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Home , Huw Watkins, Jennifer Pike, Pines of Rome, Thomas Hengelbrock, Yutaka Sado

London Symphony Living Music

Sunday 31 January 2016 7pm Barbican Hall

A ROMAN TRILOGY

Rachmaninov London’s Symphony Orchestra Rhapsody on a Theme of Paganini INTERVAL Respighi Roman Trilogy (Fountains of – Pines of Rome – Roman Festivals)

Sir Antonio Pappano conductor Alice Sara Ott

Concert finishes approx 9.10pm 2 Welcome 31 January 2016

Welcome Living Music Kathryn McDowell In Brief

Welcome to this evening’s LSO concert at the LSO 2016/17 SEASON ANNOUNCED Barbican. We are delighted to be joined by conductor Sir Antonio Pappano, a long-standing friend of Full listings for the LSO’s 2016/17 season, taking the Orchestra, who returns to conduct a special place between September 2016 and July 2017, programme featuring Respighi’s Roman Trilogy – have now been announced. To browse the season a work which is particularly close to his heart. visit the LSO website. Public booking opens online on Wednesday 10 February, with phone booking The concert opens with Rachmaninov’s Rhapsody on available from Wednesday 24 February. a Theme of Paganini, for which the Orchestra will be joined by pianist Alice Sara Ott, who made her LSO lso.co.uk/201617season debut in 2010 and has appeared with the Orchestra a number of times since then, as well as performing ‘Gianandrea Noseda solo recitals at LSO St Luke’s as part of the BBC PRIORITY BOOKING WITH THE LSO FRIENDS Radio 3 Lunchtime Concerts series. whipped up a demonic storm.’ LSO Friends gain a special insight into the Orchestra’s The Independent Respighi’s Roman Trilogy forms the centrepiece work with priority booking, regular events, updates of tonight’s concert, a triptych of works evoking about our work, and opportunities to meet the LSO’s images of the city of Rome, featuring some of the musicians. Our Friends become part of a family of composer’s most well-known music. supporters who share a mutual love of music and a passion for the work of the LSO. For more information I hope you enjoy the performance and can join on how to join the LSO Friends visit the LSO website. us again for our next concert. On Wednesday 3 February the LSO String Ensemble, under the lso.co.uk/friends direction of the Orchestra’s Leader Roman Simovic, will perform a programme of British works for strings by Elgar, Vaughan Williams and Britten. A WARM WELCOME TO TONIGHT’S GROUPS

The LSO offers great benefits for groups of 10+, including a 20% discount on standard tickets. At tonight’s concert we are delighted to welcome:

Kathryn McDowell CBE DL Gerrards Cross Community Association Managing Director Elizabeth Simpson and Friends Country Club UK Nicole Hu and Friends London Symphony Orchestra Living Music

Shakespeare 400 His words come to life in music

PROGRAMME NOTE AUTHOR LINDSAY KEMP is a senior producer for BBC Radio 3, including ‘Gianandreaprogramming lunchtime Noseda concerts whippedfrom LSO St Luke’s, up aArtistic demonic Director storm.’ of the Lufthansa Festival of TheBaroque Independent Music, and a regular contributor to Gramophone magazine.

A MIDSUMMER MACBETH, RICHARD III & BERLIOZ’S LSO DISCOVERY DAY: NIGHT’S DREAM ROMEO AND JULIET ROMEO AND JULIET BERLIOZ AND SHAKESPEARE

Tue 16 Feb 7.30pm Thu 25 Feb 7.30pm Sun 28 Feb 7pm Sun 28 Feb 10am–5pm, Mendelssohn Symphony No 1; Smetana Richard III Shostakovich Violin No 2 Barbican & LSO St Luke’s A Midsummer Night’s Dream Liszt Piano Concerto No 2 Berlioz Romeo and Juliet – Suite A morning open rehearsal and an Tchaikovsky Romeo and Juliet afternoon of discussion and talks Sir John Eliot Gardiner conductor Strauss Macbeth Gianandrea Noseda conductor with guest speaker Julian Rushton. Monteverdi Choir Janine Jansen violin Actors from the Guildhall School Gianandrea Noseda conductor Simon Trpcˇeski piano FAMILY CONCERT: LSO DISCOVERY: PLAY ON, SHAKESPEARE! FREE LUNCHTIME CONCERT

