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Home , CBSO Chorus, Christine Rice, Gramophone Hall of Fame, Granville Bantock, Henri Verbrugghen, Iain Paterson

Living Music

Thursday 12 May 2016 7.30pm Barbican Hall

LSO ARTIST PORTRAIT:

Schumann Concerto INTERVAL Beethoven Symphony No 9 (‘Choral’)

Michael Tilson Thomas conductor Leif Ove Andsnes piano soprano London’s Symphony Orchestra Christine Rice mezzo-soprano Iain Paterson chorus director

Concert finishes approx 9.50pm

Supported by Baker & McKenzie 2 Welcome 12 May 2016

Welcome Living Music Kathryn McDowell In Brief

A very warm welcome to tonight’s LSO performance BMW LSO OPEN AIR CLASSICS 2016 at the Barbican. This evening we are joined by for his first concert since the The fifth annual BMW LSO Open Air Classics announcement of his appointment as LSO Conductor concert will take place on Sunday 22 May at 6.30pm. Laureate from September 2016, in recognition of Conducted by , the LSO will perform his wonderful music-making with the LSO and his an all-Tchaikovsky programme in London’s Trafalgar extraordinary commitment to the Orchestra. We are Square, free and open to all. delighted that his relationship with the LSO will go from strength to strength. lso.co.uk/openair

This evening is the second concert in our LSO Artist Portrait series, focusing on Leif Ove Andsnes. LSO AT THE BBC PROMS 2016 Following his performance of Mozart’s No 20 on Sunday, he returns to play Schumann’s The LSO will be returning to this year’s BBC Proms at Piano Concerto. The Orchestra is also joined this the for a performance of Mahler’s evening by the London Symphony Chorus, led by Symphony No 3 on 29 July. This will be conducted by the LSO’s Choral Director Simon Halsey, and soloists , who marks 50 years since his first Lucy Crowe, Christine Rice, Toby Spence and Iain appearance at the Festival, and features mezzo- Paterson. The performance of Beethoven’s Ninth soprano as the soloist. Tickets are Symphony forms part of the LSC’s 50th anniversary on sale now. For full details, visit: season, a great milestone in the history of the Chorus. .co.uk/proms Sincere thanks to Baker & McKenzie for their generous sponsorship of this evening’s concert and invaluable support as the LSO’s legal partner A WARM WELCOME TO TONIGHT’S GROUPS for over 15 years. The LSO offers great benefits to groups of 10+, We hope you enjoy this evening’s concert, and look including 20% discount on standard tickets. forward to welcoming you to the Barbican again At tonight’s concert we are delighted to welcome: soon. The LSO Artist Portrait concludes on 10 June with Leif Ove Andsnes’ solo recital. Farnham U3A Concert Club Gerrards Cross Community Association Witham Choral Society Richard Wimberley & Friends Brett Shirley & Friends West Wickham Recorded Music Society Kathryn McDowell CBE DL Managing Director lso.co.uk/groups A law firm of note. Baker & McKenzie has a passion for the Arts, which is why we are proud to sponsor the concert tonight. We hope you enjoy the performance. www.bakermckenzie.com

Baker & McKenzie International is a Swiss Verein with member law firms around the world. In accordance with the common terminology used in professional service organizations, reference to a “partner” means a person who is a partner, or equivalent, in such a law firm. Similarly, reference to an “office” means an office of any such law firm.

2916MAR_LSO_April2016.indd 1 08/04/2016 11:24:20 4 Programme Notes 12 May 2016

Robert Schumann (1810–56) Piano Concerto in A minor Op 54 (1841–45)

1 ALLEGRO AFFETTUOSO regain health and stability. And before he started the 2 INTERMEZZO GRAZIOSO – symphony, Schumann added two more movements 3 ALLEGRO VIVACE to the Fantasie, thus creating his Piano Concerto. How long the ideas for these two movements had LEIF OVE ANDSNES PIANO been incubating in his mind is impossible to say, but it is certain that the act of putting them to One of the most impressive paper was a major step forward on his road to features of Schumann’s only psychological recovery. Piano Concerto is its remarkable The result was one of Schumann’s most daring organic unity. and romantically delightful works. It is easy to single out innovatory elements: the piano’s striking, PROGRAMME NOTE WRITER So many ideas in this richly imaginative work stem in downward-plunging opening gesture – after a single STEPHEN JOHNSON one way or another from the lovely first movement’s incisive chord from the full orchestra – is unlike melody (wind, then solo piano) that follows the the beginning of any concerto before. It clearly left Concerto’s arresting opening. So it comes as quite a a strong impression on the Norwegian composer surprise to discover that the concerto was actually , who began his famous Piano Concerto written in two separate instalments, and at two (also in A minor) with a strikingly similar gesture. very different times in Schumann’s life. The first And although Schumann’s first movement appears movement was originally written as a self-sufficient to be full of melodic ideas, most of these derive Fantasie for Piano and Orchestra in 1841 – the year directly from the original wind-piano tune – so that also saw the composition of the First Symphony, much so that the movement has been described the original version of the Fourth, and the orchestral as ’monothematic’, also very unusual for an early Overture, Scherzo and Finale. Schumann’s long- 19th-century concerto. thwarted marriage to the brilliant concert pianist CLARA SCHUMANN (1819–96) Clara Wieck the previous year had released a torrent But it is the dream-like quality Schumann brings (née Wieck) was one of the most of creativity: the first years of their life together to this kind of intricate thematic development distinguished of her era and saw the production of some of his finest pieces, that is most original. The piano writing may be a frequent performance partner of often composed at breathtaking speed. challenging, but the real challenge is to the player’s violinist Josef Joachim. Her legacy poetic imagination rather than his or her virtuosity. is still felt today: she was one of Then, in 1844, after Robert and Clara had returned Even the first movement’s solo cadenza is more like the first performers to play from from a concert tour of Russia, Schumann experienced a meditation than a bravura display. In general the memory, and was instrumental in a crippling mental breakdown, followed by a terrible relationship between the piano and the orchestra establishing her husband’s works in plunge into depression. At the end of the year he is neither as one-sided nor as competitive as in the repertoire, as well as works such and Clara moved to Dresden with their two children, most Romantic concertos. Tender intimacy is much as Brahms’ First Piano Concerto, where gradually his spirits began to recover. For a more typical. A couple of years before he began the which had fallen out of favour after long time he was unable to compose, but by the end first movement, Schumann had written of his hope its 1859 premiere. of 1845 he completed his Second Symphony, a work that a new kind of ’genius’ might soon emerge: one which bears powerful witness to his struggles to ’who will show us in a newer and more brilliant way lso.co.uk Programme Notes 5

