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Home , Agnes Nicholls, Amanda Holden (writer), Arthur Oldham, Charles Mott (baritone), Mark Elder, Paul McCreesh

London Symphony Orchestra Living Music

Sunday 24 April 2016 7pm Barbican Hall

THE DREAM OF GERONTIUS London’s Symphony Orchestra Elgar Sir Mark Elder conductor mezzo-soprano Allan Clayton Gerald Finley Guildhall School Singers Simon Halsey chorus director

Concert finishes approx 8.55pm Please note that there will be no interval 2 Welcome 24 April 2016

Welcome Living Music Kathryn McDowell In Brief

Welcome to tonight’s LSO concert, a performance of BMW LSO OPEN AIR CLASSICS Elgar’s monumental , The Dream of Gerontius, conducted by one of the most distinguished The LSO is delighted to announce that this year’s interpreters of Elgar’s music, Sir Mark Elder, BMW LSO Open Air Classics concert will be taking and with a stellar line-up of soloists – Alice Coote, place in Trafalgar Square on Sunday 22 May at Allan Clayton and Gerald Finley – all of whom 6.30pm. Valery Gergiev will once again be at the we are glad to welcome back again to the LSO. helm, conducting works by Tchaikovsky. Remember to arrive early to secure your place in the Square. This performance marks 100 years since World War I and, in particular, a project by the Orchestra during lso.co.uk/openair 1916 to raise funds for the War effort. In May that year, Sir led the LSO on a tour of England to perform Gerontius, and donated all the proceeds LSO AT THE BBC PROMS 2016 from the concerts to the Red Cross. See page 8 for an in-depth history of this ‘Festival Gerontius’. The LSO will be returning to this year’s BBC Proms Festival at the for a performance We are also joined by the London Symphony Chorus of Mahler’s Symphony No 3 on 29 July. This will be tonight, led by the LSO’s Choral Director Simon Halsey. conducted by Bernard Haitink, who marks 50 years The LSC celebrates its 50th anniversary this year and since his first appearance at the Festival, and features you can read more about their history on page 18. mezzo-soprano as the soloist. For full details, visit: I hope you can join us again on 28 April, when Sir Mark Elder returns with a programme marking bbc.co.uk/proms 100 years since the Battle of the Somme, featuring music by Butterworth, Vaughan Williams, Ravel and Debussy, with soloists Elizabeth Watts and A WARM WELCOME TO TONIGHT’S GROUPS Cédric Tiberghien. The LSO offers great benefits to groups of 10+, including 20% discount on standard tickets. At these concerts we are delighted to welcome:

The Kathryn McDowell CBE DL Lydia Frankenburg & Friends Managing Director Gerrards Cross Community Association

lso.co.uk/groups London Symphony Orchestra Living Music

Leif Ove Andsnes LSO Artist Portrait

‘I have no choice but to make music. I love music so much, it is just so much a part of me, that I just have to do it.’

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 Daniel Harding conductor Michael Tilson Thomas 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 Zimmermann London Symphony Chorus Three Études; Étude in A-flat major Clemens Hagen cello Simon Halsey chorus director Chopin Produced by the Barbican, London Symphony Orchestra Impromptu in A-flat major; not part of the LSO Season. Nocturne in F major; Visit barbican.org.uk for details. Supported by Baker & McKenzie LLP Ballade No 4 in F minor lso.co.uk Leif Ove Andsnes piano 020 7638 8891 4 Programme Notes 24 April 2016

Edward Elgar (1857–1934) The Dream of Gerontius Op 38 (1900)

ALICE COOTE MEZZO-SOPRANO once the text had been purged of ‘popish’ elements: ALLAN CLAYTON TENOR the words ‘Jesus’, ‘Lord’ or ‘Saviour’ were substituted GERALD FINLEY BASS for ‘Mary’; ‘souls’ for ‘souls in purgatory’; ‘prayers’ for LONDON SYMPHONY CHORUS ‘masses’, and so on. It may seem faintly bizarre now, GUILDHALL SCHOOL SINGERS but in early 20th-century England these were still SIMON HALSEY CHORUS DIRECTOR acutely sensitive issues.

PROGRAMME NOTE WRITER Today, Elgar’s The Dream of Gerontius is a national As to the music, Elgar was a Wagnerian; and for many STEPHEN JOHNSON is the author monument. That is both a blessing and a curse. English concert-goers in 1900, Wagner was still of Bruckner Remembered (Faber). Few English music lovers would contest its status, difficult modern music. Some of it was too much even He also contributes regularly to BBC but there is a corresponding tendency to take it and for the experienced Festival Choir: the Music Magazine and , its content for granted. There are some who still ‘Demons’ Chorus’ and much of the semi-chorus and broadcasts for BBC Radio 3 dismiss it as a more-or-less conventional expression writing came over poorly at the Birmingham premiere (Discovering Music), BBC Radio 4 of late-Victorian piety. So it’s worth remembering (accusations of sabotage were levelled at some male and the BBC World Service. that at its first performance, just over a century ago, members of the choir). The experience prompted Gerontius was thought by some to be outlandishly one of Elgar’s most bitter outbursts:‘I always said modern, while its subject matter was viewed in other God was against art … I allowed my heart to open LIBRETTO on page 10 quarters with suspicion verging on paranoia. once – it is now shut against every religious feeling and every soft, gentle impulse for ever’. The text of The Dream of Gerontius – by the Roman Catholic convert Cardinal John Henry Newman – But the work’s fortunes soon began to change – (1801–1890) started out as an is full of doctrine which had been rejected by the especially when, the 1901 German premiere of Anglican priest and academic, then Protestant churches during the Reformation. The sole Gerontius, publicly toasted Elgar as converted to Catholicism in 1845. human character, the dying Gerontius (the name ‘the first English Meister’ – high praise indeed from He is most associated with the derives from the Greek geron, meaning ‘old man’), the world’s most celebrated Wagnerian. Elgar’s close Oxford Movement, which tried to prays for assistance to the Virgin Mary and other friend and musical confidant (the reinstate older traditions of the saints; and after his soul-searching encounter with ‘Nimrod’ of the ‘Enigma’ Variations) was also struck Church into Anglican theology and God at the climax of Part Two, Gerontius doesn’t by the work’s Wagnerian character and ambitions. liturgy. This eventually developed simply pass into heaven, but is committed to While Elgar was still working on the score he wrote: into Anglo-Catholicism. Purgatory for a long and possibly painful process ‘Since nothing of this mystic, religious kind of of purification. For some Protestants, this would music has appeared to my knowledge that displays have been dangerous heresy. the same power and beauty as yours. Like Wagner you seem to grow with your greater, more difficult When Gerontius was proposed at the 1902 Three subject and I am now most curious and anxious to Choirs Festival, the Bishop of Worcester objected – know how you will deal with that part of the poem and there were plenty who supported him. where the Soul goes within the presence of the Performance in the Cathedral was only permitted almighty. There is a subject for you!’ lso.co.uk Programme Notes 5