Sun 7 Feb 2.30pm Fri 26 Feb 12.30pm, Shakespeare needs the help of Puck LSO St Luke’s and the LSO to get over his writer’s Korngold Nine Shakespeare Songs block. With music by Mendelssohn, Guildhall School Musicians Part of Prokofiev, Walton, Sibelius and Supported by The Rothschild Charities Shostakovich and actors from the Committee, Schroder Charity Trust and LSO Friends Guildhall School. shakespeare400.org 4 Programme Notes 31 January 2016

Sergei Rachmaninov (1873–1943) Rhapsody on a Theme of Paganini Op 43 (1934)

ALICE SARA OTT PIANO shape, crisp and characteristic rhythms and regular phrasing. Any of these features can be varied, In 1933, a newspaper interviewer asked the 60-year-old leaving the other elements clearly recognisable. Rachmaninov if he’d given up composing. Rachmaninov’s Rhapsody consists of 24 continuous variations. Variation 1 precedes the theme, giving PROGRAMME NOTE WRITER It wasn’t a tactful question. The years between just its skeleton before the full theme is given by the ANDREW HUTH is a musician, 1917 and 1926 had been completely barren of new violins, with the main notes picked out by the piano. writer and translator who writes music; and since the first performances in 1927 of Variations 2 to 10 are all in a quick tempo, apart from extensively on French, Russian and the Fourth Piano Concerto and the Three Russian No 7 where the solo piano introduces another theme Eastern European music. Songs for chorus and orchestra there had been only – the Dies irae, the medieval chant which pervades the Variations on a Theme of Corelli for solo piano, so much of Rachmaninov’s music as a symbol of composed in 1931. mortality. It re-appears in the march-like Variation 10, at first in the piano, then as a brass fanfare. In the summer of 1934, however, Rachmaninov at last produced another major work. On 19 August Variation 11 is a slow, reflective piano cadenza. he wrote to his sister-in-law: ‘This work is rather a Variations 12 to 15 are all in triple time, beginning large one, and only yesterday, late at night, I finished with a melancholy, slow minuet, while Variations 16 it … This piece is written for piano and orchestra, to 18 form a sort of slow movement, culminating in about 20–25 minutes in length. But it is no concerto! the ‘big tune’ of No 18, which consists of Paganini’s It is called ‘Symphonic Variations on a Theme by theme slowed down and turned upside-down. The Paganini’. Three weeks later, he was referring to it final section resumes the quick tempo and begins as a ‘ for piano and orchestra in the form of a gradual acceleration to the final Variation 24, with variations on a theme of Paganini.’ its last reference to the Dies irae in the brass.

The premiere was given by the composer with the and on 7 November 1934 in Baltimore. It was such a success NICCOLÒ PAGANINI (1782–1840) that Rachmaninov, always fastidious and self-critical, was an Italian violinist, guitarist began to have doubts: if it was so popular, he and composer. He was the most wondered, might there be something wrong with it? celebrated violinist of his day and spent much of his career on tour The famous theme comes from the last of the INTERVAL – 20 minutes around Europe as a travelling Twenty-Four Caprices for solo violin published in There are bars on all levels of the Concert Hall; ice cream virtuoso. He contributed prolifically 1820 by Niccolò Paganini (1782–1840), and has can be bought at the stands on Stalls and Circle level. to the development of modern violin attracted many composers besides Rachmaninov, technique, greatly expanding the among them Schumann, Liszt, Brahms, Szymanowski Why not tweet us your thoughts on the first half of the timbral and technical possibilities of and Lutosławski. The theme is ideal for variation: performance @londonsymphony, or come and talk to the instrument. it has simple harmony, a memorable melodic LSO staff at the information point on the Circle level? lso.co.uk Composer Profile 5

Sergei Rachmaninov BBC RADIO 3 LUNCHTIME CONCERTS Composer Profile AT LSO ST LUKE’S ELGAR UP CLOSE

‘Melody is music,’ wrote Rachmaninov, ‘the basis of music as a whole, since a perfect melody implies and calls into being its own harmonic design.’ The Russian composer, pianist and conductor’s passion for melody was central to his work, clearly heard in his Rhapsody on a Theme of Paganini.

