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Home , Andrew Marriner, Clarinet concerto, Giovanni Punto, Horn Concerto (Carter), Howard Shelley, Jack Brymer

Saturday 12 October 2019 7.30–9.50pm Sunday 13 October 2019 3–5.20pm LSO St Luke’s

LSO SEASON CONCERT MOZART

Mozart MOZART No 2 in E-flat major K417 Concerto in A major K622 Interval Concerto in C major K314 in E-flat major K297b *

Jaime Martín conductor Olivier Stankiewicz oboe Juliana Koch oboe * CONCERTOS clarinet Chris Richards clarinet * Rachel Gough * Timothy Jones horn LSO Chamber Welcome News

popular. A warm welcome back to Andrew WATCH THE LSO ON YOUTUBE FRANÇOIS-XAVIER ROTH Marriner as soloist, who recently retired from NOMINATED FOR RPS AWARD the LSO after 34 years as Principal Clarinet. The LSO’s 2019/20 season opening concert The second half of the concert begins with with Sir Simon Rattle on Saturday 14 François-Xavier Roth, LSO Principal Mozart’s in C major, before September was filmed and streamed on Guest Conductor, has been nominated yet more of our Principal players join the LSO the LSO’s YouTube channel on Saturday 21 for the Conductor Award in the 2019 Royal Chamber Orchestra as soloists for Mozart’s September, where the video is available to Philharmonic Society Awards, which Sinfonia Concertante. watch back for 90 days after the premiere. celebrate the outstanding, the pioneering The all-British programme featured the and the inspirational in classical music. These concerts will be recorded for LSO Live, world premiere of Emily Howard’s The Awards will be announced and continuing the acclaimed series of Mozart Antisphere, Colin Matthews’ Concerto presented on 28 November. Welcome to this weekend's concerts at concertos with Nikolaj Szeps-Znaider. with soloist Leila Josefowicz and Walton’s LSO St Luke’s, where the LSO Chamber Symphony No 1. • royalphilharmonicsociety.org.uk Orchestra performs a programme of Mozart’s I hope you enjoy the concert and will join us concertos for woodwind. We are very pleased again soon. LSO musicians return to LSO St • youtube.com/lso to welcome back Jaime Martín to conduct, Luke’s on Friday 25 October for a Lunchtime following his first appearance with the LSO Concert of Tippett and Beethoven, recorded almost one year ago to the day. This is a by BBC Radio 3. On Sunday 15 December, CELEBRATING 20 YEARS OF LSO LIVE great opportunity to highlight the individual we welcome Emmanuelle Haïm to conduct musicianship of some of the LSO's Principal the LSO Chamber Orchestra in a Baroque Twenty years ago the LSO became the first woodwind players: Olivier Stankiewicz, programme at Milton Court Concert Hall. orchestra to start its own record label, LSO Juliana Koch, Andrew Marriner, Chris Live. To celebrate, we have launched a new Richards, Rachel Gough and Timothy Jones. initiative to bring the themes of our 2019/20 season to Apple Music via a series of artist- Mozart’s concertos remain some of the curated radio programming and playlists. most widely-performed in the repertoire Please ensure all phones are switched off. and this weekend’s concerts span over Kathryn McDowell CBE DL • lsolive.co.uk Photography and audio/video recording a decade of concerto-writing by the Managing Director • applemusic.com/lso are not permitted during the performance. composer. His Second Horn Concerto opens the programme, followed by the in A major, Mozart’s only concerto for the instrument yet perhaps his most