Robert Schumann Composer Profile

how orchestra and piano may be combined, how The youngest son of a Saxon bookseller, Robert the soloist, dominant at the keyboard, may unfold Schumann was encouraged by his father to study the wealth of his instrument and his art, while music. Soon after his tenth birthday in 1820, young the orchestra, no longer a mere spectator, may Robert began taking piano lessons in his home interweave its manifold facets into the scene’. town of Zwickau. Although Schumann enrolled as In the Piano Concerto he fulfilled his own prophecy. a law student at Leipzig University in 1828, music remained an overriding passion and he continued to The -like intimacy continues through study piano with Friedrich Wieck. The early death of the gentle Intermezzo Schumann placed as the his father and two of his three brothers influenced Concerto’s second movement, and again the way Schumann’s appreciation of the world’s suffering, in which one motif seems to unfold from another intensified further by his readings of Romantic poets is achieved with great subtlety and ingenuity. Just such as Novalis, Byron and Hölderlin and his own before the end of the movement comes a wonderful experiments as poet and playwright. Schumann inspiration. Clarinets and bassoons recall the seminal composed a number of songs in his youth, but it was first phrase of the first movement’s original melody – not until he fell in love with and became secretly first in the major key, then in the minor – while the engaged to the teenage Clara Wieck in September piano adds magical liquid figurations (as though COMPOSER PROFILE WRITER 1837 that he seriously began to exploit his song- dreamily recalling the Concerto’s arresting opening). STEPHEN JOHNSON writing gift. Besides welcoming the financial return that published Lieder (songs) could deliver, Schumann Then the finale launches suddenly into an exhilarating, was also able to preserve his intense feelings for seemingly unstoppable waltz momentum. It is hard to Clara in the richly expressive medium of song. believe that the man who wrote this gloriously alive dance music was, at the time, emerging from chronic The personal nature of Schumann’s art even depression. The ending in particular sounds like an influenced his choice of certain themes, with the outpouring of the purest joy. notes A – B – E – G – G enshrined as the theme of one set of piano variations in tribute to his friend Countess Meta von Abegg. Schumann also developed his skills as a composer of and concertos during his years in Leipzig. Four years after their marriage in September 1840, the Schumanns moved to Dresden where INTERVAL – 20 minutes Robert completed his C major Symphony. There are bars on all levels of the Concert Hall; ice cream can be bought at the stands on Stalls and Circle level. In the early 1850s the composer’s health and The Barbican shop will also be open. mental state seriously declined. In March 1854 he decided to enter a sanatorium near Bonn, Why not tweet us your thoughts on the first half of the where he died two years later. performance @londonsymphony, or come and talk to LSO staff at the Information Desk on the Circle level? 6 Programme Notes 12 May 2016

Ludwig van Beethoven (1770–1827) Symphony No 9 in D minor Op 125 (‘Choral’) (1822–24)

1 ALLEGRO MA NON TROPPO, UN POCO MAESTOSO Not that these matters would have concerned the 2 SCHERZO: MOLTO VIVACE audience at the work’s first performance in Vienna’s 3 ADAGIO MOLTO E CANTABILE Kärntnerthor Theatre in May 1824; for them the 4 PRESTO – ALLEGRO MA NON TROPPO – VIVACE – excitement lay in hearing Beethoven’s first new ADAGIO CANTABILE symphony in twelve years, and they lapped it up. At the end, the applause was thunderous, and the LUCY CROWE SOPRANO deaf composer was turned around by the contralto CHRISTINE RICE MEZZO-SOPRANO soloist Caroline Unger to see hats and handkerchiefs TOBY SPENCE TENOR being waved frantically all over the hall. ‘The whole IAIN PATERSON BASS audience was impressed, crushed by the greatness LONDON SYMPHONY CHORUS of your work’, wrote Beethoven’s friend Anton SIMON HALSEY CHORUS DIRECTOR Schindler. Vienna may not have always appreciated Mozart to the full, but it certainly loved Beethoven. PROGRAMME NOTE WRITER Friedrich von Schiller’s poem ‘Ode to Joy’ could LINDSAY KEMP almost have been calculated to appeal to the The Ninth is not, strictly speaking, Beethoven’s last idealistic Beethoven. Written in 1785, it lauds the symphony – in 1825 he began but failed to complete joys of fellowship, the happiness of married life, another – but it is certainly a fitting summation of JOHANN CHRISTOPH FRIEDRICH the wonders of nature and the universe and the his mighty contribution to the genre‘s history. His VON SCHILLER (1759–1805) was an eternal mystery of divine love, and as early as 1793 achievement had been nothing less than that of influential dramatist, poet, historian Beethoven was considering setting it as a song. In bringing about an irreversible transformation in and philosopher. His plays, including 1812 he attempted a ‘choral overture’ using parts the entire concept of what a symphony is, turning The Robbers (1781) and William of the text, but it was not for another decade that a piece of concert music designed primarily to Tell (1804), have influenced the he was to find a true home for it when he made it entertain into a psychological journey in which, direction of European drama ever the subject of the extraordinary and revolutionary over the course of four movements, the listener‘s since, and his philosophical work finale to his Ninth and last symphony, the first ever emotions undergo some kind of change. This could On the Aesthetic Education of Man to include a choral movement. be triumph over adversity, as in the death and rebirth (1794) has become an important link of the ‘Eroica’, or a passage from darkness to light as between the Classical Enlightenment It was not just accommodating Schiller’s words that demonstrated in the famous Fifth Symphony. In the and the Romantic era. took a long time, however. Although the symphony Ninth, it is a journey from a bleak and brutal void to was essentially composed in a ten-month burst a glorious vision of an ideal world of love, tolerance between April 1823 and January 1824, there is a and universal brotherhood. case for saying that Beethoven had been writing it for much longer – he had contemplated a D minor symphony as early as 1812, immediately after the completion of the Seventh and Eighth, while some of its musical ideas date back even further. lso.co.uk Programme Notes 7