IN BRIEF But at that crucial point in the story Elgar’s Some sections – like the Angel’s beautiful lullaby The Dream of Gerontius is an Wagnerian nerve temporarily failed him. ‘Please ‘Softly and gently’ at the end of Part Two – can oratorio, set to a text by the remember that none of the ‘action’ takes place in be performed separately, with the help of a Roman Catholic Cardinal John the presence of God’, he replied to Jaeger. ‘I would little surgery; but there are details (for instance Henry Newman, telling the not have tried that, neither did Newman. The Soul recollections of earlier themes) which only make story of a devout man named says ‘I go before my God’ – but we don’t – we stand complete sense if this music is heard in its proper Gerontius. On his deathbed, outside’. Fortunately, Jaeger was unimpressed, and place. And the sense of sustained symphonic current Gerontius prays with a group of began a campaign to get the composer to have is essential to the work’s message. Early in Part friends, and the music traces the another go: ‘I have tried and tried and tried, but it Two, Gerontius’ disembodied soul describes how ‘a journey from his peaceful death seems to me the weakest page of the work! Do uniform and gentle pressure tells me that I am not to judgement and redemption in re-write it! … It seems mere whining to me and self-moving, but borne forward on my way.’ Elgar’s Purgatory – coming into contact not at all impressive’. At first Elgar resisted, but music conveys the sense of that ‘uniform and gentle with an angel, a chorus of demons, eventually he gave in; could it be that an inner voice pressure’ with subtle power. We can feel that we too and a split-second encounter was also telling him that Jaeger was right – that he’d are ‘borne forward’, through the Demons’ Chorus, with God. At the time of its been too timid? The end result is perhaps the most through the angelic hymn ‘Praise to the Holiest in first performance, the subject- original moment in the whole score. As Gerontius the height’, to the final, agonising yet transfiguring matter of Gerontius – inspired by goes to be ‘consumed, yet quicken’d, by the glance encounter with God. Newman’s Catholic faith – was of God’, there is an awe-inspiring crescendo; then controversial, and the Bishop the full orchestra, with organ and four percussionists, That process – slow but inexorable – can be felt of Worcester only allowed the delivers a lacerating Parsifal-like discord – but only at the very beginning of the orchestral Prelude. work to be performed in the for a split second: Elgar marks it fffz-p. The effect , and introduce a quiet, Cathedral after it had been is like a blinding flash of light, infinitesimally brief, lamenting theme, at first unaccompanied, then purged of ‘popish’ elements but leaving the eyes and brain reeling. Now we continuing against a slow, heavy tread from double that he deemed unsuitable. understand why Gerontius cries ‘Take me away’ – basses and low woodwind. Slow as it is, there is a the music has made that quite clear. sense, as in all great symphonies, that something could grow from this. The theme doesn’t merely ELGAR SYMPHONIES Elgar learnt another important lesson from Wagner – provide the impetus; it’s also a melodic seed. The on LSO LIVE though as with every influence on Gerontius, he outline of the first four notes (A – G-sharp – A – Sir conducts Elgar’s two digested it so thoroughly that the listener hears only G-natural) has an influence on many of the important completed symphonies alongside an authentic Elgar. Before Wagner, and motifs in Gerontius. The Prelude leads without a elaborated version of the sketches tended to be arranged in ‘numbers’: arias, duets, break into Gerontius’ first words; ‘Jesu, Maria …’ for Symphony No 3. ensembles, choruses – all more or less detachable Elgar’s music registers movingly the dying man’s from the larger dramatic context. Wagner found a wavering between hope and dread. Other voices join from £7.49 way of making dramatic works evolve continuously, with him: souls on earth and in heaven, praying for Available at seamlessly, like huge symphonies. Elgar achieves his deliverance. There is an impassioned declaration lsolive.lso.co.uk something very similar in The Dream of Gerontius. of faith (‘Sanctus fortis’), more choral prayers, 6 Programme Notes 24 April 2016

Edward Elgar Edward Elgar The Dream of Gerontius Composer Profile

then the moment of death: ‘and I fain would sleep, Elgar’s father, a trained piano tuner, ran a music shop the pain has wearied me’. The almost heart-breaking in Worcester in the 1860s. Young Edward, the fourth sadness of this passage may be a reflection of the of seven children, showed musical talent but was dark, depressive side of Elgar’s character. The critic largely self-taught as a player and composer. During Ernest Newman remembered how, not long after his early freelance career, which included work the premiere of Gerontius, Elgar’s wife Alice ‘tactfully conducting the staff band at the County Lunatic steered the conversation away from the topic of Asylum in Powick, he suffered many setbacks. He suicide that had suddenly arisen; she whispered was forced to continue teaching long after the desire to me that Edward was always talking of making to compose full-time had taken hold. A picture an end of himself.’ emerges of a frustrated, pessimistic man, whose creative impulses were restrained by his But this is not the end of Gerontius’ journey. The circumstances and apparent lack of progress. words of the Priest (‘Go forth upon thy journey, The cantata Caractacus, commissioned by the Christian soul’) mark the soul’s passing into the Leeds Festival and premiered in 1898, brought the next world. Then in Part Two comes the meeting composer recognition beyond his home. with the Angel, the encounter with demons, the angelic hymn, and the spiritual thunderbolt when COMPOSER PROFILE BY At the end of March 1891 the Elgars were invited Gerontius has his split-second encounter with God. ANDREW STEWART to travel to Bayreuth for that summer’s festival of With sure dramatic instinct, Elgar reserves the most Wagner’s operas, a prospect that inspired Edward beautiful of all the melodies of Gerontius – the immediately to compose three movements for Angel’s consoling ‘Softly and gently’ – for the very BBC RADIO 3 LUNCHTIME , the Serenade. The Variations on an end. More than a century after Gerontius was almost CONCERTS: ELGAR UP CLOSE Original Theme ‘Enigma’ (1898–99) and his oratorio denied entry to Worcester Cathedral, this music is The Dream of Gerontius (1900) cemented his now loved by Christians of many denominations, position as England’s finest composer, crowned by as well as by music-lovers with no particular faith. two further oratorios, a series of ceremonial works, Thu 28 Apr 1pm, LSO St Luke’s Even without faith, one can still be moved by Elgar’s two symphonies and concertos for violin and cello. Stravinsky Three Pieces for heartfelt expression of loss and hope in the face of death: ‘Farewell, but not for ever!’ Elgar, who was knighted in 1904, became the LSO’s Elgar in A minor Principal Conductor in 1911 and premiered many of Elias String Quartet his works with the Orchestra. Shortly before the end Huw Watkins piano of World War I he entered an almost cathartic period of chamber music composition, completing the slow Thu 5 May 1pm, LSO St Luke’s movement of his String Quartet soon after Armistice Purcell Three Fantasias Day. The Piano Quintet was finished in February 1919 Elgar String Quartet in E minor and reveals the composer’s deep nostalgia for times Elias String Quartet past. In his final years he recorded many of his works with the LSO and, despite illness, managed to sketch lso.co.uk/lunchtimeconcerts movements of a Third Symphony. lso.co.uk Looking Back 7

The LSC travels behind the Iron Curtain to perform The Dream of Gerontius in Moscow, April 1983

