Wednesday 14 November 2018 7.30–9.40pm Barbican Hall

LSO SEASON CONCERT DVOŘÁK

Debussy Prélude à l’après-midi d’un faune Dvořák DVOŘÁK Interval Strauss Also sprach Zarathustra

François-Xavier Roth conductor Jean-Guihen Queyras cello

6pm Barbican Hall LSO Platforms: Guildhall Artists Free pre-concert recital

Debussy String Quartet Beauvoir Quartet Welcome Latest News On Our Blog

Thank you to our media partner Classic FM, THE DONATELLA FLICK LSO THE LSO IN WORLD WAR I who have recommended this evening’s CONDUCTING COMPETITION performance to their listeners, and to the ‘It was unanimously resolved that no Guildhall School’s Beauvoir Quartet, who This month 20 emerging conductors from symphony concerts should be given until played a recital here on the main stage prior across Europe will take part in the 15th the termination of the War.’ to the concert. These performances, which Donatella Flick LSO Conducting Competition. Extraordinary General Meeting Minutes, are free to attend across the season, provide Across two days of intense preliminary 26 September 1917 a platform for the musicians of the future. rounds they’ll compete for the chance to impress our panel of esteemed judges in Back in 2014 we began a project to uncover I hope that you enjoy the concert and that the Grand Final here in the Barbican Hall the story of the LSO and its players during you will join us again soon. In spring 2019, on Thursday 22 November. In the lead up World War I, marking the centenary of the elcome to this evening’s François-Xavier Roth returns to the LSO to to the Competition, we’ll also be sharing start of the conflict. Four years later, to mark LSO concert at the Barbican. conduct a triple bill of Ravel’s masterpieces the stories of the 20 shortlisted contestants the centenary of the Armistice, we return to Tonight, Principal Guest Conductor and LSO Futures, a dynamic concert of on our blog. take a look at how the LSO was coping by François-Xavier Roth leads the spatially conceived new music in the foyer the end of the War and what happened next. in the third concert in his series which looks and Barbican Hall involving 500 singers and • lso.co.uk/conducting-competition back to the beginnings of Modernism in full orchestra. • lso.co.uk/blog the 20th century. LSO EAST LONDON ACADEMY WELCOME TO TONIGHT’S GROUPS The concert opens with Debussy’s Prélude à l’après-midi d’un faune, followed by Developed in partnership with ten East We are delighted to welcome the Dvořák’s Cello Concerto, which sees soloist London boroughs, the LSO East London groups attending tonight’s concert: Jean-Guihen Queyras make his debut with the Kathryn McDowell CBE DL Academy is the first step on a path to Orchestra. The programme is completed by Managing Director making the Orchestra truly representative Dorking Party Outings Group Strauss’ tone poem Also sprach Zarathustra, of its community in London. Opening at LSO Gerrards Cross Community Association inspired by Nietszche’s novel. St Luke’s in spring 2019, it aims to identify King Edward VI Grammar School and develop the potential of young East Mill Hill School Londoners who show exceptional musical talent, irrespective of their background or financial circumstance.

