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Free concert programme

2025/26 season at the Southbank Centre

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 21 January 2026 | 7.30pm

Rhapsody on a Theme of Paganini Mosolov The Iron Foundry (3’) Rachmaninov Rhapsody on a Theme of Paganini (23’) Interval (20’) Anna Korsun Terricone (15’) Prokofiev Symphony No. 2 (36’)

Vladimir Jurowski conductor Anna Vinnitskaya piano Part of

The timings shown are not precise and are given only as a guide. Concert presented by the London Philharmonic Orchestra

Contents 2

Welcome LPO news 3 On stage tonight 4 London Philharmonic Orchestra 5 Leader: Pieter Schoeman 6 Vladimir Jurowski 7 Anna Vinnitskaya 8 Harmony with Nature 9 Programme notes 13 New on the LPO Label: Jurowski conducts Mahler 9 14 The Nature Dialogues: Pre-concert talks this season 15 Next concerts 16 LPO Annual Appeal 2026 17 Sound Futures donors 18 Thank you 20 LPO administration

London Philharmonic Orchestra • 21 January 2026 • Rhapsody on a Theme of Paganini

Welcome

LPO news LPO Friends – Behind-the-scenes

Welcome to the Southbank Centre

Earlier today, LPO Friends enjoyed exclusive behindthe-scenes access to a Private Members’ Rehearsal with the Orchestra, conductor Vladimir Jurowski and pianist Anna Vinnitskaya ahead of tonight’s concert.

We’re the UK’s largest centre for the arts and one of the nation’s top five visitor attractions, showcasing the world’s most exciting artists at our venues in the heart of London. As a charity, we bring millions of people together by opening up the unique art spaces that we care for.

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.

The Southbank Centre is made up of the Royal Festival Hall, Queen Elizabeth Hall, Purcell Room, Hayward Gallery, National Poetry Library and Arts Council Collection. We’re one of London’s favourite meeting spots, with lots of free events and places to relax, eat and shop next to the Thames.

New video series: Humans of the Orchestra

We hope you enjoy your visit. If you need any information or help, please ask a member of staff. You can also email hello@southbankcentre.co.uk or write to us at Southbank Centre, Belvedere Road, London SE1 8XX.

Have you seen our new video series yet? ‘Humans of the Orchestra’ gives LPO audiences and fans a chance to get to know the people behind the music – the personalities, stories and passions of our players.

Subscribers to our email updates are the first to hear about new events, offers and competitions. Just head to our website to sign up.

So far, we’ve featured Leader Pieter Schoeman, Principal Cello Kristina Blaumane, Principal Trumpet Paul Beniston and Principal Tuba Lee Tsarmaklis – with more to come very soon! Watch the series on our YouTube channel by scanning the QR code, or visit youtube.com/ londonphilharmonicorchestra

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.

London Philharmonic Orchestra • 21 January 2026 • Rhapsody on a Theme of Paganini

On stage tonight First Violins

Kate Oswin

Lucia Ortiz Sauco James Heron Michelle Bruil Stanislav Popov Jisu Song Jill Valentine

Lasma Taimina

Cellos

Pieter Schoeman* Leader

Chair supported by Neil Westreich

Alice Ivy-Pemberton Co-Leader

Chair supported by Eric Tomsett Chair supported by Irina Gofman & Mr Rodrik V. G. Cave

Minn Majoe

Chair supported by Dr Alex & Maria Chan

Vera Beumer Yang Zhang Martin Höhmann Katalin Varnagy Nilufar Alimaksumova Tom Aldren Daniel Pukach Ricky Gore Caroline Heard Victoria Gill Alice Apreda Howell

Second Violins

Tania Mazzetti Principal

Chair supported by The Candide Trust

Emma Oldfield Co-Principal Claudia Tarrant-Matthews Coco Inman Nynke Hijlkema Nancy Elan Marie-Anne Mairesse Kate Birchall Sophie Phillips Chair supported by Friends of the Orchestra

