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Home , Percy Grainger

Thursday 20 June 7.30–9.55pm Barbican

LSO + GUILDHALL SCHOOL BRUCKNER

Vaughan Williams Fantasia on a Theme by Thomas Tallis BRUCKNER 4 Grainger Posy Interval Bruckner No 4

Sir Simon Rattle conductor London Symphony Guildhall School musicians

Generously supported by Baker McKenzie

Welcome News On Our Blog

Throughout the concert, we welcome LSO AT THE BBC PROMS 2019 MEET TONIGHT’S MUSICIANS students from Guildhall School of Music & Drama as they play side-by-side with the The LSO and a 300-strong choir perform ‘Being on the Orchestral Artistry course LSO. Since the formation in 2013 of our joint Walton’s Belshazzar’s Feast on Tuesday has changed how I understand music – Orchestral Artistry Masters programme – 20 August at the BBC Proms, conducted it’s about finding a sound that blends with which helps to equip young musicians with by Sir Simon Rattle. The programme also everyone, being flexible, and being you. the skills needed for life in professional includes Varèse’s Amériques and French When I first worked with LSO musicians, ensembles – the LSO has been working composer Charles Koechlin’s Les bandar-log. they said, ‘Forget about the right notes!’ – ever more closely with Guildhall School. they want something special, something Our partnership has been strengthened that could only come from you. We can all with the launch of Culture Mile, an initiative LIVE STREAM: BMW CLASSICS play a lot of notes, but not everyone can warm welcome to this evening’s that aims to create an unrivalled destination communicate something about the music.’ LSO concert at the Barbican, for culture, creativity and learning in the Our annual, free concert returns to Trafalgar Julia Raga Pascual, Orchestral Artistry Clarinet conducted by Music Director City of London, and we look forward to future Square on 30 June. Can’t make it on the day? Sir Simon Rattle. Last month Sir Simon led collaborations in the seasons to come. Watch the concert live on our YouTube ‘Working with the LSO and taking part in the Orchestra on a highly successful tour channel wherever you are in the world mock auditions has really challenged me to to Latin America – the first visit in the LSO’s This evening’s concert is generously (also available on demand for 90 days). think about how I can put my stamp on the 115-year history – and we are delighted to supported by Baker McKenzie. I would like to music I’m presenting, and how I can show see him return to the Barbican stage to take this opportunity to warmly welcome their • youtube.com/lso what I have to offer as part of the orchestra, close the 2018/19 season tonight and in guests and thank them for their landmark not just as an individual. It’s challenged me next week’s semi-staged performances partnership as much-valued legal advisors in a really positive way to think about how of The Cunning Little Vixen. to the LSO over the past two decades. WELCOME TO TONIGHT’S GROUPS to always strive for the best music-making, how far you can go for the sake of the music.’ Continuing the season theme of ‘roots and I hope you enjoy the concert, and that you We are delighted to welcome Susanna Bailey, Orchestral Artistry Flute origins’, we begin with two works that take will join us again soon. Tübinger Saxophon-Ensemble inspiration from the English folk tradition in Memorial University of Newfoundland Read more, and get to know the Guildhall different ways: Vaughan Williams’ Fantasia School musicians performing with the LSO on a Theme by Thomas Tallis for strings, and in tonight’s concert, on the LSO Blog. Percy Grainger’s set of ‘musical wildflowers’, Please ensure all phones are switched off. . Bruckner’s rich and Photography and audio/video recording • lso.co.uk/blog Romantic Fourth Symphony follows in Kathryn McDowell CBE DL are not permitted during the performance. the second half. Managing Director

2 Welcome 20 June 2019 In perfect harmony BAKER MCKENZIE AND THE LONDON SYMPHONY ORCHESTRA www.bakermckenzie.com

Baker McKenzie has a passion for the Arts, which is Baker & McKenzie LLP is a limited liability partnership registered in England and Wales with registered number OC311297. Baker & McKenzie LLP is a member of why we are proud to have been official lawyers to the Baker & McKenzie International, a global law firm with member law firms around the world. London Symphony Orchestra for the past two decades. © 2019 Baker McKenzie Tonight’s Concert In Brief Coming Up

