London Symphony Orchestra Living Music

Thursday 16 March 2017 7.30pm Barbican Hall

BEETHOVEN AND BRAHMS

Beethoven Piano Concerto No 5 (‘Emperor’) INTERVAL London’s Symphony Orchestra Brahms Symphony No 2

Fabio Luisi conductor Igor Levit piano

Concert finishes approx 9.40pm

2 Welcome 16 March 2017

Welcome Living Music Kathryn McDowell In Brief

Welcome to this evening’s LSO concert. Tonight TOUR OF ASIA we are joined by conductor Fabio Luisi for the first of two programmes that explore pivotal works from Last week the Orchestra returned from a highly the German Romantic era. It is a great pleasure successful 18-day tour of Asia. The LSO performed to welcome Fabio Luisi once again, whom we in China, sponsored by Principal Partner Reignwood remember from his impressive debut in 2014. and China Taiping, South Korea, sponsored by HSBC Korea, and Vietnam, where the LSO had the honour We are also delighted to welcome tonight’s soloist, of becoming the first British Orchestra to perform in Igor Levit, who is becoming known for his work with the country, sponsored by Vietnam Airlines. To see many leading orchestras internationally, as well as collected pictures and tweets from our travels, visit his recent recital performances in London. Tonight our dedicated Storify page: he makes his debut with the LSO in Beethoven’s fifth and final Piano Concerto, the ‘Emperor’. bit.ly/lsofareast

This is followed by Brahms’ Second Symphony, a work completed in just a few months, after the FRANÇOIS-XAVIER ROTH BECOMES composer finally overcame his fear of living up LSO PRINCIPAL GUEST CONDUCTOR to Beethoven’s monumental reputation. The LSO was pleased to announce on 7 March Thank you to our media partners, Classic FM, who that François-Xavier Roth will join the Orchestra’s have recommended this concert to their listeners. family of artists as Principal Guest Conductor from September 2017, replacing Daniel Harding, who is I hope you enjoy tonight’s concert, and that you can stepping down after ten years in the role. Read the join us at another performance soon. Fabio Luisi full news story on the LSO website at: returns to conduct the LSO once again on Sunday 19 March, culminating in a performance of Brahms’ lso.co.uk/news German Requiem.

A WARM WELCOME TO TONIGHT’S GROUPS

Groups of 10+ receive a 20% discount on standard tickets to LSO concerts, plus other exclusive benefits. Kathryn McDowell CBE DL Tonight we are delighted to welcome: Managing Director Ann Parrish & Friends Gerrards Cross Community Association

lso.co.uk/groups London Symphony Orchestra Season 2016/17

Simon Trpcˇ eski (30 Mar)

Spring 2017 Highlights

FRANÇOIS-XAVIER ROTH: JANINE JANSEN: SIR MARK ELDER: BBC RADIO 3 LUNCHTIMES: AFTER ROMANTICISM LSO ARTIST PORTRAIT MODERN MASTERPIECES VOICE OF THE CELLO

Thu 30 Mar 7.30pm The final instalment of Janine Sun 7 May 7pm Thu 6 Apr 1pm, LSO St Luke’s Debussy Jeux Jansen’s critically-acclaimed Mussorgsky arr Shostakovich Narek Hakhnazaryan cello Bartók Piano Concerto No 3 LSO Artist Portrait. Prelude to ‘Khovanshchina’ Pavel Kolesnikov piano Mahler Symphony No 1 (‘Titan’) Tchaikovsky Violin Concerto François-Xavier Roth conductor Thu 6 Apr 7.30pm Shostakovich Symphony No 15 Thu 13 Apr 1pm, LSO St Luke’s Simon Trpcˇ eski piano Berg Violin Concerto Sir Mark Elder conductor Tim Hugh cello Mahler Symphony No 7 Anne-Sophie Mutter violin Rebecca Gilliver cello Sun 23 Apr 7pm Gianandrea Noseda conductor Supported by the Atkin Foundation Debussy Prélude à l’après-midi Janine Jansen violin Thu 27 Apr 1pm, LSO St Luke’s d’un faune Thu 18 May 7.30pm Christian Poltéra cello Bartók Viola Concerto Vaughan Williams Kathryn Stott piano Bruckner Symphony No 4 Five Variants of Dives and Lazarus François-Xavier Roth conductor Brahms Double Concerto Thu 4 May 1pm, LSO St Luke’s Antoine Tamestit viola Holst The Planets – Suite Alban Gerhardt cello Sir Mark Elder conductor Steven Osborne piano Roman Simovic violin Tim Hugh cello Ladies of the London lso.co.uk Symphony Chorus Simon Halsey chorus director 020 7638 8891 Supported by Baker McKenzie 4 Programme Notes 16 March 2017