2 Welcome 12 & 13 October 2019 Contributors Coming Up

PROGRAMME CONTRIBUTORS Sunday 20 October 10am–5pm Sunday 27 October 2.30–3.30pm Thursday 12 December 7.30pm Barbican & LSO St Luke's Barbican Barbican Lindsay Kemp is a senior producer for BBC Radio 3, including programming DISCOVERY DAY: JANÁČEK FAMILY CONCERT ELGAR, TIPPETT & VAUGHAN WILLIAMS lunchtime concerts at and Suitable for 7- to 12-year-olds LSO St Luke’s. He is also Artistic Advisor to Find out more about Czech composer Leoš Tippett Concerto for Double York Early Music Festival, Artistic Director of Janáček at this Discovery Day, with a morning 12–2.15pm Barbican Foyers Elgar Sea Pictures Baroque at the Edge Festival and a regular rehearsal at the Barbican, conducted by Free Family Workshops Vaughan Williams Symphony No 4 contributor to Gramophone magazine. Kazushi Ono, and talks and at LSO St Luke’s in the afternoon. Sir Antonio Pappano conductor Andrew Stewart is a freelance music writer Dame Sarah Connolly mezzo-soprano and journalist. He is the author of The LSO Afternoon to include: at 90 and contributes to a wide variety of Janáček Sunday 10 November 7pm 6pm Barbican specialist classical music publications. Violin Sonata Barbican LSO Platforms: Guildhall Artists Říkadla (Nursery Rhymes) Free pre-concert recital ROMEO AND JULIET Nigel Simeone speaker Supported by LSO Patrons Clare Duckworth violin Berlioz Romeo and Juliet Recommended by Classic FM Philip Moore Guildhall Musicians conductor Alice Coote mezzo-soprano Friday 25 October 1pm Nicholas Phan tenor LSO St Luke’s Nicolas Courjal bass London Symphony Chorus BBC RADIO 3 LUNCHTIME CONCERT Simon Halsey chorus director

Tippett Sonata for Four Horns Supported by LSO Patrons Beethoven Septet Op 20

LSO Ensembles

Recorded for future broadcast by BBC Radio 3

Coming Up 3 Horn Concerto No 2 in E-flat major K417 1783 / note by Lindsay Kemp

1 Allegro drew praise for their ability to ‘sing an higher register. The music’s character, too, • 18TH-CENTURY HORN 2 Andante adagio as perfectly as the most mellow, is dignified and charming, particularly in the 3 Rondo: Allegro interesting and accurate voice’, and who poetic lines of the central slow movement, The natural horn used throughout the 18th ended up the lucky recipient of no fewer which exploit Leutgeb’s famous lyrical skills. century consisted of a mouthpiece, a coiled Timothy Jones horn than four beautifully made concertos. It is also true, however, of the majestic first length of tubing and a large flared bell, and movement and the finale, whose cantering was a precursor to the valved horn, which lthough Mozart was a pianist and In fact Mozart had already known Leutgeb rhythms evoke the horn’s customary emerged in the 19th century. violinist, wind instruments often in Salzburg, where both men had been associations with the posthorn. • won a special response from him. members of the Archbishop’s court With no valves to alter the length of the Whether in solo concertos, in serenades orchestra. Leutgeb had left for Vienna in tubing, horn players of the 18th century for wind ensemble, or just within the 1777, however, there to combine his musical developed the 'hand-stopping' technique orchestral textures of his symphonies and occupation with the profession of cheese- (moving the right hand in and out of the piano concertos, his natural grace and lyrical and sausage-monger, and so it must have horn's bell) to alter the pitch, enabling warmth repeatedly showed themselves been with some pleasure (and perhaps the player to reach notes beyond the in his writing for the principal wind amusement) that Mozart was reunited with instrument's natural capabilities. instruments of the day, namely , oboe, him there. The fact that the manuscript clarinet and horn. He seems to have had a of the first concerto he wrote for him in liking, too, for the kind of men who played 1783 bears an inscription claiming that the them, forming friendships with several in composer had ‘taken pity on Leutgeb, ass, which professional admiration mixed with ox and fool’, and that the fourth carries even earthy good humour. more ribald remarks at the soloist’s expense, suggests that friendship was established on Mozart’s move from his native Salzburg to fairly robust lines. Vienna in 1781 brought a period of enormous growth and fulfilment for him, impelled The Horn Concerto known as Mozart’s by the city’s highly stimulating musical second was actually his first for the ‘ass, and intellectual atmosphere. Among his ox and fool’, and was completed on 27 May friends there was the horn player Joseph 1783. Despite the insults, Mozart evidently Leutgeb, a virtuoso of the relatively new had faith in Leutgeb’s skills, although ‘hand-stopping’ technique that had greatly comparison with horn parts written for extended the range of notes available on the other players suggests that he took trouble 18th-century horn •, whose performances to accommodate greater comfort in the

