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Home , David Oistrakh, Matthew Barley, Mitsuko Uchida, Viktoria Mullova

Symphony Orchestra Living Music

Thursday 19 May 2016 7.30pm Barbican Hall

MAHLER SYMPHONY NO 6

Shostakovich Concerto No 1 INTERVAL London’s Symphony Orchestra Mahler Symphony No 6 Sir conductor violin

Concert finishes approx 10.10pm

Broadcast live on BBC Radio 3 2 Welcome 19 May 2016

Welcome Living Music Kathryn McDowell In Brief

Welcome to this evening’s LSO concert, where we BMW LSO OPEN AIR CLASSICS are delighted to be joined by Sir Antonio Pappano, a long-standing friend of the Orchestra. This month Join us at this year’s BMW LSO Open Air Classics he conducts two programmes at the Barbican and concert, which takes place in Trafalgar Square a tour of Eastern Europe. on Sunday 22 May at 6.30pm. Valery Gergiev will once again be at the helm, works by The concert opens with Shostakovich’s First Violin Tchaikovsky. Remember to arrive early to secure Concerto, for which the LSO is delighted to welcome your place in the Square. soloist Viktoria Mullova, marking her first performance with us since 2010. This is followed in the second lso.co.uk/openair half by Mahler’s mighty Sixth Symphony, sometimes referred to as the ‘Tragic’. LSO ON TOUR I would like to thank our media partners, BBC Radio 3, who will be broadcasting the concert live. Next week the LSO embarks on a short tour to Wrocław, Vilnius and Riga with Sir Antonio Pappano I hope you enjoy the performance and can join and Nikolaj Znaider. You can follow our journey with us again on 29 May, when Sir Antonio Pappano regular updates on our social media platforms. returns to conduct Elgar’s Second Symphony and Beethoven’s , with Nikolaj Znaider facebook.com/londonsymphonyorchestra as the soloist. twitter.com/londonsymphony instagram.com/londonsymphonyorchestra

A WARM WELCOME TO TONIGHT’S GROUPS

Kathryn McDowell CBE DL The LSO offers great benefits to groups of 10+, Managing Director including 20% discount on standard tickets. At this concert we are delighted to welcome: Coe College

lso.co.uk/groups London Symphony Orchestra Living Music

Gianandrea Noseda opens the season with the Verdi Requiem, his first concerts as LSO Principal Guest Conductor

Sir concludes his Mendelssohn symphonies cycle

Two new commissions from Mark-Anthony Turnage receive their world and UK premieres

Janine Jansen performs in three concerts as part of her LSO Artist Portrait

François-Xavier Roth continues his After Romanticism series

Bernard Haitink performs Bruckner, Mahler and Beethoven with

Lang Lang returns to close the season with Bartók’s No 2

See the full listings, now on sale, at lso.co.uk/201617season 4 Programme Notes 19 May 2016

Dmitri Shostakovich (1906–75) Violin Concerto No 1 in A minor Op 77/99 (1948, rev 1955)