Ludwig van Beethoven (1770–1827) Piano Concerto No 5 in E-flat major Op 73 (‘Emperor’) (1809)

1 ALLEGRO first theme. This march-like tune presents two 2 ADAGIO UN POCO MOSSO important thematic reference-points in the shape 3 RONDO: ALLEGRO of a melodic turn and a tiny figure of just two notes (a long and a short) which Beethoven refers to IGOR LEVIT PIANO constantly in the course of the movement. The latter ushers in the chromatic scale with PROGRAMME NOTE WRITER One has to wonder whether the organisers of the which the piano re-enters, and the same sequence LINDSAY KEMP is a senior concert at which Beethoven’s Fifth Piano Concerto of events later serves to introduce the development producer for BBC Radio 3, including received its Viennese premiere in February 1812 – section. Here the turn dominates, dreamily passed programming Lunchtime Concerts the actual premiere having taken place in Leipzig around the woodwind, but the two-note figure from LSO St Luke’s, Artistic Director the previous November – provided the ideal audience. emerges ever more strongly, eventually firing off of the London Festival of Baroque A contemporary report of the combined concert and a stormy tirade of piano octaves. The air quickly Music, and a regular contributor to art exhibition mounted by the Society of Noble Ladies clears, however, and reappearances of the turn Gramophone magazine. for Charity tells us that ‘the pictures offer a glorious lead back to a recapitulation of the opening material. treat; a new pianoforte concerto by Beethoven failed’. And it is true that, while it was later to become as Towards the end of the movement Beethoven familiar a piano concerto as any, in its early years makes his most radical formal move. In the early the ‘Emperor’ struggled for popularity. Perhaps its 19th century it was still customary at this point leonine strength and symphonic sweep were simply in a concerto for the soloist to improvise a solo too much for everyone, not just the Noble Ladies. passage (or cadenza); Beethoven did this in his first four concertos, but in the Fifth, for the first time, This is Beethoven in what he includes one that is not only fully written out, must have seemed an but involves the orchestra as well. It was a trend that many subsequent composers, glad of the overbearingly optimistic mood. extra control, would follow.

BEETHOVEN’S THIRD SYMPHONY, Cast in the same key as the ‘heroic’ Third Symphony, The second and third movements together take less otherwise known as ‘Eroica’, was it breathes much the same majestically confident air, time to play than the first. The Adagio, in the distant composed in 1803–4, marking the though in a manner one could describe as more key of B major, opens with a serene, hymn-like tune beginning of Beethoven’s ‘Middle macho. Composed in the first few months of 1809, from the strings, which the piano answers with a Period’ of composition – an era with war brewing between Austria and France, theme of its own before itself taking up the opening characterised by heroicism and this is Beethoven in what must have seemed an one in ornamented form. This in turn leads to an grandeur. He initially composed the overbearingly optimistic mood. orchestral reprise of the same theme, now with work in honour of Napoleon and greater participation from the winds and with piano planned to call it Bonaparte, but The concerto is certainly not reticent about decoration. At the end the music dissolves, then when he heard that Napoleon had declaring itself. The first movement opens with eerily drops down a semitone as the piano toys idly declared himself Emperor in 1804, extravagant flourishes from the piano punctuated with some quiet, thickly scored chords. In a flash, changed the title to Sinfonia eroica. with stoic orchestral chords, leading us with these are then transformed and revealed to be the unerring sense of direction towards the sturdy main theme of the bouncy Rondo finale, which has lso.co.uk Programme Notes 5

BEETHOVEN ON LSO LIVE followed without a break. Physical joins between BEETHOVEN AND NAPOLEON BONAPARTE movements were a trend in Beethoven’s music at this time, but so too were thematic ones.