Ludwig van Beethoven Composer Profile

Certainly the shimmering strings which open the Beethoven showed early musical promise, yet first movement seem to conjure a mood of primeval reacted against his father’s attempts to train him emptiness before the music moves on into more as a child prodigy. The boy pianist attracted the combative regions. At the end, a sternly resolute support of the Prince-Archbishop, who supported theme emerges from the depths like a clenched his studies with leading musicians at the Bonn court. fist. The second movement seems straightforwardly By the early 1780s Beethoven had completed his first joyful with its playful timpani beats (spontaneously compositions, all of which were for keyboard. With applauded at the first performance), its interplay the decline of his alcoholic father, Ludwig became between the violins and its cheeky ending, but the family bread-winner as a musician at court. there is more than a hint of seriousness underlying it as well. The third movement is unambiguous in Encouraged by his employer, the Prince-Archbishop intent, however, a sublimely tender and beautiful set Maximilian Franz, Beethoven travelled to Vienna to of variations on a tune whose deceptively simple study with . The younger composer hymn-like nature is a Beethoven speciality, above all fell out with his renowned mentor when the latter in ‘late-period‘ works. discovered he was secretly taking lessons from several other teachers. Although Maximilian Franz And then the finale bursts in, startlingly and radically. COMPOSER PROFILE WRITER withdrew payments for Beethoven’s Viennese At first the orchestra reviews themes from all three ANDREW STEWART education, the talented musician had already earlier movements, with the cellos and basses attracted support from some of the city’s wealthiest seeming to debate their worth in melodic phrases arts patrons. His public performances in 1795 were which deliberately mimic the style of vocal recitative. well received, and he shrewdly negotiated a contract It is as if they are struggling to tell us something, with Artaria & Co, the largest music publisher in yet it is also a dramatically enhanced continuation Vienna. He was soon able to devote his time to of the fragmentary, groping introductions to the composition or the performance of his own works. finales of two earlier symphonies, the First and the Third. Eventually, though, the orchestra hits on the In 1800 he began to complain of deafness, but now-famous folksong-like theme, but after they despite suffering the distress and pain of tinnitus, have played a few variations on it, another upheaval chronic stomach ailments and an embittered legal leads to the first human sounds – a bass soloist case for the guardianship of his nephew, he created commanding us all to discard all this in favour of a series of remarkable new works, including the ‘pleasing and more joyful tones‘. These words are Missa solemnis and his late symphonies and piano Beethoven‘s, but from here to the end it is Schiller‘s sonatas. It is thought that around 10,000 people message which dominates, and as the voices take followed his funeral procession on 29 March 1827. over, we hear in the course of further variations His posthumous reputation developed to influence on the theme a vision of Elysium that is by turns successive generations of composers and other exultant and awestruck. ‘This gigantic work,‘ Hans artists inspired by the heroic aspects of Beethoven’s Keller suggested, ‘should convince even the firmest character and the profound humanity of his music. pessimist that mankind‘s life has been worthwhile‘. 8 Texts 12 May 2016

Ludwig van Beethoven Symphony No 9: Texts

O Freunde, nicht diese Töne! O friends, not these sounds! Sondern laßt uns angenehmere Let us rather take up a more pleasing anstimmen, und freudenvollere. and more joyful refrain.

An die Freude Ode to Joy Freude, schöner Götterfunken, O joy, glorious spark of the gods, Tochter aus Elysium, daughter of Elysium, Wir betreten feuertrunken intoxicated by the flame, we enter, Himmlische, dein Heiligtum. celestial one, your sacred shrine.

Deine Zauber binden wieder, Your magic powers reunite Was die Mode streng geteilt; what rigorous convention sets apart; Alle Menschen werden Brüder, all men become brothers, there, Wo dein sanfter Flügel weilt. where your gentle wing comes to rest.

Wem der grosse Wurf gelungen, He who enjoys the blessed fortune Eines Freundes Freund zu sein, of mutual friendship, Wer ein holdes Weib errungen, he who has won a loving wife, Mische seinen Jubel ein! let him partake of the rejoicing!

Ja, wer auch nur eine Seele Yes, and if he has but one other soul Sein nennt auf dem Erdenrund! in this world to call his own! Und wer’s nie gekonnt, der stehle And who has not accomplished this, let him steal Weinend sich aus diesem Bund! weeping from this company!

Freude trinken alle Wesen All creatures drink in joy An den Brüsten der Natur; at Nature’s breast; Alle Guten, alle Bösen good and evil together Folgen ihrer Rosenspur. follow her rosy trail.

lso.co.uk Texts 9

Küsse gab sie uns und Reben, She gave us kisses and the vine, Einen Freund, geprüft im Tod; a friend proven unto death; Wollust ward dem Wurm gegeben, the worm too feels love’s pleasure, Und der Cherub steht vor Gott! and the cherub stands before God!

Froh, wie seine Sonnen fliegen Joyously, as His suns race Durch des Himmels prächt’gen Plan, through Heaven’s resplendent plains, Laufet, Brüder, eure Bahn, brothers, run your course, Freudig, wie ein Held zum Siegen! joyfully, as a hero toward victory!

Freude, schöner Götterfunken, etc. O joy, glorious spark of the gods, etc.

Seid umschlungen, Millionen! Be embraced, ye millions! Diesen Kuß der ganzen Welt! This kiss to all the world! Brüder, überm Sternenzelt Brothers, there above the firmament Muß ein Iieber Vater wohnen! a loving Father surely dwells!

Ihr stürzt nieder, Millionen? Do you fall prostrate, ye millions! Ahnest du den Schöpfer, Welt? Do you divine your Creator, world? Such’ ihn überm Sternenzelt, Seek Him beyond the firmament, Über Sternen muß er wohnen! He surely dwells beyond the stars!

Freude, schöner Götterfunken, etc. O joy, glorious spark of the gods, etc. Seid umschlungen, Millionen!, etc. Be embraced, ye millions!, etc.

Johann Christoph Friedrich von Schiller 10 LSO in World War I 12 May 2016

The LSO in World War I Beethoven and ‘The Three Bs’