1 NOCTURNE: MODERATO personal and challenging works, putting them 2 SCHERZO: ALLEGRO aside for better times. As well as the Violin Concerto, 3 PASSACAGLIA: ANDANTE they included the Fourth and Fifth String Quartets, 4 BURLESQUE: ALLEGRO CON BRIO – PRESTO the song cycle From Jewish Folk Poetry and the Tenth Symphony. VIKTORIA MULLOVA VIOLIN These works became known to the public only after PROGRAMME NOTE WRITER By his early 40s, Shostakovich had produced a huge Stalin’s death in 1953, the Violin Concerto last of all. ANDREW HUTH is a musician, amount of music in almost every form: operas, ballets, Already familiar to friends and fellow musicians from writer and translator who writes symphonies, chamber music, and several scores for the composer’s run-throughs at the piano, it was extensively on French, Russian the theatre and cinema. His only concerto, however, premiered in Leningrad in October 1955 and then and Eastern European music. was the light (though wonderful and funny) Concerto four months later in , conducted by Evgeny for Piano, Trumpet and Strings of 1933. Wasn’t it now Mravinsky and played by Oistrakh, its dedicatee. time to follow his distinguished colleagues Prokofiev, Shostakovich was delighted by the performances, Myaskovsky and Khachaturian with a violin concerto? and later dedicated to Oistrakh both his Second Some prompting may have come from the great Violin Concerto (1967) and (1968). (1908–74) violinist David Oistrakh, whom he had known as a The movement titles might at first suggest something was one of the foremost violinists friend and chamber music partner for over a decade. like a series of loosely-connected character pieces, and violists of his generation. He but in fact this is one of Shostakovich’s most tightly worked with many of the leading The Violin Concerto was completed in March 1948, and symphonically organised scores. orchestras in the Soviet Union, but had to wait seven and a half years before Europe and America and was the it was performed. The reason, as so often with NOCTURNE dedicatee of a number of the most Shostakovich, was closely bound up with Soviet The Nocturne gives the impression of being the important additions to the violin musical politics. While he was in the middle of most free of the four movements, a long and repertoire of the 20th century. composing the finale, there came the infamous eloquent meditation for the violin, rising and falling Within the Soviet Union he was resolution from the Central Committee of the in great arches of melody. The orchestra functions awarded many prizes and awards Communist Party censoring a number of composers, as accompaniment to the soloist, providing a including the Stalin Prize in 1943, Shostakovich chief among them, for such crimes background of brooding anxiety. Much of this the title of People’s Artist of the USSR as ‘formalist perversions’ and ‘anti-democratic movement’s power derives from its measured in 1953 and the Lenin Prize in 1960. tendencies’. These accusations were nonsense, pace and rhythm, the overall restraint producing but it was Stalin’s nonsense and the composers an effect of great intensity. in question had no choice but to bow their heads and do as they were told. SCHERZO & PASSACAGLIA Restraint is thrown aside in the following Scherzo, Shostakovich was dismissed from his teaching posts a remorseless nightmare of activity that hurtles at the Leningrad and Moscow Conservatoires, and onwards in a wild, frantic dance. One of the many for the next five years presented himself in public as ideas that appear in its course is the four-note DSCH the author of much bland and politically acceptable motive (D, E-flat, C, B-natural in German musical music. But at the same time he also wrote more notation) that the composer used as his own musical lso.co.uk Programme Notes 5

Dmitri Shostakovich Composer Profile

signature; another provides the basis of the third After early piano lessons with his mother, movement, a 17-bar theme given out initially by Shostakovich enrolled at the Petrograd Conservatory cellos and basses, and then repeated a further eight in 1919. He supplemented his family’s meagre income times. This Passacaglia recalls something of the from his earnings as a cinema pianist, but progressed brooding intensity of the first movement, though to become a composer and concert pianist following it is more sectional in construction and therefore the critical success of his First Symphony in 1926 offers a greater variety of expression and gesture. and an ‘honourable mention’ in the 1927 Chopin International Piano Competition in . BURLESQUE A solo cadenza, of mounting tension and fearsome Shostakovich announced his Fifth Symphony of technical difficulty, spills into the finale, which 1937 as ‘a Soviet artist’s practical creative reply to Shostakovich originally intended to be launched by just criticism’. A year before its premiere he had the soloist. He changed his mind, scoring it instead drawn a stinging attack from the official Soviet for the full orchestra, when Oistrakh begged for a mouthpiece Pravda, in an article headed ‘Muddle moment of respite ‘so at least I can wipe the sweat instead of music’. When the Fifth Symphony was off my brow’. This finale, recalling the wild energy premiered in Leningrad, the composer’s reputation of the Scherzo, makes no concessions to Soviet COMPOSER PROFILE WRITER and career were rescued. Acclaim came not only orthodoxy or to the demands for optimism at all ANDREW STEWART from the Russian audience, who gave the work a costs, and puts the seal on one of Shostakovich’s 40-minute ovation, but also from musicians and most powerful and personal works. critics overseas. In July 1941 he began work on the SHOSTAKOVICH on LSO LIVE first three movements of his Seventh Symphony, completing the defiant finale after his evacuation in Schubert & October and dedicating the score to the city. Shostakovich LSO String In 1948 Shostakovich and other leading composers, Ensemble were forced by the Soviet cultural commissar, £7.99 Andrey Zhdanov, to concede that their work represented ‘the formalistic perversions and anti- The LSO String Ensemble, led by democratic tendencies in music’, a crippling blow LSO Leader Roman Simovic, to Shostakovich’s artistic freedom that was healed gives magnificent performances of only after the death of Stalin in 1953. Shostakovich INTERVAL – 20 minutes Schubert’s (arr Mahler) String Quartet answered his critics later that year with the powerful There are bars on all levels of the Concert Hall; ice cream No 14 ‘Death and the Maiden’ Tenth Symphony, in which he portrays ‘human can be bought at the stands on Stalls and Circle level. and Shostakovich’s (orch Barshai) emotions and passions’, rather than the collective The Barbican shop will also be open. Chamber Symphony in C minor. dogma of Communism. A few years before the completion of his final and bleak Fifteenth String Why not tweet us your thoughts on the first half of the lsolive.lso.co.uk Quartet, Shostakovich suffered his second heart performance @londonsymphony, or come and talk to attack and the onset of severe arthritis. Many of his LSO staff at the Information Point on the Circle level? final works are preoccupied with the subject of death. London Symphony Orchestra

