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Home , Absolute Jest, Chamber Symphony (Adams), City Noir, Hallelujah Junction, Leila Josefowicz, Shaker Loops

London Symphony Living Music

Thursday 29 October 2015 7.30pm Barbican Hall

JOHN ADAMS UK PREMIERE

Ravel Pavane pour une infante défunte London’s Symphony Orchestra Ravel – Ballet INTERVAL Scheherazade.2 (UK premiere)

John Adams conductor Leila Josefowicz

Concert finishes approx 9.45pm 2 Welcome 29 October 2015

Welcome Living Music Kathryn McDowell In Brief

Welcome to this evening’s LSO concert. We are SCRIABIN SYMPHONIES 3 & 4 ON LSO LIVE delighted to be joined by the prolific and conductor John Adams. The Orchestra has worked Valery Gergiev’s final recording on LSO Live as with Adams on many projects in recent years, from Principal Conductor will be released on 30 October, concerts at home and abroad to LSO Discovery a pairing of Scriabin’s Third and Fourth Symphonies activities at our education centre LSO St Luke’s. It is recorded live at the Barbican in 2014. To celebrate always a particular pleasure to collaborate with him the release, you can get a 20% discount on all of on the realisation of his own works, tonight in the Gergiev’s releases on the label when you order UK premiere of his new ‘dramatic symphony’ for through the LSO Live website. violin and orchestra, Scheherazade.2, which re- imagines the famous character from 1,001 Nights. lsolive.lso.co.uk

Scheherazade.2 was written specifically for violinist Leila Josefowicz, who has performed the work in BRING YOUR FAMILY THIS AUTUMN both the US and the Netherlands, and who joins us tonight. She has long been a champion of John This evening a group of families took part in Adams’ music, as LSO regulars will remember from Reveal Ravel, a fun creative workshop before the their performance of his earlier work for violin and concert which invited participants to make their own orchestra, , in 2010. music with the help of LSO musicians and composer Michael Betteridge. Welcome to the families who Special thanks tonight to the City of London now join us in the audience! There are plenty more Corporation for its continued support of the LSO’s events for families in the autumn, including an Alice season in the Barbican Centre. in Wonderland-themed Family Concert on Sunday 8 November. Visit our website for more information. I hope that you enjoy tonight’s concert and can join us again soon. The LSO returns this weekend lso.co.uk/families for Sound Unbound, a festival held at the Barbican, LSO St Luke’s and Milton Court exploring classical music through a variety of short concerts and A WARM WELCOME TO TONIGHT’S GROUPS events. We are grateful to Bowers & Wilkins for supporting our appearance at this festival. The LSO offers great benefits for groups of 10+ including 20% discount on standard tickets. At tonight’s concert, we are delighted to welcome: Enfield U3A Redbridge and District U3A London Business School – Sberbank Corporate Kathryn McDowell CBE DL University Executive Development Programme Managing Director lso.co.uk/groups lso.co.uk Programme Notes 3

Maurice Ravel (1875–1937) Pavane pour une infante défunte (1899, orch 1910)

Written in 1899 when the composer was still studying at The title does not refer to any particular princess or the Paris Conservatoire with Fauré, Ravel’s Pavane pour historical occasion but is a Symbolist fantasy whose sonorous words evoke antique, courtly ceremony, une infante défunte (Pavane for a Deceased Princess) is idealised youth and loss. However, at one unguarded one of his earliest works never to have left the repertoire. moment Ravel did allow himself to suggest that it was ‘an evocation of a pavane that a little princess PROGRAMME NOTE WRITER It was conceived for solo and first performed might, in former times, have danced at the Spanish JEREMY THURLOW is a composer; by his close friend Ricardo Viñes in April 1902, and court’. Sentimentality is kept firmly in check; on his music ranges from chamber its grave simplicity of melody and accompaniment hearing the piece played to him by young pianist and orchestral music to video- stands in stark contrast to the shimmering, intricate Charles Oulmont, he remarked ‘dear boy, remember and won the George ‘impressionist’ textures that Ravel was beginning to another time that I wrote a Pavane for a dead Butterworth Award. Author of explore around this time. princess and not a dead Pavane for a princess.’ a book on Dutilleux, he broadcasts on BBC Radio 3 and is a Fellow ‘It is not a funeral lament for a dead Ravel’s orchestration dates from 1910 and was given of Robinson College, Cambridge. child, but rather an evocation of a its first performance in Manchester by Sir Henry Wood in February 1911. The small orchestra is treated pavane that a little princess might, with characteristic delicacy and imagination, with in former times, have danced at the principal horn an unusual but unforgettable choice for the opening melody. Interestingly, Ravel the Spanish court.’ asks for ‘2 cors simples’, suggesting natural horns Ravel on the idea behind the title without valves, again adding an unexpected tint Pavane pour une infante défunte of olden times.

