Sunday 9 June 2019 7–8.55pm Barbican

LSO SEASON CONCERT SCHEHERAZADE

Liam Mattison Violet from ‘Two Ladies’ (world premiere) † Tchaikovsky Piano Concerto No 1 Interval CHAN Rimsky-Korsakov Scheherazade Elim Chan conductor Alice Sara Ott piano

† Commissioned via the Panufnik Composers & OTT Scheme, generously supported by Lady Hamlyn and The Helen Hamlyn Trust

Elim Chan’s appearance with the LSO is generously supported by the Reignwood Culture Foundation

Welcome Latest News

For Tchaikovsky’s Piano Concerto No 1, we 2019 CITY LIVERY CONCERT NEW COMMISSIONS FOR 2020/21 are delighted to welcome pianist Alice Sara Ott, who appears with us following This evening we host the 2019 City Livery George Stevenson and Joel Järventausta, her excellent BBC Radio 3 Concert series at Concert, a fi xture of the livery calendar which two composers who recently fi nished LSO St Luke’s. We look forward to working highlights the arts in the City of London and, the LSO Panufnik Scheme, have been with her on many future occasions. The in particular, the development of Culture Mile, commissioned to write new music for the concert closes with Rimsky-Korsakov’s an innovative and exciting collaboration LSO to perform in the Orchestra’s 2020/21 Scheherazade, which is also being recorded between The City of London Corporation, season at the Barbican. These commissions for the Orchestra’s interactive music the Barbican, Guildhall School of Music & support composers at a critical stage in education platform, LSO Play. Drama, the London Symphony Orchestra their careers, providing them with time, elcome to tonight’s LSO concert, and the Museum of London. resources and expertise. which takes place on the 115th I am delighted that we are joined by The Rt anniversary of the Orchestra’s fi rst Hon the Lord Mayor, Alderman Peter Estlin We are grateful to Sir Andrew and Lady Read more about the new commissions at performance on 9 June 1904. We are delighted and representatives from the City livery Parmley for their part in making this evening • lso.co.uk/news to be joined by conductor Elim Chan, who companies. I also would like to take this possible, and to The Rt Hon the Lord Mayor, since winning the 2014 Donatella Flick LSO opportunity to thank LSO Principal Partner Alderman Peter Estlin, and the liverymen Conducting Competition has continued to Reignwood Group for their generous support and women for their support, which will WELCOME TO TONIGHT’S GROUPS work closely with us, directing Schools and of Elim Chan’s appearance tonight and for benefi t the Lord Mayor’s Appeal. Family Concerts, LSO Discovery Showcases their commitment to the LSO over recent Welcome to the groups attending tonight’s and a performance in Hanoi in 2019. We have years. Thanks also go to Classic FM, our concert: Adele Friedland & Friends and been delighted to watch her career develop media partner, which has recommended LSO AT THE BBC PROMS 2019 Wens Travel. with appointments at the Royal Scottish this evening’s concert to its listeners. National Orchestra and now as Chief Conductor The LSO performs Walton’s Belshazzar’s of the Antwerp Symphony Orchestra. I hope that you enjoy the performance, and Feast on Tuesday 20 August at the BBC that you are able to join us again soon. Proms, with a 300-strong choir conducted This evening’s concert opens with a new work by Sir Simon Rattle. The programme also by Liam Mattison, commissioned as part includes Varèse’s Amériques – a portrait of a of the LSO’s Panufnik Composers Scheme. modern city in sound – and French composer Please ensure all phones are switched off . Since it began in 2005, the scheme has Charles Koechlin’s Les bandar-log from Photography and audio/video recording supported 87 emerging composers, work that Kathryn McDowell CBE DL The Jungle Book, completed in 1939. are not permitted during the performance. is made possible by generous support from Managing Director Lady Hamlyn and The Helen Hamlyn Trust.