For Yevgeny Svetlanov, hearing The Dream of Gerontius conducted by work with. The Moscow Conservatoire is a magnificent 19th-century Sir in London had been revelatory, and his ambition concert hall of a type that does not exist in London. The orchestral was to conduct a Moscow performance with the USSR State Symphony players were incredibly friendly. It seemed paradoxical that, given the Orchestra, of which he was Principal Conductor. He discussed this late Romantic repertoire in which the USSR State Symphony Orchestra with Richard Hickox, the LSC Director, after a London performance specialised, it had not played much Elgar or Walton. The concerts were of Gerontius with the LSO. enthusiastically received, the two performances of Gerontius giving great satisfaction to Svetlanov. By the third concert there was a party For Moscow, there were to be two performances of Gerontius with atmosphere and the end of Belshazzar’s Feast was given as an encore. Svetlanov and another concert with Walton’s Belshazzar’s Feast and Bruckner’s E Minor Mass conducted by Hickox – first performances in What was it like to sing Gerontius with Svetlanov and an orchestra Russia for both British works. The solo trio was Arthur Davies, Felicity that had never played it before? Everyone had their own impressions, Palmer and Norman Bailey. Financing this tour was a challenge. Chorus but a big difference was that Svetlanov conducted solely the music members paid for their travel. Eventually there was enough sponsorship and not the words (the polar opposite of LSC concerts with Sir Colin to cover other expenses, including soloists’ fees. In the planning phase it Davis mouthing the singers’ words as he conducted!). But he had an helped that Svetlanov was in London while conducting Khovanshchina incredibly clear conducting technique with precise and expressive at the Royal House; he spoke no English, and communication was hand gestures. Though self-controlled to a fault the passion was through extremely helpful interpreters. He remained pessimistic that the unmistakeable. singers would ever get to Moscow. When they arrived he was worried when a soloist had a mild cold. Nevertheless, he was a pleasure to © Peter Sedgwick, LSC Tenor 8 The LSO in World War I 24 April 2016

The LSO in World War I The Dream of Gerontius

JO JOHNSON is Senior Marketing In 2014 we began to look into the history of the and promised a further £100 gift. The LSO's season Manager, Digital Communications London Symphony Orchestra and the effect of World was saved … for now. for the LSO War I on the musicians, the audiences and on music itself. 2016 marks the 100th anniversary of one of Clearly though, work was drying up for an orchestra the pivotal moments of the War, the Battle of the that relied not only on its own series of concerts at Somme, and in this article we take a look at how the The Queen's Hall, but also on engagements from Orchestra was coping with the country being at war outside parties such as festivals and out-of-town tours. and one particular event that we’re remembering The list of performances during the early 1910s, as 100 years on. held in our archives, clearly shows the trend:

At first the Orchestra had, like many people, assumed 1912 1913 1914 1915 1916 and hoped that the conflict would be over quickly 79 55 55 37 26 and resolved to carry on with its concert-giving life as normally as possible. But as members of the Against a background of compulsory conscription, Orchestra were called away for service, and the a reduced appetite for 'frivolous' activities public became increasingly unwilling to venture (entertaining yourself seemed in bad taste given outside to attend concerts, it became difficult the atrocities that were happening in France and to sustain a viable business. Early in the year, in Belgium, demonstrated by the film The Battle of the The original handwritten minutes February of 1916, the Board called an Extraordinary Somme that was shown in cinemas to around 20 from the EXTRAORDINARY General Meeting. The motion proposed was as follows: million people in 1916, the first time many people GENERAL MEETING had seen anything of the events overseas), the start ‘That owing to the losses sustained by the Company, of the German campaign of bombing from the air and in view of the fact that such expansion of using the silent but deadly Zeppelins, blackouts, entertainments is no longer necessary owing to unreliable public transport and increased ticket there being no private orchestral engagements and prices due to the new Entertainment Tax that was with a view to arresting the strain on the Company introduced that year, the LSO was struggling to find in the matter of paying deputies, and in view also enough work and enough audiences to keep going. of the stringent need for economy, this meeting is of the opinion that our present series of symphony So it is unusual to see amongst the performances concerts should be curtailed and the Company’s in 1916 a large-scale festival of a large-scale choral expenses reduced accordingly.’ work. At a time when large-scale music-making had all but ceased, over six nights from 8 to 13 The report goes on to say that the motion was May 1916 the LSO took part in an event called unnecessary, as that very day an undertaking had 'Festival Gerontius' – performances of Elgar's been received from the conductor and impresario choral masterpiece The Dream of Gerontius, Details of the new Sir to accept financial responsibility plus the second and third movements of his new ENTERTAINMENT TAX for the current series of concerts – a very generous (unfinished at that point) work . from an archive programme offer. He had also made a substantial gift of £100, The festival was mounted at The Queen’s Hall by lso.co.uk The LSO in World War I 9

the alto , for whom Elgar had written Sea 'One may say it was superb, whether in the Pictures and, reportedly, whom he had had in mind dignified and exalted hymns of the angel host, for the part of the Angel in Gerontius. The event or in that wonderful passage of the demon chorus. was in aid of the Red Cross, which at that time was The London Symphony Orchestra finely rendered providing relief both at home and abroad in the form the orchestral parts.' of hospitals, medical equipment, voluntary nursing staff, ambulance drivers, and much more. Clara This must have been of great comfort to Elgar, who was an active fundraiser during the War, putting on was troubled by the War and wrote many works to and performing in many charity concerts. She was help raise funds for the War effort, such as , appointed DBE in 1920 for her wartime work. to raise money for Belgian relief. 'It is difficult to imagine a more fitting moment, or more favourable ‘We are a nation in mourning. In this tremendous upheaval, conditions, for the presentation of Cardinal Newman's when youth is dying for us, I want to give the people a week famous poem, as interpreted by the musical genius of Sir Edward Elgar …The whole Empire is preoccupied of beautiful thoughts, for I am convinced that no nation can with the thought of solemn issues, and death is very be great that is not truly religious. I believe much in our midst,' said The Tablet.

that the War has given us a new attitude towards death, that Ultimately Festival Gerontius helped not only the many who had no faith before are now hungering to believe Red Cross and the recipients of its fund, but the people in the audience and, in a small way, the LSO. that after death there is life.’ Although the Orchestra eventually had to cease DAME CLARA BUTT most operations the very next year, the players were able to reform the group in 1918 and continue Festival Gerontius became a huge talking point performing, surviving, of course, to the present day. in London society. The combination of the And the relationship with Elgar remained strong: the appropriateness of the piece, the performers – Orchestra made many of the first recordings of his (Gerontius), (Angel of works during the 1930s, right up to his death in 1934. Agony), Herbert Brown (Priest), Clara herself, plus the LSO and the Leeds Choral Union, and not to 100 years on, we celebrate the place of The Dream mention John Booth and Agnes Nicholls who sang of Gerontius in both the story of the War and in our the movements from The Spirit of England – Elgar own history with tonight's performance. himself conducting and the amount of publicity that Clara was able to generate led to the Festival being an enormous success. The performances were attended twice by King George V, Queen Mary and Queen Alexandra, and raised the considerable sum Announcing FESTIVAL GERONTIUS of £2,707. The festival was also critically acclaimed. It was reviewed by The Tablet, the Catholic newspaper: 10 Text 24 April 2016