Although the young Sergei’s father squandered much of the family inheritance, he at first invested wisely in his son’s musical education. In 1882 the boy received a scholarship to study at the St Petersburg Conservatory, but further disasters at home hindered his progress and he moved to study at the Moscow Four concerts exploring Elgar’s moving Conservatory. Here he proved an outstanding piano chamber and solo music for strings pupil and began to study composition. Thu 14 Apr 1pm, LSO St Luke’s COMPOSER PROFILE WRITER Rachmaninov’s early works reveal his debt to the Jennifer Pike and Peter Limonov perform a ANDREW STEWART music of Rimsky-Korsakov and Tchaikovsky, although recital of works for violin and piano by Elgar he rapidly forged a personal, richly lyrical musical and Vaughan Williams language, clearly expressed in his Prelude in C-sharp minor for piano of 1892. His First Symphony of Thu 21 Apr 1pm, LSO St Luke’s 1897 was savaged by the critics, which caused the The LSO String Ensemble and director composer’s confidence to evaporate. In desperation Roman Simovic perform music by Elgar, he sought help from Dr Nikolai Dahl, whose Vaughan Williams and Britten hypnotherapy sessions restored Rachmaninov’s self-belief and gave him the will to complete his Thu 28 Apr 1pm, LSO St Luke’s Second Piano Concerto, widely known through its The Elias are joined by pianist later use as the soundtrack for the classic film Brief Huw Watkins for Elgar and Stravinsky Encounter. Thereafter, his creative imagination ran free to produce a string of unashamedly romantic Thu 5 May 1pm, LSO St Luke’s works divorced from newer musical trends. The Elias String Quartet conclude the series with a programme pairing Elgar and Purcell He left Russia shortly before the October Revolution in 1917, touring as pianist and conductor and buying properties in Europe and the .

Book now lso.co.uk/lsostlukes

6 Programme Notes 31 January 2016

Ottorino Respighi (1879–1936) Roman Trilogy (1916–28)

FOUNTAINS OF ROME Roman Empire, and the more bombastic parts of 1 THE FOUNTAIN OF THE VALLE GIULIA AT DAWN the trilogy resonate strongly with Fascism’s cult of 2 THE TRITON FOUNTAIN IN THE MORNING romanità – ‘Roman-ness’. Elsa maintained (and no 3 THE TREVI FOUNTAIN AT NOON one has yet disproved her claim) that Respighi never 4 THE VILLA MEDICI FOUNTAIN AT SUNSET joined the Fascist party, which would have made him all but unique among Italian composers by the PINES OF ROME time of his death in 1936 – though perhaps, as the 1 THE PINES OF THE VILLA BORGHESE American expert on the period Harvey Sachs has 2 THE PINES NEAR A CATACOMB suggested, ‘Respighi did not attempt to ingratiate 3 THE PINES OF THE himself with the regime because he was the one 4 THE PINES OF THE composer of his generation whom the regime backed without being asked’. Nevertheless, there ROMAN FESTIVALS is no doubting the sincerity of Respighi’s musical 1 CIRCUSES response to his adopted home city. 2 JUBILEE 3 OCTOBER FESTIVAL FOUNTAINS OF ROME 4 THE EPIPHANY Each of the symphonic poems has four named sections, running without a break. First we visit four Respighi seems to have had something of a love-hate Fountains of Rome, north and east of the city centre, relationship with Rome. His wife Elsa Olivieri-Sangiacomo, over the course of a day – each at the time Respighi found it most evocative. Misty dawn finds us in the a Roman native, recounts how Respighi felt the city’s Giulia valley to the north, with a fountain (actually a grandeur deeply, but was disturbed by it too. matching pair) whose water spurts from the mouths of eight turtles around the basin – constructed just PROGRAMME NOTE WRITER After the human scale of his native Bologna, he a few years before Respighi wrote his music, in an DAVID GALLAGHER is a music reckoned that in Rome ‘a metre has several extra area apparently still rural enough for him to conjure producer for BBC Radio 3 and music centimetres’. Yet in this trilogy of symphonic poems up flocks of sheep. writer specialising in Italian music he created one of the greatest of all musical tributes of the early 20th century. He is to the Italian capital, its twelve scenes running the Later that morning, with a blast of horns, we’re amid currently editing the writings of gamut of Rome’s history, painted in some of the the urban bustle at the Triton Fountain, designed the late English musicologist John most vivid orchestral colours ever composed. in the 1640s by the great Baroque sculptor Bernini: C G Waterhouse for publication by supported on the tails of four dolphins, the Triton Toccata Press. Newspapers reported a generous audience reception sea-god blows water high into the air from a conch for the first performance of Fountains of Rome in shell. At midday an upsurging theme sweeps us 1917, and the premiere of Pines of Rome at the end down the road to where Neptune’s chariot is drawn of 1924 effectively earned him honorary citizenship. by giant sea-horses – the extravagantly rococo Trevi The political climate was propitious: Mussolini, who Fountain, made still more internationally famous half usurped power in 1922, cultivated the myth that his a century later by Anita Ekberg’s nocturnal frolics in Fascist regime would revive the glories of the ancient Fellini’s film La dolce vita (The Good Life). lso.co.uk Programme Notes 7