2 Welcome 9 June 2019 REIGNWOOD GROUP IS PROUD TO BE PRINCIPAL PARTNER OF THE LONDON SYMPHONY ORCHESTRA As a global investment company, Reignwood Group is committed to responsible investing. We believe investors worldwide must respect the environment, culture and communities they operate in, preserving heritage and fostering a spirit of international co-operation and understanding.

LEARN MORE AT REIGNWOOD.COM Tonight’s Concert In Brief Coming Up

his evening’s concert draws stories to entertain him. She delivers a Sunday 16 June 7–8.50pm Sunday 30 June 5–6.30pm together the rich harmonic chapter every evening, promising more to Barbican Trafalgar Square language of late-Romantic the story if she is allowed to live and, after Russian music with a new work by LSO 1,000 continuous stories, is spared her life. ARTIST PORTRAIT: DANIIL TRIFONOV BMW CLASSICS Panufnik Composer Liam Mattison. Rimsky-Korsakov’s intricately descriptive music brings the story to life. Beethoven Overture: Egmont Dvořák Selection of Slavonic Dances Violet is the first part of Two Ladies, a larger Shostakovich Concerto No 1 for piano, trumpet Bushra El-Turk Tuqus (world premiere) * work first written by Liam Mattison in 2017. and strings Poulenc Selection from ‘Les biches – Suite’ In what Mattison describes as a ‘comic book PROGRAMME CONTRIBUTORS Berlioz Harold in Italy * Ravel La valse journey’, Violet begins small, with quiet gestures that expand over the course of Jo Kirkbride is Chief Executive of Dunedin Gianandrea Noseda conductor Sir Simon Rattle conductor the piece’s four minutes into wide, almost Consort and a freelance writer on classical Daniil Trifonov piano London Symphony Orchestra overwhelming orchestral textures that music, whose broad roster of clients includes Philip Cobb trumpet LSO On Track Young Musicians * ultimately burst, coming to comfortable rest. the London Sinfonietta, Britten Sinfonia, Antoine Tamestit viola * Guildhall School Musicians * Aldeburgh Productions, Cheltenham Festival London Symphony Orchestra Though written in a minor key, Tchaikovsky’s and the Scottish Chamber Orchestra. Produced in partnership with BMW First Piano Concerto belies the anguish one Thursday 27 June 7.30–9.25pm might usually expect in favour of tripping Wendy Thompson studied at the Royal Saturday 29 June 7.30–9.25pm melodies and nervous energy, borrowing College of Music and King’s College, Barbican tunes from Ukrainian folk song and even London. In addition to writing about the Belgian singer Désirée Artôt. The piece music she is Executive Director of Classic THE CUNNING LITTLE VIXEN opens with a grand introduction complete Arts Productions, a major supplier of with broad horn calls, before moving to a independent programmes to BBC Radio. Janáček The Cunning Little Vixen (semi-staged) melodic nocturne-like slow movement and a vigorous, extroverted finale. Andrew Huth is a musician, writer and Sir Simon Rattle conductor translator who writes extensively on French, Peter Sellars director Inspired by the collection of Persian Russian and Eastern European music. Lucy Crowe, Gerald Finley, Sophia Burgos, Peter fairy-tales One Thousand and One Nights, Hoare, Jan Martiník, Hanno Müller-Brachmann, Scheherazade tells the story of a Sultan’s Andrew Stewart is a freelance music Paulina Malefane, Anna Lapkovskaja soloists cunning wife, who in an effort to avoid journalist and writer. He is the author of The London Symphony Orchestra being executed by her husband the morning LSO at 90, and contributes to a wide variety after their wedding night, weaves elaborate of specialist classical music publications. Produced by LSO and Barbican