Thu 9 Jun 7.30pm Dvorˇák Overture: Othello Bartók Violin Concerto No 1 Dvorˇák Symphony No 8 Daniel Harding conductor violin Recommended by Classic FM

Thu 16 Jun 7.30pm LSO DISCOVERY SHOWCASE: PEACEMAKERS Elim Chan and Howard Moody conductors Francesca Chiejina, Bianca Andrew, Eduard Mas Bacardit, Joan Miquel Muñoz Socias LSO On Track Next Generation LSO Community Choir Orchestral Artistry students from the Guildhall School LSO Community Choir is generously supported by the Rothschild Charities Committee. LSO On Track Next Generation is generously supported by Mizuho, The Clore Duffield Foundation, The Hedley Foundation and LSO Friends.

JUNE 2016 Sun 26 Jun 2016 7pm Maxwell Davies The Hogboon with the LSO (world premiere, LSO co-commission) Berlioz Symphonie fantastique (LSO and Guildhall musicians side by side) Sir conductor Guildhall School Musicians LSO Discovery Choirs London Symphony Chorus Simon Halsey chorus director In memory of the late Sir Peter Maxwell Davies CBE CH (1934–2016). Generously supported by David HS Hobbs. LSO Discovery Choirs are generously supported by Slaughter and May, The Rothschild Charities Committee, The Barnett and Sylvia Shine No 2 Charitable Trust, and LSO Patrons.

LSO SIng is generously supported by Sir Siegmund Warburg’s Voluntary Settlement. lso.co.uk | 020 7638 8891 lso.co.uk Composer Profile 7