Ashley Stevens Sioni Williams Kate Cole Emma Crossley Eriko Nagayama

Violas

Jane Atkins Guest Principal Samuel Burstin Laura Vallejo Martin Wray

Chair supported by David & Bettina Harden

Benedetto Pollani Katharine Leek

Cor Anglais

Sue Böhling* Principal Chair supported by Dr Barry Grimaldi

Clarinets

Chair supported by Bianca & Stuart Roden

Chair supported by Sir Nigel Boardman & Prof. Lynda Gratton

Timpani

Thomas Watmough

Jonathan Phillips

Paul Richards*

Percussion

Chair supported by Roger Greenwood

Francis Bucknall Leo Melvin Helen Thomas Colin Alexander Iain Ward Hee Yeon Cho Pedro Silva

Bass Clarinet Bassoons

Chair supported by Joe Topley & Tracey Countryman

Helen Storey* Simon Estell*

Contrabassoon

Co-Principal

Simon Estell* Principal

Hugh Kluger Tom Walley

Horns

Chair supported by William & Alex de Winton

Annemarie Federle Principal

Charlotte Kerbegian Lowri Estell Adam Wynter Michael Fuller

Chair supported by Victoria Robey CBE

Flutes

John Ryan* Principal Martin Hobbs Mark Vines Co-Principal Gareth Mollison

Chair supported by Malcolm & Alison Thwaites

Trumpets

Juliette Bausor Principal Hannah Grayson Stewart McIlwham*

Paul Beniston* Principal

Piccolos

Tom Nielsen* Principal Anne McAneney* David Hilton

Chair supported by the Williams family in memory of Grenville Williams

Stewart McIlwham* Principal

Hannah Grayson

Trombones

Oboes

Mark Templeton* Principal

Ian Hardwick* Principal Alice Munday

Chair supported by William & Alex de Winton

David Whitehouse

Chair supported by David & Yi Buckley

Andrew Barclay* Principal Chair supported by Gill & Garf Collins

Chair supported by Sir Simon Robey

Kevin Rundell* Principal Sebastian Pennar*

Guest Principal

Paul Richards* Principal

Jonathan Davies* Principal

Double Basses

Lee Tsarmaklis* Principal

Chair supported by William & Alex de Winton

Henry Shapard Co-Principal Waynne Kwon Chair supported by an anonymous donor

Tuba

Benjamin Mellefont* Principal

Kristina Blaumane Principal

Bass Trombone

Lyndon Meredith Principal

Karen Hutt Co-Principal

Oliver Yates Feargus Brennan Francesca Lombardelli

Harp

Elizabeth McNulty Guest Principal

Piano

Philip Moore

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: Ian Ferguson & Susan Tranter Ryze Power

London Philharmonic Orchestra • 21 January 2026 • Rhapsody on a Theme of Paganini

©Benjamin Ealovega

London Philharmonic Orchestra

Sharing the wonder worldwide

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.

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 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.

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.

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.

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

London Philharmonic Orchestra • 21 January 2026 • Rhapsody on a Theme of Paganini

Pieter Schoeman Leader

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.

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.

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.

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.

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.

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

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.

lpo.org.uk

London Philharmonic Orchestra • 21 January 2026 • Rhapsody on a Theme of Paganini

Vladimir Jurowski KBE Conductor Emeritus, London Philharmonic Orchestra

Russian National Orchestra; and Music Director of Glyndebourne Festival Opera.

Vladimir enjoys close relationships with the world’s most distinguished artistic institutions, collaborating with many of the world’s leading orchestras including the Royal Concertgebouw Orchestra, the Chamber Orchestra of Europe, the Staatskapelle Dresden, the Gewandhausorchester Leipzig, the Cleveland and Philadelphia orchestras, the New York Philharmonic and the Chicago and Boston symphony orchestras. A committed operatic conductor, Vladimir’s recent highlights include his semi-staged Wagner Ring Cycle with the LPO; the Munich premiere of Weinberg’s The Passenger; new productions of Così fan tutte, Prokofiev’s War and Peace, Der Rosenkavalier, Shostakovich’s The Nose and Penderecki’s Die Teufel von Loudun at the Bavarian State Opera; Die Frau ohne Schatten in Berlin and Bucharest with the Berlin Radio Symphony Orchestra; Henze’s The Bassarids and Schoenberg’s Moses und Aron at the Komische Oper Berlin; his acclaimed debut at the Salzburg Festival with Wozzeck; and his first return to Glyndebourne as a guest conductor, for the world premiere of Brett Dean’s Hamlet with the LPO.