4 Tonight’s Concert 9 June 2019 Liam Mattison Violet from ‘Two Ladies’ (world premiere) 2017 / note by Jo Kirkbride

erhaps it stems from a fondness David, His Wife and Jasper is the second in as the flutes flutter off into the distance, for musicals, or from his early a set of two works exploring what Mattison the intensity – so close to becoming experience of playing Javert in a describes as an ‘almost’ reality, each inspired overpowering – is quickly dispersed. • school production of Les Misèrables aged by literature. In this two-work set, entitled 15, but Mattison has a thing for stories. Two Ladies, Violet is heard first. His music finds the theatrical in the everyday, the scores evolving into broad Mattison does not spell out who or what is The Panufnik Composers Scheme is canvases that carry the listener along on the inspiration for Violet but there are plenty generously supported by Lady Hamlyn a wave of irresistible drama. of clues in his cartoonish score. It is, he says, and The Helen Hamlyn Trust. ‘a comic book journey between sounds and The way Mattison describes his composition intensities’, a work that starts out small process – ‘both long and short, but always and unassuming but which intensifies and incredibly involved’ – would be a fitting expands until it reaches bursting point. • PANUFNIK COMPOSERS SCHEME characterisation of his music too. We hear It begins with a swirl of percussion and the each miniature in glittering detail, even rumble of the double bass, the air tense and The Panufnik Composers Scheme offers as we are swept along by the narrative of uncertain, punctuated only by the soft call of six emerging composers each year the the whole. In turn, he too flits between a single trumpet. We hear a hint of surprise opportunity to write for the LSO. Guided working from ‘moment to moment, gesture from the marimba, a quiver of activity in by composer Colin Matthews, participants to gesture’, while allowing the music ‘to the strings, and then the escalation begins. are able to experiment over time, develop organically grow and relate to the larger Layer by layer the orchestra begins to swell, at their orchestral writing skills and build form in each moment’. first darker and deeper, then higher and more collaborative relationships with LSO players. urgent, the wind and strings driven ever The resulting pieces are workshopped So it was with his first composition for upwards as though by an unstoppable force. publicly with the Orchestra and Principal the LSO Panufnik Composers Scheme •, Guest Conductor François-Xavier Roth David, His Wife and Jasper, which took its As individual lines begin to break free and each spring at LSO St Luke’s. Two of the inspiration from a short story by Andrew roam ‘wild and unsupervised’ around the six composers each year are then awarded Kaufman in which the central character’s orchestra, it all becomes too much and – commissions to be performed in the LSO’s wife, Stacey, found herself becoming smaller pop! – the bubble bursts. There is a moment main season. 87 composers have taken part and smaller day by day – eventually growing of silence and rush of relief before, all too in the scheme since it began in 2005. miniature enough to become her child’s toy. soon, the drama is rekindled, the orchestra Revealing a fascination not just with stories flailing wildly once more like a child having Read more about the scheme at but in particular with tales of the absurd, a tantrum. But its energy is soon spent, and • lso.co.uk/panufnik

Programme Notes 5 Liam Mattison in Profile b 1990 / profile by Jo Kirkbride

‘My music is sometimes like broken mobiles most’, he explains. ‘I often find myself spinning in different viscosities of liquid or stopping when I don’t enjoy it, but always air’, he says, acknowledging a preference come back to it. I am never not thinking for working with smaller structures and about the pieces I am writing.’ • segments of time. But Mattison also has a penchant for drama, such that these fragments often cohere to form characters in a broader portrait, ‘like a comic book based on caricatures.’ This oscillation between small- and large-scale processes, between the real and the exaggerated, is characteristic of his playful approach to structure and form. ‘I don’t want a listener to know how much time has passed when the piece has ended’, he explains. hen asked which composers flute, saxophone, trombone and viola ‘to fill have played the greatest role the gaps in various school ensembles’, before Still in his twenties, Mattison has already in influencing his career, Liam discovering a passion for composing aged 13. earned himself a string of notable accolades, Mattison finds it difficult to choose. Although he acknowledges ‘there is no which include a 2018 RPS Composition ‘I once declared Handel the most important real musical training in the family’, he was Prize, and places on both the Britten-Pears composer that ever has or ever would live constantly surrounded by music as a child. Young Artist scheme and Cheltenham Music after listening to a free CD on the cover ‘Mum had played the piano as a teenager, Festival’s Composer Academy. His music of a classical music magazine’, he says, Nan sings in the local church congregation, has been commissioned by, among others, before going on to name Schubert, Poulenc, and there was always singing (at varying the London Contemporary Orchestra Oliver Knussen, Thomas Adès, Morton levels of quality) in the car.’ Soloists, Gagliano Ensemble, CHROMA Feldman and even Stephen Sondheim and piano and percussion duo George among his disparate list of influences. This hunger for music, and a disregard of Barton and Siwan Rhys. genres or boundaries, have followed Mattison This plurality is characteristic of his into his career as a composer. His scores flit For someone who might have ended up experience as a musician, too. Having happily between ideas, growing organically pursuing any number of musical careers, started out playing the keyboard and then out of collections of smaller fragments, the this recognition for his work is a welcome the clarinet, he went on to teach himself whole pieced together like an intricate mosaic. reward. ‘Composition is the thing I enjoy