A PAVANE is a courtly dance that The Pavane quickly became a hit, but Ravel soon MORE RAVEL THIS SEASON originated in 16th-century Italy. went off it, embarrassed by what he felt was the The steps are slow and processional, glaring influence of Chabrier, and by the work’s PIANO so it was often performed first at ‘threadbare formal design’. It’s true that the piece Thu 19 Nov 7.30pm, Barbican ceremonial balls to act as a platform alternates between its beautiful main theme and Written after a trip to the US and a powerful encounter for the ladies and gentlemen to show more flowing episodes in a slightly abrupt fashion, with 1920s jazz, Ravel’s Piano Concerto in G major is off their elegant dress to one another, without the refined transitions that Ravel certainly filled with the genre’s idioms and harmonies. before diving into the livelier galliard could have devised, but this seems to be all of a with Hélène Grimaud piano (another dance) which followed. piece with its austere, plain and deliberately old- Manfred Honeck conductor fashioned character. 4 Programme Notes 29 October 2015

Maurice Ravel Mother Goose – Ballet (1908–10, orch 1911)

1 PRELUDE frame of an over-arching main plot. The new music 2 DANCE WITH THE SPINNING-WHEEL added – the prelude, the spinning-wheel scene, and 3 SLEEPING BEAUTY’S PAVANE the interludes between all the remaining movements 4 CONVERSATIONS BETWEEN BEAUTY AND THE BEAST – is extraordinarily delicate and inventive in its 5 TOM THUMB sonorities and its evocative storytelling. Ravel loved 6 LAIDERONNETTE, EMPRESS OF THE PAGODAS being among children and no work shows better 7 THE FAIRY GARDEN than this how he could inhabit their wonder and mischief as an equal. PROGRAMME NOTE WRITER Between 1908 and 1910 Ravel wrote the five exquisite JEREMY THURLOW pieces of his suite for piano duet Ma Mère l’Oye PRELUDE AND DANCE (Mother Goose) for the two children of his good After an evocative prelude, Princess Florine skips friends the Godebskis. Towards the end of 1911 into an enchanted garden where an old woman sits CIPA AND IDA GODEBSKI, two he orchestrated the suite, and almost immediately at her spinning-wheel. Her carefree dance comes of Ravel’s closest friends, were a received a commission from the director of the to an abrupt stop when she stumbles and is pricked Polish couple living in Paris, where Théâtre des Arts to expand this orchestral version by the wheel’s sharp spindle. The old woman calls they regularly welcomed many of into a continuous ballet score. The music added for for help, various attendants try vainly to revive the the city’s artistic luminaries to their the ballet almost doubled the length of the original princess, then they remember the fairies’ curse and Sunday-evening salons. Ma mère suite and was written remarkably quickly for the prepare her for her hundred-year sleep. l’Oye was written for their two painstakingly perfectionist Ravel. The completed children, Mimi and Jean. In 1938, ballet was premiered on 29 January 1912. SLEEPING BEAUTY’S PAVANE Mimi recalled: ‘Ravel wanted us to During the grave and simple Pavane the princess give the first public performance … ‘There are few of my childhood falls asleep, and is gently laid in the old woman’s My brother, being less timid and memories in which Ravel does not chair. The old woman throws off her grubby cape more gifted on the piano, coped quite and reveals herself as the Good Fairy; she summons well. But despite lessons from Ravel find a place … There was a childish two boys to guard Florine and entertain her during I used to freeze to such an extent side to Ravel, and a warmth of her long slumber. They present to the sleeping that the idea had to be abandoned.’ princess a series of fairy tales, unfurling before feeling which remained almost each one a banner showing its title. invisible beneath his primness.’ BEAUTY AND THE BEAST Mimi Godebska, one of the dedicatees of To begin, ‘Beauty and the Beast’. Beauty is at first Ravel’s original piano work, writing in 1938 horrified by the Beast, but when she sees his sensitivity and suffering she softens, and offers her The original five fairy-tale pieces are separate hand when he falls to the ground – at which point he vignettes, so it required some ingenuity to join is released from his spell and transformed by a harp them in a satisfying narrative. Ravel devised his own glissando into a prince more handsome than Love scenario for the ballet, which ingeniously contrives himself. All this in an enchanting waltz, and for several miniature stories to be told within the contra taking the principal parts. lso.co.uk Programme Notes 5