JO JOHNSON has worked at the In April 1915 World War I had been raging for eight Despite this, the LSO still managed to get itself LSO for ten years, steering the LSO’s months. Back in London, much news of the horror into trouble with the popular press over the digital activities. During that time, of the conflict had not yet reached home, and many programming of its concerts. Naturally much of the her passion for the LSO’s history people were still convinced that the war would soon repertoire played by the Orchestra was written by and its archives have aligned to be over. German composers, Beethoven featuring particularly uncover the Orchestra’s activity strongly in pre-War LSO programmes – including during war time. The London Symphony Orchestra, just over ten Symphony No 5 in the very first LSO concert in 1904 years old at that time, boldly declared that it would and a five-day Beethoven Festival in April 1914 continue playing concerts, despite several of its conducted by Henri Verbrugghen. In April 1915 the members immediately volunteering for service in the Board built on the success of the Beethoven Festival army. The Board commended the ‘patriotic action’ and promoted a series they dubbed ‘The Three Bs’ – of the early volunteers, passing a resolution that Bach, Beethoven and Brahms. Over six nights at The ‘Members who have joined the army for the duration Queen’s Hall, Henri Verbrugghen and the Orchestra of the War shall be exempt from paying deputies’ devoted a night to each composer, finishing in grand fees and their positions kept open.’ style with Beethoven’s Ninth Symphony and Brahms’ German together in one rather gigantic Patriotic feelings were running high during this period. concert. One concert even featured all four versions For the first time the government was systematically of Beethoven’s overture for his opera ! targeting the general public with propaganda (‘Your Country Needs YOU’) aimed at strengthening But in 1916, with the War one year older and news nationalistic emotions. Music had a role in this, and beginning to filter back from the Front of some of many composers, especially those too old to go on the horrors being endured by sons and husbands, active service such as and Charles the atmosphere had changed. After the success Villiers Stanford, ‘did their bit’ by composing works of the 1915 Three Bs Festival, the LSO planned to to console uplift or to raise funds for war charities. mount this again. Concert-giving life was becoming ever more difficult against a background of The LSO’s archive of programmes records many first conscription, Zeppelin attacks from the air and performances of works by British composers during the newly-introduced Entertainment Tax, and the World War I, commissioned in a fervour of patriotism Board needed to programme as many audience- – Montague Phillips’ Heroic Overture (1915), Cyril pleasers as it could to maintain enough ticket Scott’s Piano Concerto (1915), Elgar’s Carillon (1914) income to keep afloat. YOUR COUNTRY NEEDS YOU and The Spirit of (1916), Granville Bantock’s A famous advertisement from Hebridean Symphony (1917), David Piggott’s Pavane For The Pall Mall Gazette, however, the second September 1914, depicting and Morris Dance (1918) and R T Woodman’s New Three Bs Festival was a step too far. ‘Nothing less Lord Kitchener, Secretary of Forest Rhapsody. Other British composers that than a German festival … those in London who have State for War. featured heavily in wartime concerts were Austin, felt war in their skins are not to be drugged with Bax, Delius, Grainger, Harty, Holbrooke, McEwen, sound, however sweet,’ it raged in September 1916. O’Neill, Peel, Pitt, Ethel Smyth, Stanford, Wallace and 19 works of 24 programmed in the forthcoming Vaughan Williams. season of concerts were written by German lso.co.uk LSO in World War I 11

composers, it claimed, and worse still, music by In the long run the argument became redundant. our Russian and French Allies was largely ignored: With falling income and difficulties with finding ‘they would not be human if they did not regard the suitable replacements for players away in the army, prolonged and inexplicable tenderness towards the the LSO’s Board reluctantly made the decision in alien in our midst, and this preference for German September 1917 to suspend all own-promoted above all other music, as effects rising from one and concerts until the end of the War. The Orchestra the same cause’, it claimed of those countrymen. continued to give a few concerts, mostly Sunday afternoons at the Palladium conducted by Adrian It seems that it was the music of Brahms that caused Boult, but it was not until October 1919 that the the most objections – not so long having passed on LSO felt stable enough to resume concert-giving – (1897), the royalties from performances would have starting as it meant to go on, with the world been, in the Gazette’s eyes, helping the enemy in premiere of a new work by its beloved former Germany. A series of letters ensued in subsequent Principal Conductor Edward Elgar, the Cello THE PALL MALL GAZETTE newspapers, fanning the flames – ‘a boycott of French Concerto. But that’s another story … denounced the Orchestra’s and Russian music’, ‘the offence of the LSO’ – leading annual ‘Three Bs’ festival in to calls at a concert for a Ministry of Fine Arts to Find out more about the LSO in World War I 1916 as furthering the cause oversee programming and ‘relieve such institutions at lso.co.uk/ww1 of German music. such as our premier orchestra from having to depend on German music.’ Concerts were picketed.

But the LSO refused to bow to pressure. At a meeting on 3 October 1916 the Board discussed the actions of The Pall Mall Gazette, agreeing that the matter should be placed before the Orchestra’s solicitors in order to get advice on whether the article was libellous and malicious – ten days later, however, a note was received back from the solicitors advising that there was no case for libel. The Board agreed unanimously that ‘the programmes should remain as arranged’ but for one change: they would substitute Brahms’ Second Symphony for the London premiere of Granville Bantock’s Hebridean Symphony. This seemed to have the desired effect: ‘A mere bore’ was the opinion of composer, pianist and musicologist Donald Tovey, and led to one observer quipping that the substitution had done An advertisement for the LSO’s more for the cause of German music than simply THREE Bs FESTIVAL in 1915. playing the Brahms would have! 12 Artist Biographies 12 May 2016

Michael Tilson Thomas Conductor

Michael Tilson Thomas is Music Director of the San Michael Tilson Thomas became the Music Director Francisco Symphony, Founder and Artistic Director of the Orchestra in 1995. of the New World Symphony, and Principal Guest This season he celebrates his 20th anniversary with Conductor of the London Symphony Orchestra. the orchestra. His tenure has been broadly covered Born in Los Angeles, he is the third generation of by the international press with feature stories in his family to follow an artistic career. Time, Newsweek, The Wall Street Journal, The New York Times, Los Angeles Times, The Times and the Tilson Thomas studied piano, and Frankfurter Allgemeine Zeitung among many others. composition at the University of Southern California and at the age of 19 was named Music Director of the His recorded repertoire of more than 120 discs Young Musicians Foundation Debut Orchestra, where includes works by composers such as Bach, he worked with Stravinsky, Boulez, Stockhausen Beethoven, Mahler, Prokofiev and Stravinsky, as well and Copland on premieres of their compositions at as his pioneering work with the music of Charles Los Angeles’ Monday Evening Concerts. During this Ives, Carl Ruggles, Steve Reich, John Cage, Ingolf same period he was the pianist and conductor for Dahl, Morton Feldman, , John Gregor Piatigorsky and . McLaughlin and Elvis Costello. Most recently he Music Director recorded the orchestral works of San Francisco Symphony In 1969, after winning the Koussevitzky Prize at and Bernstein’s West Side Story, both with the San Tanglewood, he was appointed Assistant Conductor Francisco Symphony on their label, SFS Media. Founder and Artistic Director of the Boston Symphony Orchestra. That year he also New World Symphony made his New York debut with the Boston Symphony Michael Tilson Thomas is a Chevalier dans l’ordre and gained international recognition after replacing des Arts et des Lettres of France, was Musical Principal Guest Conductor Music Director William Steinberg in mid-concert. He America’s Musician of the Year and Conductor of the London Symphony Orchestra was later appointed Principal Guest Conductor of Year, Gramophone’s Artist of the Year, and has been the Boston Symphony Orchestra where he remained profiled on CBS’s 60 Minutes and ABC’s Nightline. until 1974. He was Music Director of the Buffalo He has won 11 Grammy Awards for his recordings. Philharmonic from 1971 to 1979 and a Principal In 2008 he received the Peabody Award for his Guest Conductor of the radio series for SFS Media, The MTT Files. In 2010, from 1981 to 1985. President Obama awarded him the National Medal of Arts, the highest award given to artists by the In February 1988 he inaugurated the New World United States. Symphony, an orchestral academy for graduates of prestigious music programmes and, in the same year, he became Principal Conductor of the London Symphony Orchestra – a post he held until 1995. He now enjoys a Principal Guest Conductor relationship with the LSO, and from September 2016 will become the Orchestra’s Conductor Laureate. lso.co.uk Artist Biographies 13