6 Composer Profile 9 June 2019 Pyotr Ilyich Tchaikovsky Piano Concerto No 1 in B-flat minor Op 23 1874–5 / note by Andrew Huth

1 Allegro non troppo e molto maestoso – nervous performance. Rubinstein soon fast section in which, beneath the soloist’s Allegro con spirito changed his opinion, though, for not only did figurations, the strings play another 2 Andantino semplice – Prestissimo he conduct the first Moscow performance borrowed tune: a French song called Il faut 3 Allegro con fuoco less than a year later, he then learned the s’amuser, danser et rire, apparently a great solo part and eventually became one of its favourite of the Belgian singer Désirée Artôt Alice Sara Ott piano most persuasive champions. with whom Tchaikovsky had for a time fancied himself in love. his concerto is now so famous and The concerto has puzzled many other people popular that it comes as something since then, usually the people who expect The opening of the finale recalls the music of a surprise to hear about the a minor-key piece by Tchaikovsky to be vigorously to the tonic minor key with impression it made on its first listener. We full of anguish and self-revealing pathos. another Ukrainian tune; but it is not the don’t know what prompted Tchaikovsky to In fact this work seems more to be about character of this lively dance that dominates compose it towards the end of 1874, but we avoiding darkness by underplaying the the movement. That position is held by • NIKOLAI RUBINSTEIN know only too well what happened when he tonic minor key as much as possible. The the second theme, a surging melody that played it to his friend Nikolai Rubinstein •, concerto’s opening announces it as a work provides a perfectly satisfying balance to the Russian pianist, conductor and composer hoping for some friendly technical advice that looks outwards rather than inwards. first movement’s long introduction, and at Nikolai Rubinstein was a close friend of on the solo piano writing. As Tchaikovsky After a striking horn call the music moves the same time confirms the concerto as one Tchaikovsky, whom he met after hiring the later recalled, Rubinstein was at first silent, immediately into D-flat, the relative major of Tchaikovsky’s most extrovert works. • then-new graduate to teach harmony at the then began to shout that ‘… my concerto key, for a great swinging melody which Moscow Conservatory. The pair had a well- was worthless, that it was unplayable … is never heard again in the course of the known falling-out after Rubinstein’s harsh that there were only two or three pages that work. After this grand introduction, there comments about the First Piano Concerto. could be retained, and that the rest would is something very tentative about the Yet despite that initial first impression, have to be scrapped’. appearance of B-flat minor when the soloist Rubinstein went on to become an ardent introduces the main body of the movement champion of the work. Tchaikovsky Rubinstein was usually very well disposed at a quicker tempo with a delicate tripping dedicated his Piano Trio in A minor to towards Tchaikovsky’s music, so what went theme based on a Ukrainian folksong, and Rubinstein’s memory following the pianist’s wrong? The most likely explanation is that towards the end of the movement the minor death from tuberculosis in Paris in March 1881. Tchaikovsky wasn’t up to giving a convincing mode is banished with almost nervous haste. Interval – 20 minutes impression of this hugely demanding work. There are bars on all levels. He was a competent pianist but no virtuoso The slow movement is a nocturne-like Visit the Barbican Shop to see our and Rubinstein probably heard more wrong meditation, one of Tchaikovsky’s great range of Gifts and Accessories. notes than right ones in the composer’s melodic inspirations. At its centre lies a