At one point in this finale, with the main theme firmly established, the strings gently put forward the ‘experimental’ version from the end of the slow movement, as if mocking the piano’s earlier tentativeness. The movement approaches its close, however, with piano and timpani in stealthy cahoots before, with a final flurry, the end is upon us.

The concerto’s nickname was not chosen by Napoleon Bonaparte (1769–1821), born in Corsica, Beethoven, and, given the composer’s angry reaction came to prominence during the French Revolution of Beethoven Symphonies Nos 1–9 to Napoleon’s self-appointment as Emperor in 1804, 1789–99, rising through the ranks of the French army Special Edition it may seem more than usually inappropriate. to become a general at the age of just 24. After many Yet there is an appositeness to it if we take the successful campaigns during the Revolution, Napoleon £19.99 music’s grandly heroic stance as a picture of what, staged a coup d’état in 1799, taking power as the First perhaps, an emperor ought to be. Beethoven once Consul of France, before crowning himself ‘Emperor Bernard Haitink conductor remarked that if he had understood the arts of war of the French’ in 1804 (depicted by Jacques-Louis David as well as he had those of music, he could have in The Coronation of Napoleon, above). This title was Nominated for Best Classical Album defeated Napoleon. an attempt to emphasise the abolition of monarchy, 49th Annual Grammy Awards showing Napoleon as a ruler of the people, and not Who, listening to this concerto, could doubt that? of the Republic. However Napoleon’s self-coronation, ‘A towering achievement’ his founding of the House of Bonaparte, his residence The Times in the Tuileries Palace (the historical residence of kings) and his relentless building of a new French Empire Buy now | lsolive.lso.co.uk suggested otherwise. Throughout the Revolution, Beethoven had admired Napoleon as a figurehead of anti-monarchism and a defender of the rights of man. It was for this reason that the composer dedicated his Third Symphony to the then-First Consul, inscribing INTERVAL – 20 minutes his name on the title page of the manuscript. Upon There are bars on all levels of the Concert Hall; ice cream learning of his self-coronation, Beethoven is reported can be bought at the stands on Stalls and Circle level. to have thrown the symphony to the floor, crying The Barbican shop will also be open. in a rage, ‘so he is no more than a common mortal! Now, too, he will tread under foot all the rights of man, Tweet us your thoughts on the first half of the indulge only his ambition; now he will think himself performance @londonsymphony. superior to all men, become a tyrant!’ 6 Composer Profile 16 March 2017

Ludwig van Beethoven Composer Profile

Music is the one incorporeal entrance into the higher world of knowledge which comprehends mankind, but which mankind cannot comprehend.

Ludwig van Beethoven

Beethoven showed early musical promise, yet In 1800 Beethoven began to complain bitterly reacted against his father’s attempts to train of deafness, but despite suffering the distress him as a child prodigy. The boy pianist attracted and pain of tinnitus, chronic stomach ailments, the support of the Prince-Archbishop, who liver problems and an embittered legal case supported his studies with leading musicians at for the guardianship of his nephew, Beethoven the Bonn court. By the early 1780s Beethoven created a series of remarkable new works, had completed his first compositions, all of including the Missa Solemnis and his late which were for keyboard. With the decline of symphonies and piano sonatas. It is thought his alcoholic father, Ludwig became the family that around 10,000 people followed his breadwinner as a musician at court. funeral procession on 29 March 1827. Certainly, his posthumous reputation Encouraged by his employer, the Prince-Archbishop developed to influence successive generations Maximilian Franz, Beethoven travelled to Vienna to of composers and other artists inspired by the study with Joseph Haydn. The younger composer heroic aspects of Beethoven’s character and fell out with his renowned mentor when the the profound humanity of his music. latter discovered he was secretly taking lessons from several other teachers. Although Maximilian Composer Profile Franz withdrew payments for Beethoven’s © Andrew Stewart Viennese education, the talented musician had already attracted support from some of the city’s wealthiest arts patrons. His public performances in 1795 were well received, and he shrewdly negotiated a contract with Artaria & Co, the largest music publisher in Vienna. He was soon able to devote his time to composition and the performance of his own works. A SPRING AWAKENING

