows.
But it is the solemn Allegretto that has become the Symphony’s calling-card. Although it is not ‘slow’ in the traditional sense (Allegretto meaning ‘fairly brisk’), the Allegretto is the de facto slow movement in an otherwise spirited symphony. Muted both in tone and dynamics, this rather sombre series of variations upon a repetitive, walking theme has been compared to
Anne-Sophie Mutter plays Tchaikovsky
Programme notes
a funeral procession – and for good reason. Just as the first movement was carried along by its propulsive rhythmic accompaniment, repetition abounds here too, but here the ‘long-short-short long-long’ ostinato has quite the opposite effect. Every time it seems to get going, we stall once more, as though the procession were inching forwards only to stop, take stock, and set off again. Only when Beethoven begins to spin out long, languorous countermelodies does the procession find its momentum and a remarkable grandeur emerges out of this rather unassuming theme, only to peter out and sidle off into the distance once more.
There is nothing unassuming, however, about the scherzo that follows. Composed in F major, that same errant key that made its first appearance in the expansive introduction, the scherzo is a whirlwind of tossed-out melodic fragments and sudden dynamic contrasts, relaxing only briefly in the more measured, rustic trio sections – which again recall elements of the composer’s ‘Pastoral’ Symphony. And then, with little more than a couple of punchy chords to pull us back to the home key, Beethoven launches headlong into the finale, a wild, unbound Allegro that Tchaikovsky called
‘a whole series of images, full of unrestrained joy, full of bliss and pleasure of life’. While the conductor Thomas Beecham was rather less kind (‘What can you do with it? It’s like a lot of yaks jumping about’), there is no denying its physicality. Joy spills over into raucousness, the gloom of the Allegretto long forgotten, as the finale hurtles along with an earthy, unrestrained energy that flirts with dance but borders on bedlam.
We hope you enjoyed tonight’s concert. Could you spare a few moments afterwards to complete a short survey about your experience? Your feedback is invaluable to us and will help to shape our future plans.
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On the LPO Label: Karina Canellakis conducts Tchaikovsky
Tchaikovsky Symphonies No. 5 & 6
Karina Canellakis conductor London Philharmonic Orchestra
LPO-0137
Scan to listen instantly or buy CD via the LPO Label online store
‘The decision to appoint Canellakis was a stroke of genius on the LPO’s part – her rapport with the Orchestra grows stronger with every collaboration –and she never fails to bring out the best in her players.’ Music OMH ★★★★★
The Nature Dialogues
Fascinating free pre-concert talks as part of our 2025/26 season theme, Harmony with Nature Book free tickets online at lpo.org.uk
Wednesday 8 April 2026 6pm Harmony with our Fragile Earth
With scientist Johan Rockström, environmentalist Tony Juniper and composer Anna Thorvaldsdottir
Friday 17 April 2026 6pm
Harmony with our Changing Planet
With social scientist Gail Whiteman
Annual Appeal 2026:
Beyond the Concert Hall
Building communities. Creating connections. Enriching lives.
We believe that music is powerful, and we are committed to harnessing its extraordinary ability to break down barriers and forge shared, meaningful human experiences.
Donate to Beyond the Concert Hall and your gift will support impactful, co-created projects. Stand beside us as we use music and music-making to raise confidence and aspirations, boost wellbeing and creativity, and share joy with those who have limited access.
‘I am going through a very hard time. This project has healed my heart.’ Crisis Creates participant
Donate online at lpo.org.uk/beyondthehall, scan the QR code, or call the LPO Individual Giving Team on 020 7840 4212 or 020 7840 4225.
Tchaikovsky & Sibelius
Wed 4 Mar 2026, 7.30pm
Royal Festival Hall
Tchaikovsky Piano Concerto No. 2
Sibelius Symphony No. 2
Paavo Järvi conductor
Alexandre Kantorow piano
Four Seasons of Buenos Aires
Sat 21 Mar 2026, 6.30pm
Queen Elizabeth Hall
Please note time & venue
John Luther Adams Become River
Clarice Assad Terra: Concerto for Bassoon and Orchestra (European premiere)
Piazzolla The Four Seasons of Buenos Aires (with live dance)
Pablo Rus Broseta conductor
Jonathan Davies bassoon*
Alice Ivy-Pemberton violin
Lauren Oakley tango dancer
Kai Widdrington tango dancer
*LPO chair supported by Sir Simon Robey Supported by Cockayne Grants for the Arts, a Donor Advised Fund, held at The Prism Charitable Trust.
Post-concert performance:
After Dark – Tango Landscapes
Queen Elizabeth Hall Foyer 8.30pm
Members of the Orchestra, alongside special guests, take to the Queen Elizabeth Hall foyer for a selection of tango classics from Astor Piazzolla to Carlos Gardel, with a further appearance from dancers Kai Widdrington and Lauren Oakley to bring the dance to life.
Tickets: £10, or free for ticketholders of the 6.30pm concert. Book now at lpo.org.uk
Jonathan Davies
Alexandre Kantorow
Paavo Järvi
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
Joe Topley & Tracey Countryman
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
John & Angela Kessler
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
Mrs Irina Kiryukhina
Rose & Dudley Leigh
Wg. Cdr. M T Liddiard OBE JP RAF
Drs Frank & Gek Lim
Svetlana London
Graham Long
Richard & Judy Luddington
Mr & Mrs Makharinsky
James Maxey-Branch
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
Neil & Karen Reynolds
Sir Bernard Rix
Baroness Shackleton
Tim Slorick
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
Wolf-Christian Ulrich
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
Dame Carol Colburn Grigor DBE
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
John & Angela 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
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
Thank you
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
UK Friends of the Felix Mendelssohn Bartholdy 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
Trusts and Foundations
Principal Partners
Principal Supporters
Major Supporters
Corporate Sponsors
Principal Partner
OrchLab Project Partner
Principal Supporter
Major Supporters
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
Nicola Stevenson
Concerts & Recordings 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
Gabrielle Slack-Smith
Assistant 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
Rosie Morden
Senior Development Manager
Eleanor Conroy
Development Events Manager
Owen Mortimer
Corporate Relations Manager
Anna Quillin
Trusts & Foundations Manager
Holly Eagles
Development Co-ordinator
Faye Jones
Development Assistant
Nick Jackman
Campaigns & Projects Director
Kirstin Peltonen
Development Associate
Marketing & Communications
Kath Trout
Marketing & Communications Director
Sophie Lonergan
Senior Marketing Manager
Georgie Blyth
Press & PR Manager (maternity leave)
Said Abubakar, WildKat PR 07983 489 888
Press & PR (maternity cover)
Josh Clark
Data, Insights & CRM Manager
Greg Felton
Digital Creative
Alicia Hartley
Digital & Marketing Manager
Maria Ribalaygua
Sales & Ticketing Manager
Rachel Williams
Publications Manager
Isobel Jones
Marketing Co-ordinator
Cara Liddiard
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
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2025/26 season design
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LONDON PHILHARMONIC ORCHESTRA & CHOIR
HALLÉ CHOIR
ALLAN CLAYTON | JAMIE BARTON | JAMES PLATT
MAHLER: SYMPHONY NO. 9
Vladimir Jurowski conductor LPO-0139 Released 23 January 2026
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