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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 Saturday 24 January 2026 | 7.30pm

Mahler’s Tenth Mahler Symphony No. 10 (75’) completed by Rudolf Barshai Vladimir Jurowski conductor There is no interval in this evening’s concert. Concert supported by a syndicate of donors

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 Programme note 10 New on the LPO Label: Jurowski conducts Mahler 9 11 Next concerts 12 LPO Annual Appeal 2026 13 Sound Futures donors 14 Thank you 16 LPO administration

London Philharmonic Orchestra • 24 January 2026 • Mahler’s Tenth

Welcome

LPO news

Welcome to the Southbank Centre

New on the LPO Label: Vladimir Jurowski conducts Mahler 9

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.

Released yesterday on the LPO Label, Mahler’s Symphony No. 9 marks Vladimir Jurowski’s fifth Mahler release with the London Philharmonic Orchestra. Recorded live in concert at the Royal Festival Hall in December 2022, it captures Jurowski’s deeply personal interpretation of the composer’s farewell to life and art. Critics praised the live performance for its insight and emotional intensity, with Bachtrack describing it as ‘a Mahler Nine to die for’ and The Arts Desk calling it ‘a performance to make the heart beat faster’.

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. 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.

The album is available on all major streaming platforms, or to purchase on CD or as a download from our online store at lpo.ochre.store

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

LPO Annual Appeal 2026: Beyond the Concert Hall We’ve just launched the London Philharmonic Orchestra 2026 Annual Appeal, Beyond the Concert Hall – celebrating the power of music to bring people together, build communities and enrich lives. Your donation will help us deliver co-created projects that inspire confidence, boost wellbeing and creativity, and bring joy to those who have limited access to live music. Find out more on page 12, or visit lpo.org.uk/ beyondthehall

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 • 24 January 2026 • Mahler’s Tenth

On stage tonight First Violins

Pieter Schoeman* Leader Chair supported by Neil Westreich

Alice Ivy-Pemberton Co-Leader Vesselin Gellev Sub-Leader Kate Oswin Chair supported by Eric Tomsett

Lasma Taimina

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

Minn Majoe

Chair supported by Dr Alex & Maria Chan

Katalin Varnagy Megan Yang Martin Höhmann Yang Zhang Nilufar Alimaksumova Amanda Smith Rasa Zukauskaite Daniel Pukach Ricky Gore Alice Apreda Howell

Second Violins

Tania Mazzetti Principal

Chair supported by The Candide Trust

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

Joseph Maher Ashley Stevens Nancy Elan Sioni Williams Emma Crossley Sheila Law Eriko Nagayama José Nuno Cabrita Matias Anna Croad

Violas

Jane Atkins Guest Principal Samuel Burstin Martin Wray Chair supported by David & Bettina Harden

Katharine Leek Laura Vallejo Lucia Ortiz Sauco Benedetto Pollani James Heron Stanislav Popov

Bass Trombones

Jisu Song Shiry Rashkovsky Jill Valentine

Clarinets

Benjamin Mellefont* Principal

Lyndon Meredith Principal Daniel West

Cellos

Emily Crook James Maltby Thomas Watmough

Tenor Tuba

Chair supported by Sir Nigel Boardman & Prof. Lynda Gratton

Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden

E-flat Clarinets

Henry Shapard Co-Principal Waynne Kwon

Thomas Watmough Principal

Chair supported by an anonymous donor

Chair supported by Roger Greenwood

Emily Crook

Daniel Hammersley David Lale Francis Bucknall Leo Melvin Sue Sutherley Tom Roff Helen Thomas

Bass Clarinets

Paul Richards* Principal James Maltby

Bassoons

Jonathan Davies* Principal Chair supported by Sir Simon Robey

Double Basses

Helen Storey* Simon Estell* Fergus Butt

Kevin Rundell* Principal Sebastian Pennar* Co-Principal Hugh Kluger Tom Walley

Contrabassoons

Simon Estell* Principal Fergus Butt

Chair supported by William & Alex de Winton

Laura Murphy

Horns

Chair supported by Ian Ferguson & Susan Tranter

Annemarie Federle Principal

Charlotte Kerbegian Lowri Estell Ben Havinden-Williams

Chair supported by Victoria Robey CBE

John Ryan* Principal Martin Hobbs Mark Vines Co-Principal Gareth Mollison Elise Campbell Duncan Fuller