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Johannes Brahms (1833–97) Symphony No 2 in D major Op 73 (1877)

1 ALLEGRO NON TROPPO comes a soft drum roll followed by an uneasy phrase 2 ADAGIO NON TROPPO in the lower brass (this is Brahms’ only orchestral 3 ALLEGRETTO GRAZIOSO (QUASI ANDANTINO) – work to include a tuba; normally he preferred the PRESTO MA NON ASSAI contra bassoon as his lowest wind instrument). 4 ALLEGRO CON SPIRITO Brahms loathed uncritical praise, but when the conductor Vincenz Lachner made some unusually PROGRAMME NOTE WRITER Brahms struggled with his First Symphony for intelligent comments on the intrusion of such dark ANDREW HUTH is a musician, something like 20 years. His Second followed moments in the Symphony he took the trouble to writer and translator who writes within a year, and the contrast between the two write a revealing defence, explaining: ‘I would have extensively on French, Russian and could hardly be greater. The First is a tormented to admit, moreover, that I am a deeply melancholy Eastern European music. darkness-to-light work, while all four movements of person, that black wings constantly rustle over us, the Second are in major keys. It begins and ends in that in my works – possibly not entirely without light, although in between there are many shadows. intent – this symphony is followed by a small essay As a whole, the Second displays the combination on the great Why?’. This refers to the first of his Two of lyricism and energy that was to continue into the Motets, Op 74, a setting of the text ‘Why is light given Violin Concerto and G major Violin Sonata, all works to him who suffers, and light to the bitter in soul?’. that seem to have been composed quickly and with Brahms therefore saw the Symphony’s radiance as masterly ease. something conditional, precarious.

SYMPHONY NO 2: IN BRIEF After completing the Second Symphony in the What is not in doubt is the strong intellectual control After a 20-year wait for his summer of 1877, Brahms amused himself, in his that binds together the different aspects of the First Symphony, Brahms’ Second usual rather heavy-handed manner, by advertising Symphony. Much of this is due to the close motivic appeared within a year of its it to his friends as an abysmally gloomy work in relationship between themes, and particularly predecessor. It presented a striking F minor. ‘Musicians here [in Vienna] play my latest the pervasive use of the opening three notes contrast to the First through its one with black crepe armbands because it sounds (a falling and rising semitone D – C-sharp – D) played major keys, warm, lyrical melodies so mournful’, he wrote to his friend Elizabeth by cellos and basses. This tiny figure is heard in a and sunny character, although von Herzogenberg the day before the premiere. number of different forms throughout the Symphony, Brahms also spoke of darker ‘It will also be printed with a black border’. It was sometimes on the surface of the music, but more moments, the ‘black wings’ premiered on 30 December 1877 under Hans Richter, frequently in a subliminal way. that ‘constantly rustle over us’. who the previous year had conducted the first After an expansive opening complete performance of Wagner’s Ring cycle at Second Movement movement, a rich adagio and Bayreuth. With the revelation of the Ring and of the The two central movements of the First Symphony delicate scherzo follow, before two Brahms symphonies, these composers were were relatively short in proportion to the massive the symphony concludes in an now the undisputed masters of German music. opening movement and finale. In the Second, the energetic, joyful finale. opening movement ends quietly and modestly in First Movement preparation for the B-major Adagio, which is not only The Symphony begins in an unusually relaxed Brahms’ first extended symphonic slow movement, manner with soft horn calls suggesting a world of but one of the most ardent statements by a pastoral innocence. After a few bars, though, there composer who, in both his life and his music, lso.co.uk Programme Notes 9