By sunset, a peaceful woodwind melody finds us ROMAN FESTIVALS in the hilltop garden of the 16th-century Villa Medici, Roman Festivals opens on a public holiday in the whose beautifully simple fountain, made from ancient city’s Circus Maximus: the crowd bays for an ancient Roman vase, enjoys a celebrated view blood as Christian martyrs are thrown to the lions over rooftops to the dome of St Peter’s; bells toll (historical accuracy is another victim). By the second as night falls. section, Rome is the centre of the Christian world: weary, plodding strings evoke pilgrims converging PINES OF ROME for the Jubilee, a special period of forgiveness; Bordering the Villa Medici gardens to the northeast multitudinous pealing bells mark their first glimpse RESPIGHI’S ROME is the extensive Villa Borghese park, whose pines of the Holy City from its highest hill, Monte Mario. Images of some of the locations inspired the opening of Respighi’s second postcard referenced in Respighi’s Roman collection: his Roman children relish the freedom of Hunting horns welcome us to the October grape Trilogy (from the top): The Appian noisily rushing around under the sunlit trees (just harvest festival in the hills southeast of Rome, Way, the gardens at Villa Borghese, as they do today), until a car horn interrupts their famous for their wines and medieval castles – and the Trevi Fountain. games. A cinematic cut, and we’re among pine though Respighi dedicates his musical portrait most trees guarding the entrance to one of Rome’s many of all to their young lovers, all swooning strings and catacombs – ancient Christian burial grounds, with mandolins. Finally shrieking clarinets announce echoes of solemn psalm-singing. the night before Epiphany in the very heart of the city, the Piazza Navona square (itself home to three Rippling piano figures carry us up the Janiculum Hill famous fountains), and Respighi lets his hair down that looms above the River Tiber west of the city in a riotous festive finale, cramming together popular centre; a solo clarinet outlines the pine trees in the dances and barrel organ tunes, raucous clear light of a full moon, and a nightingale sings: and drunken trombones. Respighi specifies that its song be played from a recording (probably, in the early 1920s, the first time anyone had ever done that). Night dissolves into another misty dawn, and tramping feet draw ever nearer on the pine-lined Appian Way – ancient Rome’s most important trade route, the ‘Queen of Roads’ – as a victorious army returns in triumph to the Imperial capital. A year or two before Respighi was composing, another ‘March on Rome’ by thousands of Fascists (travelling mainly by train, in reality!) had intimidated the elected government and King Victor Emmanuel III into handing the reins of power to Mussolini. 8 Composer Profile 31 January 2016

Ottorino Respighi Composer Profile London Symphony Orchestra

Born in Bologna on 9 July 1879, Ottorino Respighi COMPOSER FOCUS received his earliest instruction in piano and violin from his music teacher father. The boy pursued studies in violin and composition at Bologna’s Liceo Musicale. Respighi became principal viola in the St Petersburg Orchestra for the duration of the Italian opera season in 1900. He studied for five months with Rimsky-Korsakov in St Petersburg, gaining invaluable experience in the techniques of orchestration.