• lso.co.uk/news

2 Welcome 14 November 2018 Tonight’s Concert In Brief Coming Up

onight’s concert brings together PROGRAMME CONTRIBUTORS Thursday 22 November 7–9pm Saturday 8 December 3–5.30pm landmark works composed Barbican Hall Sunday 9 December 7–9.30pm between 1894 and 1896, which Stephen Johnson is the author of Bruckner Barbican Hall offer contrasting visions for the future of Remembered (Faber). He also contributes FINAL OF THE DONATELLA FLICK LSO music, as imagined by three of the most regularly to BBC Music Magazine and The CONDUCTING COMPETITION 2018 Bernstein Candide (concert performances) influential composers working at the turn Guardian, and broadcasts for BBC Radio 3 of the 20th century. Their music echoes (Discovering Music), BBC Radio 4 and the Wagner Marin Alsop conductor the artistic and political spirit of the time BBC World Service. Prelude: Die Meistersinger von Nürnberg Garnett Bruce director and, in the words of François-Xavier Roth, Prokofiev Violin Concerto No 2 Leonardo Capalbo Candide ‘opened the door to modernity … putting Jan Smaczny is a Hamilton Harty Professor Kodály Dances of Galánta Jane Archibald Cunegonde the orchestra in a role it never had before.’ of Music at Queen’s University, Belfast. Anne Sofie von Otter The Old Lady A well-known writer and broadcaster, Vadim Repin violin Sir Thomas Allen Dr Pangloss, Narrator Debussy’s Prélude uses a poem by Stéphane he has recently published books on the London Symphony Chorus Mallarmé as inspiration for a luxurious repertoire of the Prague Provisional Tickets also allow entry to the earlier rounds tone poem exploring mythical themes and Theatre and Dvořák’s Cello Concerto. and final rehearsal from 20 to 22 November. Wednesday 12 December 6.30–7.30pm how the pleasures of the senses could be You can also watch the final concert from Barbican Hall represented in music. At the heart of the Andrew Stewart is a freelance music home as it is broadcast live on medici.tv. concert, Dvořák’s Cello Concerto reflects journalist and writer. He is the author of The HALF SIX FIX: JAZZ ROOTS a time of optimism when the composer LSO at 90, and contributes to a wide variety Thursday 29 November 7.30–10.05pm was director of an inclusive music school of specialist classical music publications Barbican Hall A one-hour, early-evening performance. in Manhattan. The Concerto transformed Soak up the informal atmosphere, hear ‘how the form of the concerto itself Jeremy Thurlow is a composer whose music Charles Coleman Drenched (UK premiere) introductions from the conductor, bring in could develop’, in Roth’s words, and is an ranges from chamber and orchestral to video- Charles Coleman Bach Inspired (UK premiere) your drink and enjoy the music. ambitious and enduring demonstration of opera. Author of a book on Dutilleux and a Concerto No 3 (UK premiere) the cello’s power as a solo instrument. frequent broadcaster on Radio 3, Jeremy is a Kristjan Järvi Too Hot to Handel (UK premiere) Stravinsky Ebony Concerto Fellow of Robinson College, Cambridge. Steve Reich Music for ensemble and Osvaldo Golijov arr Gonzalo Grau Nazareno Based on a philosophical novel by Nietzsche, orchestra (UK premiere) for two and orchestra Strauss’ Also sprach Zarathustra depicts a Bernstein Prelude, Fugue and Riffs future where humans are superseded by a Kristjan Järvi conductor new version of man, and where restrictive Simone Dinnerstein piano Sir Simon Rattle conductor customs are rejected in the pursuit of Chris Richards human joys and passion. Katia and Marielle Labèque pianos

Tonight’s Concert 3 Claude Debussy Prélude à l’après-midi d’un faune 1894 / note by Jeremy Thurlow

ebussy preferred the company of yet it caught the audience’s imagination • THE INFLUENCE OF SYMBOLISM poets and painters to musicians, from the very opening bars; they applauded and as a young man he was an rapturously and immediately demanded an The French Symbolist movement of the late enthusiastic devotee of the Tuesday evening encore. Mallarmé himself was wary of the 19th century lasted fewer than 20 years, but gatherings held by poet Stéphane Mallarmé, project, feeling that his words were already impacted poetry, art, music and theatre. The often associated with the Symbolist music enough. However, after hearing the movement’s centre was the salon owned by movement •. Dedicated to creating poetry Prélude he was deeply moved, writing to the Stéphane Mallarmé, where Debussy spent of pure suggestion, floating free from the composer, ‘Your illustration of L’après-midi time between 1887 and 1892. The Symbolist banality of everyday functional language, departs from my text only by going even aesthetic is characterised by the indirect Mallarmé envied music’s ability to move the further into nostalgia and light, with real presentation of ideas which can only be sensibilities without recourse to any literal finesse, sensuality and richness.’ accessed through metaphor and suggestion. or prosaic meanings, and his poetry aspires Artworks associated with the movement to do the same. The flute’s voluptuous opening melody imbue objects and images with symbolic immediately conjures a world of luxurious meanings separate to their plain and Mallarmé’s poem L’après-midi d’un faune fantasy, weaving through the music’s matter-of-fact realities. Jean Moréas, author was published, after years of tinkering, in changing scenes with effortless spontaneity. of the Symbolist manifesto Le symbolisme, Pictured: Stéphane Mallarmé photographed by 1876. In an obscure but hyper-sensitive Every instrument adds something unique argued that the movement’s philosophy was Nadar (Gaspard-Félix Tournachon) in 1896 evocation of fleeting erotic sensation, a faun and unforgettable, from the Neverland to ‘clothe the Ideal in a perceptible form.’ (half-man, half-goat), waking in an idyllic harps and horns unveiled by the flute at Arcadian landscape, languidly recalls chasing the opening, to the final exquisite chime of These ideals had a considerable effect on after two delectable but timid and elusive two tiny antique cymbals. The whole work Debussy’s output, and his texts and librettos nymphs before sinking back into sleep. appears to float entirely free of form and come almost exclusively from writers convention, and perfectly realises Debussy’s connected to the movement. Aside from In 1892 Debussy resolved to write music long-held dream of a music governed only Mallarmé’s L’après-midi d’un faune, he also for a staged reading of the poem, initially by pleasure. • adapted Maurice Maeterlinck’s play Pelléas planning a prelude, several interludes and a et Mélisande, wrote songs setting the poetry final paraphrase, before eventually deciding of Charles Baudelaire and Paul Verlaine, and that his prelude needed no sequel. left unfinished sketches of Edgar Allan Poe’s The Devil in the Belfry and The Fall of the Premiered in Brussels in December 1894, House of Usher. Debussy’s work is as groundbreaking and unconventional as Mallarmé’s poem,