Leif Ove Andsnes Piano

With his commanding technique and searching of Grieg’s won Gramophone Awards. interpretations, the celebrated Norwegian pianist His recording of Mozart’s Piano Concertos Nos 9 Leif Ove Andsnes has won acclaim worldwide. and 18 was another New York Times ‘Best of the He gives recitals and plays concertos in the world’s Year’ and Penguin Guide ‘Rosette’ recipient. He won leading concert halls and with its foremost , yet another Gramophone Award for Rachmaninov’s besides being an active recording artist. An avid Piano Concertos Nos 1 and 2 with Sir Antonio chamber musician, he served as co-artistic director Pappano and the . A series of of the Risor Festival of Chamber Music for nearly recordings of Schubert’s late sonatas, paired with two decades, and was music director of California’s Lieder sung by , inspired lavish praise, 2012 . He was inducted into the as did the pianist’s world premiere recordings of in July 2013. Marc-André Dalbavie’s Piano Concerto and Bent Sørensen’s The Shadows of Silence, both of which Highlights of the current season include major were written for him. European and North American solo recital tours with a programme of Beethoven, Debussy, Chopin Andsnes has received ’s distinguished honour, and Sibelius, as well as Schumann and Mozart Commander of the Royal Norwegian Order of St Olav. LEIF OVE ANDSNES: concerto collaborations in the US with the Chicago, In 2007, he received the prestigious Peer Gynt Prize, SOLO RECITAL Cleveland and Philadelphia orchestras. In awarded by members of parliament to honour Andsnes performs with the Bergen Philharmonic, prominent Norwegians for their achievements in Fri 10 Jun 7.30pm, Barbican Zurich Tonhalle, Leipzig Gewandhaus and Munich politics, sports and culture. He is the recipient of the Solo piano music by Sibelius, Philharmonic and this season he will also tour Royal Philharmonic Society’s Instrumentalist Award Beethoven, Debussy and Chopin Brahms’ Three Piano Quartets with his frequent and the Gilmore Artist Award, and, saluting his many musical partner, , together with achievements, Vanity Fair named Andsnes one of its Tickets from £10 + booking fee and Clemens Hagen. ‘Best of the Best’ in 2005.

lso.co.uk | 020 7638 8891 Andsnes now records exclusively for Sony Classical. Leif Ove Andsnes was born in Karmøy, Norway in His previous discography comprises more than 30 1970, and studied at the Bergen Music Conservatory discs for EMI Classics – solo, chamber and concerto under the renowned Czech professor Jirí Hlinka. He releases, many of them bestsellers – spanning has also received invaluable advice from the Belgian repertoire from the time of Bach to the present day. piano teacher Jacques de Tiège who, like Hlinka, has He has been nominated for eight Grammy awards greatly influenced his style and philosophy of playing. and received many international prizes, including He is currently an Artistic Adviser for the Prof Jirí six Gramophone Awards. His recordings of the Hlinka Piano Academy in Bergen where he gives an music of his compatriot Edvard Grieg have been annual masterclass to participating students. especially celebrated: the New York Times named Andsnes’ 2004 recording of Grieg’s Piano Concerto Andsnes lives in Bergen and in 2010 achieved one of with and the Berlin Philharmonic his proudest accomplishments to date, becoming a ‘Best CD of the Year,’ the Penguin Guide awarded it a father for the first time. His family expanded in 2013 coveted ‘Rosette,’ and both that album and his disc with the welcome arrival of twins. 14 Artist Biographies 12 May 2016

Lucy Crowe Christine Rice Soprano Mezzo-soprano

Born in Staffordshire, Lucy Crowe Christine Rice is one of the studied at the Royal Academy of leading British mezzo-sopranos Music, where she has recently of her generation and is a been appointed a fellow. Her regular performer at the major operatic roles include Adele European opera houses including (Johann Strauss’ Die Fledermaus) , the Bayerische and Servilia (Mozart’s La Clemenza Staatsoper, Munich, Frankfurt di Tito) for the , Opera and the Teatro Real, Madrid. New York; Eurydice (Gluck’s Orphée et Eurydice), Adina (Donizetti’s At House, l’Elisir d’Amore), Susanna (Mozart’s Covent Garden, Christine Rice’s The Marriage of Figaro), and many roles have included the Gilda (Verdi’s ) for the title role in and Britten’s , Covent , Judith in Garden; Sophie (Strauss’ Der Bartók’s Bluebeard’s Castle, Rosenkavalier) for the Deutsche Giulietta in Offenbach’s Les Oper Berlin, the Bayerische Staatsoper, Munich and Covent Garden; Contes d’Hoffman, Concepcion in Ravel’s L’Heure Espagnol, and two Pamina (Mozart’s ), Rosina (Rossini’s The Barber of world premieres: Ariadne in Sir Harrison Birtwistle’s The Minotaur Seville), Dona Isabel (Purcell’s The Indian Queen), Poppea (Handel’s and Miranda in Thomas Adès’ . Other notable roles ) and Drusilla (Monteverdi’s The Coronation of Poppea) for include Dorabella in Mozart’s Così fan tutte, Marguerite in Berlioz’s ; Merab (Handel’s ), Micaëla (Bizet’s Carmen), The Damnation of Faust, Arsace in Handel’s , Penelope in The Fairy Queen and the title role in Janácˇek’s Monteverdi’s Il ritorno d’Ulisse in patria, and the title roles in Berlioz’s for Glyndebourne Festival Opera; and Dorinda (Handel’s Orlando) in Béatrice et Bénédict, and Handel’s Airodante and . She recently Lille, and for the Opéra de Dijon. She made her US opera debut made her debut at the Metropolitan Opera, New York as Hansel in as Iole in Handel’s Hercules for the Chicago Lyric Opera and has since Humperdinck’s Hänsel und Gretel and Giulietta in Offenbach’s Les sung the role for the Canadian Opera Company. Contes d’Hoffman.