London Symphony Orchestra

‘She undressed herself and went into the bath. LSO SECTIONS UP CLOSE The pagodes and pagodines began to sing and play on instruments. Some had made of walnut shells and others had made of almond shells – for they had to have instruments that were of their own small proportions.’

Ravel, in a preface to the final movement in the original piano version

RAVEL on LSO LIVE TOM THUMB Next, Tom Thumb, who tries to lead the woodcutter’s Ravel children out of the forest – but the trail of crumbs Daphnis et Chloé; he has left to show the way has been eaten by A series of concerts showcasing the virtuosity Pavane pour une the birds, whose chirrupping can be heard as Tom and musicianship of the LSO’s players infante défunte; wanders sadly to and fro. The final banner unfurls to Boléro a cadenza for harp and which presents some LSO PERCUSSION ENSEMBLE £7.19 of the most unearthly sounds in this score packed Fri 30 Oct 2015 6.30pm, LSO St Luke’s lsolive.lso.co.uk with marvels of sonority. A rush-hour concert focusing on the music of , featuring , , Valery Gergiev conductor LAIDERONNETTE AND THE FAIRY GARDEN drums, , tam-tam, piano, synth and more. The final tale is set in a tinkling Chinese neverland Generously supported by Bowers & Wilkins ‘Gergiev generates a frisson where Laideronnette, empress of the tiny ‘Pagodes’, in everything he conducts … meets a green serpent and they dance. After that, LSO BRASS ENSEMBLE This Daphnis with the London the boys dissolve the scene and Florine sleeps alone, Thu 26 Nov 7.30pm, Barbican Symphony Orchestra has everything until, to the hushed and tender music of the final The heroes of the LSO brass section take centre one could want – atmosphere, ‘Fairy Garden’, Prince Charming steals in and sees stage in an evening of fanfares, original works languor, superb wind playing.’ the princess, who wakes as dawn breaks. As the and arrangements for ten-piece brass. Financial Times orchestra reaches a final blaze of innocent joy, the Good Fairy blesses the couple. LSO STRING ENSEMBLE Wed 3 Feb 7.30pm, Barbican INTERVAL – 20 minutes The string players of the LSO, led by director and There are bars on all levels of the Concert Hall; ice cream LSO Leader Roman Simovic, perform music by can be bought at the stands on Stalls and Circle level. some of this country’s finest – Elgar, Vaughan Williams and Britten Why not tweet us your thoughts on the first half of the performance @londonsymphony, or come and talk to 020 7638 8891 LSO staff at the Information Point on the Circle level? lso.co.uk 6 Programme Notes 29 October 2015

Maurice Ravel Composer Profile

Although born in the rural Basque village of Ciboure, Ravel was raised in Paris. First-rate piano lessons

and instruction in harmony and counterpoint London Symphony Orchestra ensured that the boy was accepted as a preparatory piano student at the Paris Conservatoire in 1889. As a full-time student, Ravel explored a wide variety of new music and forged a close friendship with the Spanish pianist Ricardo Viñes. Both men were introduced in 1893 to Chabrier, who Ravel regarded as ‘the most profoundly personal, the most French of our composers’. Ravel also met and was influenced by Erik Satie around this time.

