Introducing Beethoven

Watch our short introduction to Beethoven's Piano Concerto No. 3

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Booking Info

Royal Festival Hall 2014/15

  • Please note that a transaction fee of £1.75 will be added to each order made online.
  • Tickets booked fewer than five working days before the date of the concert will be available for collection at the ticket office from 6.30pm on the day of the performance.
  • Concessions: 50% off all ticket prices for full-time students, benefit recipients (Jobseeker's Allowance, Income Support or Pension Credit) and under-16s (maximum 4 per transaction. Not applicable to Family Concerts) only. Limited availability; appropriate cards will be checked on admission.
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The very best seats in the stalls, ensuring you the finest acoustic and view, are available as Premium seats.

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Book 3-4 concerts and receive a 10% discount
Book 5-7 concerts and receive a 15% discount
Book 8-10 concerts and receive a 20% discount
Book 11-14 concerts and receive a 25% discount
Book 15 or more concerts and receive a 30% discount

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Only nine tickets per concert can be bought online. Bookings of ten or more seats for the same concert are eligible for the group booking discount of 20%. Please call the London Philharmonic Orchestra Group Booking Line on 020 7840 4205 for further details.

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London Philharmonic Orchestra ticket office: 020 7840 4242
Mon-Fri 10am-5pm. £2.75 transaction fee

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In person at Southbank Centre: no transaction fee.

Minimum age

7.30pm concerts are not recommended for children of five years and under, and Southbank Centre staff reserve the right to refuse entry to young children for these events. We recommend our FUNharmonics concerts for children.


Alsop conducts Beethoven

An evening dedicated to one of history’s most influential composers.

7:30 PM, ​ Royal Festival Hall, London

Beethoven Overture, Leonore No. 3
Beethoven Piano Concerto No. 3
Beethoven Symphony No. 7

Marin Alsop conductor
David Fray piano
London Philharmonic Orchestra

In the third of his piano concertos, Beethoven reached for new dramatic tools. His orchestra took in the warmth, strength and colour of added clarinets, trumpets and drums. For the first time in a concerto, Beethoven opted for the darkness of a controlling minor key. But after the argument of its first movement, the weightlessness of its central Largo and the vigorous wit of its finale, Beethoven’s Concerto discovers the radiance of C major. There’s little of that journey to enlightenment in Beethoven’s Seventh Symphony, just music animated by the power of rhythm as none had been before, and described by one conductor as ‘a festive paradise untouched by mortality’.

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