Programme Notes 7 Pyotr Ilyich Tchaikovsky in Profile 1840–93 Nikolai Rimsky-Korsakov in Profile 1844–1908

Tchaikovsky’s First Symphony was warmly St Petersburg, Balakirev encouraged him to received at its St Peters­­burg premiere in complete the sketches he had made for his 1868. Swan Lake, the first of his three First Symphony. Composition increasingly great ballet scores, was written in 1876 for occupied Rimsky-Korsakov’s time, and in Moscow’s Bolshoi Theatre. Between 1869 1871 he became a professor of composition and the year of his death, he composed over at the St Petersburg Conservatory. 100 songs, cast mainly in the impassioned Romance style and textually preoccu­­pied He remained on the staff for the rest of with the frustration and despair associated his life, with a brief absence in 1905 when with love, con­ditions that characterised his he was censured for supporting students personal relationships. involved in the rebellion of that year. His pupils included Liadov, Glazunov, Tchaikovsky’s hasty decision to marry Tcherepnin, Miaskovsky and Stravinsky. an almost unknown admirer in 1877 proved a disaster, his homosexuality combining Exotic melodies and orchestrations strongly with his sense of entrapment. became a hallmark of Rimsky-Korsakov’s By now he had completed his Fourth mature compositions, powerfully so Symphony, was about to finish his opera in works such as the symphonic suite chaikovsky was born in Kamsko- Eugene Onegin, and had attracted the lthough music played an important Scheherazade, the operas Mlada, Tsar Votkinsk in the Vyatka province of considerable financial and moral support part in the early life of Rimsky- Saltan and The Golden Cockerel, and the final Russia on 7 May 1840; his father of Nadezhda von Meck, an affluent widow. Korsakov, he followed family version of his symphonic poem Sadko. • was a mining engineer, and his mother was She helped him through his personal crisis tradition and enrolled as a student at the of French extraction. In 1848 the family and in 1878 he returned to com­position with College of Naval Cadets in St Petersburg in Profile by Andrew Stewart moved to the imperial capital, St Petersburg, the Violin Concerto. Tchaikovsky claimed 1856. He continued to take piano lessons, where Pyotr was enrolled at the School of that his Sixth Symphony represented his however, and was introduced to the influential Juris­prudence. After his mother’s death in best work. The mood of crushing despair composer Balakirev and such outstanding 1854, he overcame his grief by composing heard in all but the work’s third move­ment young musicians as Cui and Mussorgsky. and performing, and music remained a reflected the composer’s troubled state of diversion from his job – as a clerk at the mind. He died nine days after its premiere After graduating in 1862, Rimsky-Korsakov Ministry of Justice – until he enrolled as on 6 November 1893. • joined the crew of the clipper Almaz a full-time student at the St Petersburg and sailed on a voyage that lasted until Conservatory in 1863. Profile by Andrew Stewart the summer of 1865. On his return to