In the decade following his graduation in 1895, Ravel scored a notable hit with the Pavane pour une infante défunte for piano (later orchestrated). Even COMPOSER PROFILE BY so, his works were rejected several times by the BBC RADIO 3 LUNCHTIME CONCERTS AT LSO ST LUKE’S ANDREW STEWART backward-looking judges of the Prix de Rome for not satisfying the demands of academic counterpoint. In the early years of the 20th century he completed , LISZT & BARTÓK many outstanding works, including the evocative Thu 5 Nov 2015 1pm Thu 26 Nov 2015 1pm Miroirs for piano and his first opera, L’heure espagnole. In 1909 Ravel was invited to write a Chopin Liszt * large-scale work for Serge Diaghilev’s Ballets Russes, Ballade No 1 in G minor; Vallée d’Obermann; completing the score to Daphnis et Chloé three Fantaisie in F minor Gnomenreigen years later. At this time he also met Stravinsky and Bartók Suite Op 14 Chopin † first heard the works of . Liszt Après une lecture Three Op 9; de Dante Two Nocturnes Op 27 From 1932 until his death, he suffered from the Bartók *† Piano duet progressive effects of Pick’s Disease and was unable to compose. His emotional expression is most Ashley Wass piano Maria João Pires †, powerful in his imaginative interpretations of the Ashot Khachatourian * piano unaffected worlds of childhood and animals, and in exotic tales such as the Greek lovers Daphnis et Chloé. Spain also influenced the composer’s creative Tickets £12 (£10 concessions) plus booking fee personality, his mother’s Basque inheritance strongly reflected in a wide variety of works, together with his 020 7638 8891 liking for the formal elegance of 18th-century French lso.co.uk/lunchtimeconcerts art and music. Music to inspire the intrepid with the London Symphony Orchestra

Thu 19 Nov A whole new world Ravel and Dvorˇák’s musical postcards from America

Sun 6 Dec Majestic Bruckner A symphony of hunting calls and forest sounds

Wed 16 Dec (Un)finished Symphony 120 years in the making – Bruckner’s final masterpiece lso.co.uk/findmeaconcert 8 Programme Notes 29 October 2015

John Adams (b 1947) Scheherazade.2 (UK premiere) (2014)

1 TALE OF THE WISE YOUNG WOMAN – So I was suddenly struck by the idea of a ‘dramatic PURSUIT BY THE TRUE BELIEVERS symphony’ in which the principal character role 2 A LONG DESIRE (LOVE SCENE) is taken by the solo violin – and she would be 3 SCHEHERAZADE AND THE MEN WITH BEARDS Scheherazade. While not having an actual story line 4 ESCAPE, FLIGHT, SANCTUARY or plot, the symphony follows a set of provocative images: a beautiful young woman with grit and LEILA JOSEFOWICZ VIOLIN personal power; a pursuit by ‘true believers’; a love scene (who knows … perhaps her lover is also a PROGRAMME NOTE WRITER The impetus for this piece was an exhibition at the woman?); a scene in which she is tried by a court JOHN ADAMS Institut du Monde Arabe in Paris detailing the history of religious zealots (‘Scheherazade and the Men of the Arabian Nights and of Scheherazade, and how with Beards’), during which the men argue doctrine this story has evolved over the centuries. The casual among themselves and rage and shout at her only brutality toward women that lies at the base of many to have her calmly respond to their accusations; of these tales prodded me to think about the many and a final ‘escape, flight and sanctuary’, which images of women oppressed or abused or violated must be the archetypal dream of any woman that we see today in the news on a daily basis. In the importuned by a man or men. The story of SCHEHERAZADE old tale Scheherazade is the lucky one who, through appears in Arabian Nights or her endless inventiveness, is able to save her life. But ‘She loves, she struggles, she fights, One Thousand and One Nights, there is not much to celebrate here when one thinks she embraces, she gets above the collections of tales that, in the story, that she is spared simply because of her cleverness Scheherazade used to captivate her and ability to keep on entertaining her warped, fray … she gets in the thick of it.’ husband the king, prolonging her life murderous husband. Leila Josefowicz for 1,001 nights. The character has inspired countless artists and writers, Thinking about what a Scheherazade in our own time I composed the piece specifically for Leila Josefowicz including the composer Rimsky- might be brought to mind some famous examples who has been my friend and a champion of my Korsakov in his famous 1888 tone of women under threat for their lives, for example music (and many other composers) for nearly 15 poem bearing her name. the ‘woman in the blue bra’ in Tahrir Square, dragged years. Together we’ve performed my through the streets, severely beaten, humiliated and and my concerto for amplified violin, The Dharma at physically exposed by enraged, violent men. Or the Big Sur, many times. This work is a true collaboration young Iranian student, Neda Agha-Soltan, who was and reflects a creative dialogue that went back shot to death while attending a peaceful protest and forth for well over a year and that I expect will in Tehran. Or women routinely attacked and even continue long after the first performance. I find Leila executed by religious fanatics in any number of a perfect embodiment of that kind of empowered countries – India, Pakistan, Afghanistan, wherever. strength and energy that a modern Scheherazade The modern images that come to mind certainly aren’t would possess. exclusive to the Middle East – we see examples, if not quite so graphic nonetheless profoundly disturbing, from everywhere in the world including in my own country and even on its university campuses. lso.co.uk Artist Biographies 9