Vladimir Jurowski became the London Philharmonic Orchestra’s Conductor Emeritus in 2021, following 14 years as Principal Conductor, during which his creative energy and artistic rigour were central to the Orchestra’s success. In August 2021 – his final official concert as LPO Principal Conductor – he received the Royal Philharmonic Society Gold Medal, one of the highest international honours in music. In 2024 he was appointed an Honorary Knight Commander of the Most Excellent Order of the British Empire (KBE) by His Majesty King Charles III, in recognition of his services to music and the arts.

This season, Vladimir Jurowski leads the Bavarian State Opera in new productions of Rimsky-Korsakov’s The Night Before Christmas directed by Barrie Kosky, and Wagner’s Die Walküre staged by Tobias Kratzer; the world premiere of Brett Dean’s Of One Blood directed by Claus Guth; and revivals of Elektra and Hänsel und Gretel, as well as tours in Europe and Asia with the Bavarian State Orchestra. His repertoire with the Berlin Radio Symphony Orchestra includes the continuation of a Brahms symphony cycle, Henze’s Ninth, Shostakovich’s 11th and Bruckner’s Eighth symphonies, and music from Sibelius and Suk to Sviridov and Lachenmann.

In April 2024, Vladimir Jurowski concluded his acclaimed Wagner Ring Cycle with the LPO with a semi-staged performance of Götterdämmerung at the Royal Festival Hall. Last season, he conducted the Orchestra in three Royal Festival Hall concerts – including memorable performances of John Adams’s On the Transmigration of Souls, Lyatoshynsky’s Symphony No. 3 and Schubert’s Symphony No. 9 – as well at Saffron Hall and on a tour of Spain. He returns to the Royal Festival Hall this Saturday (24 January) to conduct the Orchestra in Mahler’s Symphony No. 10.

Vladimir Jurowski’s latest recording on the LPO Label – Mahler’s Symphony No. 9 – is released this Friday, 23 January (see page 13). This follows numerous acclaimed recordings released during his time as Principal Conductor, including Mahler’s Symphonies Nos. 1, 2, 4 & 8, the complete symphonies of Tchaikovsky and Brahms, and many others. 2024 saw the completion of a highly-praised three-volume Stravinsky series on the label, and in 2017 the Orchestra released a 7-CD box set of Jurowski’s LPO recordings in celebration of his 10th anniversary as Principal Conductor.

In 2021 Vladimir became Music Director at the Bavarian State Opera in Munich. Since 2017 he has been Chief Conductor and Artistic Director of the Berlin Radio Symphony Orchestra. He is also Principal Artist of the Orchestra of the Age of Enlightenment, and in 2021 stepped down from his decade as Artistic Director of the Russian State Academic Symphony Orchestra to become its Honorary Conductor. He has previously held the positions of First Kapellmeister of the Komische Oper, Berlin; Principal Guest Conductor of the Teatro Comunale di Bologna; Principal Guest Conductor of the

London Philharmonic Orchestra • 21 January 2026 • Rhapsody on a Theme of Paganini

Anna Vinnitskaya piano

Last season, Anna Vinnitskaya was the focus of an Artist Portrait at the Essen Philharmonie. Alongside a series of chamber concerts and recitals, she performed with the Tonhalle-Orchester Zürich under Paavo Järvi, the Mahler Chamber Orchestra under Elim Chan, and the Bochum Symphony Orchestra under Herbert Grönemeyer.

Anna Vinnitskaya’s recordings have received numerous awards, including the Diapason d’Or and Gramophone Editor’s Choice. Her acclaimed discography includes albums dedicated to Chopin and Rachmaninov (with the NDR Elbphilharmonie Orchestra and Krzysztof Urbański), and ‘Piano Dances’ (2024), which pairs her own arrangement of Ravel’s virtuosic La Valse and Valses nobles et sentimentales with Shostakovich’s Puppet Dances and Jörg Widmann’s Circus Dances. Her recording of Bach’s Piano Concertos with Evgeni Koroliov, Ljupka Hadzi-Georgieva and the Kammerakademie Potsdam is particularly important to her.