he tradition of English song, both PROGRAMME CONTRIBUTORS Thursday 27 June 7.30–9.25pm Sunday 30 June 5–6.30pm sacred and secular, fills the first Saturday 29 June 7.30–9.25pm Trafalgar Square half of tonight’s programme, as we Wendy Thompson studied at the Royal Barbican hear from two composers of the 20th century College of Music, before taking an MMus BMW CLASSICS who reached back to the music of the past. in musicology at King’s College, London. THE CUNNING LITTLE VIXEN In his Fantasia on a Theme by Thomas In addition to writing about music Dvořák Selection of Slavonic Dances Tallis, which was premiered by the LSO in she is Executive Director of Classical Janáček The Cunning Little Vixen (semi-staged) Bushra El-Turk Tuqus (world premiere) * 1910, Vaughan Williams was influenced by Arts Productions, a major supplier of Poulenc Selection from ‘Les biches – Suite’ the melodies he encountered while editing independent programmes to BBC Radio. Sir Simon Rattle conductor Ravel La valse The English Hymnal. The result was a richly Peter Sellars director textured, elaborate piece for double string Andrew Stewart is a freelance music London Symphony Orchestra Sir Simon Rattle conductor orchestra that embellishes Tallis’ Tudor journalist and writer. He is the author of The Lucy Crowe Vixen London Symphony Orchestra Psalm tune. Also a collector of , LSO at 90 and contributes to a wide variety Gerald Finley Forester LSO On Track young musicians * Percy Grainger based the six songs of his of specialist classical music publications. Sophia Burgos Fox, Chocholka Guildhall School musicians * Lincolnshire Posy on the folk tunes and Peter Hoare Schoolmaster, Cock, Mosquito singers he had encountered during a trip Malcolm Gillies is an author, musicologist Jan Martiník Badger, Parson Free entry, early arrival recommended to Lincolnshire. and critic, resident in Canberra. Hanno Müller-Brachmann Haraschta Paulina Malefane Forester’s Wife, Owl, Woodpecker Produced in partnership with BMW In the second half, Sir Simon Rattle gathers David Nice writes, lectures and broadcasts Anna Lapkovskaja Mrs Pasek, Dog a vast orchestra – in his own words, ‘a massive on music, notably for BBC Radio 3 and Jonah Halton Pasek concert with a massive orchestra’ – for BBC Music Magazine. His books include Irene Hoogveld Jay LSO 2019/20 SEASON Bruckner’s Fourth Symphony. Subtitled the short studies of , Elgar, London Symphony Chorus ‘Romantic’, the symphony conjures brightly Tchaikovsky and Stravinsky, and a Prokofiev LSO Discovery Voices Starts 14 September, featuring coloured images of enchanted woodland, biography, From Russia to the West 1891–1935. Simon Halsey chorus director Sir Simon Rattle: Beethoven 250 knights and huntsmen with a clarity surely David Lawrence & Lucy Griffithschorus masters Gianandrea Noseda: Russian Roots only Bruckner could have achieved. François-Xavier Roth: Bartók & Stravinsky Ben Zamora lighting designer Michael Tilson Thomas: 50th LSO Anniversary Guildhall School musicians play side-by- Nick Hillel & Adam Smith (Yeast Culture) LSO Artist Portrait: Antoine Tamestit side with the LSO throughout tonight’s video designers concert, following extensive coaching Hans Georg Lenhart assistant director On sale now with LSO players. • lso.co.uk/201920season Produced by LSO and Barbican

4 Tonight’s Concert 20 June 2019 Fantasia on a Theme by Thomas Tallis 1910 / note by Wendy Thompson

aughan Williams’ most famous recognised as a minor masterpiece, and it composition to make any public impact, Fantasia sprang from a combination has since been one of the composer’s most the song Linden Lea, was published in 1902. of passions: his absorption in Tudor popular and frequently performed pieces. music and English folk-song collecting, and His ‘discovery’ of folk song in 1903 was a from his editorship of The English Hymnal, The Fantasia is scored for double string major influence on the development of which occupied him almost exclusively orchestra of unequal size, from which the his style. A period of study with Maurice from 1904 to 1906. Several of the tunes section leaders emerge as a solo quartet. Ravel in 1908 was also very successful, included in the Hymnal influenced his own Vaughan Williams took as his starting with Vaughan Williams learning, as he put subsequent compositions, including the point Tallis’ original harmonisation of his it, ‘how to orchestrate in points of colour third of nine Psalm tunes by the Elizabethan modal melody, and based his structure on rather than in lines’. The immediate outcome composer Thomas Tallis, originally printed in the sectional concept of the Tudor fantasia. was the song-cycle On Wenlock Edge. Archbishop Parker’s metrical Psalter of 1567. The theme appears in various embellished The Fantasia on a Theme by Thomas Tallis, This melody, in the Phrygian mode, is set guises, before reappearing in its original using a tune he had studied while editing in the English Hymnal to Addison’s words grandeur in the closing section. • The English Hymnal, was first performed ‘When rising from the bed of death’. in Gloucester Cathedral in 1910. With these RALPH VAUGHAN WILLIAMS 1872–1958 works he established a reputation which In 1910, Vaughan Williams was commissioned subsequent compositions, such as the to write a piece for the Three Choirs Festival. Thursday 12 December 7.30pm, Barbican orn in Gloucestershire on 12 October Symphony No 3 (‘Pastoral’), Flos Campi and His piece was to be performed in Gloucester 1872, Ralph Vaughan Williams the Mass in G minor, served to consolidate. Cathedral alongside Elgar’s The Dream of PAPPANO: BRITISH ROOTS moved to Dorking in Surrey at the Gerontius, and Elgar’s Introduction and age of two, following the death of his father. In 1921 he became conductor of the Bach Allegro probably inspired Vaughan Williams Tippett Here, his maternal grandparents, Josiah Choir, alongside his Professorship at the to use the same forces in a Fantasia based for Double String Orchestra Wedgwood – of the pottery family – and his RCM. Over his long life, he contributed on Tallis’ Psalm melody. Elgar Sea Pictures wife Caroline, who was the sister of Charles notably to all musical forms, including film Vaughan Williams Symphony No 4 Darwin, encouraged a musical upbringing. music. It is in his nine however, He conducted the strings of the London spanning a period of almost 50 years, that Symphony Orchestra at the work’s premiere Sir Antonio Pappano conductor Vaughan Williams attended Charterhouse the greatest range of musical expression on 6 September 1910. On the whole, the Sarah Connolly mezzo-soprano School, and in 1890 he enrolled at the is evident. Vaughan Williams died on 26 critics received it coolly, and after its London London Symphony Orchestra Royal College of Music, becoming a pupil of August 1958, just a few months after the premiere in February 1913, Vaughan Williams Sir Hubert Parry. Weekly lessons at the RCM premiere of his Ninth Symphony. • withdrew it for substantial revision. It took lso.co.uk/201920season continued when he entered Trinity College, another two decades for the work to be Cambridge, in 1892. Vaughan Williams’ first Composer Profile by Stephen Connock