Johannes Brahms Composer Profile

had a tendency to suppress his deeper passions. Johannes Brahms was born in Hamburg, the son of The movement opens with a double theme, for an impecunious musician; his mother later opened the rising line played by the bassoons is almost a haberdashery business to help lift the family as important as the wonderful melody on the out of poverty. Showing early musical promise, he cellos. The scoring is full and rich throughout, became a pupil of the distinguished local pianist and but with a delicacy that Brahms is still not given composer Eduard Marxsen and supplemented his enough credit for. parents’ meagre income by playing in the bars and brothels of Hamburg’s infamous red-light district. Third Movement The Symphony’s point of greatest relaxation comes In 1853 Brahms presented himself to Robert with the Allegretto third movement, played by a Schumann in Düsseldorf, winning unqualified approval reduced orchestra without trumpets, trombones, from the older composer. Brahms fell in love with tuba or timpani. The twice-recurring opening, led Schumann’s wife, Clara, supporting her after her by the woodwind accompanied by pizzicato cellos, husband’s illness and death. The relationship did recalls the simplicity of a rustic serenade. The two not develop as Brahms wished, and he returned contrasting trio sections – actually variations – are in to Hamburg; their close friendship, however, survived. a quicker tempo. Their staccato string and woodwind COMPOSER PROFILE In 1862 Brahms moved to Vienna where he found writing suggest that perhaps Brahms wanted to ANDREW STEWART fame as a conductor, pianist and composer. provide his own version of the delicate scherzo The premiere of his German Requiem in 1869 was style pioneered by Mendelssohn. a triumph, with subsequent performances establishing Brahms as one of the emerging German nation’s Finale foremost composers. Following the long-delayed The final movement opens sotto voce with a completion of his First Symphony in 1876, he suppressed energy that cannot be contained composed in quick succession the Violin Concerto, for long: the very loud outburst that soon arrives the two piano Rhapsodies Op 79, the First Violin unleashes all the power Brahms was capable Sonata and the Second Symphony. His subsequent of. Every phrase in this movement bears his association with the much-admired court orchestra unmistakable fingerprint, yet the overall effect in Meiningen allowed him freedom to experiment is the closest he came to the wild energy of and develop­ new ideas, the relationship crowned by a Beethoven finale, invigorating and joyful. the Fourth Symphony of 1884.

In his final years, Brahms composed a series of profound works for the clarinettist Richard Mühlfeld, and explored matters of life and death in his Four Serious Songs. He died at his modest lodgings in Vienna in 1897, receiving a hero’s funeral at the city’s central cemetery three days later. 10 Artist Biographies 16 March 2017

Fabio Luisi Conductor

Grammy and ECHO Klassik Award-winner Fabio Luisi Santa Cecilia Orchestra, Mahler Chamber Orchestra, is currently undertaking his sixth and final season La Scala, Milan, Opéra National de Paris, Vienna as Principal Conductor of the Metropolitan Opera, Staatsoper, Bayerische Staatsoper, Deutsche Oper his fifth as General Music Director of Zurich Opera, and Staatsoper Berlin. and his first as Principal Conductor of the Danish National Symphony Orchestra. In February 2015, Philharmonia Zurich launched its Philharmonia Records label with three Luisi In the 2016/17 season, Luisi conducted Mahler’s recordings, featuring music by Berlioz and Wagner, Ninth Symphony in the DNSO’s season opening and a DVD of Verdi’s Rigoletto. The conductor concerts, and returns to Copenhagen for Mahler’s received his first Grammy Award in March 2013 Seventh and First Symphonies later in the season, for his leadership of the last two operas of Wagner’s followed by a tour to five cities in California with Der Ring des Nibelungen, recorded live at the Deborah Voigt in Wagner’s Wesendonck Lieder. Metropolitan Opera and released on Deutsche Further appearances include concerts with the Grammophon. His extensive discography also San Francisco Symphony, Philadelphia Orchestra, includes operas by Verdi, Salieri, Bellini; symphonic NHK Symphony, Munich Philharmonic, Philharmonia repertoire by Honegger, Respighi, Liszt, Richard Principal Conductor Zurich, and a concert at Florence’s Opera di Firenze, Strauss and Bruckner; and all of the symphonies Metropolitan Opera where Luisi will assume the role of Music Director and the oratorio Das Buch mit sieben Siegeln in the spring of 2018. by neglected Austrian composer Franz Schmidt. General Music Director Zurich Opera Luisi’s previous appointments include Chief Conductor Born in Genoa in 1959, Luisi began piano studies of the Vienna Symphony, for which he was honoured at the age of four and received his diploma from Principal Conductor with the orchestra’s Golden Bruckner Medal and the Conservatorio Niccolò Paganini in 1978. Danish National Symphony Orchestra Golden Bruckner Ring (2005–13); General Music He later studied conducting with Milan Horvat at Director of Dresden’s Staatskapelle and Sächsische the Conservatory in Graz. In 2014 he was awarded Staatsoper (2007–10); Artistic Director of Leipzig the Grifo d’Oro, the highest honour given by the Mitteldeutscher Rundfunk (1999–2007); Music Director city of Genoa, for his contributions to the city’s of the Orchestre de la Suisse Romande (1997–2002); cultural legacy. In his time off the podium, Luisi is Chief Conductor of the Tonkünstler-Orchester in also a passionate maker of perfumes. Sales from Vienna (1995–2000); and Artistic Director of the his one-person operation, flparfums.com, benefit Graz Symphony (1990–96). the Luisi Academy for Music and Visual Arts.