Respighi moved to Rome in 1913 to become professor of composition at the Liceo (later Conservatorio) di Santa Cecilia. In 1924 he was appointed director of the Conservatorio but resigned two years later to THOMAS ADÈS concentrate on composition and performing. Respighi One of Britain’s most innovative composers toured the United States as a conductor and pianist conducts the LSO in performances of his COMPOSER PROFILE WRITER in 1925–26 and again in 1932. works alongside pieces that inspired their ANDREW STEWART creation by Brahms, Sibelius and Franck The sights and sounds of Rome, in particular those associated with its Imperial past, richly charged Respighi’s imagination. In 1916 he completed the Wed 9 Mar 2016 7.30pm first of a triptych of symphonic poems for large Thomas Adès Polaris orchestra, Fontane di Roma (Fountains of Rome). Brahms Violin Concerto Ten years later followed Pini di Roma (Pines of Thomas Adès Brahms Rome); the third Roman work, Feste Romane Thomas Adès Tevot (Roman Festivals), was completed in 1928. All with Anne-Sophie Mutter violin three pieces possess an abundance of evocative and Samuel Dale Johnson baritone melodies and boldly colourful orchestrations. Supported by the Atkin Foundation

During the final decade of his life, Respighi turned Wed 16 Mar 2016 7.30pm his energies to the composition of opera. His Thomas Adès Asyla most successful stage work, however, is generally Sibelius Violin Concerto acknowledged to be La bella dormente nel bosco, Franck Symphony in D minor originally written for a Roman marionette theatre with Christian Tetzlaff violin (1922) and later adapted for child mimes (1934). Respighi died in Rome on 18 April 1936. 020 7638 8891 lso.co.uk lso.co.uk Artist Biographies 9

Sir Antonio Pappano Conductor

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

Music Director Pappano made his debut at the Vienna Staatsoper Antonio Pappano was born in London to Italian Accademia Nazionale di Santa Cecilia in 1993, replacing Christoph von Dohnànyi at the last parents, and moved with his family to the United minute in a new production of Wagner’s Siegfried, States at the age of 13. His awards and honours his debut at the Metropolitan Opera New York in include Gramophone’s ‘Artist of the Year’ in 2000, 1997 with a new production of Eugene Onegin, and the 2003 Olivier Award for Outstanding Achievement in 1999 he conducted a new production of Lohengrin in Opera, the 2004 Royal Philharmonic Society at the Bayreuth Festival. Highlights of recent seasons Music Award, and the Bruno Walter prize from include his operatic debut at the Salzburg Festival the Académie du Disque Lyrique in Paris. In 2012 (Don Carlo) and the Teatro alla Scala (Les Troyens). he was named a Cavaliere di Gran Croce of the At the Royal Opera the 2014/15 season saw him Republic of , and a Knight of the British Empire leading new productions of Guillaume Tell, Andrea for his services to music, and in 2015 he was the Chenier and Szymanowski’s Król Roger, and 100th recipient of the Royal Philharmonic Society’s productions in the 2015/16 season and beyond Gold Medal, the body’s highest honour. He has include new stagings of Boris Godunov, Cavalleria also developed a notable career as a speaker Rusticana and I Pagliacci, and Norma, and revivals of and presenter, and has fronted several critically Werther, Der Ring des Nibelungen, Manon Lescaut acclaimed BBC Television documentaries including and Die Meistersinger von Nürnberg. Opera Italia, Pappano’s Essential Ring Cycle and Pappano’s Classical Voices. 10 Artist Biographies 31 January 2016