Flutes

Juliette Bausor Principal

Chair supported by Malcolm & Alison Thwaites

Hannah Grayson Stewart McIlwham* Katherine Bicknell

Trumpets

Stewart McIlwham* Principal Katherine Bicknell

Oboes

Ilid Jones Sue Böhling*

Trombones

Mark Templeton* Principal Chair supported by William & Alex de Winton

Jamie Tweed

Chair supported by Dr Barry Grimaldi

Ilid Jones

Oren Marshall

Timpani

Simon Carrington* Principal Chair supported by Victoria Robey CBE

Jonathan Phillips

Percussion

Andrew Barclay* Principal

Chair supported by Gill & Garf Collins

Karen Hutt Co-Principal

Chair supported by Joe Topley & Tracey Countryman

Oliver Yates Feargus Brennan Sarah Mason Tim Gunnell Oliver Butterworth Francesca Lombardelli

Harps

Elizabeth McNulty Guest Principal Tomos Xerri

Celeste

Catherine Edwards

Assistant Conductor

Tom Nielsen*

Sue Böhling* Principal

Chair supported by William & Alex de Winton

Anne McAneney* David Hilton Joe Skypala

Cornet

Cors Anglais

Lee Tsarmaklis* Principal

Guitar

Ian Hardwick* Principal Alice Munday

Chair supported by David & Yi Buckley

Tubas

Paul Beniston* Principal

Chair supported by the Williams family in memory of Grenville Williams

Piccolos

David Whitehouse

Dan Thomas Wilson Ng

*Professor at a London conservatoire The LPO also acknowledges the following chair supporters whose player is not present at this concert: Ryze Power

London Philharmonic Orchestra • 24 January 2026 • Mahler’s Tenth

©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 • 24 January 2026 • Mahler’s Tenth

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 • 24 January 2026 • Mahler’s Tenth

Vladimir Jurowski KBE Conductor Emeritus, London Philharmonic Orchestra

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.

Earlier this week, the LPO Label released Vladimir Jurowski’s live recording of Mahler’s Symphony No. 9 (see page 10). This follows numerous acclaimed recordings released during his tenure as Principal Conductor, including Mahler’s Symphonies Nos. 1, 2, 4 & 8, and 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 Russian National Orchestra; and Music Director of Glyndebourne Festival Opera.

London Philharmonic Orchestra • 24 January 2026 • Mahler’s Tenth

Programme note Gustav Mahler 1860–1911

Symphony No. 10 in F sharp major

Edited and completed by Rudolf Barshai, 2000

1. Andante – Adagio 2. Scherzo 3. Purgatorio: Allegretto moderato 4. Allegro pesante 5. Finale Gustav Mahler’s shockingly early death in 1911, just short of his 51st birthday, came just as the musical world was beginning to adjust its view of him radically. For most of his adult life he’d been regarded as a great conductor who also composed (many would have added ‘unfortunately’). The dazzlingly triumphant premiere of his colossal Eighth Symphony in 1910 had changed all that – but now he was dead! News soon spread that Mahler’s heart had been in poor condition for some time, and when his last two completed works – the Ninth Symphony and the ‘song-symphony’ Das Lied von der Erde (‘The Song of the Earth’) – were heard for the first time, many heard a note of heartrending farewell, even of fatal prophecy, in this music. In fact, the diagnosis of a heart lesion, made back in 1907, wasn’t necessarily a life sentence. As Mahler began to recover, and at the same time struggled to come to terms with the death of his beloved daughter Maria, he’d thrown himself back into his conducting and composing career as energetically as ever. The killer blow almost certainly came in that summer of 1910, when Mahler discovered that his adored wife and muse Alma, whom he’d hymned in quasi-religious tones in his Eighth Symphony, was having an affair with the handsome, brilliant young architect Walter Gropius. Although Mahler and Alma were able to patch things up, the shock began to tell physically. Mahler’s heart finally gave way the following May.