4 Programme Notes 12 & 13 October 2019 Wolfgang Amadeus Mozart Clarinet Concerto in A major K622 1791 / note by Lindsay Kemp

1 Allegro What really distinguishes this Concerto, 2 Adagio however, is that it is a culmination of LSO CHAMBER ORCHESTRA 3 Rondo: Allegro Mozart’s unsurpassed achievements as a master of the concerto form, an effortless Sunday 15 December 7pm Andrew Marriner clarinet coming-together of the elements – Milton Court Concert Hall structural coherence, appealing tunefulness, ozart’s last great instrumental virtuosity and a talent for melodic RAMEAU, PURCELL & HANDEL composition owes its existence characterisation carried over from his work to the clarinettist •, in the opera house – with which he had Purcell The Fairy Queen – Suite for whom it was written in the autumn moulded the concerto into a sophisticated Handel Water Music – Suite No 1 of 1791. In part, it owes its greatness to mode of expression. Yet perhaps the most Rameau Two Arias from him too. Stadler was not only one of the impressive thing about it is its simplicity. Castor and Pollux foremost clarinettists of his day, known for Here is a work with no great surprises or Rameau Dardanus – Suite the soft, voice-like quality of his playing, he alarms, only music of perfectly pleasing was also another friend of the composer, melodic charm and structural ‘rightness’. The Emmannuelle Haïm conductor having already inspired him to create the first movement is unusually expansive, with • Austrian clarinettist Anton Stadler Lucy Crowe soprano superb in 1789. Stadler was the same relaxed lyricism that characterises Reinoud Van Mechelen tenor fond of the woody, mellow sound of the the two piano concertos Mozart had already LSO Chamber Orchestra clarinet’s lower register and had developed composed in the same key. The finale is a an instrument which gave extra notes at suave and witty rondo with a memorable this bottom end. In the event, this variant recurring theme, but it is the central slow – known as the – did not movement that brings some of the loveliest catch on, but it was around long enough for music not only of this concerto but also Mozart to compose for it both the Quintet of Mozart’s entire output. The exquisite and the Concerto and thereby insure it melody with which it begins and ends – against total obsolescence. (Tonight’s presented delicately by the soloist at first, performance is of the work’s first published then warmly echoed by the orchestra – is version, which adapted it for the narrower essential Mozart, deeply moving yet at the compass of the conventional clarinet.) same time noble and restrained. •

Interval – 20 minutes

Programme Notes 5 Wolfgang Amadeus Mozart Oboe Concerto in C major K314 1777 / note by Lindsay Kemp

1 Allegro aperto the main melody’s wide upward leap. The • DIE ENTFÜHRUNG AUS DEM SERAIL • MOZART ON LSO LIVE 2 Adagio ma non troppo finale is a perky and buoyant rondo whose 3 Rondo: Allegretto returning theme would later resurface in Mozart’s Die Entführung aus dem Serail modified form in the operaDie Entführung (The Abduction from the Seraglio) is an Olivier Stankiewicz oboe aus dem Serail •. • opera Singspiel in three acts based on Christoph Friedrich Bretzner's Belmont und ozart’s one and only Oboe Concerto Constanze, oder Die Entführung aus dem was composed in the summer Serail, with libretto by Gottlieb Stephanie. of 1777 for the oboist Giuseppe The plot centres on the hero Belmonte’s Ferlendis, another member of the orchestra attempt to rescue his beloved Konstanze of the Archbishop of Salzburg’s court. By from the seraglio of Pasha Selim, aided by November, however, the composer had his servant Pedrillo. begun a five-month stay in Mannheim and was making friends with the players in the The composer himself conducted the opera’s famously fine court orchestra there, among premiere at the Vienna , where them the oboist Friedrich Ramm. ‘I made it opened to great success in July 1782. Its him a present of my Oboe Concerto’, Mozart success served to raise Mozart’s standing Mozart Violin Concertos Nos 4 & 5 wrote back home to his father, ‘and the man with the public as a composer. is quite beside himself with joy’. Nikolaj Szeps-Znaider conductor & violin