8 Composer Profiles 9 June 2019 Nikolai Rimsky-Korsakov Scheherazade Op 35 1888 / note by Wendy Thompson

1 The Sea and Sinbad’s Ship at the end of which my orchestration had Shakhriar, convinced that all women are four movements of the suite: the sea and 2 The Legend of the Kalendar Prince attained a considerable degree of virtuosity inherently unfaithful, has taken to having Sinbad’s ship, the fantastical adventures 3 The Young Prince and The Young Princess and warm sonority without Wagnerian each of his wives beheaded the morning of Prince Kalendar, the Prince and Princess, 4 Festival at Baghdad. The Sea. influence, limiting myself to the size of after their wedding night. The cunning the feast-day in Baghdad, and the ship Ship Breaks upon a Cliff Surmounted orchestra used by Glinka’. Scheherazade avoids the same fate by dashing against the magnetic cliff with the by a Bronze Warrior bronze horseman. As a unifying thread I — used the short introductions to movements ikolai Rimsky-Korsakov – one of ‘The programme by which I was guided during the composition of 1, 2 and 4, and the intermezzo to No 3, each the group of Russian nationalist written for violin solo and representing composers who acquired the Scheherazade consisted of separate, unconnected episodes … a kaleidoscope Scheherazade herself, telling her wonderful nickname ‘The Mighty Handful’, or ‘The Five’ – of fairy-tale images and designs of an oriental character.’ tales to the terrible sultan … In this way, by was influenced from an early age by the music Rimsky-Korsakov free development of the musical material of Glinka. Torn between pursuing a naval which forms the basis of the piece, I aimed career or allowing his exceptional musical — to produce a four-movement orchestral talent full rein, he eventually compromised suite, closely knit through its sharing of by finding a shore-based naval job that The ‘virtuosity and warm sonority’ entertaining her husband nightly with themes and motifs, but forming, as it were, allowed him plenty of time to compose, and which glows from every bar of Scheherazade her fascinating interlinked tales, each a kaleidoscope of fairy-tale images and immersing himself – like the other composers is achieved through imaginative use of running into the next, so that Shakhriar designs of an oriental character.’ of his circle – in Russian folk culture. orchestral timbre. There are marvellously cannot bear to cut her off in mid-narrative. idiomatic solos for all the wind principals, Eventually, after Scheherazade has kept The very opening of the work, an arresting The idea of Scheherazade came to him in the as well as the first horn and trumpet, this up for over 1,000 nights, the sultan theme for the brass, represents the Sultan early months of 1888, while he was working and the writing for the string and brass relents, and spares her life. himself, and the relationship between the on the completion of his friend Borodin’s groups is invariably sumptuous. The rich solo violin’s seductive ‘Scheherazade’ theme opera Prince Igor – a task undertaken in the colours and fantastical tales of the Orient Rimsky-Korsakov set out to depict certain and the ‘Sultan’ theme seems to chart the wake of Borodin’s untimely death. During are deeply embedded in the Russian of these episodes in a four-movement development between the two characters, as this time, Rimsky-Korsakov produced three national consciousness. symphonic suite, although he later the Sultan gradually succumbs to his wife’s of his own most popular works – the Spanish withdrew their specific titles. He wrote: charms. By the end of the fourth movement, Caprice, the Russian Easter Festival Overture, For Scheherazade, Rimsky-Korsakov drew ‘The programme by which I was guided the two themes are intertwined, suggesting and the symphonic suite Scheherazade. his inspiration from the famous collection of during the composition of Scheherazade the classic ending to every fairy-tale, with As the composer himself wrote in his Persian fairy-tales known as One Thousand consisted of separate, unconnected the lovers living happily ever after. • autobiography Chronicle of My Musical Life, and One Nights. The narrative framework episodes and pictures from One Thousand these three works ‘close a period of my work, of this collection is simple: the sultan and One Nights, scattered through all