London Philharmonic Orchestra • 24 January 2026 • Mahler’s Tenth

Programme note Not long after Mahler’s death came the news that he’d been working on a five-movement Tenth Symphony in 1910. How far had he got with it? Was any of it performable? The answers were tantalising: the first movement, a substantial Adagio, was more-orless complete, and one other – a strange, sinister little movement entitled ‘Purgatorio’ – was certainly salvageable. These were presented to the world, and the Adagio made quite an impression, not least because its startlingly dissonant harmonies and nearexpressionist intensity brought it closer to the wild imaginings of Viennese radicals like Arnold Schoenberg and Alban Berg than anything Mahler had written before. But as to the other three planned movements, all that apparently remained was a hopeless, tangled mass of sketches. Scrawled across these pages were heartrending verbal exclamations, to Alma, to God or the Fates: ‘My God, my God, why hast thou forsaken me?’ ‘The Devil dances it with me!’ ‘You alone know what it means! ‘ Over the Symphony’s final heartfelt sigh, Mahler had inscribed his pet name for Alma, ‘Almschi!’

than viewing Leonardo da Vinci’s incomplete but fully sketched ‘Adoration of the Magi’: what’s there is glorious enough. But others have felt that still more can be deduced from what Mahler left, and there now also exists a number of unabashed completions by other hands. Of these, the version made by the Russian conductor and viola player Rudolf Barshai (1924–2010) in 2000 is the one that has drawn most praise. It was Barshai who had made the well-known string orchestra version of his friend Dmitri Shostakovich’s Eighth Quartet (the so-called Chamber Symphony, Op. 110a), which the initially sceptical Shostakovich had finally pronounced ‘even better than the original!’ Generally speaking, Barshai’s version is fuller in tone and texture than the Cooke Performing Version. As well as enriching the overall sound, Barshai added counterpoints to melodies and touches of orchestral colour (most strikingly in the percussion) of his own, though he did so with striking sensitivity, and it’s remarkable how Mahlerian a great deal of it sounds. It certainly gives added warmth and brilliance to Mahler’s already gripping emotional narrative. Conductor Vladimir Jurowski offers a personal view: that Barshai’s version ‘brings Mahler more into the proximity of Shostakovich and perhaps Britten (who both adored Mahler, as we know!), while Cooke’s “milder” version lets Mahler dwell more in the post-Romantic era’.

For a long time, it was generally believed that the second, fourth and fifth movements of the Tenth Symphony were beyond rescue. But then the English musicologist and Mahler devotee Deryck Cooke began to look more closely, and he discovered that Mahler had come much closer to finishing the score than anyone had guessed. Mahler had told his New York doctor, Alexander Frankl, that the Tenth Symphony was in essence complete: Cooke’s efforts showed that he was right. Crucially there was a melodic line for the whole Symphony and, thrillingly, melodies, harmonies, counterpoints and important orchestral colours were indicated quite clearly for nearly the whole work. Cooke set about producing what he called a ‘Performing Version’ of the sketches, but he always insisted that this was not a ‘completion’. What Cooke wanted to do was to make the Tenth Symphony performable in more or less the state Mahler had left it in when he died, resisting the temptation to add characteristic Mahlerian ‘make-up’ unless it could be clearly inferred from the sketches.

Rudolf Barshai in 1996

For many, Cooke’s Performing Version was a revelation. it showed was that the Tenth was on its way to being one of Mahler’s most audacious, stirring and magnificently structured symphonies. While much of it echoed the death-shadowed utterances of the Ninth Symphony and Das Lied von der Erde, the ending in particular suggested that he’d begun to move into new spiritual territory. If in places Cooke’s version sounds sketchy, that’s no more of a problem for its champions

London Philharmonic Orchestra • 24 January 2026 • Mahler’s Tenth

Programme note version, even more than in the sparser Cooke score, the Tenth Symphony seems to end with a note of hope. Perhaps, in the Biblical phrase, love really is ‘strong as death.’