Mahler the Man by Stephen Johnson

obsession with mortality in Mahler’s music. Few of his major works do not feature a funeral march: in fact Mahler’s first composition (at age ten) was I am … a Funeral March with Polka – exactly the kind of three times homeless extreme juxtaposition one finds in his mature works. a native of Bohemia in For most of his life Mahler supported himself by conducting, but this was no mere means to an end. an Austrian among Germans Indeed his evident talent and energetic, disciplined commitment led to successive appointments a Jew throughout the world. at Prague, Leipzig, Budapest, Hamburg and climactically, in 1897, the Court Opera. In the midst of this hugely demanding schedule, Mahler composed whenever he could, usually during his summer holidays. The rate at which he composed during these brief periods is astonishing. The workload in no way decreased after his marriage Mahler’s sense of being an outsider, coupled with to the charismatic and highly intelligent Alma Schindler a penetrating, restless intelligence, made him an in 1902. Alma’s infidelity – which almost certainly acutely self-conscious searcher after truth. For Mahler accelerated the final decline in Mahler’s health in the purpose of art was, in Shakespeare’s famous 1910/11 – has earned her black marks from some phrase, to ‘hold the mirror up to nature’ in all its biographers; but it is hard not to feel some sympathy bewildering richness. The symphony, he told Jean for her position as a ‘work widow’. Sibelius, ‘must be like the world. It must embrace everything’. Mahler’s symphonies can seem almost Nevertheless, many today have good cause to over-full with intense emotions and ideas: love and be grateful to Mahler for his single-minded devotion hate, joy in life and terror of death, the beauty of to his art. T S Eliot – another artist caught between nature, innocence and bitter experience. Similar the search for faith and the horror of meaninglessness – themes can also be found in his marvellous songs wrote that ‘humankind cannot bear very much reality’. and song-cycles, though there the intensity is, But Mahler’s music suggests another possibility. With if anything, still more sharply focused. his ability to confront the terrifying possibility of a purposeless universe and the empty finality of death, Gustav Mahler was born the second of 14 children. Mahler can help us confront and endure stark reality. His parents were apparently ill-matched (Mahler He can take us to the edge of the abyss, then sing remembered violent scenes), and young Gustav us the sweetest songs of consolation. If we allow grew dreamy and introspective, seeking comfort ourselves to make this journey with him, we may in nature rather than human company. Death was find that we too are the better for it. a presence from early on: six of Mahler’s siblings died in infancy. This no doubt partly explains the 8 Programme Notes 19 May 2016

Gustav Mahler (1860–1911) Symphony No 6 in A minor (1903–06)

1 ALLEGRO ENERGICO, MA NON TROPPO: Deep in his prophetic soul Mahler had sensed his HEFTIG, ABER MARKIG (INTENSE, BUT PITHY) own fate and spelled it out in music. Some went 2 SCHERZO: WUCHTIG (POWERFUL) even further: Mahler hadn’t just foretold his own 3 ANDANTE MODERATO grim future; he had looked into the abyss of the 4 SOSTENUTO – ALLEGRO ENERGICO coming century and portrayed its horror with exceptional power. Where else could those violent PROGRAMME NOTE WRITER When Mahler began work on his Sixth Symphony march rhythms, those vivid depictions of vanquished STEPHEN JOHNSON is the author in 1903, he thought about giving it a title: ‘The hopes and crushed innocence have come from? of Bruckner Remembered (Faber). Tragic’. But he had already begun to lose faith He contributes regularly to BBC in titles, programmes and other literary props, But there is another possibility. As a young man, Music Magazine and , and by the time the symphony was finished, two Mahler had been deeply impressed by the writings and broadcasts for BBC Radio 3 years later, the name had been dropped for good. of the German philosopher Friedrich Nietzsche. (BBC Legends and Discovering But ‘tragic’ remains most commentators’ verdict For a while he thought of calling his Third Symphony Music), Radio 4 and World Service. on the emotional content of this work, however Die fröhliche Wissenschaft (The Gay Science) – much the shading of that interpretation may vary. the title of one of Nietzsche’s most celebrated works. For the great Mahlerian conductor , The idea of tragedy was central to Nietzsche’s world- the Sixth was ‘bleakly pessimistic … the work view. Nietzsche felt that the tragedies of the Ancient FRIEDRICH NIETZSCHE (1844– ends in hopelessness and the dark night of the Greeks represented some of the sanest – or as 1900) was a German philosopher, soul’. But Mahler’s biographer, Michael Kennedy, he put it ‘healthiest’ – achievements of mankind, whose works included texts on art, sees something more positive in the symphony’s created ‘out of the most profound need’. In tragic art, theatre and music. A one-time friend message: ‘It is a tragic work, but it is tragedy on a the Greeks had been able to look ‘with bold eyes into (and later critic) of Richard Wagner, high plane, classical in conception and execution.’ the dreadful destructive turmoil of so-called world his writings influenced a generation history as well as into the cruelty of nature’, and of composers, including Mahler, For Mahler there was clearly a dark saying at the thereby create an art that was ‘uniquely capable of and , heart of the Sixth Symphony, especially in the the tenderest and deepest suffering’. By experiencing whose tone poem Also Sprach huge finale. His wife Alma reports him as saying this through the medium of tragedy, the spectator Zarathustra is based on Nietzsche’s that this movement tells of ‘the hero, on whom fall could acquire the strength and courage to face the text of the same title. three blows of fate, the last of which fells him like a horror and meaningless cruelty of existence – or as tree.’ Before long these words were to acquire an Nietzsche put it, ‘say ‘Yes’ to life.’ added eerie significance. In 1907, the year after the symphony’s far from successful premiere, ‘three Mahler’s attitude to Nietzsche fluctuated widely in blows of fate’ fell on Mahler himself: he was forced later life. In 1901 he told Alma, on finding that her to resign as conductor of the Vienna Opera; his four- library contained a complete Nietzsche, that the year-old daughter Maria died of scarlet fever; and books ‘should be cast then and there into the fire’. he was diagnosed as having a potentially fatal lesion But according to the conductor , of the heart – the condition that was to kill him four who worked with Mahler from 1905, the composer years later, at the age of 50. To the myth-makers it was ‘an adherent of Nietzsche’. This apparent was a gift. contradiction isn’t really surprising. Mahler was subject to violent swings – of belief as well as mood. lso.co.uk Programme Notes 9

