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Michael Tilson Thomas: 50Th Anniversary with the Lso MICHAEL TILSON THOMAS: 50TH ANNIVERSARY WITH THE LSO Sunday 10 November 2019 7–8.55pm Barbican Berlioz Romeo and Juliet Michael Tilson Thomas conductor Alice Coote mezzo-soprano Nicholas Phan tenor Nicolas Courjal bass Guildhall Singers London Symphony Chorus TILSON Simon Halsey chorus director Supported by LSO Patrons Recorded for broadcast on BBC Radio 3 Thursday 14 November 2019 7.30–9.40pm Barbican THOMAS Michael Tilson Thomas Agnegram Tchaikovsky Violin Concerto Interval Prokofiev Symphony No 5 Michael Tilson Thomas conductor Nicola Benedetti violin Supported by The Atkin Foundation Welcome On Our Blog Coming Up superb line-up of soloists and the London ELGAR’S CELLO CONCERTO: Saturday 16 November 7.30pm Symphony Chorus, with whom Michael 100-YEAR ANNIVERSARY Milton Court Concert Hall Tilson Thomas has had a long relationship. It is entirely fitting that this anniversary On 27 October 1919, the LSO performed the MICHAEL TILSON THOMAS concert is supported by LSO Patrons, and we world premiere of Elgar’s Cello Concerto. It EXPLORES STRAVINSKY are delighted so many long-standing friends received a lukewarm reception at its first are in the audience. Thanks also to our performance, but today it is a beloved work. Orchestral Artistry Workshop-Performance: media partner BBC Radio 3, who will record this performance for future broadcast. Marking the centenary, the LSO has made Stravinsky Symphonies of Wind Instruments a new recording to be released on Decca Stravinsky Symphony in Three Movements Thursday night’s concert opens with Classics in January 2020, with Sir Simon elcome to this week’s LSO Agnegram, a tribute written for the San Rattle and cellist Sheku Kanneh-Mason. Michael Tilson Thomas conductor concerts at the Barbican. This is Francisco Symphony’s patron Agnes Read more on our blog. Guildhall School Musicians a very special occasion, marking Albert on her 90th birthday, followed by LSO Musicians 50 years since Michael Tilson Thomas first Tchaikovsky’s Violin Concerto performed by • lso.co.uk/blog conducted the Orchestra. He made his debut Nicola Benedetti, who we are delighted to Thursday 28 November 7.30pm in 1970 and became Principal Conductor work with again. Prokofiev’s Fifth Symphony Barbican from 1988–1995. Over the years, there have completes the concert, which is generously WELCOME TO OUR GROUP BOOKERS been many extraordinary artistic projects supported by Edward and Celia Atkin. TCHAIKOVSKY FIFTH SYMPHONY and tours. Affectionately known as MTT, he We are delighted to welcome groups from: has been incredibly loyal and committed to I hope that you enjoy these performances The British Emunah, Gerrards Cross Rimsky-Korsakov The Legend of the the LSO, always interested in the individual and that you will join us again soon. Community Association, Malvern College, Invisible City of Kitezh – Suite musicians and supportive of the Orchestra’s In December the LSO explores Baroque Mill Hill School, Music in Secondary Schools Bruch Violin Concerto No 1 Friends and Patrons. Today he is the LSO’s music at Milton Court Concert Hall, Trust, Adele Friedland and Friends, and Tchaikovsky Symphony No 5 Conductor Laureate and his annual projects with Emmanuelle Haïm conducting a Linda Diggins and Friends. with the LSO are a highlight of every season. programme of Purcell, Rameau and Handel. Gianandrea Noseda conductor Janine Jansen violin In these two programmes, Michael Tilson Thomas shares his musical passions with Recommended by Classic FM the Orchestra and our audiences. On Sunday he conducts Berlioz’s spectacular Romeo Kathryn McDowell CBE DL and Juliet, when the LSO is joined by a Managing Director 2 Welcome 10 & 14 November 2019 The Concerts in Brief Sunday 10 November 2019 erlioz’s Romeo and Juliet is a PROGRAMME NOTE AUTHORS LSO SEASON CONCERT choral symphony on an epic scale ROMEO AND JULIET and the composer’s response to David Cairns is author of Berlioz (2010), Shakespeare given a musical form. It’s one the most detailed biography of the Berlioz Romeo and Juliet of Berlioz’s three symphonies (the other two composer in existence. He helped to produce are the Symphonie fantastique and Harold in important Berlioz recordings and has Part I Italy), each of which is based on ideas from variously written for The Musical Times, Part II outside the world of symphonic music. The Sunday Times and the New Statesman. Part III In Romeo and Juliet, Berlioz brings together Andrew Huth is a musician, writer and Michael Tilson Thomas conductor theatrical writing for orchestra with translator who writes extensively on French, Alice Coote mezzo-soprano Beethoven’s concise symphonic style, adding Russian and Eastern European music. Nicholas Phan tenor soloists and a chorus portraying the principal Nicolas Courjal bass characters, omniscient narrator and feuding David Nice writes, lectures and broadcasts Guildhall Singers families of Shakespeare’s play. on music, notably for BBC Radio 3 and BBC London Symphony