Winning First Prize at the 2007 Queen Elisabeth Competition in Brussels marked the beginning of Anna Vinnitskaya’s international career. Since then, she has performed with leading orchestras including the Berlin Philharmonic, Gewandhausorchester Leipzig, Staatskapelle Dresden, Munich Philharmonic, NHK Symphony Orchestra Tokyo, Orchestre Philharmonique de Radio France and Boston Symphony Orchestra, receiving great acclaim worldwide. The breathtaking technical precision and tonal subtlety of her playing give her extraordinary freedom in her interpretations, and her performances are distinguished by total dedication, energy, and poetic depth.

Born in Novorossiysk, Russia, Anna Vinnitskaya studied with Sergei Osipienko in Rostov and later with Evgeni Koroliov at the Hochschule für Musik und Theater Hamburg, where she has been a Professor since 2009. She regularly serves on the juries of major piano competitions, including the Concours Reine Elisabeth (May 2025) and the ARD International Music Competition (September 2025).

Tonight’s concert is Anna Vinnitskaya’s debut with the London Philharmonic Orchestra. This season she also performs Rachmaninov’s piano concertos with the Orchestre de Paris under Klaus Mäkelä and the Berlin Radio Symphony Orchestra under Eva Ollikainen, among others. With the Bern Symphony Orchestra and Chief Conductor Krzysztof Urbański, she performs all four of the composer’s piano concertos over two consecutive evenings. Ravel’s Piano Concerto for the Left Hand features in a 125th anniversary concert by the Vienna Symphony Orchestra at the Musikverein with Chief Conductor Petr Popelka, followed by a tour to the Hamburg Elbphilharmonie, Müpa Budapest, Essen Philharmonie and Konzerthaus Freiburg. This season, Anna will give recitals in Bordeaux, Tokyo, Paris, Luxembourg, Madrid and Hamburg. Together with fellow pianists Evgeni Koroliov and Ljupka HadziGeorgieva, she will perform Bach’s works for pianos and orchestra with the Menuhin Academy Soloists in Vienna and Basel, and with the Cologne Chamber Orchestra at the Cologne Philharmonie.

London Philharmonic Orchestra • 21 January 2026 • Rhapsody on a Theme of Paganini

Harmony with Nature Tonight’s works and our 2025/26 season theme 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.

Nature’s voice in tonight’s programme The works that open each half of tonight’s concert explore the complex and often uneasy relationship between humanity, industry and the natural world – a thread that runs throughout our Harmony with Nature season.

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?

The short opening work, Alexander Mosolov’s The Iron Foundry, is a thrilling evocation of early Soviet industrial power. Its clanging rhythms and relentless mechanical drive celebrate human progress, yet the piece also speaks to the dawn of large-scale industrialisation – the moment when humanity’s mastery over nature began to have lasting consequences for the planet.

Throughout the season, we’ll also be partnering with local environmental organisations, and welcoming a host of eminent pre-concert speakers (see page 14), as we attempt to use the power of classical music to encourage environmental stewardship. We hope you’ll join us!

Opening the second half of the concert, Terricone by Ukrainian composer Anna Korsun confronts that lost balance directly. The title refers to the man-made hills of mining waste that scar industrial landscapes – monuments to both human ingenuity and ecological destruction. Through haunting soundworlds, Korsun evokes the invasion of nature by humankind, and by extension, the invasion of her homeland.

Check out the full season at lpo.org.uk/harmony-with-nature

London Philharmonic Orchestra • 21 January 2026 • Rhapsody on a Theme of Paganini

Programme notes Alexander Mosolov 1900–73

The Iron Foundry 1926–27

industrial design, theatre, film, dance, fashion and music.’ Mosolov and like-minded composers were all the rage at the time, but with the advent of Stalin, a more earpleasing, ‘socially constructive’ music was in demand: if factories were still a theme, then they were places where happy workers (and happy machines) lived to glorify the state. Dissonance, of Mosolov’s kind, was if at first not specifically banished, then hardly encouraged. The Iron Foundry was heard at the 1930 festival of the International Society for Contemporary Music in Liège, where it was positively received. ‘We have ... a kind of lyrical theme [can you hear it?], the song of steel, or possibly of man, the ironmaster ... It is an essentially musical idea carried out with convincing skill’, as one critic observed. All this in under three-and-a-half minutes: a two-ton tidbit. The work received its UK premiere at the 1931 Last Night of the Proms under Sir Henry Wood. Its American premiere took place the same year at the Hollywood Bowl, performed by the Los Angeles Philharmonic under its assistant concertmaster Henry Svedrofsky, with choreography by Adolf Bolm and presented under the title ‘The Spirit of the Factory’. Other conductors who championed The Iron Foundry include Ernest Ansermet and Victor de Sabata, the latter making the first recording of the work. Perhaps most memorably, in 1932 the Toronto Symphony performed it under Sir Ernest MacMillan, who began the second half of the concert dressed in overalls and conducted with a monkey wrench.