Programme Notes 9 Elim Chan conductor

ne of the most exciting conductors the Lucerne Festival Academy Orchestra, ELIM CHAN NEXT SEASON of the younger generation and Orchestre Philharmonique de Luxembourg, already widely admired for National Orchestra of Belgium and the NAC Thursday 27 February 2020 7.30pm her unique combination of ‘drama and Orchestra, Ottawa. She led the Orchestre de Barbican tenderness, power and delicacy’ (Hereford la Francophonie as part of the NAC Summer Times), Elim Chan serves as Principal Guest Music Institute in 2012 where she worked with James Hoyle Thymiaterion (world premiere) * Conductor of the Royal Scottish National Pinchas Zukerman, and participated in the Rachmaninov Piano Concerto No 3 Orchestra from this season and has recently Musical Olympus Festival in St Petersburg Interval been appointed Chief Conductor Designate as well as in workshops with the Cabrillo Elizabeth Ogonek All These Lighted Things – of the Antwerp Symphony Orchestra, a Festival and Baltimore Symphony Orchestras three little dances for orchestra position she will assume in September 2019. (with Marin Alsop, Gerard Schwarz and Ravel Daphnis and Chloe – Suite No 2 Gustav Meier). She also took part in Highlights this season include her debuts masterclasses with Bernard Haitink in Elim Chan conductor with the Philadelphia Orchestra, Deutsches Lucerne in spring 2015. Lukáš Vondráček piano Symphonie-Orchester Berlin, BBC National Orchestra of Wales, Sydney Symphony, Born in Hong Kong, Elim Chan became the * Commissioned through the Panufnik Composers Royal Stockholm Philharmonic and City of first female winner of the Donatella Flick Scheme, generously supported by Lady Hamlyn Birmingham Symphony orchestras, as well LSO Conducting Competition in December and The Helen Hamlyn Trust as Deutsche Kammerphilharmonie Bremen 2014 – one of the biggest turning points of at Hamburg’s Elbphilharmonie. In addition her career so far – as a result of which she to these new encounters, she returns to held the position of Assistant Conductor the Los Angeles Philharmonic, Royal of the London Symphony Orchestra in Liverpool Philharmonic and Rotterdam 2015/16 and was appointed to the Dudamel Philharmonic orchestras. Fellowship programme with the Los Angeles Philharmonic in 2016/17. Recent notable engagements include debuts with the Philharmonia and Concertgebouw Elim Chan holds degrees from Smith College orchestras, hr-Sinfonieorchester and and the University of Michigan, where she Orchestre national de Lyon. Previously she was Music Director of the University of collaborated with the Berkeley, Detroit and Michigan Campus Symphony Orchestra and Chicago Symphony Orchestras, the Mariinsky Michigan Pops Orchestra. She received the Orchestra, at the Lucerne Festival with Bruno Walter Conducting Scholarship in 2013. •

10 Artist Biographies 9 June 2019 Alice Sara Ott piano

he 2018/19 season marks a ambassador for Technics, the hi-fi audio Orchestra, Chicago Symphony Orchestra, significant year for German- brand of Panasonic Corporation, and she has Washington’s National Symphony Japanese pianist Alice Sara Ott, an ongoing collaboration with the French Orchestra, Rundfunk-Sinfonieorchester one of the world’s most in-demand classical luxury jewellery house Chaumet. Berlin, Royal Philharmonic Orchestra, WDR pianists. She released her latest album, Sinfonieorchester Köln, Vienna Symphony Nightfall, featuring works by Satie, Debussy A prominent figure on the international Orchestra and Dresden Philharmonic. • and Ravel, including Gaspard de la Nuit, classical music scene, Alice Sara Ott one of the greatest challenges of piano regularly performs with the world’s leading literature. The album marks ten years since conductors and orchestras. In 2018/19 as Alice was signed as an exclusive recording well as the international Nightfall recital artist to Deutsche Grammophon. tour and a residency at LSO St Luke’s – part of the BBC Radio 3 Concerts seies – Ott has She has toured the same recital programme performed with NHK Symphony Orchestra across the world, with European dates Tokyo and Gianandrea Noseda, Philharmonia including Paris’s La Seine Musicale, Orchestra and Santtu-Matias Rouvali, Stuttgart’s Liederhalle, Vienna’s Mozart Bergen Philharmonic and Edward Gardner, Saal, Munich’s Prinzregententheater, Baden and for a European tour with the Gothenburg Baden’s Festspielhaus, Wigmore Hall and Symphony (Santtu-Matias Rouvali) as well the Klavier-Festival Ruhr in Duisburg. as with the London Symphony Orchestra. These European dates are in addition to a nine-date recital tour across Japan, including Alice Sara Ott has worked with conductors Tokyo Opera City, in autumn 2018. at the highest level including Lorin Maazel, Gustavo Dudamel, Pablo Heras-Casado, With her talent not limited to a global career Paavo Järvi, Neeme Järvi, Sir Antonio as a high level performing artist, Alice Sara Pappano, Gianandrea Noseda, Andrés Ott also expresses her diverse creativity Orozco-Estrada, Yuri Temirkanov, Vladimir through a number of design and brand Ashkenazy, Sakari Oramo, Osmo Vänskä, partnerships beyond the borders of classical Vasily Petrenko, Myung-Whun Chung, music. She was personally requested to Hannu Lintu and Robin Ticciati. design a signature line of high-end leather bags for JOST, one of Germany’s premium She continues to perform with ensembles brands. Alice has also been global brand such as the Los Angeles Philharmonic