Programme Notes 5 Percy Aldridge Grainger Lincolnshire Posy 1937 / note by Malcolm Gillies

1 ‘Lisbon’ (Sailor’s Song) rhythms of either ‘Rufford Park Poachers’ with its basis in the massed families of 2 ‘Horkstow Grange’ or ‘Lord ’. So, he conducted only single reeds (clarinets and ) PERCY GRAINGER IN 2019/20 (The Miser and his Man – a local Tragedy) the first, second and sixth movements of and double reeds ( and bassoons), 3 ‘Rufford Park Poachers’ his new Lincolnshire Posy, to a lukewarm as well as Grainger’s battery of ‘tuneful’ Thursday 4 June 2020 7.30pm (Poaching Song) response. In his introduction to the score, percussion (such as xylophone, glockenspiel, Barbican 4 ‘The Brisk Young Sailor’ published several years later, Grainger handbells and tubular chimes). (Returned to Wed his True Love) pointedly commented: ‘The only players that An evening of music and visuals exploring 5 ‘Lord Melbourne’ (War Song) are likely to baulk at these [irregular] rhythms Lincolnshire Posy had a deeper purpose, the life and music of the great maverick 6 ‘The Lost Lady Found’ (Dance Song) are seasoned professional bandsmen, who however. In 1940 Grainger explained that and eccentric genius Percy Grainger. think more of their beer than of their music.’ each movement is a musical ‘portrait’ of the hen the American Bandmasters [original] ‘singer’s personality … his regular Sir Simon Rattle conductor Association hurriedly invited The whole six-movement Posy, including or irregular wonts of rhythm, his preference Gerard McBurney creative director Percy Grainger to provide a work the offending movements and one Grainger for gaunt or ornately arabesqued delivery, Gentlemen of the London Symphony Chorus to premiere at the ‘Monster Concert’ of had not yet completed in March, ‘The Brisk his contrasts of legato and staccato, his Simon Halsey chorus director its imminent 1937 Convention, Young Sailor’, was finally premiered on 29 tendency towards breadth or delicacy of it gained rather more trouble than it had May 1937, in a New York performance by the tone’. Each song verse in Grainger’s Posy, Produced by the LSO and the Barbican. expected. Well-known, even loved, for his student band of the Ernest Williams School then, represents the moment-by-moment Part of the LSO’s 2019/20 Season and work with bands, Grainger had grasped of Music. Grainger was ‘greatly pleased’, imprints of the singer’s artistry. And he wept Barbican Presents. the opportunity to produce something boasting of ‘the best folk song settings at the cruel treatment of these folk singers, unexpectedly ambitious. Over six weeks, I have done since 1907–1913’. The famed who despite their wonderful musical gifts he worked night and day to produce the took up the work, performing had often died in poor-houses. • score and parts of a new suite of ‘musical it on the Mall in New York’s Central Park lso.co.uk/201920season wildflowers’, based upon folk songs most the following month, and so Lincolnshire of which he had collected from a variety of Posy entered the repertory of more daring singers three decades before in Lincolnshire. bands. It gained a new and enduring level of fame as a ‘wind band classic’ in 1958, The ‘Monster Concert’ on 7 March 1937, when the Eastman Wind Ensemble released involving the Milwaukee Symphonic Band a recording of it, lovingly crafted by its Interval – 20 minutes of 86 players and 15 works other than conductor . A good friend There are bars on all levels. Grainger’s suite, greatly disappointed him. of Grainger, Fennell had worked hard to Visit the Barbican Shop to see our At rehearsal it became apparent that the correct mistakes or fine-tune the balance range of Gifts and Accessories. band just could not negotiate the irregular of the work’s wonderfully rich ensemble,