Fabio Luisi maintains an active schedule of guest engagements with international orchestras and opera companies, including the Bayerischer Rundfunk, Vienna Philharmonic, Chicago Symphony, Boston Symphony, Cleveland Orchestra, Royal Concertgebouw Orchestra, Orchestre de Paris, London Symphony Orchestra, Philharmonia, lso.co.uk Artist Biographies 11

Igor Levit Piano

Winner of Gramophone’s Recording of the Year An exclusive recording artist for Sony Classical, 2016, Igor Levit was described by The Guardian Igor Levit’s debut disc of the five last Beethoven as an artist ‘built to last’. Sonatas won the BBC Music Magazine Newcomer of the Year 2014 Award, the Royal Philharmonic The 2016/17 season marks Igor Levit’s debuts with the Society’s Young Artist Award 2014 and the ECHO Staatskapelle Dresden under Christian Thielemann Klassik 2014 for Solo Recording of the Year (19th and the Bavarian State Orchestra under Kirill Petrenko, Century Music/Piano). and sees him return to the Danish National Symphony Orchestra, NDR Elbphilharmonie Orchestra, Tonhalle Born in Russia in 1987, Igor Levit moved with his Orchestra Zurich and San Francisco Symphony. family to Germany at the age of eight, where he completed his piano studies at Hanover Academy of In recital this season Igor Levit makes his debuts Music, Theatre and Media in 2009, with the highest at Carnegie Hall, Chicago’s Symphony Center, academic and performance scores in the history Amsterdam’s Concertgebouw and with Lisbon’s of the institute. Igor Levit has studied under the Gulbenkian Foundation. He also returns to the tutelage of Karl-Heinz Kämmerling, Matti Raekallio, Lucerne Festival, Tonhalle Orchestra Zurich, Bernd Goetze, Lajos Rovatkay and Hans Leygraf. Cologne Philharmonie and the Laeiszhalle concert hall in Hamburg. The season sees the start of full As the youngest participant in the 2005 Arthur Beethoven sonata cycles at Wigmore Hall and at the Rubinstein Competition in Tel Aviv, Igor Levit won the Palais des Beaux-Arts in Brussels. He will also perform Silver Prize, the Prize for Best Performer of Chamber Bach’s Goldberg Variations, Beethoven’s Diabelli Music, the Audience Favourite Prize and the Prize for Variations and Rzewski’s The People United Will Best Performer of Contemporary Music. Previously, Never Be Defeated in his home town, Hanover, he had won the First Prize of the International as well as at the Berlin Philharmonie. Hamamatsu Piano Academy Competition in Japan. Since 2003 Igor Levit has been a scholarship student Highlights of past seasons have included orchestral at Studienstiftung des Deutschen Volkes as well as debuts with the Bavarian Radio Symphony Orchestra, at Deutsche Stiftung Musikleben. Berlin Philharmonic, Cleveland Orchestra and National Symphony Orchestra. In spring 2014, In Berlin, which he now calls home, Igor Levit plays Igor Levit celebrated both his recital and orchestral a Steinway D Grand Piano kindly given to him by the debut on the main stage of Vienna’s Musikverein Trustees of Independent Opera at Sadler’s Wells. to great critical acclaim, stepping in for Maurizio Pollini in June 2014 and for Hélène Grimaud (City of Birmingham Symphony Orchestra with Andris Nelsons) respectively in March 2014. Only four days earlier, Igor Levit made his New York City recital debut at the Park Avenue Armory to great critical acclaim by both The New Yorker and The New York Times. 12 The Orchestra 16 March 2017