The piece is indeed a fine example of Classic FM’s Album of the Week Mozart’s early concerto style: easy, elegant and lyrical, and with soloist and orchestra The Strad’s Recommended Recording engaged in modest dialogue rather than ‘Possibly among the most exquisite violin the more symphonic discourses of the sound ever captured on disc.’ later piano concertos. Both the first two movements have the flavour of arias, the Available to purchase in the Barbican Shop, first amiably assertive (Mozart’s unusual at lsolive.co.uk, on iTunes and Amazon, movement heading of ‘aperto’, literally or to stream on Spotify and Apple Music. ‘frank’ or ‘open’, is one he was fond of at this time), and the second warm and romantic, with an extra surge of yearning provided by

6 Programme Notes 12 & 13 October 2019 Wolfgang Amadeus Mozart Sinfonia Concertante in E-flat major K297b / note by Lindsay Kemp

1 Allegro Enthusiasm for the theory that the • SINFONIA CONCERTANTE • MORE MOZART ON LSO LIVE 2 Adagio rediscovered Sinfonia Concertante was a 3 Andantino con variazioni version of the lost one has faded over the Initially emerging as a musical form during years. If it is by Mozart it does not always the Classical period and similar in style to Juliana Koch oboe show him at his best, despite some elegant its precursor, the Baroque , a Chris Richards clarinet writing for the soloists, but there is still sinfonia concertante is a work written for a Timothy Jones horn enough of a whiff of the composer about group of soloists and orchestra. Rachel Gough bassoon it to suggest the possibility that he had at least some hand in it. One theory holds Comparable to a concerto with soloists oday Mozart’s wind-writing that the wind parts were adaptations taking a prominent role, yet also similar continues to keep many a player from the originals, while the orchestral to a symphony in that they are part of the happy, but even so it is easy accompaniments and interludes were fabric of the complete ensemble, the term to imagine how eyes must have lit up in written by someone else. It is difficult, of sinfonia concertante largely fell out of use 1869 when the discovery was announced course, to identify a composer’s style in a during the Romantic era. Some 20th-century of a ‘lost’ Sinfonia Concertante for oboe, genre he attempted only once. The assured composers including George Enescu and clarinet, horn and bassoon. Mozart was constructions he devised for his wonderful William Walton have since made use of the indeed known to have composed a sinfonia solo concertos are not always appropriate for term in naming their compositions. Mozart Violin Concertos Nos 1, 2 & 3 concertante • (essentially a concerto for a work with four soloists, where a more more than one soloist) during his six-month relaxed and collaborative approach is required. Nikolaj Szeps-Znaider conductor & violin stay in Paris in 1778, although that was for If there is a sense of the master’s hand in flute, oboe, horn and bassoon. It had been the neatly disposed solos of K297b, it reaches ‘A beautifully phrased performance which intended for three of the players Mozart its height in the rich lyricism of the Adagio, brought alive the conversation between the had met in Mannheim the previous year a movement whose glowing warmth surely soloist and the sections of the orchestra.’ (flautist Johann Wendling, Friedrich Ramm presents the strongest case for associating British Society for Eighteenth-Century the oboist, and bassoonist Georg Ritter), Mozart with the work. The finale is a set of Studies plus the horn player Johann Stich (known as variations on a jaunty theme, and while the Giovanni Punto), all of whom were visiting little refrain which follows each variation is the French capital on a concert tour. It was not particularly characteristic, the movement never performed, however, and the score is both entertaining and imaginative. • was lost. Mozart suspected local intrigue.