6 Programme Notes 20 June 2019 Percy Aldridge Grainger in Profile 1882–1961 / profile by Malcolm Gillies

— ‘All my compositional life I have been a leader without followers.’ Percy Grainger —

ercy Grainger defies easy The most popular compositions of Grainger’s laid with enduring German foundations; categorisation. Born in colonial early years included , his early mature compositions reflect much Melbourne in 1882, he studied in Shepherd’s Hey and Handel in the Strand, in the English turn-of-the century musical Germany, pursued his early professional leading to his monumental work The practice of his best friends; his fascination years in Britain but moved at the onset of Warriors. This ‘music to an imaginary ballet’ with musical texture and tonal blending to the United States, where he premiered in America during the zenith of of instruments shows a strong American died in 1961. He was an incessant traveller, his performing career, as did his best-seller, influence. Yet it was to Scandinavia and his giving over 3,000 concerts and making , based on an English Morris ‘Scandinavia-of-the-South’, Australia, that hundreds of recordings as a pianist. Today, dance tune. His decision to join the US Army he looked to fulfill his hopes for broader however, he is more widely remembered as as a bandsman playing and soprano democracy, freedom, and social progress. • a jaunty, occasionally iconoclastic, composer, , opened up a strong, post-war who also made pioneering contributions to vein of compositions and arrangements education and ethnography. for band. Lincolnshire Posy (1937), his ‘bunch of musical wildflowers’, remains In 1911 Grainger confessed to his mother, ‘I to this day a touchstone of the American hardly ever think of aught else but sex, race, band movement. In older age Grainger athletics, speech and art’. These were the key was fascinated with the potentialities areas of his self-defined ‘all-roundedness’, of Free Music, especially its gliding tones from youth into old age. In fact, Grainger and beatless qualities, and developed never saw himself as ‘just a musician’. He several machines which foreshadowed prophesied that his progressive social ideas the synthesiser of the late 1950s. and writings might ultimately prove more important than his musical achievements; Now claimed by several countries as he even set up and stocked his own Museum its musical son, Percy Grainger is best in Melbourne so that posterity could make considered as an early internationalist its own assessment of his significance. polymath. His compositional technique was

Composer Profile 7 Anton Bruckner Symphony No 4 Second version 1877–78, ed Nowak 1953 with 1880 Finale / note by David Nice

1 Bewegt, nicht zu schnell of nature, dominated in every movement by 2 Andante, quasi allegretto the sound of the horn, is often expressed 3 Scherzo: Bewegt – Trio: Nicht zu schnell in clean, bright colours and straightforward 4 Finale: Bewegt, doch nicht zu schnell progressions; those well-meaning but conventionally minded colleagues Franz his symphony’s epithet, Schalk and Ferdinand Loewe were wrong to ‘Romantic’, is Bruckner’s own, clothe Bruckner’s thought in darker, more and although they may seem like Wagnerian hues when they made revisions programmatic wisdom after the event, the to the work in the late 1880s. But there are charming descriptions he gave to each of the times, too, when a paler cast of thought movements, while engaged on his several registers in an altogether more complex use revisions of the work, make it quite clear of harmony: this, if anything, comes closer what kind of Romanticism this is. to our image of a ‘Romantic’ symphony. The tension between the two is sustained The programme is of medieval towns successfully for the first time in Bruckner’s • Karl Friedrich Schinkel’s Gotische Kirche auf einem Felsen am Meer (1815) flanked by enchanted woodland, knights work, and that is surely why he took so long and huntsmen, noonday dancing in forest to shape it to his liking. That done, the path modifications for a New York performance As the light grows, a new figure emerges – clearings: such is the substance of that was clear for the kind of symphony he now conducted by Anton Seidl. It is Nowak’s first ascending, then descending – in amiable early Romantic painter Schinkel • knew he wanted to write; only the genesis 1953 publication of the second version that Bruckner’s favourite rhythmic pattern of rather than his awe-inducing contemporary of the Eighth was to cause anything like the Sir Simon Rattle has chosen to perform. two notes in a common-time bar followed Caspar David Friedrich (note that the heyday same trouble. by a group of three; it comes in useful as of both artists came nearly half a century FIRST MOVEMENT a dominant force later, en route to the before Bruckner began work on the Fourth After the first draft of 1874, Bruckner revised The easy luminosity of Bruckner’s un- inspired chorale climax of the development. Symphony in 1874). In other words, the the Fourth Symphony in 1877–78, providing improvable orchestration shines out in the So useful, in fact, that only when we hear moodier imaginings and the fantastical a new scherzo and finale along with the symphony’s opening. The string mists that the initial horn call blazing out in full E-flat subjectivity of the artist we think of as the picturesque programme; the ‘Popular usher in the magical horn call, like many a major glory in the movement’s coda for the archetypal Romantic are nowhere in sight. Festival’ title he gave the fourth movement Brucknerian beginning, owe much to the first time do we realise that Bruckner the is obviously quite inappropriate to the inspiration of Beethoven’s Ninth Symphony; master has saved the trump card until the Not that the long-discredited image of titanic spirit of the re-thought finale from but the key is major, not minor, for the first last, breathtaking minute. By way of rustic Bruckner the simple, unsophisticated 1880. That year also saw the successful time in Bruckner’s output, and the stillness repose after the first powerful orchestral countryman has anything to do with the Vienna premiere under Hans Richter. In 1886 is effortlessly held over 35 bars before the statements, the second subject group enters essence of the Fourth Symphony. His record Bruckner made a number of relatively minor faintest hint of a crescendo. on strings alone – surprisingly in D-flat