4 Programme Notes 14 November 2018 Claude Debussy in Profile 1862–1918 / profile by Andrew Stewart

he Franco-Prussian War broke of its premiere in December 1894, soon won • DEBUSSY ON LSO LIVE out when Debussy was just eight Debussy favour with concert-goers and the years old and the family was forced habitually conservative French press. Late to take refuge in Cannes with his aunt. in the summer of the previous year he had A year later his father was imprisoned as begun work on the only opera he completed, a revolutionary, though he was released Pelléas et Mélisande, which was inspired on the condition that his civil rights were by Maeterlinck’s play. It was an immediate suspended. While in Cannes, Debussy took success after its first production in April 1902. piano lessons with the Italian musician Jean Cerutti and was accepted as a pupil of the Debussy’s wife, Lily Texier, attempted Conservatoire in 1872. Although he was suicide following their separation, a trauma recognised as having a good ear and strong which also led to the rupture of several of ability as a sight-reader, Debussy’s teachers Debussy’s friendships. However, in 1904 regarded him as ‘a little backward in the he met Emma Bardac, the former wife of a rudiments’ and he failed to make the grade successful financier, and moved into an as a concert pianist. apartment with her. Debussy and Emma had a daughter and were subsequently Pelléas et Mélisande The gifted musician instead directed his married in January 1908. The composer’s Sir Simon Rattle conductor talents towards composition, eventually troubled domestic life did not affect the winning the coveted Prix de Rome in 1884 quality of his work, with such magnificent Prélude à l’après-midi d’un faune, and spending two years working in Italy. He scores as La mer and the first set ofImages La mer & Jeux struggled financially after returning to Paris for piano produced during this period. Valery Gergiev conductor and spent a great deal of time in literary and artistic cafés, forming friendships with Paul Debussy’s ballet Jeux was first performed ‘La mer has rarely sounded so good on disc.’ Dukas, Robert Godet and Raymond Bonheur. by Diaghilev’s Ballets Russes in May 1913, a BBC Music Magazine During the 1890s he lived in poverty with fortnight before the premiere of Stravinsky’s his mistress Gabrielle Dupont, eventually The Rite of Spring. While suffering from lsolive.lso.co.uk marrying the dressmaker and model cancer, he managed to complete the first Rosalie (Lily) Texier in 1899. three of a projected set of six instrumental sonatas. He died at his Paris home and was His Prélude à l’après-midi d’un faune, buried at Passy cemetery. • regarded as a revolutionary work at the time

Composer Profile 5 Antonín Dvořák Cello Concerto in B minor Op 104 1895 / note by Jan Smaczny