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FIRST VIOLINS VIOLAS FLUTES HORNS WED 15 FEB – JOHN WILSON & HÅKAN HARDENBERGER Roman Simovic Leader Krzysztof Chorzelski Gareth Davies Timothy Jones Carmine Lauri Malcolm Johnston Alex Jakeman Angela Barnes Lennox Mackenzie Anna Bastow Jonathan Lipton Edward Davies Superb evening listening to the amazing Nigel Broadbent Regina Beukes OBOES Mark Vines @londonsymphony perform Rachmaninov’s 2nd Symphony. Rosie Jenkins Ginette Decuyper Lander Echevarria Jocelyn Lightfoot Just amazing. Jörg Hammann Julia O’Riordan Juan Pechuan Ramirez Maxine Kwok-Adams Robert Turner TRUMPETS CLARINETS Claire Parfitt Jonathan Welch Philip Cobb Andrew Marriner Conor Sheridan Just overwhelmed after hearing Elizabeth Pigram Michelle Bruil Gerald Ruddock Chi-Yu Mo Laurent Quenelle Stephen Doman @londonsymphony play Rachmaninov @BarbicanCentre. TROMBONES Harriet Rayfield Fiona Dalgliesh BASSOONS Dudley Bright Incredible music conducted by John Wilson in his LSO debut. Colin Renwick Caroline O’Neill Rachel Gough James Maynard Sylvain Vasseur Joost Bosdijk CELLOS Rhys Watkins BASS TROMBONE Hannah Ely What a privilege to have a concerto named Tim Hugh Eleanor Fagg Paul Milner after you! Impressive virtuosic playing from Håkan Alain Petitclerc Alastair Blayden Jennifer Brown TUBA Hardenberger. Now for my fav #Rach2! @londonsymphony SECOND VIOLINS Noel Bradshaw Patrick Harrild David Alberman Eve-Marie Caravassilis Peter Bingle When you hear Rachmaninov’s 2nd Symphony Thomas Norris Daniel Gardner TIMPANI Sarah Quinn Hilary Jones Nigel Thomas played so brilliantly by @londonsymphony @BarbicanCentre Miya Väisänen Amanda Truelove the world seems a much happier place! Matthew Gardner Deborah Tolksdorf Julian Gil Rodriguez Victoria Harrild Belinda McFarlane William Melvin DOUBLE BASSES Paul Robson Rick Stotijn Louise Shackelton Colin Paris Ingrid Button Patrick Laurence Caroline Frenkel Matthew Gibson Katerina Nazarova Thomas Goodman Robert Yeomans Joe Melvin Jani Pensola Jeremy Watt

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, The Polonsky Foundation, Barbican Edward Appleyard start of their professional careers to gain Fidelio Charitable Trust, N Smith Charitable Silk Street [email protected] work experience by playing in rehearsals Settlement, Lord and Lady Lurgan Trust, London and concerts with the LSO. The scheme Barbara Whatmore Charitable Trust and EC2Y 8DS Cover Photography auditions students from the London music LSO Patrons. Ranald Mackechnie, featuring LSO conservatoires, and 15 students per year Registered charity in England No 232391 Members with 20+ years’ service. are selected to participate. The musicians For this concert Naoka Aoki (First Violin) Visit lso.co.uk/1617photos for a full list. Details in this publication were correct are treated as professional ’extra’ players worked alongside the Orchestra in rehearsals. at time of going to press. Photography (additional to LSO members) and receive fees Jingzhou Zhang (Cello) will be performing Ranald Mackechnie, Barbara Luisi, Gregor for their work in line with LSO section players. alongside the Orchestra in tonight’s concert. Print Cantate 020 3651 1690 Hohenberg, Glen Thomas, Lubè Saveski

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