8 Programme Notes 20 June 2019 major – with a simple pattern on violins key of B-flat major. Developments shadow Simpson when he wrote that ‘a Bruckner that Bruckner referred to as the chirping another, reflective treatment of the symphony is, so to speak, an archaeological of a forest tom-tit, with the nature-lover’s rhythmic pattern on strings; the trio is ‘dig’. The first three movements are like response countering in the viola melody; pure, bucolic repose – though, again, not layers removed, revealing the city below, that, at least, was no programmatic as simple as its flowing oboe and clarinet the finale’. Simpson finds fault with the afterthought. These forest murmurs, song at first suggests. commonplaces and bad timing of this soon tempered by experience, provide the atmospheric food for reflection — between the movement’s shining glories. ‘They want me to write differently. Certainly I could, but I must not.

SECOND MOVEMENT God has chosen me from thousands and given me, of all people, this talent. Bruckner’s Andante looks simple on paper It is to Him that I must give account. How then would I stand there before but proves no less the fruit of subtle Almighty God, if I followed the others and not Him?’ thought: a restrained parade of elementary NEXT SEASON C minor funeral march (tenderly voiced Anton Bruckner at first by cellos and ripe for increasingly — Sunday 19 April 2020 7pm assertive major-key transformations in Barbican development and coda), chorale for strings FINALE finale’s more reflective subject-matter, (straightforwardly presented only once, in Nowhere does the mature Bruckner strike and it’s hard not to agree. Yet the bedrock LSO ARTIST PORTRAIT the exposition) and the striking contrast out on his own to challenge our received of towering orchestral unisons – reached ANTOINE TAMESTIT of a long, tonally restless melody for violas notion of symphonic form more than in his by way of rhythmic reminders, patterns with pizzicato accompaniment. finales. The Fourth’s remains something of shared with first movement and scherzo – Jörg Widmann Viola Concerto a prototype for more perfectly proportioned is undeniably more overwhelming than Interval THIRD MOVEMENT edifices to come, though it operates in the anything that has gone before, and however Bruckner Symphony No 5 Confined here to the role of eloquent same way as a kind of crystallisation of the lost we may feel in the voids between the observers, the horns again take centre work’s essence rather than the action- masses, the coda sets everything right by Daniel Harding conductor stage in the scherzo, their simple hunting- packed, rhetorical summing-up that is surpassing even the symphony’s opening Antoine Tamestit viola call (again, note, in that mixed rhythm of the provenance of the more conventional in the radiance and breadth with which it two notes and a group of three) suddenly ‘Romantic’ symphony. unfurls its fanfare. • amazing us at the climax by resounding in a foreign key – though answering trumpets No advocate of the composer has put it Explore the new season hold doggedly to the movement’s home better than the fine symphonist Robert lso.co.uk/201920season