1 Allegro ‘grumbling’ in the bass. However, the dual include an affecting allusion to the song on of the final bars, the end of the concerto is 2 Adagio, ma non troppo stimuli of a request for a concerto from flute, and solo violin. notable primarily for its gentle meditation 3 Finale: Allegro moderato his friend, the Czech cellist Hanuš Wihan, on previous themes. • with whom he had shared a concert tour The subdued opening of the concerto leads Jean-Guihen Queyras cello just before leaving for America, and the to a broad and impressive introduction • DVOŘÁK’S NEW YORK encouragement of hearing Victor Herbert’s which includes all the main material; full n 1892, Dvořák was thinking of Second Cello Concerto in New York in 1894 as it is, this magnificent prelude in no way In 1892 Dvořák began a three-year tenure writing a concerto, though at persuaded him to embark on the piece. Work compromises the drama of the soloist’s as Director of the National Conservatory the time he speculated that it went well and the composition was completed first entry. This comes with a stirring of Music of America in Manhattan, after would be for piano or violin. Two years three months later on 9 February 1895. presentation of the main theme in the major being invited by the school’s founder, the later he was hard at work on what became mode. Of the many fascinating incidents in philanthropist Jeannette Meyers Thurber. his Second Cello Concerto (his first was an This was not, however, the end of the story. this first movement, the recapitulation is apprentice work from 1865 which remained Later in 1895, Dvořák made an extensive the most notable. The soloist prepares this Dvořák composed some of his best-loved in piano score), one of his most popular revision to the end of the concerto and extraordinary moment with a chromatic music in this time, and contributed to the and paradoxically personal works. Where it was in this form that the work was run leading straight into a triumphant full school’s aim of providing a musical education many of the compositions Dvořák wrote premiered in London the following year orchestral version of the second rather than to all-comers, including women and students in America •, like the American String and published. The reason for the revision the first main theme. from diverse ethnic backgrounds. Quartet and the ‘New World’ Symphony, throws fascinating light on Dvořák’s inner have an exuberant directness and structural life. While working on the Adagio of the The Adagio begins delicately in a pastoral While the Conservatory played a significant simplicity, the Cello Concerto is both more concerto in New York, he heard that his vein with woodwind. Before long, the role in the training of musicians in the experimental in form and heartfelt in sister-in-law, Josefina Kaunitzová, was soloist’s ruminations are interrupted by United States, it was forced to close expressive content. anxious and unwell – in the mid 1860s a stormy episode for full orchestra which following the Wall Street Crash of 1929, Josefina was a student of Dvořák’s, and the frames the quotation of Josefina’s song; after as philanthropic funds became scarce. Dvořák began work on the concerto in New composer was almost certainly in love with a funereal presentation of the opening idea, York on 8 November 1894, and some of her, and despite a rebuttal the two remained the conclusion comes with affecting solos its material goes back to a time earlier in close. Dvořák responded to this news by for the cello surrounded by some of Dvořák’s his stay in America when he was thinking including a reference to his song ‘Leave me most exquisite writing for woodwind. of composing a sonata for cello. This was alone’ Op 82 No 1 – a favourite of Josefina’s – Interval – 20 minutes something of a new departure, since in as the central theme of the Adagio. A month The Finale opens as a brisk, march- There are bars on all levels. his maturity Dvořák had doubts about after he returned to Bohemia with the like rondo. But before long, the more Visit the Barbican Shop on Level -1 to writing a work for an instrument which he completed score, Josefina died. As a tribute, contemplative side of the composer’s see our range of Gifts and Accessories. felt was ‘nasal’ at the top of its range and Dvořák recomposed the end of the work to genius asserts itself and, for all the power