Programme Notes 7 Wolfgang Amadeus Mozart in Profile 1756–91 / by Andrew Stewart

orn in Salzburg on 27 January 1756, Mozart to resign in 1781 and move to Vienna • MORE MOZART THIS SEASON Mozart began to pick out tunes in search of a more suitable position, fame on his father’s keyboard before and fortune. In the last decade of his life, Thursday 30 January 2020 7.30pm his fourth birthday. His first compositions he produced a series of masterpieces in Barbican were written down in the early months of all the principal genres of music, including 1761; later that year, the boy performed in the operas The Marriage of Figaro (1785), MOZART NO 3 public for the first time at the University Don Giovanni (1787), Così fan tutte and of Salzburg. Mozart’s ambitious father, The Magic Flute, the Symphonies Nos Gianandrea Noseda conductor Leopold, court composer and Vice- 40 and 41 (‘Jupiter’), a series of sublime Christian Tetzlaff violin Kapellmeister to the Prince-Archbishop of piano concertos, a clarinet quintet and the Salzburg, recognised the money-making , left incomplete at his death on Friday 15 May 2020 1pm potential of his precocious son and pupil, 5 December 1791. • LSO St Luke’s embarking on a series of tours to the major courts and capital cities of Europe. BBC RADIO 3 LUNCHTIME CONCERT: MOZART IN E-FLAT MAJOR In 1777 Wolfgang, now 21 and frustrated with life as a musician-in-service at Salzburg, left Antoine Tamestit home, visiting the court at Mannheim on the Jörg Widmann clarinet way to Paris. The Parisian public gave the Dénes Várjon piano former child prodigy a lukewarm reception, and he struggled to make money by teaching Recorded for future broadcast by BBC Radio 3 and composing new pieces for wealthy patrons. A failed love affair and the death Thursday 21 May 2020 7.30pm of his mother prompted Mozart to return Barbican to Salzburg, where he accepted the post of Court and Cathedral Organist. MOZART VIOLIN CONCERTO NO 2

In 1780 he was commissioned to write an Ádám Fischer conductor opera, Idomeneo, for the Bavarian court in Nikolaj Szeps-Znaider violin , where he was treated with great respect. However, the servility demanded Recommended by Classic FM by his Salzburg employer finally provoked

8 Composer Profile 12 & 13 October 2019 Jaime Martín conductor

n September 2019 Jaime Martín Concertgebouw in Amsterdam with the and created a platform for some of the most became Principal Conductor of the Gävle Symphony. exciting artists in their fields. He was RTE National Symphony Orchestra also a founding member of the Orquestra and Music Director of the Los Angeles Chamber Martín has worked with an impressive list of de Cadaqués, with whom he has been Orchestra. He has been Artistic Director and that includes the Frankfurt Radio associated for 30 years and where he has Principal Conductor of the Gävle Symphony Symphony, Royal Liverpool Philharmonic, held the title of Chief Conductor since 2012. • Orchestra since 2013 and his time there has Royal Scottish National, Swedish Radio brought the Orchestra a new level of Symphony, Barcelona Symphony, New international recognition through highly Zealand Symphony, Queensland Symphony, acclaimed recordings and touring performances. Deutsche Radio Philharmonie Saarbrücken, Essen Philharmonic and Philharmonia Having spent many years as a highly Orchestras, the Academy of St Martin in the regarded flautist, working with the most Fields, Saint Paul Chamber Orchestra and the inspiring conductors of our time, Martín Orchestre Philharmonique de Radio France. turned to conducting full-time in 2013 and has very quickly become sought after at the As a flautist, Martín was Principal Flute of highest level. Forthcoming engagements the Royal Philharmonic Orchestra, Chamber include return visits to the Sydney Symphony, Orchestra of Europe, English National Opera, Melbourne Symphony, RTVE National Academy of St Martin in the Fields and Symphony, Antwerp Symphony, Colorado London Philharmonic Orchestra. Symphony and Gulbenkian Orchestras. Widely acclaimed for his recordings, his The 2018/19 season featured performances most recent releases for Ondine with the in Madrid and London with the London Gävle Symphony include a recording of Symphony Orchestra featuring Christian the Brahms Piano Quartet arranged by Tetzlaff as soloist, concerts with Joshua Bell Schoenberg, Brahms’ Songs of Destiny, and the Royal Stockholm Philharmonic, and Brahms’ choral works with the Eric Ericson a nine-concert tour of Europe with the Chamber Choir and the Brahms Serenades. London Philharmonic Orchestra, which included performances at the Gasteig in Martín is the Artistic Director of the Munich and the Cologne Philharmonie. Santander Festival. Over the last five He also made his conducting debut at the years he has brought financial stability