Alice Sara Ott Piano

German-Japanese pianist Alice Sara Ott has gained Recording exclusively for Deutsche Grammophon critical acclaim for her performances at major since 2008, Alice has since released albums of works concert halls worldwide and has established herself by Beethoven, Liszt and Mussorgsky, among others. as one of the most exciting musical talents of today. Her album of Chopin’s complete waltzes, which The Guardian, commenting on her 2010 performance entered the German and US Classical iTunes charts with the London Symphony Orchestra, said that at No 1, won Alice the ECHO Klassik Young Artist she ‘gave the kind of gawp-inducing bravura of the Year Award. Her debut concerto album – performance of which legends are made.’ works by Tchaikovsky and Liszt with the Münchner Philharmoniker and Thomas Hengelbrock – was Alice has worked with the world’s leading named Editor’s Choice in both International Piano conductors, including Paavo Järvi, Neeme Järvi, and Classic FM magazines. James Gaffigan, Sakari Oramo, Osmo Vänskä, Vasily Petrenko, Myung-Whun Chung, Hannu Lintu Alice has recently worked on two unique and Robin Ticciati. collaboration projects. With pianist Francesco Tristano she released the album Scandale on Recently Alice has debuted with the Los Angeles Deutsche Grammophon in September 2014 and Philharmonic (Gustavo Dudamel), Chicago performed it at leading venues in Europe, including Symphony (Pablo Heras-Casado), Indianapolis the Festspielhaus Baden-Baden, Philharmonie (Krzysztof Urban´ski) and Toronto (Cristian Luxembourg, the Queen Elizabeth Hall and Berliner Macelaru) Symphony Orchestras. She also Philharmonie, as well as touring with it in , returned to Symphonieorchester des Bayerischen South Korea and Australia. Alice’s latest CD, The Rundfunks (Esa-Pekka Salonen) and toured with Chopin Project, with Icelandic composer Ólafur the Philharmonia Orchestra in China (Vladimir Arnalds, was released in March 2015 on Mercury Ashkenazy) and the NHK Symphony Orchestra in Classics. The album reached No 1 in the Official Japan (John Storgårds). UK Classical Chart and the iTunes chart in 25 other countries. They took the project on a European Highlights of the 2015/16 season include concerts tour in September 2015, including performances with the Wiener Symphoniker (Pablo Heras-Casado), in Copenhagen, Hamburg, Moscow, St Petersburg, the National Arts Centre in Ottawa (Alexander Frankurt, Paris and London. Shelley) and Münchner Philharmoniker (Nikolaj Znaider). Alice will also tour with the Royal Philharmonic Orchestra (), hr-Sinfonieorchester (Andrés Orozco-Estrada), Sinfonie Orchester Basel (Dennis Russell Davies) and Tonkünstler Orchestra (Yutaka Sado). lso.co.uk The Orchestra 11

London Symphony Orchestra Your views On stage Inbox

FIRST VIOLINS VIOLAS HORNS 21 JAN: FRANÇOIS-XAVIER ROTH – AFTER ROMANTICISM Roman Simovic Leader Hungwei Huang Gareth Davies Vittorio Schiavone Nigel Thomas Carmine Lauri Gillianne Haddow Patricia Moynihan Angela Barnes Lennox Mackenzie Malcolm Johnston Antonio Iezzi PERCUSSION Jamie Henderson Glorious playing by Clare Duckworth Lander Echevarria PICCOLO Jonathan Lipton Neil Percy the @londonsymphony with FX Roth in Sharon Williams David Jackson Nigel Broadbent Anna Bastow Jocelyn Lightfoot Mahler 5. Mercurial music-making that Ginette Decuyper Robert Turner Sam Walton Gerald Gregory Jonathan Welch TRUMPETS Antoine Bedewi was astringent, shrill, luxurious & romantic. Olivier Stankiewicz Jörg Hammann Michelle Bruil Philip Cobb Helen Edordu Rosie Jenkins Maxine Kwok-Adams Elizabeth Butler Gerald Ruddock Benedict Hoffnung Daniel Newell Tom Lee Nat Gorohova Mahler 5 last movement Claire Parfitt Philip Hall Simon Cox Paul Stoneman Laurent Quenelle Melanie Martin Christine Pendrill was like an espresso shot (and I’m Harriet Rayfield Anna Dorothea Vogel Oliver Yates TROMBONES normally sceptical re joyful music!). Ian Rhodes CLARINETS Dudley Bright HARPS Sylvain Vasseur Chris Richards Can’t sleep & a meeting 8am! James Maynard Bryn Lewis Rhys Watkins Tim Hugh Chi-Yu Mo Rebecca Smith Susan Blair @londonsymphony Eleanor Fagg Alastair Blayden James Burke Jennifer Brown BASS TROMBONE PIANO SECOND VIOLINS Noel Bradshaw Paul Milner Catherine Edwards Neil Wallington All in all, a thoroughly Lorenzo Iosco David Alberman Eve-Marie Caravassilis modern #Mahler. @londonsymphony Thomas Norris Daniel Gardner CELESTE E-FLAT CLARINET Miya Väisänen Hilary Jones Patrick Harrild Caroline Jaya-Ratnam @fxroth Chi-Yu Mo David Ballesteros Amanda Truelove TIMPANI ORGAN Richard Blayden James Barralet Nigel Thomas Richard Pearce Matthew Gardner Miwa Rosso Rachel Gough Julian Gil Rodriguez Joost Bosdijk OFF-STAGE MANDOLIN Naoko Keatley DOUBLE BASSES TRUMPETS James Ellis Belinda McFarlane Colin Paris CONTRA Christopher Deacon Iwona Muszynska Patrick Laurence Dominic Morgan Robin Totterdell Andrew Pollock Matthew Gibson Joe Sharp Paul Robson Jani Pensola Benjamin Griffiths Hazel Mulligan OFF-STAGE Paul Sherman Helena Smart TROMBONES Simo Väisänen Rebecca Smith Nicholas Worters Emma Bassett