Edward Elgar The Dream of Gerontius: Text

PART I Prepare to meet thy God. And while the storm of that bewilderment Gerontius Is for a season spent, Jesu, Maria – I am near to death, And, ere afresh the ruin on me fall, And Thou, Thou art calling me; I know it now. Use well the interval. Not by the token of this faltering breath, This chill at heart, this dampness on my brow – Assistants (Jesu, have mercy! Mary, pray for me!) Be merciful, be gracious; spare him, Lord. ‘Tis this new feeling, never felt before, Be merciful, be gracious; Lord deliver him. (Be with me, Lord, in my extremity!) From the sins that are past; That I am going, that I am no more. From Thy frown and Thine ire; ‘Tis this strange innermost abandonment, From the perils of dying; (Lover of souls! Great God! I look to Thee) From any complying This emptying out of each constituent With sin, or denying And natural force, by which I come to be. His God, or relying Pray for me, O my friends; a visitant On self, at the last; Is knocking his dire summons at my door, Lord deliver him The like of whom, to scare me and to daunt, From the nethermost fire; Has never, never come to me before: From all that is evil; So pray for me, my friends, who have not From pow’r of the devil; strength to pray. Thy servant deliver, For once and for ever. Assistants By Thy birth, and by Thy cross, Kyrie eleison, Christe eleison, Kyrie eleison. Rescue him from endless loss; Holy Mary, pray for him. By Thy death and burial, All Holy Angels, pray for him. (Save him from a final fall;) Choirs of the righteous, pray for him. By Thy Rising from the tomb, All Apostles, all Evangelists, pray for him. By Thy mounting up above, All holy Disciples of the Lord, pray for him. By the Spirit’s gracious love All holy Innocents, pray for him. Save him in the day of doom. All holy Martyrs, all holy Confessors, All holy Hermits, all holy Virgins, Gerontius All ye Saints of God, pray for him. Sanctus Fortis, Sanctus Deus. De profundis oro te, Gerontius Miserere, Judex meus, Rouse thee, my fainting soul, and play the man; Parce mihi, Domine. And through such waning span Firmly I believe and truly Of life and thought as still has to be trod, God is Three, and God is One, And I next acknowledge duly lso.co.uk Text 11

Manhood taken by the Son. Its hideous wings, And I trust and hope most fully And makes me wild with horror, horror and dismay. In that Manhood crucified; O Jesu, help! Pray for me, Mary pray! And each thought and deed unruly Some Angel, Jesu! Such as came to Thee Do to death, as He has died. In Thine Own agony … Simply to His grace and wholly Mary, pray for me. Joseph, pray for me. Light and life and strength belong. Mary, pray for me. And I love, supremely, solely, Him the holy, Him the strong. Assistants Sanctus fortis, Sanctus Deus, Rescue him, O Lord, in this his evil hour, De profundis oro te, As of old so many by Thy gracious power – Miserere, Judex meus, Noah from the waters in a saving home; (Amen) Parce mihi, Domine. Job from all his multiform and fell distress; (Amen) And I hold in veneration, Moses from the land of bondage and despair; For the love of Him alone, (Amen) Holy Church, as His creation, David from Golia and the wrath of ; (Amen) – And her teachings, as His own. So, to show Thy power, And I take with joy whatever Rescue this Thy servant in his evil hour. Now besets me, pain or fear, And with a strong will I sever Gerontius All the ties which bind me here. Novissima hora est; and I fain would sleep, Adoration aye be given, The pain has wearied me … Into Thy hands, With and through the angelic host, O Lord, into Thy hands. To the God of earth and heaven, Father, Son and Holy Ghost. The priest and assistants Sanctus fortis, Sanctus Deus, Profisciscere, anima Christiana, de hoc mundo! De profundis oro te, Go forth upon thy journey, Christian soul! Misere, Judex meus, Go from this world! Go, in the name of God Mortis, mortis in discrimine. The Omnipotent Father, Who created thee! I can no more; for now it comes again, Go, in the Name of Jesus Christ, our Lord, That sense of ruin, which is worse than pain, Son of the living God, Who bled for thee! That masterful negation and collapse Go, in the Name of the Holy Spirit, Of all that makes me man. Who hath been poured out on thee! And, crueller still, Go in the name Of Angels and Archangels; A fierce and restless fright begins to fill in the name The mansion of my soul. And, worse and worse, Of Thrones and Dominations; in the name Some bodily form of ill Of Princedoms and of Powers; and in the name Floats on the wind, with many a loathsome curse, Of Cherubim and Seraphim, go forth! Tainting the hallowed air, and laughs, and flaps 12 Text 24 April 2016

Edward Elgar The Dream of Gerontius: Text (continued)

Go, in the name of Patriarchs and Prophets; Angel And of Apostles and Evangelists, My work is done, Of Martyrs and Confessors, in the name My task is o’er, Of holy Monks and Hermits; in the name And so I come, Of holy Virgins; and all Saints of God, Taking it home, Both men and women, go! For the crown is won, Go forth, go forth. Alleluia, Go in the Name of God, For evermore. In the Name of Jesus Christ, My Father gave In the Name of the Holy Spirit. In charge to me And may thy place today be found in peace, This child of earth And may thy dwelling be the Holy Mount of Sion – E’en from its birth, through the same, through Christ our Lord. To serve and save, Alleluia, PART II And saved is he. This child of clay Soul of Gerontius To me was giv’n, I went to sleep; and now I am refreshed. To rear and train A strange refreshment; for I feel in me By sorrow and pain An inexpressive lightness, and a sense In the narrow way, Of freedom, as I were at length myself, Alleluia, And ne’er had been before. How still it is! From earth to heaven. I hear no more the busy beat of time, No, nor my flutt’ring breath, nor struggling pulse; Soul Nor does one moment differ from the next. It is a member of that family This silence pours a solitariness Of wondrous beings, who, ere the worlds Into the very essence of my soul; were made, And the deep rest, so soothing and so sweet, Millions of ages back, have stood around Hath something too of sternness and of pain. The throne of God. Another marvel: someone has me fast l will address him. Mighty one, my Lord. Within his ample palm; … A uniform My Guardian Spirit, all hail! And gentle pressure tells me I am not Self-moving, but borne forward on my way. Angel And hark! I hear a singing: yet in sooth All hail! I cannot of that music rightly say My child and brother, hail! Whether I hear, or touch, or taste the tones. What wouldst thou? Oh, what a heart-subduing melody! lso.co.uk Text 13

Soul That calm and joy uprising in thy soul I would have nothing but to speak with thee Is first fruit to thee of thy recompense, For speaking’s sake, I wish to hold with thee And heaven begun. Conscious communication; though I fain would know A maze of things, were it but meet to ask, Soul And not a curiousness. Now that the hour is come, my fear is fled; And at this balance of my destiny, Angel Now close upon me, I can forward look You cannot now With a serenest joy. Cherish a wish which ought not to be wished. But hark! upon my sense, Comes a fierce hubbub, which would make me fear; Soul Could I be frighted. Then I will speak. I ever had believed That on the moment when the struggling soul Angel Quitted its mortal case, forthwith it fell We are now arrived Under the awful Presence of its God, Close on the judgement court; that sullen howl There to be judged and sent to its own place. Is from the demons who assemble there, What lets me now from going to my Lord? Hungry and wild, to claim their property, And gather souls for hell. Hist to their cry. Angel Thou art not let; but with extremest speed Soul Art hurrying to the Just and Holy Judge. How sour and how uncouth a dissonance!

Soul Demons Dear Angel, say, Low-born clods Why have I now no fear at meeting Him? Of brute earth, Along my earthly life, the thought of death They aspire And judgement was to me most terrible. To become gods, By a new birth, Angel And an extra grace, It is because And a score of merits, Then thou didst fear, that now thou dost not fear. As if aught, aught, aught Thou hast forestalled the agony, and so Could stand in place For thee the bitterness of death is past. Of the high thought, Also, because already in thy soul And the glance of fire The judgement is begun. Of the great spirits, A presage falls upon thee, as a ray The powers blest, Straight from the judge, expressive of thy lot. The lords by right, 14 Text 24 April 2016

Edward Elgar The Dream of Gerontius: Text (continued)

The primal owners, Before his death: Of the proud dwelling Ha! Ha! And realm of light – A bundle of bones, Dispossessed, Which fools adore, Aside thrust, When life is o’er. Chucked down, Virtue and vice, By the sheer might A knave’s pretence. Of a despot’s will, ‘Tis all the same; Of a tyrant’s frown, Ha! Ha! Who after expelling Dread of hell-fire, Their hosts, gave, Of the venomous flame, Triumphant still, A coward’s plea. And still unjust, Give him his price, Each forfeit crown Saint though he be, To psalm-droners, From shrewd good sense And canting groaners, He’ll slave for hire; To every slave, Ha! Ha! And pious cheat, And does but aspire And crawling knave, To the heaven above Who licked the dust With sordid aim, Under his feet. And not from love.