As for the narrative itself, the differences between Barshai and Cooke are on the whole more a matter of surface than of substance. In fact, it’s striking that all the different completions of the Tenth Symphony sound like different takes on the same remarkable work: the same speaker in different clothes, one might say. The ghostly, tonally rootless theme for unaccompanied violas that begins the first movement sounds like the voice of a man who has glimpsed the abyss – the deathly vision of the Ninth’s Symphony’s final Adagio still lingers. After much tortured aspiration and sardonic, sometimes weirdly desolate dance music, there is a cathartic climax, with an immense piled-up dissonance and a piercingly sustained high trumpet note. Yet the coda brings consolation, and with it the most tonally stable music we’ve heard so far.

Programme note © Stephen Johnson

In the Scherzo that follows, the dance music of Mahler’s Vienna and rural Austria is subjected to an exuberant, sometimes caustic rhythmic ‘deconstruction’ of a kind that might have impressed Stravinsky. The Scherzo ends with a magnificent upsurge, culminating in a great shout of joy. Could this be life returning in triumph? But then comes the haunted Purgatorio, with its unmistakable cries of pain in the central section and its disturbingly ambiguous ending (the questioning dissonance sustained in Barshai’s score). After this, another scherzo-like movement takes us back to the nightmarish intoxication of the first movement of Das Lied von der Erde. It is on the sketch pages of this movement that we find many of those agonised exclamations to Alma – this sounds like the music of a man struggling desperately with the prospect of devastating loss, and possibly even insanity.

‘Barshai’s version brings Mahler more into the proximity of Shostakovich and perhaps Britten (who both adored Mahler, as we know!) – at least, that’s how I personally feel about it.’ Vladimir Jurowski

Then, as the scherzo morphs into the Finale, there comes one of Mahler’s most awe-inspiring inspirations: muffled drum-strokes separated by long ‘dead’ pauses (in Barshai’s version a hushed sustained bass drumroll), with eerie, fragmentary motifs and sounds in the depths of the orchestra. Behind this stands the memory of a funeral procession for a young fireman Mahler and Alma had witnessed in New York. Yet somehow the Symphony manages to progress from this vision of abysmal nothingness. A wonderful long flute solo is the first sign of life beginning to return, then the singing resumes with growing fervour. An agitated middle section, culminating in a memory of the first movement’s climactic dissonance, fails to destroy what Mahler called the Tenth Symphony’s ‘one great song’. An exquisite hymn to love emerges, culminating in that heartfelt final sigh: ‘Almschi’. A lot depends on the performance, of course, but in Rudolf Barshai’s

We’d love to hear from you 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. Just scan the QR code to begin the survey. Thank you!

New on the LPO Label

Vladimir Jurowski conducts Mahler: Symphony No. 9

Recorded live in concert at the Southbank Centre’s Royal Festival Hall Out now on CD and all major streaming platforms Scan to find out more or listen now

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 Saturday 21 March 2026 5pm

Wednesday 8 April 2026 6pm

Friday 17 April 2026 6pm

Harmony with our Rivers

Harmony with our Fragile Earth

Harmony with our Changing Planet

With extreme angler, author & broadcaster Jeremy Wade

With scientist Johan Rockström, environmentalist Tony Juniper and composer Anna Thorvaldsdottir

With social scientist Gail Whiteman

Galina Cheplakova

George Benjamin

Bohemian London Philharmonic Orchestra • 24 January 2026 • Mahler’s Tenth

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

Our next Royal Festival Hall concerts

†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 (complete ballet) George Benjamin conductor

Book now at lpo.org.uk Edward Gardner

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.

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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.