Daniel Jenkins Matthew Knight

LSO STRING EXPERIENCE SCHEME

Established in 1992, the LSO String Experience The Scheme is supported by London Symphony Orchestra Editor Scheme enables young string players at the Help Musicians UK Barbican Edward Appleyard start of their professional careers to gain The Barbara Whatmore Charitable Trust Silk Street [email protected] work experience by playing in rehearsals The Idlewild Trust London and concerts with the LSO. The scheme The Lefever Award EC2Y 8DS Photography auditions students from the London music The Polonsky Foundation Benjamin Ealovega, Ranald Mackechnie, conservatoires, and 15 students per year Registered charity in England No 232391 Özgür Albayrak, Musacchio & Ianniello, are selected to participate. The musicians Mausiko Tsusuki Details in this publication were correct are treated as professional ’extra’ players at time of going to press. Print Cantate 020 3651 1690 (additional to LSO members) and receive fees for their work in line with LSO section players. Advertising Cabbell Ltd 020 3603 7937 London Symphony Orchestra Living Music

Leif Ove Andsnes LSO Artist Portrait

PROGRAMME NOTE AUTHOR LINDSAY KEMP is a senior producer for BBC Radio 3, including ‘Iprogramming have no lunchtime choice concerts but to make music. fromI love LSO St music Luke’s, Artistic so much,Director it is just so much of the Lufthansa Festival of Baroquea part Music, of andme, a regular that I just have to do it.’ contributor to Gramophone magazine. Leif Ove Andsnes

MOZART SCHUMANN LEIF OVE ANDSNES LEIF OVE ANDSNES PIANO CONCERTO NO 20 PIANO CONCERTO SOLO RECITAL & FRIENDS

Sun 8 May 2016 7pm Thu 12 May 7.30pm Fri 10 Jun 7.30pm Sat 28 May 7pm, Milton Court Mozart Piano Concerto No 20 Schumann Piano Concerto Sibelius Brahms Bruckner Symphony No 3 Beethoven Symphony No 9 Three Pieces (‘Kyllikki’); The Birch; Piano Quartet No 1 in G major The Spruce; Spring Vision; Piano Quartet No 2 in A major conductor conductor The Forest Lake; Song in the Forest Piano Quartet No 3 in C minor Leif Ove Andsnes piano Leif Ove Andsnes piano Beethoven London Symphony Orchestra Lucy Crowe soprano Piano Sonata No 18 in E-flat major Leif Ove Andsnes piano Christine Rice mezzo-soprano Debussy Christian Tetzlaff violin Toby Spence tenor La soirée dans Grenade; Tabea Zimmerman viola London Symphony Chorus Three Études; Étude in A-flat major Clemens Hagen Simon Halsey chorus director Chopin Produced by the Barbican, not part London Symphony Orchestra Impromptu in A-flat major; of the LSO Season. Nocturne in F major; Visit barbican.org.uk for details. Supported by Baker & McKenzie LLP Ballad No 4 in F minor lso.co.uk Leif Ove Andsnes piano 020 7638 8891