6 Programme Notes 14 November 2018 Antonín Dvořák in Profile 1841–1904 CZECH ROOTS

His first job was as a player, though he LSO AT THE BARBICAN BBC RADIO 3 LUNCHTIME CONCERTS supplemented his income by teaching. In the AT LSO ST LUKE'S mid-1860s he began to compose a series of large-scale works, including his Symphony Friday 10 May 2019 1pm No 1, ‘The Bells of Zlonice’, and the Cello Concerto. Two operas, his Second Symphony, Martinů, Voříšek, Janáček & Smetana many songs and chamber works followed with Christian Ihle Hadland piano before Dvořák decided to concentrate on composition. In 1873 he married one of his Friday 31 May 2019 1pm pupils, and in 1874 received a much-needed cash grant from the Austrian government. Janáček, Suk & Schulhoff lobbied the publisher Thursday 27 June 2019 7.30pm with Chloë Hanslip violin Simrock to accept Dvořák’s work, leading to Saturday 29 June 2019 7.30pm Danny Driver piano the publication of his Moravian Duets and a commission for a set of Slavonic Dances. Janáček The Cunning Little Vixen Friday 7 June 2019 1pm orn into a peasant family, Dvořák (semi-staged performance, sung in Czech) developed a love of folk tunes at The nationalist themes expressed in Janáček & Dvořák an early age. His father inherited Dvořák’s music attracted considerable Sir Simon Rattle conductor with the LSO Wind Ensemble the lease on a butcher’s shop in the small interest beyond Prague. In 1883 he was Peter Sellars director village of Nelahozeves, north of Prague. invited to London to conduct a concert of Lucy Crowe Vixen (pictured above) Friday 14 June 2019 1pm When he was twelve, Dvořák left school and his works, and he returned to England often Gerald Finley Forester was apprenticed to become a butcher, at in the 1880s to oversee the premieres of Sophia Burgos Fox, Chocholkan Janáček & Smetana first working in his father’s shop and later several important commissions, including Peter Hoare Schoolmaster, Cock, Mosquito with the Meccore Quartet in the town of Zlonice. Here Dvořák learned his Seventh Symphony and Mass. Jan Martiník Badger, Parson German and also refined his musical talents Dvořák’s Cello Concerto in B minor received London Symphony Chorus to such a level that his father agreed he a world premiere in London in March 1896. Simon Halsey chorus director should pursue a career as a musician. In His Ninth Symphony, ‘From the New World’, Ben Zamora lighting designer 1857 he enrolled at the Prague Organ School a product of his American years (1892–95), Nick Hillel video designer during which time he became inspired by confirmed his place among the finest of late Hans Georg Lenhardt assistant director the music dramas of Wagner: opera was 19th-century composers. • to become a constant feature of Dvořák’s Produced by the LSO and the Barbican. Part of creative life. Composer Profile by Andrew Stewart the LSO 2018/19 Season and Barbican Presents. lso.co.uk/201819season

Composer Profile 7 Richard Strauss Also sprach Zarathustra Op 30 1896 / note by Stephen Johnson

1 Einleitung, oder Sonnenaufgang He teaches iconoclasm, defiance of moral new kind of formal framework. He made more turbulence, culminating in a terrifying (Introduction, or Sunrise) codes and contempt for the weak and the a point of describing his own Also sprach full-orchestral reminder of the work’s 2 Von den Hinterweltlern comforting self-delusions of the masses. Zarathustra as ‘freely after Nietzsche’, opening theme. The tempo increases, with (Of Those in Backwaters) Central to his philosophy is the notion of and in a note for the Berlin premiere, in cockcrows on high (promise of a 3 Von der großen Sehnsucht the Übermensch, the ‘Superman’ – not December 1896, he went further: ‘I did new dawn?), leading – rather surprisingly – (Of the Great Longing) defined, as is sometimes stated, according not intend to write philosophical music or to a sumptuous waltz, ‘The Dance-Song.’ 4 Von den Freuden und Leidenschaften to racial type (Nietzsche grew increasingly portray Nietzsche’s great work musically. For Nietzsche, the most exalted, liberating (Of Joys and Passions) to despise his own people) – but a vision of I meant rather to convey in music an thought expressed itself in a kind of mental 5 Das Grablied (The Song of the Grave) what humanity might yet become if it can idea of the evolution of the human race dance – the very opposite of the sombre 6 Von der Wissenschaft break its spiritual bonds: ‘I teach you the from its origin, through various phases of gravity of the earlier ‘Of Science’ section. (Of Science and Learning) Superman. Man is a thing to be overcome … development, religious as well as scientific, 7 Der Genesende (The Convalescent) What is the ape to man? A jest or a thing of up to Nietzsche’s idea of the Superman’. Twelve bell-strokes sound midnight, 8 Das Tanzlied (The Dance Song) shame. So shall man be to the Superman – the point of the ultimate revelation in 9 Nachtwandlerlied a rope over the abyss.’ That idea of evolution, of striving ever Nietzsche’s book. However, Strauss here (Song of the Night Wanderer) upwards – mankind as ‘a rope over the implies criticism of Nietzsche’s vision. It was this above all that attracted the abyss’ – is crucial to Strauss’ work. It The book culminates in triumph, with a t the time that Richard Strauss young Strauss to Nietzsche’s Also sprach begins with a stupendous musical sunrise celebration of the joy that is deeper and was making his name as a Zarathustra and made him determined to and signifies the dawning of human more enduring than the world’s grief; but brilliant young Modernist, the express his response in music. In devising a consciousness with all its tremendous Strauss ends with an eerie question mark – challenging new intellectual discovery of the programmatic scheme for his new orchestral potential. But then comes a step back: two harmonies quietly but irreconcilably German-speaking world was the philosophy work, Strauss took phrases and images from muted horns sound the plainchant phrase clashing. Is the arrival of the Superman a of Friedrich Nietzsche, particularly his Nietzsche’s work and used them as subtitles ‘Credo in unum deum’ (‘I believe in one God’) certainty after all? Is joy really eternal and philosophical book Also sprach Zarathustra for the various sections, but it seems and the organ joins richly divided strings stronger than the world’s woe? Strauss (Thus Spake Zarathustra). Nietzsche unlikely that Strauss wanted his audiences for a portrayal of the false consolations leaves room for doubt. • had taken the historical Persian prophet to relate his tone poem point by point to of religion. Human ‘Joys and Passions’, Zoroaster and transformed him into the Nietzsche. Significantly, this was the first suppressed by the church, burst out in mouthpiece for his own radical brand of of his tone poems to dispense completely a downward-sweeping harp glissando, Romantic individualism. with traditional formal schemes – such as silencing the organ and releasing turbulent sonata form, rondo and variations – and, orchestral figures. Then comes a search for Zarathustra rejects religion, which he feels like Schoenberg in his nearly contemporary a counterbalancing stability in ‘Of Science’ – cows the intellect, heaps shame on the Verklärte Nacht, Strauss was clearly looking but this dryly methodical fugue, beginning erotic and imprisons the human spirit. to literary ideas and images to provide a deep in the orchestral bass, only provokes