Chorus Music Magazine. His books include short Simon Halsey chorus director Thursday night’s concert opens with Michael studies of Strauss, Elgar, Tchaikovsky and Tilson Thomas’ Agnegram, a piece written as Stravinsky, and a Prokofiev biography, Supported by LSO Patrons a tribute to his friend Agnes Albert. Agnes’ From Russia to the West 1891–1935. Recorded for broadcast by BBC Radio 3 name is transformed into a musical theme on 19 November which plays out in a piece that is dance-like Andrew Stewart is a freelance music and cacophonous, leading to a noisy finish. journalist and writer. He is the author of The LSO at 90 and contributes to a variety Tchaikovsky’s characteristic Violin Concerto of specialist classical music publications. is rich in tunes for the soloist to shine through. It is followed by Prokofiev’s Fifth Symphony, premiered when Russia was locked in bloody combat with Germany. Rather than ruminating on the agonies of war, the piece is optimistic and a stirring Please ensure all phones are switched off. tribute to the strength of the human spirit. Photography and audio/video recording are not permitted during the performance. Tonight’s Concert 3 Hector Berlioz Romeo and Juliet 1839 / note by David Cairns PART I Michael Tilson Thomas conductor THE REVELATION OF BEETHOVEN The project occupied Berlioz for a long Introduction: Alice Coote mezzo-soprano time. In Italy, in 1831–32, he discussed with Fighting – Tumult – Nicholas Phan tenor Berlioz’s Romeo and Juliet comes out of Mendelssohn a possible orchestral scherzo Intervention of the Prince Nicolas Courjal bass Beethoven as much as from Shakespeare – on Queen Mab (a fairy that Mercutio refers Prologue – Strophes – Scherzetto Guildhall Singers after hearing Beethoven in symphony to in a famous speech), and – under the London Symphony Chorus concerts at the Paris Conservatoire in 1828, impact of Bellini’s 1830 opera The Capulets PART II Simon Halsey chorus director Berlioz recognised the symphony as a and the Montagues – he imagines an ideal Romeo alone: Artist biographies from page 16 dramatic medium every bit as vivid and scenario for a dramatic work: Distant music and dancing lofty as opera, and the symphony orchestra The Capulets’ feast lmost from the moment that as a vehicle of unimagined expressive ‘To begin, the dazzling ball at the Capulets, the 23-year-old Berlioz saw an power and subtlety, of infinite possibility. where amid a whirling cloud of beauties Love Scene: English company’s performance From then on, his aspirations turned young Montague first sets eyes on ‘sweet The Capulets’ garden, silent of Shakespeare’s Romeo and Juliet at the towards the dramatic concert work, Juliet’; then the furious battles in the streets and deserted Odéon Theatre in Paris in September 1827, culminating in Romeo and Juliet. of Verona, the ‘fiery Tybalt’, the spirit of rage Capulets leaving the banquet ideas for a musical response began to crowd and revenge; the indescribable night scene into his mind. But the article in an English For Berlioz, Beethoven’s variety of on Juliet’s balcony, the lovers’ voices ‘like The Queen Mab Scherzo newspaper which reported that Berlioz left compositional procedures and the clearly softest music to attending ears’ uttering the theatre exclaiming, ‘I shall write my distinct character of each work reinforced a love as pure and radiant as the smiling PART III grandest symphony on the play!’ could not the lessons of Shakespeare, of always moon; the dazzling Mercutio and his sharp- Juliet’s Funeral Procession have been more wrong. adapting form in response to the demands tongued, fantastical humour; the naïve old of the poetic material. Each of Berlioz’s cackling nurse; the stately hermit, striving Romeo at the Capulets’ Tomb: Writing a symphony of any kind was the last three symphonies has its own form and in vain to calm the storm of love and hate Invocation: Juliet awakens thing Berlioz would have been thinking of at adopts a different solution to the problem whose tumult has carried to his lowly cell; Delirious joy – Death of the two lovers that stage of his career. His musical education, of communicating dramatic content: in and then catastrophe, ecstasy and despair since coming to Paris from the provinces six Symphonie fantastique there is a written contending for mastery, passion’s sighs Finale: years before – a boy of 17 who had never heard programme; in Harold in Italy movement turned to choking death; and, at the last, the The crowd rushes to an orchestra – had been largely devoted to titles; in Romeo and Juliet choral recitative, solemn oath sworn by the warring houses, the cemetery – Brawl the operas and sacred music of the French setting out – as in Shakespeare’s ‘Two too late, on the bodies of their star-crossed Friar Lawrence’s recitative, aria classical school. The crucial discovery of houses, both alike in dignity’ – the action children, to abjure the hatred through which and oath of reconciliation Beethoven, and of the symphony as a major that follows.
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