Artist Biographies 11 London Symphony Orchestra on stage tonight

Guest Leader Second Violins Cellos Flutes Horns Timpani LSO String Experience Scheme Julien Szulman David Alberman Josephine Knight Gareth Davies Timothy Jones Nigel Thomas Since 1992, the LSO String Experience Thomas Norris Alastair Blayden Jack Welch Angela Barnes Scheme has enabled young string players First Violin Miya Väisänen Jennifer Brown Alexander Edmundson Percussion from the London music conservatoires at Carmine Lauri Matthew Gardner Noel Bradshaw Piccolo Jonathan Lipton Sam Walton the start of their professional careers to gain Clare Duckworth Julian Gil Rodriguez Eve-Marie Caravassilis Sophie Johnson Christopher Thomas work experience by playing in rehearsals Ginette Decuyper Belinda McFarlane Daniel Gardner Trumpets Jacob Brown and concerts with the LSO. The musicians Gerald Gregory Iwona Muszynska Hilary Jones Oboes Niall Keatley Matthew Farthing are treated as professional ‘extra’ players Maxine Kwok-Adams Csilla Pogany Amanda Truelove Olivier Stankiewicz Catherine Knight Glyn Matthews (additional to LSO members) and receive fees Claire Parfitt Andrew Pollock Anna Beryl Rosie Jenkins Paul Mayes for their work in line with LSO section players. Laurent Quénelle Paul Robson Ghislaine McMullin Harp Harriet Rayfield Caroline Frenkel Cor Anglais Trombones Helen Tunstall The Scheme is supported by: Colin Renwick Gordon MacKay Double Basses Maxwell Spiers Peter Moore The Polonsky Foundation Rhys Watkins Alain Petitclerc Colin Paris James Maynard Piano Barbara Whatmore Charitable Trust Morane Cohen- Robert Yeomans Patrick Laurence Clarinets Philip Moore Derek Hill Foundation Lamberger Matthew Gibson Chris Richards Bass Trombone Lord and Lady Lurgan Trust Grace Lee Violas Thomas Goodman Chi-Yu Mo Barry Clements Angus Allnatt Charitable Foundation Dániel Mészöly Gillianne Haddow José Moreira Rod Stafford Lyrit Milgram Malcolm Johnston Jani Pensola Bass Clarinet Tuba Helen Paterson German Clavijo Emre Ersahin Christelle Pochet David Kendall Performing tonight are: Emily Turkanik Robert Turner Simo Väisänen (first violin) andIlaria Faleschini (viola) Stephen Doman Bassoons Ilona Bondar Daniel Jemison Editor Catherine Bradshaw Cerys Ambrose-Evans Fiona Dinsdale | [email protected] Luca Casciato Editorial Photography Anna Growns Contra Bassoon Ranald Mackechnie, Chris Wahlberg, Nancy Johnson Dominic Morgan Harald Hoffmann, Marco Borggreve Cynthia Perrin Print Cantate 020 3651 1690 Alistair Scahill Advertising Cabbells Ltd 020 3603 7937

Details in this publication were correct at time of going to press.

12 The Orchestra 9 June 2019