A graduate of the Moscow Conservatory, Alexander Mosolov is closely associated with the Soviet ‘Constructivist’ movement in music, most notably through the suite from his unproduced ballet Steel. The suite was commissioned for the tenth anniversary of the October Revolution by the Moscow Association of Contemporary Music in 1927. The Iron Foundry, subtitled ‘Music of the Machines’, is drawn from the ballet’s first act: ‘Factory (A Strike)’. The other three movements of the suite are lost. Constructivism, according to Wikipedia, was ‘a philosophy that originated in Russia beginning in 1913 by Vladimir Tatlin. This was a rejection of the idea of autonomous art … The movement was in favour of art as a practice for social purposes. Constructivism had a great effect on modern art movements of the 20th century, influencing major trends such as the Bauhaus and De Stijl movements. Its influence was pervasive, with major effects upon architecture, graphic design,

Programme note © Herbert Glass, reproduced by kind permission of the LA Philharmonic

London Philharmonic Orchestra • 21 January 2026 • Rhapsody on a Theme of Paganini

Programme notes Serge Rachmaninov 1873–1943

Rhapsody on a Theme of Paganini 1934

Anna Vinnitskaya piano

‘It is called Symphonic Variations on a Theme by Paganini’, wrote Rachmaninov to his sister-in-law in August 1934, of his new (and final) work for piano and orchestra. A few weeks later he was calling it a ‘fantasy’, but by the time of its premiere in Baltimore in November (the composer the soloist, with Leopold Stokowski conducting The Philadelphia Orchestra), it had acquired its now familiar name.

it is undoubtedly Rachmaninov’s romantic treatment of it – supremely skilled in its orchestral scoring and glittering piano-writing – that has prolonged its popularity among composers even up to our own time. Rachmaninov opens it with a neat trick, as Variation 1 precedes the theme proper, which is then announced by the violins with only token involvement of the piano. The first few variations fly by at pace, with a temporary slowing at Variation 7 for Rachmaninov to introduce a chordal secondary theme in the piano, that of the solemn plainchant melody associated with the Dies irae section of the Latin Mass for the Dead. This was not the first time he had made use of this ancient tune (it had occurred, for instance, in his 1909 tone-poem The Isle of the Dead) and it would not be the last (it would resurface in his last work, the Symphonic Dances of 1940), but the exact nature of its lasting significance to the composer has never been clear. It will also reappear later in this Rhapsody.

By 1934, Rachmaninov had been living in the USA for 16 years, having left Russia after the 1917 Revolution had deprived him of much of his property and comfortable existence. In Russia he had been known principally as a conductor and composer, but in America he had to develop his career as a concert pianist to earn a living, and the only significant compositions he had so far produced there – the Fourth Piano Concerto (1926) and the ‘Corelli’ Variations for solo piano (1931) – were conceived very much with his own public performances in mind. Neither of those had enjoyed great success, but with the Rhapsody, Rachmaninov struck gold; it quickly became one of his most popular and frequently performed works, a status it still enjoys today, rivalled only by the Second Piano Concerto of 1901.

A greater change of mood comes at Variation 11, the start of a predominantly slower central section which modulates broadly and culminates in the famous Variation 18, in which, by inverting the theme’s first five notes and putting them into the major, he produces one of music’s great romantic melodies. After this has lingered on the air, the music snaps back to the home key and atmosphere of the opening, from there to begin its clamorous mount to the finish, with the Dies irae theme still in attendance.