Angel Soul Yes – It is the restless panting of their being; I see not those false spirits; shall I see Like the beasts of prey, who, caged within their bars, My dearest Master, when I reach His throne? In a deep hideous purring have their life, And an incessant pacing to and fro. Angel Yes – for one moment thou shalt see thy Lord. Demons One moment; but thou knowest not, my child, The mind bold What thou dost ask; that sight of the Most Fair And independent. Will gladden thee, but it will pierce thee too. The purpose free, So we are told, Soul Must not think Thou speakest darkly, Angel! and an awe To have the ascendant. Falls on me, and a fear lest I be rash. What’s a saint? One whose breath Doth the air taint lso.co.uk Text 15

Angel Upon the frontier, towards the foe, There was a mortal, who is now above A resolute defence. In the mid glory; he, when near to die Was giv’n communion with the Crucified – Angel Such, that the Master’s very wounds were stamped We now have passed the gate, and are within Upon his flesh; and, from the agony The House of Judgement … Which thrilled through body and soul in that embrace, Learn that the flame of the Everlasting Love Soul Doth burn ere it transform … The sound is like the rushing of the wind – The summer wind – among the lofty pines. Choir of Angelicals Praise to the Holiest in the height, Choir of Angelicals And in the depth be praise! Glory to Him, who evermore By truth and justice reigns; Angel Who tears the soul from out its case, Hark to those sounds! And burns away its stains! They come of tender beings angelical, Least and most childlike of the sons of God. Angel They sing of thy approaching agony, Choir of Angelicals Which thou so eagerly didst question of. Praise to the Holiest in the height, And in the depth be praise; Soul In all His words most wonderful; My soul is in my hand: I have no fear – Most sure in all His ways! But hark! a grand mysterious harmony: To us His elder race He gave It floods me, like the deep and solemn sound To battle and to win, Of many waters. Without the chastisement of pain, Without the soil of sin. Angel The younger son He willed to be And now the threshold, as we traverse it, A marvel in His birth: Utters aloud its glad responsive chant. Spirit and flesh His parents were; His home was heaven and earth. Choir of Angelicals The Eternal blessed His child, and armed, Praise to the Holiest in the height, And sent Him hence afar, And in the depth be praised: To serve as champion in the field In all His words most wonderful; Of elemental war. Most sure in all His ways! To be His Viceroy in the world O loving wisdom of our God! Of matter, and of sense; When all was sin and shame, A second Adam to the fight 16 Text 24 April 2016

Edward Elgar The Dream of Gerontius: Text (continued)

And to the rescue came. Angel of the Agony O wisest love! that flesh and blood Jesu! by that shuddering dread which fell on Thee; Which did in Adam fail, Jesu! by that cold dismay which sickened Thee; Should strive afresh against the foe, Jesu! by that pang of heart which thrilled in Thee; Should strive and should prevail; Jesu! by that mount of sins which crippled Thee; And that a higher gift than grace Jesu! by that sense of guilt which stifled Thee; Should flesh and blood refine, Jesu! by that innocence which girded Thee; God’s Presence and His very Self, Jesu! by that sanctity which reigned in Thee; And Essence all divine. Jesu! by that Godhead which was one with Thee; O gen’rous love! that He who smote Jesu! spare these souls which are so dear to Thee; In man for man the foe, Souls, who in prison, calm and patient, wait for Thee; The double agony in man Hasten, Lord, their hour, and bid them come to Thee; For man should undergo; To that glorious Home, where they shall ever gaze And in the garden secretly, on Thee. And on the cross on high, Jesu! spare these souls which art so dear to Thee. Should teach His brethren and inspire To suffer and to die. Soul Praise to the Holiest in the height, I go before my Judge. And in the depth be praised: In all His words most wonderful; Voices on Earth Most sure in all His ways! Be merciful, be gracious; spare him, Lord. Be merciful, be gracious; Lord, deliver him. Angel Lord, be merciful. Thy judgement now is near, for we are come Into the veiled presence of our God. Angel Praise to His Name! Soul O happy, suffering soul! for it is safe, I hear the voices that I left on earth. Consumed, yet quickened by the glance of God. Alleluia! Praise to His Name! Angel It is the voice of friends around thy bed, Soul Who say the ‘Subvenite’ with the priest. Take me away, and in the lowest deep Hither the echoes come: before the Throne There let me be, Stands the great Angel of the Agony, And there in hope the lone night watches keep, The same who strengthened Him, what time He knelt Told out for me. Lone in the garden shade bedewed with blood. There, motionless and happy in my pain, That Angel best can plead with Him for all Lone, not forlorn – Tormented souls, the dying and the dead. There will I sing my sad perpetual strain, lso.co.uk Text 17

Until the morn, Be brave and patient on thy bed of sorrow; There will I sing and soothe my stricken breast, Swiftly shall pass thy night of trial here, Which ne’er can cease And I will come and wake thee on the morrow. To throb, and pine, and languish, till possest Farewell! Farewell! Of its Sole Peace. There will I sing my absent Lord and Love: Souls Take me away, Lord, Thou hast been our refuge: in every generation; That sooner I may rise, and go above, Before the hills were born, and the world was, And see Him in the truth of everlasting day. from age to age Thou art God. Take me away and in the lowest deep, Bring us not, Lord, very low: for Thou hast said, There let me be. Come back again, ye sons of Adam. Come back, O Lord! how long: and be Souls in Purgatory entreated for thy servants. Amen. Lord, Thou hast been our refuge: in every generation; Before the hills were born and the world was, Angelicals from age to age Thou art God. Praise to the Holiest in the height, Lord, Thou hast been our refuge: in every generation; And in the depth be praise. Before the hills were born and the world was, To us His elder race He gave from age to age Thou art God. To battle and to win. Bring us not, Lord, very low: for Thou hast said, Without the chastisement of pain, Come back again, ye sons of Adam. Without the soil of sin. Come back, O Lord! how long: and be Praise to the Holiest in the height. entreated for Thy servants. Amen.

Angel Softly and gently, dearly ransomed soul, In my most loving arms I now enfold thee, And o’er the penal waters, as they roll, I poise thee, and I lower thee, and hold thee. And carefully I dip thee in the lake, And thou, without a sob or a resistance, Dost through the flood thy rapid passage take, Sinking deep, deeper, into the dim distance. Angels, to whom the willing task is given, Shall tend and nurse, and lull thee, as thou liest; And Masses on the earth, and prayers in heaven, Shall aid thee at the Throne of the Most Highest. Farewell, but not for ever! brother dear, 18 LSC at 50 24 April 2016

LSC at 50 Celebrating 50 years of the London Symphony Chorus

The London Symphony Chorus was formed in 1966 1966 to complement the work of the London Symphony In February the London Symphony Chorus is formed by LSO Orchestra, though the LSC (as it’s known) also partners General Manager Ernest Fleischmann and Guildhall School other major orchestras and has worked internationally: Professor of Music John Aldis. The Chorus quickly establishes the Chorus tours extensively throughout Europe and a good reputation. During its first year it takes part in major concerts has visited North America, Israel, Australia and South and recordings conducted by Sir Colin Davis, István Kertész, East Asia. Lorin Maazel, Seiji Ozawa and Sir .