Artist Biographies 9 Timothy Jones horn Andrew Marriner clarinet

imothy Jones was born in London Warsaw, Orlando, Saccone and Belcea in 1961 and studied with Ifor Jones string quartets, as well as being a member and Frank Lloyd. After leaving of the LSO’s Chamber Ensembles. He school at the age of 17, he started his career has performed with some of the most as a professional musician, playing second distinguished figures in the world of horn with the Munich Philharmonic. chamber music, among them , András Schiff, , , In 1984 Timothy joined the London , Hélène Grimaud, Sylvia McNair Philharmonic Orchestra, where he stayed and Edita Gruberová, as well as the late André until joining the LSO as Principal Horn in Previn, Vlado Perlemuter and George Malcolm. 1986. Timothy has also been a member of the City of Birmingham Symphony Orchestra In the chamber repertoire, notable and the Academy of St Martin in the Fields. performances include the Mozart and Brahms Clarinet Quintets with the During his career, Timothy has performed as Chilingirian, Quatuor Sine Nomine and The a soloist with both the Munich Philharmonic Lindsays, and Schubert’s Der Hirt auf dem and the Academy of St Martin in the Fields, Felsen all over the world, memorably with both in the UK and abroad to great acclaim. • ndrew Marriner held the position Sylvia McNair and Alfred Brendel at the of Principal Clarinet with the LSO Royal Festival Hall in 1999, and with Edita from 1986, when he succeeded the Gruberová at Wigmore Hall in 2010. late , to 2019. Andrew has recorded the core solo and As a soloist Andrew has been a regular chamber clarinet repertoire for various performer in London, both at the Barbican labels, including Philips, EMI, Chandos and the Royal Festival Hall. As a performer and Collins Classics. The BBC regularly and teacher, his career is worldwide in its broadcasts his concerto appearances. • reach, taking him regularly from Europe to the Americas, Asia and Australia.

Andrew has performed with chamber ensembles around the world, including the Chilingirian, Lindsay, Endellion, Moscow,

10 Artist Biographies 12 & 13 October 2019 oboe Olivier Stankiewicz 2019/20

n 2015 Olivier won First Prize at the Young Concert Artists auditions in CHAM Leipzig and New York. The same year Delve into imaginative themes and connections he was appointed Principal Oboe of the LSO. and see the skill of the world’s best musicians up close in our BBC Radio 3 Lunchtime Concerts Solo highlights have included performances of Berio’s Chemins IV with the Orchestre BER National du Capitole Toulouse, Bernd Alois Zimmermann’s Concerto with the French National Orchestra, Benjamin Attahir’s Concerto Nur in Suntory Hall with the Tokyo Sinfonietta and Mozart with the LSO. MUSIC He has given debut recitals at Merkin BEETHOVEN & TIPPETT Concert Hall, Morgan Library NY, the Isabella Gardner Museum in Boston and Festspiele Friday 25 October 1pm Friday 8 November 1pm Mecklenburg-Vorpommern. LSO St Luke’s LSO St Luke’s

Engagements this season include recitals Tippett Sonata for Four Horns Beethoven in F major at Wigmore Hall, Snape Maltings and the Beethoven Septet Op 20 Tippett String Quartet No 2 Louvre in Paris. He appears as soloist with the Orchestre de Lille and takes part in the LSO Ensembles Heath Quartet Aix-en-Provence Easter Festival. Friday 1 November 1pm Recorded for future broadcast by BBC Radio 3 Born in Nice, Olivier studied at the CNSM LSO St Luke’s in Paris. His awards include First Prize at the 2012 International Oboe Competition in Tippett Piano Sonata No 1 Japan, and in 2013 he was named classical Tippett Piano Sonata No 2 revelation by ADAMI. He was selected by Beethoven Piano Sonata No 28 YCAT in 2016. • in A major Op 101 Find out more and book tickets lso.co.uk/lunchtimeconcerts Peter Donohoe piano 020 7638 8891