‘Symphonic Variations’ would probably have been a more accurate title for the work, since, far from being free in construction, it is a taut set of 24 discrete variations on a theme from a caprice for solo violin by the great 19th-century virtuoso Nicolò Paganini. Paganini’s piece, probably composed around 1805, was itself a set of variations and had already been the subject of solo piano variations by Liszt and Brahms, but

Programme note © Lindsay Kemp

Interval – 20 minutes An announcement will be made five minutes before the end of the interval.

London Philharmonic Orchestra • 21 January 2026 • Rhapsody on a Theme of Paganini

Programme notes Anna Korsun born 1986

Terricone 2023

Korsun’s compositions often explore the human voice in combination with acoustic instruments, as well as electronic sourced sounds. Her inspiration frequently springs from the visual arts, literature and nature, which has led to collaborations with artists of different disciplines. Consequently, each of her works is a unique distinctive sonic world, carefully crafted and notated. Among representative works are Audioguide (2018), for singing orchestra; In einem andern Raum, for orchestra with smartphones (2016); Wehmut, for five voices, prepared piano, violin, double bass and sound objects (2011); and Ulenflucht (2016) for 20 singing and playing performers.

In 2021, Anna’s fellow Ukrainian, Kirill Karabits, then Principal Conductor of the Bournemouth Symphony Orchestra, conducted her Audioguide in Lviv. Korsun’s soundworld intrigued him, which led to a BSO commission, and hence Terricone, premiered by the orchestra, conducted by Karabits, at the Lighthouse, Poole, on 11 January 2023. Like some other composers, Anna Korsun prefers not to write about her music herself, ‘because for me it is difficult to transfer musical ideas into verbal means. When I compose a work, I think in terms of sounds, their relationships, connections, mixtures and musical time and not in terms of story-telling. For me, music creates its own world, which does not necessarily have to be applied to literature or image. This piece is another sound being, which the listeners and musicians will experience together with me in their personal way.’

The Ukrainian composer, sound artist and performer Anna Korsun was born in Debaltsevo, in the Donbas region. She studied composition with Moritz Eggert at both the Tchaikovsky National Music Academy of Ukraine in Kyiv, and as a postgraduate at the Munich University of Music and Theatre. Her music has been performed by leading new music groups, such as Ensemble Modern, Asko|Schönberg and, in the UK, Riot Ensemble. Festivals featuring her work include Warsaw Autumn, Darmstädter Ferienkurse, the International Society of Contemporary Music and the Huddersfield Contemporary Music Festival. She has garnered prestigious prizes, for example the Gaudeamus Award (2014) and a Fellowship at Villa Massimo, the German Academy in Rome (2018–19).

Terricone is about 15 minutes long, scored for a standard-sized 21st-century orchestra, with an extra flute in the winds, a large array of percussion (requiring five players), harp and strings. The percussion instruments include timpani, vibraphone, two metal buckets with metal chains to be thrown from one to another, lion roar, ocean drum, waterphone, tam-tam,

London Philharmonic Orchestra • 21 January 2026 • Rhapsody on a Theme of Paganini

Programme notes glockenspiel, metal railway bar, suspended cymbal and flexatone. During the work there are sections with seamless notes, a proportional notation where a strict rhythm is absent, and the musicians make their individual choices where to play.

composer regarding it simply as ‘a poetic abstraction’ which ‘the listeners and performers however can interpret it in different ways.’ Terricone starts with an arresting, searing aural gesture, and given the composer’s licence for interpretation, from this writer’s perspective, it seems like a visceral howl of anguish for Ukraine and its people at this current time of war and danger for its very existence.

The work’s title refers to the artificial mountains, accumulated from mining production waste, that are a feature of the Donbas’s landscape. However, the title has no direct connection to the music itself, the

Programme note © Andrew Burn, 2025

Sergei Prokofiev 1891–1953

Symphony No. 2 in D minor 1925

1. Allegro ben articolato 2. Theme and Variations Prokofiev’s Second Symphony was one of the great hopes of his years living in Paris during his period of self-imposed exile from Russia, but it ended up being one of the worst disappointments. The fiasco of its French premiere under the baton of Serge Koussevitzky proved instructive, because Prokofiev realised that he could not achieve artistic success through selfconscious modernist means alone. The excesses of this score, like that of his Balmont-inspired cantata Seven, They Are Seven, would later yield to a lyrical idiom that Prokofiev called ‘new simplicity.’ The Second Symphony was his experiment with its opposite: new complexity.