Programme Notes 9 Bruckner the Man 1824–96 / by Stephen Johnson

yths cling like limpets to great between the demands of his faith and old joke that Bruckner ‘wrote the same artists, no matter how hard his lifelong tendency to fall in love with symphony nine times’ and it’s true that scholars try to scrape them off. improbably young women reveal a deep the symphonies tend to be based on the And of no composer is this truer than Anton rift in his nature. Bruckner could also be same ground plan, with similar features Bruckner. The composer is still frequently alarmingly compulsive in his devotions – in similar places. But the same is true of described as a ‘simple’ man, an Austrian especially at times of acute mental crisis the great Medieval cathedrals, and no one peasant with little education and even less (there were plenty of those) – and there could say that Chartres Cathedral was the grasp of the sophisticated Viennese world are hints he was prone to doubt, especially same building as Durham or Westminster in which he tried so desperately to establish in his last years. Abbey. Bruckner planned his cathedral- both a living and a reputation. like symphonic structures in meticulous Equally strange to those who knew him detail, and at best they function superbly The facts tell a different story. Bruckner may was Bruckner’s almost religious devotion as formal containers for his ecstatic visions have appeared unpolished, at times bizarrely to Wagner – even Wagner himself is said and extreme mood swings. Disconcerting eccentric, especially to self-conscious to have been embarrassed by Bruckner’s simplicity and profound complexity co-exist Viennese sophisticates, but he was far adoration (which is saying a great deal!). in the man as in his music. It’s one of the from ill-educated. His father was a village But the way Bruckner as a composer things that makes him so fascinating and, schoolmaster – a background he shared synthesises lush Wagnerian harmonies and in music, unique. • with several of the greatest Austrian and intense expression, with elements drawn German writers and thinkers. Bruckner went from Schubert, Beethoven, Haydn, Bach and through a rigorous Catholic teacher-training the Renaissance church master Palestrina programme, passing his exams first time is remarkably original. It shows that, unlike with distinction (quite a rare achievement many of his contemporaries, Bruckner in those days). Close friends and colleagues was far from losing himself in Wagner’s testify to his lively and enquiring intellect, intoxicating soundworld. as well as his friendliness and generosity. Bruckner’s intense Roman Catholic faith His obsessions may have caused him certainly marked him out as unworldly. There terrible problems – particularly his notorious are stories of him breaking off lectures at ‘counting mania’ (during one crisis period the Vienna University to pray; begging God’s he was found trying to count the leaves forgiveness for unintentionally ‘stealing’ on a tree) but paradoxically the same another man’s tune; dedicating his Ninth obsessiveness may have helped him keep Symphony ‘to dear God’. However, tensions his bearings as a composer. There’s an

10 Composer Profile 20 June 2019 Sir Simon Rattle conductor

ir Simon Rattle was born in Liverpool Music education is of supreme importance et Mélisande, Strauss’ Salome and Bizet’s and studied at the Royal Academy to Sir Simon. His partnership with the Berlin Carmen, a concert performance of Mozart’s of Music in London. From 1980 to Philharmonic broke new ground with the Idomeneo and many concert programmes. 1998, he was Principal Conductor and Artistic education programme Zukunft@Bphil, Adviser of the City of Birmingham Symphony earning him the Comenius Prize, the Schiller Sir Simon has long-standing relationships Orchestra and was appointed Music Director Special Prize from the city of Mannheim, with the leading in London, in 1990. He moved to Berlin in 2002 and held the Golden Camera and the Urania Medal. Europe and the US, initially working closely the positions of Artistic Director and Chief He and the Berlin Philharmonic were with the Los Angeles Philharmonic and Conductor of the Berlin Philharmonic until appointed International UNICEF Symphony Orchestra, and more he stepped down in 2018. Sir Simon became Ambassadors in 2004 – the first time this recently with The Philadelphia Orchestra. Music Director of the London Symphony honour had been conferred on an artistic He regularly conducts the Vienna Orchestra in September 2017. ensemble. Sir Simon has also been awarded Philharmonic, with whom he has recorded several prestigious personal honours, which the complete Beethoven symphonies and Sir Simon has made over 70 recordings for include a knighthood in 1994, becoming with Alfred Brendel, and is EMI (now Warner Classics) and has received a member of the Order of Merit from Her also a Principal Artist of the Orchestra of the numerous prestigious international awards Majesty the Queen in 2014, and being given Age of Enlightenment and Founding Patron for his recordings on various labels. Releases the Freedom of the City of London in 2018. of Birmingham Contemporary Music Group. on EMI include Stravinsky’s Symphony of Psalms (which received the 2009 Grammy In 2013 Sir Simon began a residency at the During the 2018/19 season Sir Simon Award for Best Choral Performance); Berlioz’s Baden-Baden Easter Festival, conducting has toured to Japan, South Korea, Latin Symphonie fantastique; Ravel’s L’enfant et Mozart’s The Magic Flute and a series of America and Europe with the London les sortilèges; Tchaikovsky’s – concerts with the Berlin Philharmonic. Symphony Orchestra. He conducts the Suite; Mahler’s Symphony No 2; and Subsequent seasons have included Czech Philharmonic Orchestra for the first Stravinsky’s The Rite of Spring. From performances of Puccini’s Manon Lescaut, time in Mahler’s Das Lied von der Erde and 2014 Sir Simon recorded the Beethoven, Peter Sellars’ ritualisation of Bach’s St John returns to the Deutsche Staatsoper Berlin, Schumann and Sibelius symphony cycles Passion, Strauss’ , Berlioz’s the Bavarian Radio Symphony Orchestra on the Berlin Philharmonic’s new in-house The Damnation of Faust, Wagner’s Tristan and the Berlin Philharmonic. In March label, Berliner Philharmoniker. His most and Isolde and, most recently, Parsifal in 2019 he conducted Peter Sellars’ revival of recent recordings include Debussy’s Pelléas 2018. For the Salzburg Easter Festival, Bach’s St John Passion with both the Berlin et Mélisande, Turnage’s Remembering, and Rattle has conducted staged productions of Philharmonic and the Orchestra of the Age Ravel, Dutilleux and Delage on Blu-Ray and Beethoven’s Fidelio, Mozart’s Così fan tutte, of Enlightenment. • DVD with the LSO on LSO Live. Britten’s Peter Grimes, Debussy’s Pelléas