In concert she has performed with many of the world’s finest Christine also has a very busy concert career, appearing throughout conductors and orchestras, including the Accademia Santa Cecilia the UK, Europe, North America and at the BBC Proms and Edinburgh Orchestra under Sir ; the Boston Symphony Orchestra International and Aldeburgh Festivals, working with conductors at the Tanglewood Festival under Stéphane Denève; the City of including Sir Antonio Pappano, Sir Mark Elder, Sir , Symphony Orchestra under , Edward Fabio Luisi, Andris Nelsons and Yannick Nézet-Séguin. Gardner, Emmanuelle Haïm and ; under ; and the Monteverdi Orchestra under Sir John Eliot Engagements this season and beyond include Penelope in Monteverdi’s Gardiner. Lucy has performed at the Aldeburgh Festival, the Edinburgh Il ritorno d’Ulisse for Norske Opera, the title role in Bizet’s Carmen International Festival, the Mostly Mozart Festival in New York, and at for Zürich Opera, her first performance of Schoenberg’s Gurre-Lieder the . She is a regular recitalist at London’s Wigmore in Brazil, her debut at the Salzburg Festival as Blanca in the world Hall and made her US recital debut at in 2014. premiere of Thomas Adès’ The Exterminating Angel, and returns to Covent Garden, English National Opera and the Metropolitan Opera. lso.co.uk Artist Biographies 15

Toby Spence Iain Paterson Tenor Bass

An honours graduate and choral Since his critically acclaimed debut scholar from New College, Oxford, at the Salzburg Easter Festival in Toby Spence later studied at the Wagner’s under Guildhall School of Music and Sir , Iain Paterson’s Drama. He was the winner of the operatic engagements have Royal Philharmonic Society 2011 taken him to the most prestigious Singer of the Year award. theatres in the world. Highlights this season include Paterson’s In concert, Toby has sung with role debut as Wanderer (Wagner’s the under Siegfried) for Houston Grand Christoph von Dohnányi; the Opera, returns to the Deutsche Berlin Philharmonic and the Oper Berlin for Kurwenal (Tristan under and Isolde), Bayreuth Festival Sir Simon Rattle; the San Francisco for Wotan (Das Rheingold) Symphony under Michael Tilson and Kurwenal, and the Wiener Thomas; the Accademia Nazionale Staatsoper for Orest (Strauss’ di Santa Cecilia under Sir Antonio Pappano; the Rotterdam Philharmonic Elektra) and Jochanaan (Strauss’ Salome). under Valery Gergiev; the London Philharmonic Orchestra under Yannick Nézet-Séguin; the Los Angeles Philharmonic under ; Recent operatic highlights include a number of significant role debuts: and at the Salzburg and Edinburgh Festivals under Sir Kurwenal at the Royal Opera House, Covent Garden, Hans Sachs (Die and Sir . Toby sang an acclaimed Madwoman in Meistersinger von Nürnberg) for ENO, and Wotan (Die Walküre) for Britten’s Curlew River for the Edinburgh Festival, where he has also Houston Grand Opera and Leipzig Opera. Paterson also recently made appeared in recital. Other recitals have included LSO St Luke’s, Opera his debut at the Bayreuth Festival as Kurwenal in a new production of de Lille and the Wigmore Hall. He has made numerous recordings for Tristan and Isolde, and at as Peneois (Strauss’ Daphne). Deutsche Grammophon, Decca, BMG, Philips, Collins, Linn Records, Hyperion and EMI. On the concert platform, Paterson has recently returned to the BBC Proms for Vaughan Williams’ Sancta civitas with the Hallé and Sir Mark For the Royal Opera House, Covent Garden, Toby has sung Ferdinand Elder. Recent highlights include Beethoven’s Symphony No 9 with the (Thomas Adès’ The Tempest), David (Wagner’s Die Meistersinger von CBSO, the Los Angeles Philharmonic, Cleveland, Hallé, BBC Symphony Nürnberg), Count Almaviva (Rossini’s ), Ramiro and BBC Philharmonic orchestras, and Elgar’s (Rossini’s ) and Tom Rakewell (Stravinsky’s The Rake’s with the Bournemouth Symphony Orchestra and at the Edinburgh Progress). For English National Opera his roles include the title role International Festival. Conductors with whom he has worked include in Bernstein’s , Paris (Offenbach’s La Belle Hélène), Lensky Sir Antonio Pappano, , Andris Nelsons, Sir Simon (Tchaikovsky’s Eugene Onegin) and the title role in Gounod’s Faust. Rattle, Kent Nagano, Sir Mark Elder, Christophe von Dohnányi, Vasily His many roles at the Paris Opera include Tom Rakewell and David. Petrenko, Philippe Jordan, and Edward Gardner. He has sung with the Glyndebourne Festival, the Bayerische Staatsoper, the Hamburgische Staatsoper and La Monnaie, . In America Iain Paterson studied at the Royal Scottish Academy of Music and he has appeared with the , the Santa Fe Festival, Drama. In the early stage of his career he was a company principal the Lyric Opera of Chicago, and the Metropolitan Opera. at ENO, with roles including Gunther (Figaro) and Amonasro (Aïda). 16 Artist Biographies 12 May 2016