MAHLER on LSO LIVE But it’s easy to see how Nietzsche’s idea of the tragic contributions from celesta and cowbells – in Mahler’s Explore the LSO’s recordings of would have appealed to an artist who throughout words ‘the last terrestrial sounds penetrating into the Mahler’s 9 symphonies on LSO Live, his life was obsessed with death, suffering and remote solitude of mountain peaks’. conducted by Valery Gergiev. the apparently arbitrary cruelty of life, and who strove continually to make sense of them. Perhaps More pounding march figures begin the Scherzo, Available as downloads, individual this ‘tragic’ symphony can be seen as a sustained the return to the minor mode negating the major discs or as a 10-SACD box set. attempt to do just that in music. key ‘triumph’ of the first movement’s ending. (Abrupt major-minor juxtapositions occur throughout the Available at If so, that might account for a paradoxical aspect first, second and fourth movements – a clear ‘tragic’ lsolive.lso.co.uk, of the Sixth Symphony. However violent, pained or motto.) Now the violence has a grotesque edge. in the Barbican ultimately bleak the emotions it expresses, there Even the seemingly innocent Trio theme (introduced Shop or online at is also – for many listeners – something exciting, on the oboe) has a strange, limping four-plus-three iTunes & Amazon exhilarating, even uplifting about much of it. It is as rhythm. This time the ending is hollow, desolate, though Mahler were at the same time exulting in his with fragments of motifs on double basses, contra- mastery, his ability to express what Nietzsche called bassoon and timpani. The Andante moderato is like ‘the artistic conquest of the terrible’ with such power a haven of peace: meditative, songful, an exploration and virtuosity. After all, the Sixth is also one of those out of the Alpine solitude glimpsed at the heart of works in which Mahler’s command of the orchestra the first movement. But there is bitterness mixed is at its most dazzling. In his handling of the huge with the sweetness. forces – including instruments never before used in a symphony (celesta, cowbells, whip and a hammer After this, the finale is like a vast summing up of all to represent the blows of fate), as well as one of the that has been heard before, fused into a compelling largest woodwind and brass sections in the standard musical narrative, by turns weird, desolate, heroically repertory – Mahler reveals himself as a brilliant determined, joyous and catastrophically thwarted. magician as well as a tragic poet. The first two of Mahler’s ‘three blows of fate’ are underlined by the hammer; but Mahler removed the Detailed analysis of a 90-minute symphony, packed third hammer blow – whether for superstitious or with incident from start to finish, is impossible in more practical reasons is hard to guess. In any case a short programme note, but a few pointers may the most devastating stroke is left to the end. Tuba, be helpful. The first movement follows the outlines trombones and low horns develop a grim threnody, of classical sonata form. Two main themes – in then a full orchestra chord of A minor falls like an this case an intense, driven march tune and an iron curtain, leaving the march rhythms to tail off impassioned major key melody (apparently identified into nothing. with Alma Mahler) are juxtaposed, developed at length, then brought back in something like their original form, leading to a triumphant, major key conclusion. At the heart of the movement, however, in the midst of all the violence and passion, is a passage of magical stillness, with atmospheric 10 Artist Biographies 19 May 2016