Artist Biographies 11 Guildhall School musicians on stage tonight

VAUGHAN WILLIAMS GRAINGER BRUCKNER FANTASIA ON A THEME BY THOMAS TALLIS LINCOLNSHIRE POSY SYMPHONY NO 4

First Violins Violas Flutes Bass Clarinet Horns Percussion First Violins Violas Ionel Manciu Oscar Holch Andrew Martin Heather Ryall Karen Starkman Elaine So Ionel Manciu Oscar Holch Greta Papa Luca Casciato Enlli Parri Sian Collins Luke Hinchliffe Greta Papa Nicholas Hughes Ruth Heney Aleksandra Lipke Amy Naddermier Soprano Saxophone Jacob Parker Alicja Sulkowska Ruth Heney Luca Casciato Kanon Miyashita Kate Correia Thomas Plater Billy Marshall Kanon Miyashita Agnieszka Zyniewicz Melissa Hutter De Campos Piccolo Double Basses Melissa Hutter Aleksandra Lipke Ragnhild Kyvik Bauge Abigale Bowen Amy Naddermier Alto Saxophones Trumpets Cole Morrison Ragnhild Kyvik Bauge Jeremy Tonelli-Sippel Stefano Zompi Jeremy Tonelli-Sippel Jennifer Akroyd Alex Brain Piotr Hetman Stefano Zompi Abigale Bowen Robyn Bell Agnieszka Zyniewicz Oboes Laura Harrison Thomas Kearsey Nick Vegas Robyn Bell Kate Correia Emma Curtis Katherine Jones Benjamin Day Seth Edmunds Emma Curtis De Campos Isabella Fleming Cellos Inoko Isobe Tenor Saxophone Isabella Fleming Julia Sompolinska Rose Livsey-Barnes Nicholas Hann Trombones Cellos Second Violins Thomas Vidal Tomyr Warcaba-Wood Second Violins Thomas Vidal Sophie-Louise Phillips Zachary Owen Cor Anglais Baritone Saxophone William Morley Dan-Iulian Drutac Julia Sompolinska Dan-Iulian Drutac Leo Popplewell Rose Livsey-Barnes Sophie Toft Simon Chorley Sabine Sergejeva Leo Popplewell Sabine Sergejeva Joshua Lynch Sophie-Louise Phillips Akito Goto Cristina Morell Akito Goto Clarinets Baritone Cristina Morell Joshua Lynch Samuel Staples Yuen Hoi Ying Julia Raga Pascual Joe Thwaites Sam Dye Samuel Staples Zachary Owen Paula Gorbaņova Clare McEvoy Millie Ashton Yuen Hoi Ying Millie Ashton Double Basses Hiu Lam Lo Bassoons Euphonium Berfin Aksu Berfin Aksu Piotr Hetman Isha Crichlow Rachel Hurst Sam Gale Paula Gorbaņova Double Basses Tilman Fleig Cole Morrison Hannah Hever Daniel Plant Yuriko Matsuda Piotr Hetman Yuriko Matsuda Seth Edmunds Heather Ryall Madeleine Millar Tuba Tilman Fleig Cole Morrison Nick Vegas Rory Wilson Seth Edmunds Paloma Vallecillo Rico E-Flat Clarinet Contra Bassoon Nick Vegas Patrick Phillip Isha Crichlow Madeleine Millar Patrick Phillip Paloma Vallecillo Rico E-Flat & Hannah Hever

12 Guildhall School musicians 20 June 2019 Guildhall School Friday 5 – Sunday 7 of Music & Drama July 2019

Guildhall School of Music & Drama is one Flutes Trombones of the world’s leading performing arts Carys Gittins Tomyr Warcaba-Wood conservatoires, offering inspiring training Guildhall Chamber Susanna Bailey William Morley in the heart of London. Guildhall students Simon Chorley are equipped to become accomplished Music Festival Oboes composers, performing artists, theatre Rose Livsey-Barnes Tuba makers, creative entrepreneurs or teachers, Inoko Isobe Anna Carter with graduates consistently succeeding Join us for a weekend of performances by at the highest level of their profession. Guildhall students in collaboration with a Clarinets Timpani host of celebrated musicians from the Julia Raga Pascual Aidan Marsden Students draw on insight and skills from School’s faculty – Isha Crichlow our internationally renowned artists and including violinist Levon Chilingirian, practitioners, training alongside directors, clarinettist Andrew Marriner and the Bassoons designers, conductors, coaches and tutors. Endellion String Quartet – in the superb Rebecca Allen acoustics of Milton Court Concert Hall. Madeleine Millar The School is proud to partner with the gsmd.ac.uk/chambermusicfestival London Symphony Orchestra through our Horns Orchestral Artistry programme and LSO Ruben Isidoro Platforms recital series, as well as other Karen Starkman performance opportunities, ensuring Myrddin Rees Davies that students benefit from links with the Sian Collins profession before they graduate.