London Philharmonic Orchestra • 24 January 2026 • Mahler’s Tenth

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

London Philharmonic Orchestra • 24 January 2026 • Mahler’s Tenth

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

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

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

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

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 Andrew T Mills John Nickson & Simon Rew Peter & Lucy Noble Mikhail Noskov & Vasilina Bindley

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

London Philharmonic Orchestra • 24 January 2026 • Mahler’s Tenth

Thank you a

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

Trusts and Foundations

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.

Principalc Partners

Principal Supporters b

Major Supporters

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 Partners Google Lay & Wheeler 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

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Board of the American Friends of the LPO

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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:

Corporate Sponsors

Hannah Young Chair Lora Aroyo Jon Carter Alexandra Jupin Natalie Pray MBE Dr Irene Rosner David Marc Wassermann Catherine Høgel Hon. Director

Principal Partner OrchLab Project Partner

LPO International Board of Governors

Principal Supporter

Natasha Tsukanova Chair Steven M. Berzin Shashank Bhagat Irina Gofman Olivia Ma George Ramishvili Florian Wunderlich

Major Supporters

London Philharmonic Orchestra • 24 January 2026 • Mahler’s Tenth

London Philharmonic Orchestra Administration Board of Directors

New Generation Board

Finance

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

Ellie Ajao Peter De Souza Vivek Haria Rianna Henriques Zerlina Vulliamy

Frances Slack Finance 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

Dayse Guilherme Finance Manager Jean-Paul Ramotar IT Manager & Finance Officer

General Administration Jesús Herrera Artistic Director

Education & Community

David Burke Chief Executive Alicia Downie PA to the Executive & Office Manager

Talia Lash Education & Community Director

Concert Management Roanna Gibson Concerts & Planning Director Graham Wood Concerts & Recordings Manager

Madeleine Ridout Glyndebourne & Projects Manager

Eleanor Conroy Development Events Manager Owen Mortimer Corporate Relations Manager Anna Quillin Trusts & Foundations Manager

Matthew Freeman Recordings Consultant

Holly Eagles Development Co-ordinator

Andrew Chenery Orchestra Personnel Manager Helen Phipps Orchestra & Auditions Manager

Nick Jackman Campaigns & Projects Director Kirstin Peltonen Development Associate

Sarah Thomas Martin Sargeson Librarians

Marketing & Communications

Laura Kitson Stage & Operations Manager Stephen O’Flaherty Deputy Operations Manager

Kath Trout Marketing & Communications Director Sophie Lonergan Senior Marketing Manager

Alicia Hartley Digital & Marketing Manager Maria Ribalaygua Sales & Ticketing Manager

Cara Liddiard Marketing Assistant

Rosie Morden Senior Development Manager

Nicola Stevenson Concerts & Recordings Assistant

Greg Felton Digital Creative

Ellie Leon Education & Community Co-ordinator

Laura Willis Development Director

Alice Drury Tours & Projects Assistant

Josh Clark Data, Insights & CRM Manager

Rachel Williams Publications Manager

Development

Alison Jones Concerts & Artists Co-ordinator

Said Abubakar, WildKat PR 07983 489 888 Press & PR (maternity cover)

Eleanor Jones Lowri Thomas Education & Community Project Managers

Claudia Clarkson Regional Partnerships Manager

Aimee Walton Tours Manager

Georgie Blyth Press & PR Manager (maternity leave)

Isobel Jones Marketing Co-ordinator

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 2025/26 season design JMG Studio Printer John Good Ltd

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NEW ON THE LPO LABEL

ELGAR: THE DREAM OF GERONTIUS Recorded live at the 2022 BBC Proms

EDWARD GARDNER conductor LONDON PHILHARMONIC ORCHESTRA & CHOIR HALLÉ CHOIR ALLAN CLAYTON | JAMIE BARTON | JAMES PLATT

Visit the LPO Label store to buy or download

COMING SOON...

MAHLER: SYMPHONY NO. 9 Vladimir Jurowski conductor LPO-0139 Released 23 January 2026

EDWARD GARDNER CONDUCTS STRAUSS AN ALPINE SYMPHONY METAMORPHOSEN LPO-0140 Released Spring 2026

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