Sir Antonio Pappano Conductor

One of today’s most sought-after conductors, Pappano has appeared as a guest conductor with acclaimed for his charismatic leadership and many of the world’s most prestigious orchestras, inspirational performances in both symphonic including the Berlin, Vienna, New York and Munich and operatic repertoire, Sir Antonio Pappano has Philharmonic orchestras, the Royal Concertgebouw been Music Director of the Orchestra, the Chicago and Boston symphonies, Covent Garden since 2002, and Music Director of the Philadelphia and Cleveland orchestras, and the Orchestra dell’Accademia Nazionale di Santa the Orchestre de Paris. Recent highlights include Cecilia in Rome since 2007. Nurtured as a pianist, his debut with the London Philharmonic at the repetiteur and assistant conductor at many of the Aldeburgh Festival, and performances at the BBC most important opera houses of Europe and North Proms and Bucharest Festival with the Accademia America, including at the Lyric Opera of Chicago Nazionale di Santa Cecilia. Future appearances and several seasons at the Bayreuth Festival as include his debuts with the Chamber Orchestra musical assistant to , Pappano of Europe, the Verbier Festival Orchestra and was appointed Music Director of Oslo’s Den Norske the Staatskapelle Dresden, return visits to the Opera in 1990, and from 1992–2002 served as , , Royal Music Director of the Théâtre Royal de la Monnaie Concertgebouw Orchestra and Staatskapelle Berlin, Music Director in . From 1997–99 he was Principal Guest and tours of Europe, Asia and South America with Royal Opera House, Covent Garden Conductor of the Israel Philharmonic Orchestra. the Accademia Nazionale di Santa Cecilia.

Music Director Pappano made his debut at the Vienna Staatsoper Antonio Pappano was born in London to Italian Accademia Nazionale di Santa Cecilia in 1993, replacing Christoph von Dohnànyi at the last parents, and moved with his family to the United minute in a new production of Wagner’s Siegfried, States at the age of 13. His awards and honours SIR ANTONIO PAPPANO IN his debut at the Metropolitan Opera New York in include Gramophone’s ‘Artist of the Year’ in 2000, 2016/17: ON SALE NOW 1997 with a new production of Tchaikovsky’s Eugene the 2003 Olivier Award for Outstanding Achievement Onegin, and in 1999 he conducted a new production in Opera, the 2004 Royal Philharmonic Society Thu 24 Nov 2016 7.30pm of Wagner’s Lohengrin at the Bayreuth Festival. Music Award, and the Bruno Walter prize from Rossini Overture: William Tell Highlights of recent seasons include his operatic the Académie du Disque Lyrique in Paris. In 2012 Bruch Violin Concerto debut at the Salzburg Festival (Verdi’s Don Carlo) and he was named a Cavaliere di Gran Croce of the Strauss Alpine Symphony the Teatro alla Scala (Berlioz’s The Trojans). At the Republic of Italy, and a Knight of the British Empire with Roman Simovic violin Royal Opera the 2014/15 season saw him leading for his services to music, and in 2015 he was the new productions of Rossini’s William Tell, Giordano’s 100th recipient of the Royal Philharmonic Society’s Sun 5 Feb 2017 7pm Andrea Chénier and Szymanowski’s Król Roger, and Gold Medal, the body’s highest honour. He has Sibelius The Oceanides productions in the 2015/16 season and beyond also developed a notable career as a speaker Bernstein Serenade include new stagings of Mussorgsky’s Boris Godunov, and presenter, and has fronted several critically Nielsen Symphony No 4 Mascagni’s Cavalleria Rusticana, Leoncavallo’s acclaimed BBC Television documentaries including (‘The Inextinguishable’) I Pagliacci and Bellini’s Norma, and revivals of Opera Italia, Pappano’s Essential Ring Cycle and with Janine Jansen violin Massenet’s Werther, Puccini’s Manon Lescaut, Pappano’s Classical Voices. and Wagner’s Der Ring des Nibelungen and Die lso.co.uk/201617season Meistersinger von Nürnberg. lso.co.uk Artist Biographies 11