Trumpets Visit gsmd.ac.uk to find out more. • Catherine Pollit Benjamin Day Thomas Kearsey

Guildhall School musicians 13 London Symphony Orchestra on stage tonight

Leader Violas Flutes Horns LSO String Experience Scheme Sharon Roffman Jane Atkins Clara Andrada Diego Incertis Since 1992, the LSO String Experience Gillianne Haddow De La Calle Angela Barnes Scheme has enabled young string players First Violins Malcolm Johnston Patricia Moynihan Alexander Edmundson from the London music conservatoires at Clare Duckworth German Clavijo Jonathan Lipton the start of their professional careers to gain Ginette Decuyper Julia O’Riordan Piccolo work experience by playing in rehearsals Laura Dixon Robert Turner Sharon Williams Trumpets and concerts with the LSO. The musicians Gerald Gregory Michelle Bruil David Elton are treated as professional ‘extra’ players William Melvin Stephanie Edmundson Oboes David Carstairs (additional to LSO members) and receive fees Elizabeth Pigram Olivier Stankiewicz Niall Keatley for their work in line with LSO section players. Claire Parfitt Cellos Rosie Jenkins Some of tonight’s Guildhall School musicians Laurent Quenelle Rebecca Gilliver Trombones are also current members of the LSO String Colin Renwick Alastair Blayden Cor Anglais Helen Vollam Experience Scheme. Sylvain Vasseur Jennifer Brown Christine Pendrill James Maynard The Scheme is supported by: Rhys Watkins Noel Bradshaw The Polonsky Foundation Eve-Marie Caravassilis Clarinets Bass Trombone Barbara Whatmore Charitable Trust Second Violins Daniel Gardner Chris Richards Paul Milner Derek Hill Foundation Julian Gil Rodriguez Peteris Sokolovskis Ben Aldren Lord and Lady Lurgan Trust Thomas Norris Tuba Angus Allnatt Charitable Foundation Miya Väisänen Double Basses E-Flat Clarinet Ben Thomson Rod Stafford David Ballesteros Graham Mitchell Chi-Yu Mo Matthew Gardner Patrick Laurence Timpani Editor Alix Lagasse Matthew Gibson Bassoons Nigel Thomas Fiona Dinsdale | [email protected] Belinda McFarlane Joe Melvin Rachel Gough Editorial Photography Csilla Pogany José Moreira Joost Bosdijk Percussion Ranald Mackechnie, Kevin Leighton, Andrew Pollock Jani Pensola Neil Percy Oliver Helbig, Lebrecht Music Arts / Paul Robson Contra Bassoon David Jackson Bridgeman Images, Julien Mignot Dominic Morgan Sam Walton Print Cantate 020 3651 1690 Advertising Cabbells Ltd 020 3603 7937

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

14 The Orchestra 20 June 2019 SUMMER AT LSO ST LUKE’S FRIDAY LUNCHTIMES LSO DISCOVERY SHOWCASES LSO ECLECTICA: BIRDSONG & BORDERS CULTURE MILE COMMUNITY DAY

LSO Discovery Friday Lunchtime Concerts, Soundhub Showcase, Saturday 20 July 7pm Friday 5 July 7.30pm Sunday 21 July 11am–4pm Friday 21 June & 19 July 12.30–1.15pm Hear brand new music by composers in their Free, 45-minute concerts with performances first year taking part in LSO Soundhub. Singer and composer Merit Ariane brings Explore your creativity with a jam-packed day by LSO and Guildhall School musicians. together an international ensemble to create full of exciting workshops and performances. Generously supported by Susie Thomson a tapestry of new and traditional music, With a whole host of activities from the Inside Out crossing cultures and continents, connecting London Symphony Orchestra, Barbican Friday 21 & 28 June; 19 July 1.15–2pm Digital Technology Group Showcase, music to the magic of birdsong. Centre, City of London, Guildhall School Free lunchtime music on the front lawn Sunday 28 July 7.30pm and Museum of London, you’re bound to of LSO St Luke’s, featuring a variety of LSO Soundhub composer Elliot Galvin Generously supported by the discover something new! styles from across the globe. Bring your collaborates with members of DTG. Reignwood Culture Foundation lunch and enjoy the summer sunshine. Suitable for all ages Generously supported by the Insurance Free entry, just turn up Suitable for all ages Industry Charitable Foundation, Simmons Free entry, just turn up & Simmons Charitable Foundation, Slaughter and May Charitable Trust Tickets £20, £15 and Makers of Playing Cards Charity 161 OLD STREET EC1V 9NG