Artist Biographies 11 Juliana Koch oboe Chris Richards clarinet

with the Symphonieorchester des Northern Sinfonia, English Symphony Bayerischen Rundfunks, the Münchener Orchestra and Birmingham Contemporary Kammerorchester, the Estonian National Music Group with conductors including Symphony Orchestra with Neeme Järvi and Robin Ticciati, James Gaffigan, Thomas the Osnabrücker Symphonieorchester. Zehetmair, HK Gruber and Nicholas McGegan. He has also broadcast as a Juliana is an active chamber musician soloist several times on BBC Radio 3 and in and has performed at many prestigious December 2018 he performed and recorded festivals around the world, including Musica Bernstein’s Prelude, Fugue and Riffs and Viva’s Huntington Estate Music Festival in Stravinsky’s Ebony Concerto with the LSO Australia, Lucerne Festival, Bachfest Leipzig and Sir Simon Rattle. and Paavo Järvi’s Pärnu Music Festival. She has appeared in recital performances at the A regular performer of chamber music, Chris Bamberg Konzerthalle, NDR Hannover and has played at Carnegie Hall, Wigmore Hall, Deutschlandfunk Köln. LSO St Luke’s, The Sage Gateshead and Aldeburgh Festival with artists such as the Juliana has appeared as guest Principal Elias Quartet, Navarra Quartet, Aronowitz Oboe with orchestras including the Ensemble, LSO Chamber Ensemble, uliana Koch is Principal Oboe of Symphonieorchester des Bayerischen hris Richards studied at the Ensemble 360, Thomas Adès, Pascal Rogé the LSO and Professor at the Rundfunks, the Philadelphia Orchestra, Guildhall School of Music & Drama, and Howard Shelley and in 2008 he gave . She is the Chamber Orchestra of Europe and the where he reached the finals of the the premiere of Richard Rodney Bennett’s a laureate of the 2017 ARD International Los Angeles Philharmonic Orchestra. 2001 Shell/LSO Competition, performing Troubadour Music for clarinet and piano at Music Competition in Munich, where she as a soloist with the London Symphony Wigmore Hall. He is also a regular member was ranked highest among the prizewinners Juliana has studied with François Leleux, Orchestra. After his studies he was appointed of the John Wilson Orchestra and a Professor and also took the Audience Prize and the Fabian Menzel and Jacques Tys. She has Principal Clarinet with the Northern Sinfonia at the . • Osnabrücker Prize. also studied Baroque Oboe with Saskia at the Sage Gateshead and in 2010 became Fikentscher. Juliana first played as Principal Principal Clarinet with the LSO. He has also For her debut at the Berlin Philharmonie in Oboe with the Royal Danish Orchestra and performed as a guest Principal with most of 2019, Juliana performed the Strauss Oboe with Filarmonica della Scala in Milan. She the UK’s leading orchestras. Concerto together with the Deutsches plays a Marigaux M2 Oboe. • Symphonie-Orchester Berlin. Other Chris has appeared as a soloist with the LSO, solo engagements include appearances City of Birmingham Symphony Orchestra,

12 Artist Biographies 12 & 13 October 2019 Rachel Gough bassoon

Klaus Thunemann. During this time she MICHAEL was Principal Bassoon of the European Community Youth Orchestra and won the TILSON Gold Medal at the Royal Overseas League. THOMAS Rachel has appeared as a soloist with 50TH ANNIVERSARY Sir , Valery Gergiev, Bernard Haitink, Sir , Gianandrea Noseda and . Sunday 10 November 7pm Thursday 14 November 7.30pm Several solo works have been written for Barbican Barbican her, including the London Concerto by Huw Watkins, commissioned as part of the LSO's Berlioz Romeo and Juliet Michael Tilson Thomas Agnegram centenary celebrations. She has been a jury Tchaikovsky Violin Concerto member on the Donatella Flick Conducting Michael Tilson Thomas conductor Prokofiev Symphony No 5 Competition and the ARD International Alice Coote mezzo-soprano Music Competition in Munich. She is a Nicholas Phan tenor Michael Tilson Thomas conductor Fellow of the Royal Academy of Music. • Nicolas Courjal bass Nicola Benedetti violin London Symphony Chorus achel Gough has been Principal Simon Halsey chorus director 6pm Barbican Bassoon of the LSO since 1999. LSO Platforms: Guildhall Artists For eight years prior to joining Supported by LSO Patrons Free pre-concert recital the LSO she was Co-Principal with the BBC Symphony Orchestra and a Professor Wednesday 13 November 6.30pm Generously supported by The Atkin Foundation at the Royal Academy of Music. Barbican

As a student she read Anthropology Prokofiev Symphony No 5 and Music at King’s College, Cambridge, before gaining Countess of Munster, Michael Tilson Thomas Martin Musical, Ian Fleming and German conductor & presenter government scholarships for postgraduate study at the Royal Academy of Music and lso.co.uk/MTT50th the Hannover Hochschule für Musik with

Artist Biographies 13 On Mozart with Juliana Koch / interview by Lydia Heald

The 2019/20 season offers plenty of chances to hear the world-class talent of LSO musicians as soloists and in chamber ensembles. We spoke to Principal Oboe Juliana Koch, one of the soloists performing the Sinfonia Concertante, to find out more about the enduring appeal of Mozart’s music.