Simon Halsey CBE Choral Director

Simon Halsey is a sought-after conductor of venues and interdisciplinary formats; he retains a choral repertoire at the very highest level, and an close collaboration with the ensemble in his new ambassador for choral singing across the world. position of Conductor Laureate. As Artistic Director He is Choral Director of the London Symphony of the Berliner Philharmoniker’s Youth Choral Orchestra and Chorus, Chorus Director of the City Programme Vokalhelden (‘Vocal Heroes’), Halsey of Birmingham Symphony Orchestra Choruses, and leads a long-term education and performance Director of the BBC Proms Youth . Halsey is project that brings together children from diverse also Conductor Laureate of the Rundfunkchor Berlin, backgrounds from all over Berlin. Halsey’s CBSO Artistic Director of the Berliner Philharmoniker’s Chorus is in high demand from other leading Youth Choral Programme, and Artistic Advisor of the orchestras, in addition to its work with the City of Schleswig-Holstein Musik Festival Choir. From 2016 Birmingham Symphony Orchestra. Recent highlights he adds the roles of Artistic Director of the Orfeó include a performance of Mahler’s Symphony No 2 Català and Artistic Adviser to the Palau de with the Berliner Philharmoniker and the LSC at la Música, Barcelona. Making singing a central part London’s Royal Festival Hall, celebrating Sir Simon of these world-class institutions, Halsey has been Rattle’s 60th birthday. At the CBSO Halsey has also instrumental in changing the level of symphonic founded a Youth Chorus and Children’s Chorus, as Choral Director singing across Europe. well as two community choirs in Birmingham and London Symphony Orchestra the surrounding area. London Symphony Chorus Since becoming Choral Director of the London Artistic Director Symphony Orchestra and Chorus in 2012, Halsey Halsey’s numerous awards include three Grammys Orfeó Català Choirs has been credited with bringing about a ‘spectacular for his recordings with the Rundfunkchor Berlin. He transformation’ (Evening Standard) of the LSC. 2015/16 was awarded The Queen’s Medal for Music 2014 Artistic Advisor highlights with the LSO have included Debussy’s for his influence on the musical life of the UK, and Palau de la Música Pelléas et Mélisande and Haydn’s The Seasons with was also made Commander of Order of the British Chorus Director Sir Simon Rattle, and Elgar’s The Dream of Gerontius Empire in The Queen’s Birthday Honours 2015. City of Birmingham Symphony with Sir Mark Elder. The choir also joined the LA In recognition of his outstanding contribution to Orchestra Choruses Philharmonic and Gustavo Dudamel at the Barbican choral music in Germany, Halsey was also given for a performance of Mahler’s Symphony No 3, and the Officer’s Cross of the Order of Merit of the Conductor Laureate sang Rachmaninov’s Vespers at London Temple Church, Federal Republic of Germany in 2011. He holds Rundfunkchor Berlin with Halsey on the podium. In June 2016, the LSO three honorary doctorates from universities in Artistic Director Discovery Choirs and Community Choir will perform the UK. Halsey is Professor and Director of Choral Berlin Philharmonic the world premiere of The Hogboon, Sir Peter Maxwell Activities at the . In 2011 Youth Choral Programme Davies’ new children’s opera, with Sir Simon Rattle Schott Music published his book and DVD on choral and students from Guildhall School of Music. conducting, Chorleitung: Vom Konzept zum Konzert. Director Born in London, Simon Halsey sang in the choirs BBC Proms Youth Choir Under Halsey’s leadership the Rundfunkchor Berlin of New College, Oxford, and of King’s College, Artistic Advisor gained a reputation internationally as one of the Cambridge. He studied conducting at the Royal Choir Academy of the finest professional choral ensembles. Halsey also College of Music in London. Schleswig-Holstein Musik Festival initiated innovative projects in unconventional London Symphony Orchestra

CHORAL CONCERTS WITH THE LSC

Sun 18 & Tue 20 Sep 2016, Barbican Verdi Requiem Gianandrea Noseda conductor

Sun 4 Dec 2016, Barbican El Niño John Adams conductor

Sun 19 Mar 2017, Barbican Brahms German Requiem Fabio Luisi conductor

Sun 28 May 2017, Barbican Bruckner Bernard Haitink conductor

Sun 25 Jun 2017, Barbican Mahler Symphony No 3 conductor LSO SING in

SEASON 2016/17 SINGING DAYS WITH SIMON HALSEY

Sat 17 Sep 2016, LSO St Luke’s Verdi Requiem

Sun 5 Mar 2017, LSO St Luke’s Brahms German Requiem

Sun 9 Apr 2017, LSO St Luke’s Bruckner Te Deum; Motets

LSO Sing is generously supported by Sir Siegmund Warburg’s Voluntary Settlement

lso.co.uk | 020 7638 8891 18 London Symphony Chorus 12 May 2016

London Symphony Chorus Biography On stage

The London Symphony Chorus was formed in 1966 to complement SOPRANOS ALTOS BASSES the work of the London Symphony Orchestra and this season marks Frankie Arnull Lauren Au David Aldred Peter Avis Heather Ashford Liz Boyden Erik Azzopardi Simon Backhouse * its 50th anniversary. The partnership between the LSC and LSO Louisa Blankson Gina Broderick Jose Ceberio Gonzalez Laurie Chattington has continued to develop and was strengthened in 2012 with the Evaleen Brinton Jo Buchan * Anthony Colasanto Steve Chevis appointment of Simon Halsey as joint Chorus Director of the LSC Anna Byrne-Smith Lizzy Campbell John Farrington Damian Day Carol Capper * Liz Cole Matt Fernando Joe Dodd and Choral Director for the LSO. Jessica Collins Maggie Donnelly Simon Goldman Thomas Fea * Shelagh Connolly Lynn Eaton Euchar Gravina Ian Fletcher Harriet Crawford Linda Evans Matthew Horne Robert Garbolinski * The LSC has partnered many other major orchestras and has Katharine Elliot Amanda Freshwater John Marks Gerald Goh performed nationally and internationally with the Berlin and Vienna Naomi Fletcher Joanna Gill Daniel Owers John Graham Philharmonic Orchestras, and the Leipzig Gewandhaus Orchestra. Joanna Gueritz Rachel Green Peter Sedgwick Owen Hanmer * Maureen Hall Kate Harrison Richard Street * Anthony Howick Championing the musicians of tomorrow, it has also worked with Jenna Hawkins Jo Houston Joao Valido Vaz Alex Kidney both the NYOGB and the EUYO. The Chorus has toured extensively Claire Hussey * Lis Iles Simon Wales Isaac Leaverton throughout Europe and has also visited North America, Israel, Debbie Jones Christine Jasper James Warbis George Marshall Mimi Kroll Jill Jones Brad Warbuton Hugh McLeod and South East Asia. Junelle Kwon Vanessa Knapp Robert Ward * Geoff Newman Debbie Lee Gilly Lawson Paul Williams-Burton Peter Niven Winnie Lei Belinda Liao * Alan Rochford Highlights from last season include Haydn’s with Rose Littlewood Anne Loveluck * Richard Tannerbaum Edward Gardner at the City of London Festival, Brahms’ Requiem with Jane Morley Jane Muir Tom Torley Daniel Harding, and critically acclaimed performances with Sir Simon Jessica Norton Caroline Mustill Jez Wareing Carole Radford Dorothy Nesbit Rattle of Schumann’s rarely performed Das Paradies und die Peri with Liz Reeve Susannah Priede the LSO at the Barbican, and Mahler’s Second Symphony with the Alison Ryan Lucy Reay * Denotes LSC Berlin Philharmonic and the CBSO Chorus at the Royal Festival Hall. Giulia Steidl Emma Recknell Rebecca Vassallo Sarah Scott council member Gabrielle Walton-Green Lis Smith In the 2015/16 season the LSC has been celebrating its 50th anniversary Lizzie Webb Jane Steele Becky Wheaton Claire Trocme with a range of performances, including Rachmaninov’s All-Night Vigil Rachael Twyford in Temple Church; Bernstein’s Chichester Psalms with James Gaffigan; Kathryn Wells Haydn’s The Seasons with Rattle; Elgar’s The Dream of Gerontius with Sir Mark Elder; and the world premiere performance of a new opera by Sir Peter Maxwell Davies, The Hogboon in June.