8 Programme Notes 14 November 2018 Richard Strauss in Profile 1864–1949

ichard Strauss was born in Munich demonstrate his supreme mastery of STRAUSS ON LSO LIVE in 1864, the son of Franz Strauss, orchestration; the thoroughly modern operas a brilliant horn player in Munich’s Salome and Elektra, with their Freudian Court Orchestra. It is therefore perhaps not themes and atonal scoring, are landmarks surprising that some of the composer’s in the development of 20th-century music; most striking writing is for the French and the neo-Classical Der Rosenkavalier has Horn. Strauss had his first piano lessons become one of the most popular operas of when he was four, and produced his first the century. Strauss spent his last years in composition two years later. Surprisingly self-imposed exile in Switzerland, waiting to he did not attend a music academy, his be officially cleared of complicity in the Nazi formal education ending rather at Munich regime. He died at Garmisch Partenkirchen University where he studied philosophy and in 1949, aged 85. • aesthetics, though he continued his musical training at the same time. Composer profile by Andrew Stewart

Following the first public performances of his work, he received a commission from Valery Gergiev conductor Hans von Bülow in 1882 and two years later Jeanne-Michèle Charbonnet Elektra was appointed Bülow’s Assistant Musical Angela Denoke Chrysothemis Director at the Meiningen Court Orchestra, Felicity Palmer Klytämnestra the beginning of a career in which Strauss was to conduct many of the world’s great The one-act opera Elektra, containing one , in addition to holding positions of the most demanding soprano roles in at opera houses in Munich, Weimar, Berlin the repertoire, is based on the ancient and Vienna. While at Munich, he married Greek myth of Elektra and the murderous the singer Pauline de Ahna, for whom Klytämnestra. Exploring themes of love, he wrote many of his greatest songs. hate and revenge, the opera shows Strauss at his most bombastic, torrid and masterful. Strauss’ legacy is to be found in his operas (Recorded 2012) and his magnificent symphonic poems. Scores such as Till Eulenspiegel, Also sprach lsolive.co.uk Zarathustra, Don Juan and Ein Heldenleben