What do you think makes Mozart’s music What can you tell us about Mozart’s What is it like working with Jaime Martín? so popular, even now? Sinfonia Concertante? I have actually known Jaime for a few years What makes Mozart’s music so genuine and Mozart’s Sinfonia Concertante has quite a now and played for him a couple of times timeless is probably one of the big mysteries mysterious past, as we are not really sure if before joining the LSO. of humankind. How can one person produce he wrote all of it himself. He seems to have music that touches so many people, even originally written for a different group of He has a really fantastic energy in front of centuries after his death? soloists (flute, oboe, horn, bassoon) instead the orchestra and brings a very positive and of the one used nowadays (oboe, clarinet, joyful atmosphere. When he conducted Interestingly enough, many musicians would horn, bassoon), but the original manuscript music by De Falla last year, he brought out say his music is amongst the most difficult is lost. There is a lot of debate going on; all the different shades of the music, the to interpret – because of its simplicity one how much exactly of the Concertante played fiery bits as much as the more dark ones. can hear absolutely everything and all the today is actually written by Mozart? phrases request a perfectly organic shape to As Jaime is a flautist himself, he has a let the inherent beauty come through. The second movement especially is great understanding of breath and natural absolutely stunning and of the highest phrasing – the perfect match for this concert quality. Mozart wrote so much fantastic made up entirely of wind concertos! music for woodwinds and these four solo parts seem to be of the same level. To me at least, it feels as if we get a glimpse of Mozart’s ideas.

14 In Conversation 12 & 13 October 2019 Featuring Francesco Tristano (piano) | Mayah Kadish (violin) | Jonathan Roozeman () & Lauri Porra (bass guitar) | The Marian Consort & Monterverdi String Band | Hille & Marthe Perl (electric viols) | Susanna | Stile Antico, Woven Gold & Rihab Azar | Singing Workshop with Stile Antico

10 to 12 January 2020 | LSO St Luke’s & Saint James Clerkenwell baroqueattheedge.co.uk London Symphony Orchestra on stage tonight

Leader LSO String Experience Scheme Roman Simovic Rebecca Jones Adam Walker Since 1992, the LSO String Experience Gillianne Haddow Patricia Moynihan Scheme has enabled young string players First German Clavijo from the London music conservatoires at Ginette Decuyper Heather Wallington the start of their professional careers to gain Gerald Gregory Felicity Matthews Rosie Jenkins work experience by playing in rehearsals Maxine Kwok-Adams Rachel Robson Maxwell Spiers and concerts with the LSO. The musicians William Melvin are treated as professional ‘extra’ players Elizabeth Pigram (additional to LSO members) and receive fees Lyrit Milgram Rebecca Gilliver Daniel Jemison for their work in line with LSO section players. Mariam Nahapetyan Alastair Blayden Dominic Morgan Jennifer Brown The Scheme is supported by: Second Violins Daniel Gardner Horns The Polonsky Foundation Saskia Otto Laure Le Dantec Alexander Edmundson Derek Hill Foundation Sarah Quinn Angela Barnes Barbara Whatmore Charitable Trust Matthew Gardner Double Basses Thistle Trust Naoko Keatley Colin Paris Angus Allnatt Charitable Foundation Csilla Pogany Patrick Laurence Belinda McFarlane José Moreira Patrycja Mynarska Editorial Photography Hazel Mulligan Ranald Mackechnie, Chris Wahlberg, Harald Hoffmann, Marco Borggreve, Marianne Rosenstiehl, Chris Dunlop, Benjamin Ealovega, Kaupo Kikkas, Neda Navaee, Art Streiber Print Cantate 020 3651 1690 Advertising Cabbells Ltd 020 3603 7937

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

16 The Orchestra 12 & 13 October 2019