movement celebrates the industrial age, drawing inspiration from Arthur Honegger’s Pacific 231, a tonepoem that mimics the actions of a lurching, straining locomotive. The movement preserves the three-part schema of sonata form, but it neither possesses a middle development section nor preserves the functional articulation of keys through harmonies. The movement nearly lacks harmony altogether, since the emphasis is on thickly interwoven contrapuntal lines. Chords, when articulated, tend to be of Mahlerian thickness, and result from two simultaneously unfolding keys. The first section provides a fanfare-like first theme and chorale-like second theme; the ensuing section, which substitutes for the development, presents a hair-raising fugue that progresses to earsplitting unison; the third section provides respite by reprising the opening material. The culminating coda superimposes a slowed-down version of the fanfare with offbeat, syncopated trumpets.

The work is in two movements, the second of which, a set of six variations on a theme, can be partitioned into three sections that fulfil the traditional roles of a symphonic scherzo, slow movement and finale (though the idea that the work is at all traditional would have been anathema to Prokofiev at the time). The first

London Philharmonic Orchestra • 21 January 2026 • Rhapsody on a Theme of Paganini

Programme notes The theme that opens the second movement is tuneful and diatonic, drifting from C major into A minor. The six variations that follow entail fragmentation, ‘bitonal’ harmonisation, and various generic mutations, from grotesque dance to march to chorale. The sixth and final variation has neo-primitivist, Stravinskian contours. It presents the theme in parallel, stacked chords and an asymmetrical (7/4) metre. The Symphony concludes in a tranquil D minor, the oft-overwhelmed home key, which establishes itself through sheer insistence.

opportunity to make those revisions, and the Symphony stands today as one of the most uncompromising statements of his Paris years – a work of steel and vision that still challenges players and listeners alike. Programme note © Simon Morrison

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Few heard that muted ending when the work received its 6 June 1925 premiere. The audience had fled the hall. Prokofiev himself confessed, in a letter to his colleague Nikolai Myaskovsky, that even he could not make head nor tail of the music during the performance, never mind the public. Still, he believed in the score, sensing that it was somewhat beyond the technique of orchestras of the time, and that the texture just needed to be thinned for the rigid, mechanical logic of its construction to be appreciated. He planned to make the needed changes in his later, Soviet years. But he never found the

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Out this week on the LPO Label

Vladimir Jurowski conducts Mahler: Symphony No. 9

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Harmony with our Changing Planet With social scientist Gail Whiteman

London Philharmonic Orchestra • 21 January 2026 • Rhapsody onMahler’s a Theme of Tenth Paganini

Saturday 24 January 2026 7.30pm Mahler Symphony No. 10 (compl. Rudolf Barshai) Vladimir Jurowski conductor Concert supported by a syndicate of donors

Vladimir Jurowski

George Benjamin

Bohemian Rhapsodies

Wednesday 4 February 2026 7.30pm Bacewicz Overture* Martinů Violin Concerto No. 2 Lutosławski Symphony No. 4* Janáček Taras Bulba Edward Gardner conductor Josef Špaček violin *Supported by the Adam Mickiewicz Institute

The Wooden Prince Saturday 7 February 2026 7.30pm

Kaprálová Rustic Suite Szymanowski Stabat Mater* Kaprálová Waving Farewell Bartók The Wooden Prince

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Edward Gardner conductor Galina Cheplakova soprano† Agnieszka Rehlis mezzo-soprano Kostas Smoriginas bass London Philharmonic Choir *Supported by the Adam Mickiewicz Institute †Please note change of artist

Mother Goose

Wednesday 11 February 2026 7.30pm

Scriabin The Poem of Ecstasy George Benjamin Palimpsests Stravinsky Symphonies of Wind Instruments Ravel Mother Goose Edward Gardner

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London Philharmonic Orchestra • 21 January 2026 • Rhapsody on a Theme of Paganini

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London Philharmonic Orchestra • 21 January 2026 • Rhapsody on a Theme of Paganini

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London Philharmonic Orchestra • 21 January 2026 • Rhapsody on a Theme of Paganini

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London Philharmonic Orchestra • 21 January 2026 • Rhapsody on a Theme of Paganini

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