Composer Profile 9 François-Xavier Roth conductor

rançois-Xavier Roth is one of today’s companies in London, Paris, Frankfurt, He recorded the complete tone poems of most charismatic and enterprising Beijing, Nanjing, Shanghai and Tokyo. Richard Strauss while Principal Conductor conductors. He has been General of the SWR Sinfonieorchester Baden- Music Director of the City of Cologne since Les Siècles was nominated for Gramophone Baden & Freiburg (2011–16). His recordings 2015, leading both the Gürzenich Orchestra Magazine’s first Orchestra of the Year of the Stravinsky ballets The Firebird, and the Opera, and is the first-ever Associate Award in 2018. After the success of their Petrushka and The Rite of Spring with Les Artist of the Philharmonie de Paris. He was explorations of Post-Romanticism and Siècles have also been widely acclaimed, the winner of the 2000 Donatella Flick LSO Debussy in his centenary year, concerts the latter being awarded a German Record Conducting Competition, becoming Principal with the London Symphony Orchestra in Critics’ Prize. They are currently recording a Guest Conductor of the LSO in 2017. November and March feature a typically complete Ravel cycle for Harmonia Mundi. wide range of works, from Haydn through The first release, Daphnis and Chloé, was With a reputation for inventive programming, Strauss, Bartók and Scriabin and, in the Gramophone Editor’s Choice and CD of the his incisive approach and inspiring leadership latest of his LSO Futures series, to the month in Rondo Magazine. Mirages, a vocal are valued around the world. He works with current sound world of Philippe Manoury, recital with Sabine Devieilhe for Erato, won a leading orchestras including the Royal with the UK premiere of Ring. Victoires de la Musique Classique Recording Concertgebouw, Staatskapelle Berlin, Boston of the Year award, and was Gramophone Symphony, Munich Philharmonic and Zurich In his fourth Cologne opera season, he Editor’s Choice. Tonhalle. In 2018/19, he returns to the Berlin leads new productions of Strauss’ Salome Philharmonic and appears with the Cleveland and Offenbach’s La Grande-Duchesse de A tireless champion of contemporary music, Orchestra, San Francisco Symphony, Bavarian Gérolstein, which marks the bicentenary of and music education, he has been conductor Radio Symphony and Montreal Symphony. the composer’s birth in Cologne. With the of the ground-breaking LSO Panufnik Gürzenich Orchestra, he will feature the Composers Scheme since its outset in 2005. In 2003, he founded Les Siècles, an Rhenish composer Schumann, and explore Roth has premiered works by Yann Robin, innovative orchestra performing contrasting works which disrupt traditional orchestral Georg-Friedrich Haas, Hèctor Parra and and colourful programmes on modern and forms and think them anew. He continues Simon Steen-Anderson and collaborated with period instruments, often within the same a focus on the composer Philippe Manoury, composers like Pierre Boulez, Wolfgang Rihm, concert. With Les Siècles, he has given with the premiere of Lab.Oratorium, the Jörg Widmann and Helmut Lachenmann. concerts throughout Europe and toured to third of the trilogy of works commissioned China and Japan. They recreated the original by the Orchestra, which will also be played For his achievements as musician, sound of Stravinsky’s The Rite of Spring in in Hamburg and Paris. He will take the conductor, music director and teacher, its centenary year and, subsequently, with Orchestra on tour to Turin, Zürich and Vienna, François-Xavier Roth was made a Chevalier the Pina Bausch and Dominique Brun dance performing Mahler’s Symphony No 5. of the Légion d’honneur. •

10 Artist Biographies 14 November 2018 Jean-Guihen Queyras cello

ean-Guihen Queyras enjoys Michael Jarrell, Johannes-Maria Staud and in August 2016. In collaboration with the an enviable reputation as a Thomas Larcher. In November 2014 he Chemirani brothers and Sokratis Sinopoulos, musician of exceptional versatility performed Peter Eötvös’ Cello Concerto with it melds contemporary classical music with and integrity, equally as a soloist with the Orchestre Philharmonique de Radio improvisation and Mediterranean traditions. orchestras, chamber musician and solo France for Eötvös’ 70th birthday celebrations, performer. Jean-Guihen approaches every and Dutilleux’s Concerto for the composer’s Highlights in the 2018/19 season include a performance with absolute commitment to 100th anniversary. North American Tour and performances of the music itself, and learnt his interpretative Anne Teresa de Keersmaeker’s Mitten wir im approach from the late Pierre Boulez, with Jean-Guihen Queyras is a founding member Leben sind, combining Bach’s music for solo whom he established a long-standing of the Arcanto Quartet and regularly cello with choreography. He also appears artistic partnership. performs chamber music alongside violinist with the Deutsches Symphonie-Orchester Isabelle Faust and pianists Alexander Berlin, the Atlas Ensemble, the Orchestra He has performed with many of the world’s Melnikov and Alexandre Tharaud. His artistic of the Eighteenth Century and Detroit great orchestras, including the Philadelphia residences have included a ‘Carte Blanche’ Symphony Orchestra. Orchestra, Symphonieorchester des at the Aix-en-Provence Festival and projects Bayerischen Rundfunks, Philharmonia, in Utrecht’s Muziekcentrum Vredenburg, Jean-Guihen Queyras holds a professorship Orchestre de Paris, NHK Symphony, Amsterdam’s Concertgebouw and Gent’s at the University of Music Freiburg and Rotterdam Philharmonic, Tonhalle Zurich, De Bijloke. He was also Artist in Residence is Artistic Director of the ‘Rencontres Leipzig Gewandhaus, Budapest Festival with the Hamburg-based chamber orchestra Musicales de Haute-Provence’ festival in Orchestra and Orchestre de la Suisse- Ensemble Resonanz. Forcalquier. Jean-Guihen plays a cello made Romande, under conductors such as Iván by Gioffredo Cappa in 1696, on loan from Fischer, Philippe Herreweghe, Yannick Nézet- Jean-Guihen Queyras’ discography includes Mécénat Musical Société Générale since Séguin, Jiří Bělohlávek, Oliver Knussen and recordings of cello by Edward November 2005. • Sir Roger Norrington. He appears regularly Elgar, Antonín Dvořák, Philippe Schoeller and with early music ensembles such as the Gilbert Amy. As part of a Harmonia Mundi Freiburger Barockorchester and Akademie project dedicated to Schumann, he recorded für Alte Musik Berlin. the complete Piano Trios with Isabelle Faust and Alexander Melnikov, plus Schumann’s Jean-Guihen is furthermore committed to Cello Concerto with the Freiburg Baroque performing contemporary music, having Orchestra under Pablo Heras-Casado, given premieres of works by such composers released at the beginning of 2016. THRACE – as Ivan Fedele, Gilbert Amy, Bruno Mantovani, Sunday Morning Sessions was released