There are many CDs featuring the Chorus, both on LSO Live and other labels. Recent LSO concert 1968 highlights have included Debussy’s Pelléas et André Previn becomes LSO Principal Mélisande, Schumann’s Das Paradies und die Peri, Conductor and makes a number of Verdi’s , the world premiere of Maxwell Davies’ classic choral recordings with the LSC, Symphony No 10, and Berlioz’s The Damnation of Faust including: Orff’s Carmina Burana, Britten’s and Romeo and Juliet. ‘Spring’ Symphony and Walton’s Belshazzar’s Feast (pictured: Walton and Previn at a recording session) LSC CHORUS DIRECTORS

John Aldis (1966–69) Arthur Oldham (1969–76) 1960s/ 1980s Richard Hickox (1976–91) Stephen Westrop (1991–2001) 1970s Joseph Cullen (2001–12) 1976 Simon Halsey (2012–present) The Chorus splits from the LSO. To this day it remains a separate organisation run by a voluntary council of singing members. This makes it available to work with other orchestras around the world including: the orchestras of the BBC, the Berlin Philharmonic, London Philharmonic, Philharmonia and Vienna Philharmonic.

1983 New-found independence brings more international touring opportunities, including a visit behind the Iron Curtain with the USSR State Symphony to sing The Dream of Gerontius and Walton’s Belshazzar’s Feast. Tenor Peter Sedgwick reveals more about this trip on p7. lso.co.uk LSC at 50 19

2006 To celebrate 40 years of the LSC singing with the LSO, Sir Colin Davis writes to them: ‘Choral pieces are the highlight of what we do with the LSO, and we have such wonderful memories. Our first collaboration back in 1966 was Berlioz’s The Trojans, and our recent work too has been wonderful. I’m very 2016 grateful. Over the years I think I may have upset some of your chorus The LSC will open the 2016/17 directors and even some of you, but I think you forgive me!’ season in September with the Verdi , performing with newly appointed LSO Principal 1989 Guest Conductor Gianandrea The LSC works with , then the Noseda. Find out more about LSO’s President, on a landmark recording of his forthcoming concerts at Candide. During its history the LSC has worked lso.co.uk/lsosing with 158 living composers, including most recently Eric Whitacre, David Lang and Sally Beamish.

1990s 2000s 2010s

1997 2012 From 1988–96, the LSC was honoured to have Diana, Simon Halsey becomes the new Choral Director of Princess of Wales, as its Patron. One of her favourite the London Symphony Orchestra and Chorus Director pieces was the Verdi Requiem, and six days after her of the London Symphony Chorus. He instigates LSO funeral in December, the LSC sings the work at the Sing, the Orchestra’s programme to encourage BBC Proms with the LSO. The performance was scheduled everyone in the City of London to sing, and is to be conducted by Sir Georg Solti but he died a few days awarded The Queen’s Medal for Music 2014 for after the Princess, so it was conducted by Sir Colin Davis services to choral singing. and given as a memorial to both of them. 20 Artist Biographies 24 April 2016

Sir Mark Elder Conductor

Sir Mark Elder has been Music Director of the Hallé in 2009, Wagner’s Götterdämmerung and Elgar’s since September 2000. He was Music Director of in 2010, and , which (1979–93), Principal Guest won Recording of the Year at the 2013 BBC Music Conductor of the City of Birmingham Symphony Magazine Awards. They have now embarked on a Orchestra (1992–95) and Music Director of Rochester Vaughan Williams Symphony cycle. Philharmonic Orchestra, US (1989–94). He has held positions as Principal Guest Conductor of the BBC TV appearances include a two-part film on the life Symphony Orchestra and the . and music of Verdi for BBC TV in 1994 and a similar project on Donizetti for German television in 1996. He has worked with many of the world’s leading In November 2011 he co-presented BBC TV’s four symphony orchestras, including the Berlin part series Symphony, and in 2012 fronted BBC2’s Philharmonic, , Chicago Symphony, TV series Maestro at the Opera. Sir Mark presented Boston Symphony, Royal Concertgebouw, Munich a series of TV programmes on BBC4 during the 2015 Philharmonic and the London Symphony. He is Proms in which he talked about eight symphonies, a Principal Artist of the Orchestra of the Age of ranging from Beethoven to MacMillan, featuring Enlightenment and works regularly with the LSO. performances from the season’s concerts. Music Director He has appeared annually at for many The Hallé Orchestra years, including, in 1987 and 2006, the internationally In April 2011, he took up the position of Artistic televised Last Night of the Proms, and from 2003 with Director of Opera Rara, with whom he has recorded SIR MARK ELDER IN 2016/17: the Hallé Orchestra. He works regularly in the most several projects. Recent opera recordings include ON SALE NOW prominent international opera houses, including the Donizetti’s Dom Sebastien, Imelda di Lambertazzi, , , Metropolitan Linda di Chamounix, Maria di Rohan and Les Martyrs Sun 7 May 2017 7pm Opera New York, Opéra National de Paris, Lyric Opera for Opera Rara and Wagner’s Die Walküre with the Mussorgsky arr Shostakovich Chicago and Glyndebourne Festival Opera. Other Hallé. Prelude to ‘Khovanshchina’ guest engagements have taken him to the Bayreuth Tchaikovsky Violin Concerto Festival (where he was the first English conductor Sir Mark Elder was knighted in 2008 and was Shostakovich Symphony No 15 to conduct a new production), Munich, Amsterdam, awarded the CBE in 1989. He won an Olivier Award Zürich, Geneva, Berlin, and the Bregenz Festival. in 1991 for his outstanding work at ENO and in with Anne-Sophie Mutter violin May 2006 he was named Conductor of the Year by Sir Mark Elder has made many recordings with the Royal Philharmonic Society. He was awarded Thu 18 May 2017 7.30pm orchestras including the Hallé, London Philharmonic, Honorary Membership of the Royal Philharmonic Vaughan Williams Five Variants City of Birmingham Symphony Orchestra, BBC Society in 2011. of Dives and Lazarus Symphony, the OAE, Orchestra of the Royal Opera Brahms Double Concerto House and Rochester Philharmonic, as well as Holst – Suite with ENO, in repertoire ranging from Verdi, Strauss and Wagner to contemporary music. In 2003 the with Roman Simovic violin Hallé launched its own CD label and releases have and Tim Hugh cello met with universal critical acclaim culminating in Gramophone awards for The Dream of Gerontius lso.co.uk/201617season lso.co.uk Artist Biographies 21