Viktoria Mullova Violin

Viktoria Mullova studied at the Central Music Her ventures into creative contemporary music School of Moscow and the Moscow Conservatoire. started in 2000 with her album Through the Looking Her extraordinary talent captured international Glass, in which she played world, jazz and pop attention when she won first prize at the 1980 music arranged for her by . This Sibelius Competition in and the Gold exploration continued with her second album The Medal at the Tchaikovsky Competition in 1982 Peasant Girl, which she has toured around the world which was followed, in 1983, by her dramatic and with the Matthew Barley Ensemble. This project much-publicised defection to the West. She has shows a different side to Viktoria, as she looks to since appeared with most of the world’s greatest her peasant roots in the and explores the orchestras and conductors and at the major influence of gypsy music on the classical and jazz international festivals. She is now known the world genres in the 20th century. Her most recent project, over as a violinist of exceptional versatility and Stradivarius in Rio, is inspired by her love of Brazilian musical integrity. Her curiosity spans the breadth of songs by composers such as Antônio Carlos Jobim, musical development from Baroque and Classical Caetano Veloso and Cláudio Nucci. As well as her right up to the most contemporary influences from own projects, she has also commissioned works the world of fusion and experimental music. from young composers such as Fraser Trainer, Thomas Larcher and Dai Fujikura. This rich musical Her interest in the authentic approach has led diversity has been celebrated in several high-profile to collaborations with period instrument bands residencies, including London’s Southbank, Vienna’s such as the Orchestra of the Age of Enlightenment, Konzerthaus, the Auditorium du Louvre in Paris, Il Giardino Armonico, Venice Baroque and Orchestre Musikfest Bremen, Barcelona Symphony Orchestra Révolutionaire et Romantique. Viktoria has a great and Helsinki Music Festival. affinity with Bach and his work makes up a large part of her recording catalogue. Her interpretations Highlights of her 2015/16 season include a tour of of Bach have been acclaimed worldwide. Her most Asia with the BBC Philharmonic and appearances recent disc of Bach Concertos with the Accademia with the Orchestre de Paris, Netherlands Radio Bizantina and Ottavio Dantone has been highly Philharmonic, Geneva Chamber Orchestra and the praised, and her recording of Bach’s solo sonatas Bergen Philharmonic amongst others. Viktoria will and partitas represents a significant milestone in also give duo recitals with Katia Labèque throughout Viktoria’s personal journey into this music. The Europe and South America. recording received five-star reviews from all over the world, and she has embarked on an international Viktoria either plays on her ‘Jules Falk’ 1723 several season-long series of solo Bach recitals. Stradivarius or a Guadagnini violin. 12 The Orchestra 19 May 2016