Artist Biographies 11 London Symphony Orchestra on stage tonight

Leader Second Violins Flutes Tubas LSO String Experience Scheme Roman Simovic David Alberman Tim Hugh Gareth Davies Daniel Jemison Peter Smith Since 1992, the LSO String Experience Thomas Norris Alastair Blayden Camilla Marchant Joost Bosdijk Daniel Trodden Scheme has enabled young string players First Violins Sarah Quinn Jennifer Brown Sophie Johnson Lois Au from the London music conservatoires at Clare Duckworth Miya Väisänen Noel Bradshaw Timpani the start of their professional careers to gain Ginette Decuyper Matthew Gardner Daniel Gardner Piccolo Contra Nigel Thomas work experience by playing in rehearsals Maxine Kwok-Adams Naoko Keatley Hilary Jones Patricia Moynihan Dominic Morgan and concerts with the LSO. The musicians Elizabeth Pigram Belinda McFarlane Laure Le Dantec Percussion are treated as professional ‘extra’ players Claire Parfitt Iwona Muszynska Peteris Sokolovskis Horns Sam Walton (additional to LSO members) and receive fees Laurent Quenelle Paul Robson Simon Thompson Marc Lachat Phillip Eastop David Jackson for their work in line with LSO section players. Harriet Rayfield Monika Chmielewska Deborah Tolksdorf Rosie Jenkins Alexander Paul Stoneman The Scheme is supported by: Colin Renwick Siobhan Doyle Maxwell Spiers Edmundson The Polonsky Foundation Sylvain Vasseur Caroline Frenkel Double Basses Michael Kidd Harps Barbara Whatmore Charitable Trust Morane Cohen- Greta Mutlu Colin Paris Paul Gardham Bryn Lewis Derek Hill Foundation Lamberger Samantha Patrick Laurence Christine Pendrill Jonathan Lipton Manon Morris Angus Allnatt Charitable Foundation Shlomy Dobrinsky Wickramasinghe Matthew Gibson Stephen Craigen Rod Stafford Lulu Fuller Joe Melvin Clarinets David McQueen Organ Dániel Mészöly Jani Pensola Chris Richards Catherine Edwards Hilary Jane Parker Gillianne Haddow Nicholas Franco Chi-Yu Mo Trumpets Erzsebet Racz Malcolm Johnston Paul Sherman Elizabeth Drew Philip Cobb Anna Bastow Simo Väisänen Robin Totterdell German Clavijo Bass Clarinet Niall Keatley Stephen Doman Renaud Gerald Ruddock Editor Robert Turner Guy-Rousseau Fiona Dinsdale | [email protected] May Dolan Editorial Photography Stephanie E-Flat Clarinet Matthew Gee Ranald Mackechnie, Marco Borggreve, Edmundson Chi-Yu Mo James Maynard François Séchet Alistair Scahill Print Cantate 020 3651 1690 Milena Simovic Bass Advertising Cabbells Ltd 020 3603 7937 Polly Wiltshire Paul Milner Details in this publication were correct at time of going to press.

12 The Orchestra 14 November 2018