Alice Coote Allan Clayton Mezzo-soprano Tenor

Renowned on the great recital, Allan Clayton is established as one concert and opera stages of the of the most exciting and sought- world, Alice Coote is regarded after singers of his generation. as one of the great artists of A consummate actor and deeply today. The recital platform is sensitive musician, he has made a central to her musical life, and huge impact on the international she performs throughout the UK, operatic and concert scene. Europe and the US including at Carnegie Hall in New York, the The opening of the 2015/16 season Wigmore Hall in London, where saw his debut at the Teatro Real, she has been a resident artist, Madrid, in Handel’s and a the Vienna Konzerthaus and the return to English National Opera Concergebouw Amsterdam. as Tamino in The Magic . He returns again to ENO at the She is acclaimed internationally beginning of the 2016/17 season, in concert, and has performed and will also sing the role of David with the Boston Symphony, New York Philharmonic, Chicago Symphony, in Der Meistersinger von Nürnberg for the Royal Opera House in March OAE, English Concert, Kammerphilharmonie Bremen, Hallé and 2017. In the summer of 2017 Allan takes the lead role in ’s Concertgebouw orchestras; collaborated with conductors including Hamlet, which will have its world premiere at Glyndebourne Festival Valery Gergiev, Christoph von Dohnányi, Jirˇí Beˇlohlávek, Esa Pekka Salonen, Opera as part of the nationwide celebrations of the 400th anniversary Sir Mark Elder, Pierre Boulez, and Paavo Järvi. On the of Shakespeare’s death. operatic stage, Alice Coote has performed at Glyndebourne, the Royal Opera House, the Paris Opera and the Theâtre des Champs-Elysees, During 2016 Allan will sing Beethoven’s Missa Solemnis in Spain Salzburg Festspiele, Canadian opera, Chicago Lyric Opera, and the with the Gulbenkian Orchestra under Paul McCreesh, and again at the in New York. Future plans and appearances in 2016 Royal Festival Hall with the London Philharmonic Orchestra, conducted include Berlioz’s The Death of Cleopatra at Milan, Mahler’s Das by Sir Mark Elder, and also travel to Australia to perform Haydn’s von der Erde at the BBC Proms and Edinburgh Festival, Handel’s with the Sydney Symphony Orchestra under Bernard at the Canadian Opera, and Octavian in a new production of Labadie at the . He will sing the role of Fenton Strauss’ at Royal Opera House, Covent Garden. at Birmingham Symphony Hall in a concert performance of with the City of Birmingham Symphony Orchestra conducted by Her many recordings and DVD appearances include: The Power of Edward Gardner. Love (Hyperion); Songs by and (EMI); Handel’s and Mahler Symphony No 2 (EMI); Elgar’s Sea Allan Clayton studied at St John’s College, Cambridge and at the Royal Pictures, The Dream of Gerontius and The Apostles (Hallé); Strauss’ Academy of Music in London. An Associate of the Royal Academy (Chandos); Monteverdi’s L’Orfeo (Virgin Classics); of Music and former BBC New Generation Artist from 2007–9, his Brahms’ Alto Rhapsody (Tudor); Schubert’s Winterreise and Schumann awards also include ‘The Queen’s Commendation for Excellence’ and Dichterliebe and Frauenliebe und leben (Wigmore Hall Live); Mahler’s an inaugural Sir Elton John Scholarship at the RAM, the John Christie (Pentatone); Humperdinck’s Hansel and Gretel (EMI); Award for his Glyndebourne Festival debut as Albert Herring, and a Monteverdi’s L’incoronazione di Poppea (Decca); and Handel’s Alcina (Arte). Borletti-Buitoni Trust Fellowship. 22 Artist Biographies 24 April 2016

Gerald Finley Simon Halsey Bass Choral Director

Gerald Finley, born in Montreal, Simon Halsey is a sought-after began singing as a chorister in conductor of choral repertoire Ottawa, Canada, and completed at the very highest level and an his musical studies in the UK ambassador for choral singing at the , across the world. Halsey is King’s College, Cambridge, and the Chorus Director of the the National Opera Studio. City of Birmingham Symphony Orchestra Choruses, and the Finley’s career is devoted to Choral Director of the London the wide range of vocal art, Symphony Orchestra and Chorus. encompassing opera, orchestral He is also Conductor Laureate and song. He began with the of the Rundfunkchor Berlin, the roles of Mozart; his permanent partner of the Berliner Don Giovanni has been heard live Philharmoniker, where he has been throughout the world and on DVD. Principal Conductor for 14 years. As the Count in The Marriage of Figaro, his appearances include the Royal Opera Covent Garden, the Since becoming Choral Director of the London Symphony Orchestra New York Met, Salzburg Festival, Paris, Vienna, Munich and Amsterdam, and Chorus in 2012, Halsey has been credited with bringing about a whilst earlier he garnered acclaim singing Figaro throughout Europe. ‘spectacular transformation’ (Evening Standard) of the LSC. 2015/16 highlights with the LSO include Debussy’s Pelléas et Mélisande, as well In recent years, critical successes have been in Wagner: as Hans Sachs as Beethoven’s Ninth Symphony with Michael Tilson Thomas. at the Glyndebourne Festival, as Amfortas in Parsifal at Royal Opera House, and as Wolfram at the Lyric Opera of Chicago. His expanding Simon Halsey is also Professor and Director of Choral Activities at the repertoire includes a triumph as Verdi’s Falstaff at the Canadian Opera University of Birmingham, where he directs a postgraduate course in (for which he won a DORA Award) and in the title role in Rossini’s Choral Conducting, in association with the CBSO. He is in great demand William Tell with Accademia di Santa Cecilia and Sir Antonio Pappano as a teacher at other universities and has presented masterclasses (EMI), also at the Royal Opera House. In contemporary opera, Finley has at top universities such as Princeton and Yale. In 2011 Schott Music excelled in creating leading roles, most notably J Robert Oppenheimer published his book and DVD on choral conducting, Chorleitung: Vom in John Adams’ Doctor Atomic (New York Met, ENO London, San Konzept zum Konzert, as part of its ‘Master Class’ series. Francisco, Chicago and Amsterdam) and Jaufré Rudel in Kaija Saariaho’s L’amour de loin for the much-acclaimed premieres in Santa Fe, Paris Halsey was awarded The Queen’s Medal for Music 2014 for his influence and Helsinki. In January, he sang Golaud in the LSO’s performance of on the musical life of the UK, and was also made Commander of Debussy’s Pelléas et Mélisande with Sir Simon Rattle. Order of the British Empire in The Queen’s Birthday Honours 2015. In recognition of his outstanding contribution to choral music in Germany, As part of his dedication to preserving and enhancing the singing Halsey was also given the Officer’s Cross of the Order of Merit of the tradition, he continues to work with the Jette Parker Young Artists’ Federal Republic of Germany in 2011. Programme at the Royal Opera House and the Lindemann Program at the Met. Finley is a Fellow and Visiting Professor at the Royal College of Music, and was recently appointed an Officer of the Order of Canada. lso.co.uk London Symphony Chorus 23