President Sir Simon Rattle OM CBE The London Symphony Chorus is generously supported by: President Emeritus André Previn KBE John S Cohen Foundation, The Helen Hamlyn Trust, The Revere Charitable Trust, Vice President Michael Tilson Thomas The Welton Foundation, LSC Friends, Members of the LSC Patrons CBE and CBE LSO Sing is generously supported by: Chorus Director Simon Halsey CBE Sir Siegmund Warburg’s Voluntary Settlement Assistant Directors Neil Ferris and Matthew Hamilton Chorus Accompanist Roger Sayer Want to sing with the LSC? Find out more about life in one of London’s Chairman Owen Hanmer leading choirs, and how to apply, on the LSC website: lsc.org.uk/join-us lso.co.uk The Orchestra 19

London Symphony Orchestra Your views On stage Inbox

FIRST VIOLINS VIOLAS FLUTES HORNS 24 APR: SIR MARK ELDER – ELGAR’S THE DREAM OF GERONTIUS Carmine Lauri Leader Krzysztof Chorzelski Gareth Davies Timothy Jones Lennox Mackenzie Gillianne Haddow Alex Jakeman Angela Barnes Clare Duckworth Malcolm Johnston Sophie Johnson Alexander Edmundson Peter D Smith Splendid Elgar Dream of Gerontius last night Ginette Decuyper Anna Bastow Jonathan Lipton @LSChorus @londonsymphony Sir Mark Elder excellent. Gerald Gregory German Clavijo PICCOLO Tim Ball Jörg Hammann Lander Echevarria Sharon Williams Maxine Kwok-Adams Julia O’Riordan TRUMPETS Jeremy Grant Profound, spiritual and luminously performed OBOES Elizabeth Pigram Robert Turner Philip Cobb Olivier Stankiewicz Gerontius tonight, thanks @londonsymphony and Mark Elder, Laurent Quenelle Jonathan Welch Gerald Ruddock Rosie Jenkins Harriet Rayfield Elizabeth Butler Daniel Newell an Elgarian for our time Katie Bennington Colin Renwick Melanie Martin TROMBONES Ian Rhodes Caroline O’Neill CLARINETS Peter Moore Mimi Doulton Gerontius had me weeping. What a piece. Sylvain Vasseur Chris Richards CELLOS James Maynard Eleanor Fagg Chi-Yu Mo Resplendently sung and played. Tim Hugh Michael Foyle Sarah Thurlow BASS TROMBONE Jennifer Brown Jan Regulski Paul Milner Noel Bradshaw BASSOONS 28 APR: SIR MARK ELDER – Eve-Marie Caravassilis SECOND VIOLINS Rachel Gough TIMPANI BUTTERWORTH, VAUGHAN WILLIAMS, RAVEL & DEBUSSY David Alberman Daniel Gardner Joost Bosdijk Nigel Thomas Thomas Norris Hilary Jones Daniel Jemison Sarah Quinn Amanda Truelove PERCUSSION Andrew Mosley Brilliant debut with @londonsymphony by Miya Väisänen Morwenna Del Mar CONTRA BASSOON Neil Percy @TiberghienC tonight in Ravel Concerto for Left Hand. Can’t Sue Dorey Dominic Morgan Sam Walton Matthew Gardner believe he was only using 5 fingers! Julian Gil Rodriguez Steffan Morris Antoine Bedewi Naoko Keatley DOUBLE BASSES Belinda McFarlane Jan Krigkvsky Katie Salt Had a wonderful evening at @BarbicanCentre Iwona Muszynska Colin Paris Andrew Pollock experiencing the talent and generous hospitality of Patrick Laurence Paul Robson @londonsymphony. You truly fabulous lot Matthew Gibson Ingrid Button Joe Melvin Hazel Mulligan Edward Francis-Smith Alain Petitclerc Benjamin Griffiths Haunting Vaughan Williams 3; Simo Väisänen amazing Ravel and just gorgeous La Mer from Mark Elder and @londonsymphony last night! Thank you!

LSO STRING EXPERIENCE SCHEME

Established in 1992, the LSO String Experience The Scheme is supported by London Symphony Orchestra Editor Scheme enables young string players at the Help Musicians UK Barbican Edward Appleyard start of their professional careers to gain The Polonsky Foundation Silk Street [email protected] work experience by playing in rehearsals The Barbara Whatmore Charitable Trust London and concerts with the LSO. The scheme The Idlewild Trust EC2Y 8DS Advertising Cabbell Ltd 020 3603 7937 auditions students from the London music The Lefever Award Photography conservatoires, and 15 students per year Registered charity in England No 232391 Igor Emmerich, Kevin Leighton, Marco are selected to participate. The musicians Details in this publication were correct Borggreve, Mitch Jenkins, Ranald Mackechnie, are treated as professional ’extra’ players Rui Liu (First Violin) participated in rehearsals at time of going to press. Patricia Taylor, Chris Aadland, Maximilian Van (additional to LSO members) and receive fees and performs in tonight’s concert. London, Chris Wahlberg for their work in line with LSO section players. Print Cantate 020 3651 1690 London Symphony Orchestra Living Music

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

Sir John Eliot Gardiner concludes his Mendelssohn symphonies cycle

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

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

François-Xavier Roth continues his After Romanticism series

Bernard Haitink conducts Bruckner, Mahler and Beethoven with

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

See the full listings, now on sale, at lso.co.uk/201617season