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8 MAY: & CLAUS PETER FLOR FIRST FLUTES HORNS TIMPANI Roman Simovic Leader Edward Vanderspar Gareth Davies Timothy Jones Nigel Thomas Carmine Lauri Gillianne Haddow Alex Jakeman Angela Barnes Sam Walton Michael McManus Great first half from Lennox Mackenzie Malcolm Johnston Sarah Bennett Alexander Edmundson @londonsymphony and @LeifOveAndsnes – Clare Duckworth German Clavijo Jonathan Lipton PERCUSSION Nigel Broadbent Anna Bastow PICCOLOS Sarah Willis Neil Percy real drama and Sturm und Drang there and Gerald Gregory Julia O’Riordan Sharon Williams Jonathan Barrett David Jackson fabulous playing all round – bravi! Jörg Hammann Robert Turner Patricia Moynihan Michael Kidd Paul Stoneman Maxine Kwok-Adams Heather Wallington Bertrand Chatenet Tom Edwards OBOES Claire Parfitt Jonathan Welch Alex Wide Oliver Yates Christopher Cowie David Oldroyd-Bolt Absolutely stupendous Elizabeth Pigram Elizabeth Butler Karen Hutt Rosie Jenkins Laurent Quenelle Carol Ella TRUMPETS Mick Doran Bruckner 3 from Claus Peter Flor & Ruth Contractor Harriet Rayfield Caroline O’Neill Philip Cobb Michael Møller HARPS @londonsymphony Utterly blown away. Colin Renwick CORS ANGLAIS CELLOS Gerald Ruddock Bryn Lewis Ian Rhodes Christine Pendrill Tim Hugh Daniel Newell Manon Morris Sylvain Vasseur Maxwell Spiers Rhys Watkins Jennifer Brown Robin Totterdell Charles Grant Fine performance Simon Cox CELESTE Noel Bradshaw CLARINETS Simon Munday John Alley of #Bruckner 3 @BarbicanCentre. SECOND VIOLINS Eve-Marie Caravassilis Andrew Marriner David Alberman Daniel Gardner Chi-Yu Mo Stand-in Claus Peter Flor conducted Thomas Norris Hilary Jones TROMBONES Thomas Lessels Dudley Bright @londonsymphony well. Raw, unvarnished Sarah Quinn Amanda Truelove Andrew Harper Miya Väisänen Steffan Morris Peter Moore powerful music. James Maynard David Ballesteros Hester Snell BASS CLARINET Matthew Gardner Deborah Tolksdorf Duncan Gould BASS TROMBONE Julian Gil Rodriguez Paul Milner 12 MAY: & LEIF OVE ANDSNES Naoko Keatley DOUBLE BASSES E-FLAT CLARINET Edicson Ruiz Belinda McFarlane Chi-Yu Mo TUBA Colin Paris William Melvin Patrick Harrild Ben Palmer Fab Beethoven 9 Iwona Muszynska Patrick Laurence BASSOONS Philip Nolte Matthew Gibson Daniel Jemison @londonsymphony. Best bit? Andrew Pollock Thomas Goodman Dominic Tyler Paul Robson Joe Melvin Fraser Gordon Watching the soloists grinning at Jani Pensola Lois Au the trumpets throughout! Simo Väisänen CONTRA BASSOON Dominic Morgan Jonathan Douglas @LSChorus @londonsymphony What an amazing choir. Brilliant performance. I was pinned to the seat from the first Freude to the last MIllionen.

LSO STRING EXPERIENCE SCHEME

Established in 1992, the LSO String Experience The Scheme is supported by London Symphony Orchestra Editor Scheme enables young string players at the Help Musicians UK Barbican Edward Appleyard start of their professional careers to gain The Barbara Whatmore Charitable Trust Silk Street [email protected] work experience by playing in rehearsals The Idlewild Trust London and concerts with the LSO. The scheme The Lefever Award EC2Y 8DS Photography auditions students from the London music The Polonsky Foundation Igor Emmerich, Kevin Leighton, conservatoires, and 15 students per year Registered charity in England No 232391 Ranald Mackechnie, Clive Totman, are selected to participate. The musicians For this performance, Eleanor Corr (first violin) Mark Allan, Musacchio & Ianniello, Details in this publication were correct are treated as professional ’extra’ players took part in the rehearsals and will play in Henry Fair, Max Pucciariello at time of going to press. (additional to LSO members) and receive fees the concert. Advertising Cabbell Ltd 020 3603 7937 for their work in line with LSO section players. Print Cantate 020 3651 1690