London Symphony Chorus On stage

The London Symphony Chorus was formed in 1966 to complement SOPRANOS Mikiko Ridd Caroline Mustill Brad Warburton the work of the London Symphony Orchestra and this season marks Frankie Arnull Alison Ryan Dorothy Nesbit Robert Ward * Heather Ashford Alice Twomey Sui Wai Ng Paul Williams-Burton its 50th anniversary. The partnership between the LSC and LSO Liz Ashling Laura Catala-Ubassy Alex O’Shea has continued to develop and was strengthened in 2012 with the Kerry Baker Rebecca Vassallo Susannah Priede BASSES appointment of Simon Halsey as joint Chorus Director of the LSC Faith Baxter Lizzie Webb Lucy Reay Simon Backhouse * Louisa Blankson Becky Wheaton Lis Smith Roger Blitz and Choral Director for the LSO. Anna Byrne-Smith Miji Yi Maud St Sardos Chris Bourne Carol Capper * Jane Steele Gavin Buchan Jessica Collins ALTOS Margaret Stephen Andy Chan The LSC has partnered many other major orchestras and has Shelagh Connolly Liz Boyden Claire Trocmé Steve Chevis performed nationally and internationally with the Berlin and Vienna Emma Craven Jo Buchan * Curzon Tussaud James Chute Philharmonic Orchestras, and the Leipzig Gewandhaus Orchestra. Harriet Crawford Lizzy Campbell Rachel Twyford Matt Clarke Rebecca Dent Zoe Davis Kathryn Wells Damian Day Championing the musicians of tomorrow, it has also worked with Lucy Feldman Maggie Donnelly Georgina Wheatley Joe Dodd both the NYOGB and the EUYO. The Chorus has toured extensively Joanna Gueritz Diane Dwyer Zoe Williams John Graham throughout Europe and has also visited North America, Israel, Australia Maureen Hall Linda Evans Owen Hanmer * Isobel Hammond Lydia Frankenburg * Anthony Howick and South East Asia. Emma Harry Amanda Freshwater David Aldred Alex Kidney Hidemi Hatada Tina Gibbs Paul Allatt * Thomas Kohut Emily Hoffnung Joanna Gill Robin Anderson Hugh McLeod Highlights from last season include Haydn’s The Creation with Kuan Hon Rachel Green Anthony Colasanto Alan Rochford Ed Gardner at the City of London Festival, Brahms’ Requiem with Claire Hussey * Yoko Harada John Farrington Rod Stevens Daniel Harding, and critically acclaimed performances with Sir Simon Bethan Irving Kate Harrison Matt Fernando Richard Tannenbaum Debbie Jones Amanda Holden Andrew Fuller Thomas Torley Rattle of Schumann’s rarely performed Das Paradies und die Peri with Luca Kocsmarszky Jo Houston Euchar Gravina Robin Thurston the LSO at the Barbican, and Mahler’s Second Symphony with the Winnie Lei Elisabeth Iles Mike Harman Gordon Thomson Berlin Philharmonic and the CBSO Chorus at the Royal Festival Hall. Marylyn Lewin Ella Jackson Warwick Hood Jez Wareing Meg Makower Kristi Jagodin Matt Horne Jane Morley Christine Jasper Alastair Mathews In the 2015/16 season the LSC has been celebrating its 50th anniversary Fiona Mortimer Jill Jones Tom McNeill * Denotes LSC Emily Norton Vanessa Knapp John Moses * council member with a range of performances, including Rachmaninov’s All-Night Vigil Jessica Norton Gilly Lawson Daniel Owers in Temple Church; Bernstein’s Chichester with James Gaffigan; Maggie Owen Olivia Lawson Chris Riley Haydn’s The Seasons with Rattle; Elgar’s The Dream of Gerontius Isabel Paintin Belinda Liao * Peter Sedgwick Andra Patterson Liz McCaw Chris Straw with Sir Mark Elder; and the world premiere performance of a new Frances Pope Aoife McInerney * Malcolm Taylor opera by Sir Peter Maxwell Davies, The Hogboon in June. Liz Reeve Jane Muir James Warbis

The London Symphony Chorus is generously supported by: President Sir Simon Rattle OM CBE John S Cohen Foundation, The Helen Hamlyn Trust, The Revere Charitable Trust, President Emeritus André Previn KBE The Welton Foundation, LSC Friends, Members of the LSC Vice President Michael Tilson Thomas LSO Sing is generously supported by: Patrons Simon Russell Beale CBE and Howard Goodall CBE Sir Siegmund Warburg’s Voluntary Settlement Chorus Director Simon Halsey CBE Assistant Directors Neil Ferris and Matthew Hamilton Want to sing with the LSC? Find out more about life in one of London’s Chorus Accompanist Roger Sayer leading choirs, and how to apply, on the LSC website: Chairman Owen Hanmer lsc.org.uk/join-us 24 The Orchestra / Guildhall School Singers 24 April 2016

London Symphony Orchestra Guildhall School Singers On stage On Stage

FIRST VIOLINS VIOLAS Rated No 1 specialist institution in the UK by SOPRANOS Carmine Lauri Leader Edward Vanderspar Gareth Davies Martin Hurrell The Guardian University Guide 2013 and 2014, Lucy Anderson Clare Duckworth Gillianne Haddow Alex Jakeman Gerald Ruddock Corinne Cowling Nigel Broadbent Lander Echevarria Daniel Newell the Guildhall School is one of the world’s leading Francesca Chiejina Ginette Decuyper Anna Bastow PICCOLO conservatoires and drama schools. Studying music Lauren Lodge-Campbell Sharon Williams Gerald Gregory Julia O’Riordan at Guildhall involves intensive, dedicated learning, Inés Lorans Jörg Hammann Robert Turner Peter Moore Elisabeth Swedlund Maxine Kwok-Adams Jonathan Welch James Maynard mostly at a one-to-one level; surrounded by actors, Olivier Stankiewicz Laurent Quenelle Carol Ella ALTOS Rosie Jenkins BASS stage managers and theatre technicians, Guildhall Colin Renwick Philip Hall Georgia Bishop Paul Milner musicians are part of a thriving arts community Ian Rhodes Caroline O’Neill Clara Kanter Sylvain Vasseur Alistair Scahill Christine Pendrill next door to one of Europe’s leading arts centres, Chloe Latchmore Shlomy Dobrinsky Martin Schaefer Patrick Harrild the , and learn from the School’s Felicity Turner Alain Petitclerc CLARINETS Erzsebet Racz CELLOS Andrew Marriner renowned international teaching staff while TENORS Patrick Savage Tim Hugh Chi-Yu Mo Nigel Thomas collaborating in world-class music-making. Robin Horgan Helena Smart Alastair Blayden Julian Issa BASS PERCUSSION Jennifer Brown Eduard Mas Bacardit Katy Ayling Sam Walton SECOND VIOLINS Noel Bradshaw The School’s relationship with the LSO and the Laurie Slavin Eve-Marie Caravassilis David Jackson Anna-Liisa Bezrodny BASSOONS Barbican is a pioneering cultural alliance between a Daniel Gardner Antoine Bedewi Thomas Norris Daniel Jemison BASSES Hilary Jones Scott Bywater world-class orchestra, arts centre and conservatoire Sarah Quinn Joost Bosdijk Brian McAlea Morwenna Del Mar Matthew Gardner HARPS in the City of London, offering an unrivalled programme Christian Valle Miwa Rosso Julian Gil Rodriguez CONTRA Bryn Lewis Michael Vickers Peteris Sokolovskis for audiences and transformative opportunities for Belinda McFarlane Dominic Morgan Manon Morris Bertie Watson Philip Nolte young people. Guildhall musicians benefit from Andrew Pollock DOUBLE BASSES HORNS ORGAN many opportunities as a result of this, including Colin Paris Timothy Jones Paul Robson Bernard Robertson LSO Platforms: Guildhall Artists, a series showcasing Louise Shackelton Patrick Laurence Jonathan Lipton Ingrid Button Thomas Goodman Alexander Edmundson senior Guildhall musicians performing on the Barbican William Haskins Hazel Mulligan Joe Melvin stage before LSO concerts; Orchestral Artistry, a Paula Muldoon Jani Pensola Nick Hougham Stephen Rowlinson Ivan Rubido Gonzalez new postgraduate specialism for instrumentalists Paul Sherman seeking a career in orchestral playing, part of the Nicholas Worters Guildhall Artist Masters programme and delivered in association with the LSO, which gives opportunities to perform side-by-side with the LSO.

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 Igor Emmerich, Kevin Leighton, conservatoires, and 15 students per year Registered charity in England No 232391 Bill Robinson, Alberto Venzago are selected to participate. The musicians Details in this publication were correct Print Cantate 020 3651 1690 are treated as professional ’extra’ players at time of going to press. (additional to LSO members) and receive fees Advertising Cabbell Ltd 020 3603 7937 for their work in line with LSO section players.