John Adams ‘If American music has a living epitome, Conductor it is John Adams.’ The Sunday Times

Composer, conductor, and creative thinker – Centre, which strives to present classical music in John Adams occupies a unique position in the world a non-traditional context. Continuing his role as of music. His works stand out among contemporary Creative Chair with the , he classical compositions for their depth of expression, conducts concerts in each of the orchestra’s Green brilliance of sound, and the profoundly humanist Umbrella and subscription series. nature of their themes. Works spanning more than three decades are among the most performed Last season, Adams made his debut with the of all contemporary classical music, including Vienna Symphony Orchestra and returned to the , , the Violin Concerto, San Francisco, Atlanta and Cincinnati Symphony , Symphony and . He has also previously conducted the Short Ride in a Fast Machine. Cleveland Orchestra, the Spanish National Orchestra and the Chicago, Pittsburgh, Houston, Toronto and His stage works, all in collaboration with director BBC Symphony orchestras, among others. Peter Sellars, include , , El Niño, and most recently The Gospel Born and raised in New England, Adams learned According to the Other Mary, with the English the clarinet from his father and played in marching Creative Chair National Opera presenting the world stage premiere bands and community orchestras during his Los Angeles Philharmonic Orchestra of this work in November 2014. In the same year, formative years. He began composing at the age of the presented The Death of ten and his first orchestral pieces were performed Klinghoffer, directed by Tom Morris. while just a teenager.

Adams’ latest work, Scheherazade.2, a dramatic Adams has received honorary doctorates from Yale, symphony for violin and orchestra written for Harvard, Northwestern, Cambridge and the Juilliard Leila Josefowicz, was premiered by the New York School. A provocative writer, he is author of the HEAR JOHN ADAMS AGAIN THIS Philharmonic under Alan Gilbert. Among the recent highly acclaimed autobiography WEEKEND AT SOUND UNBOUND recordings are with the San Francisco and is a frequent contributor to the New York Times Symphony, conducted by , Book Review. Sun 1 Nov 6pm & 8pm and the Grammy-winning and Concerto with the St Louis Symphony under David John Adams will conduct two Robertson. John Adams is currently working on a concerts with the London Symphony new opera based on the California Gold Rush. Orchestra as part of the Barbican’s Classical Weekender Sound Unbound, As conductor, Adams leads the world’s major including his landmark orchestral orchestras in programmes that combine his own work Harmonielehre. works with repertoire ranging from Beethoven and Mozart to Ives, Carter, Zappa, Glass and Ellington. Find out more and buy tickets at: This season he returns to the Seattle and Baltimore barbican.org.uk/soundunbound symphony orchestras and is a key contributor to the Sound Unbound festival here at the Barbican 10 Artist Biographies 29 October 2015

Leila Josefowicz Violin

Leila Josefowicz’s passionate advocacy of Recent highlights include performances with contemporary music for the violin is reflected in her the Chicago Symphony, Cincinnati Symphony, diverse programmes and enthusiasm for performing Baltimore Symphony and Melbourne Symphony new works. She frequently collaborates with leading orchestras, Ottawa’s National Arts Centre Orchestra, composers, and works with orchestras and conductors the Orchestre Philharmonique de Radio France, at the highest level around the world. In 2008 she was the Cologne Gürzenich, Zurich Tonhalle, La Scala awarded a prestigious MacArthur Fellowship, joining Philharmonic and Lucerne Symphony orchestras. prominent scientists, writers and musicians who have made unique contributions to contemporary life. Josefowicz has released several recordings, notably for Deutsche Grammophon, Philips/Universal and Highlights of Josefowicz’s 2015/16 season include Warner Classics, and was featured on Touch Press’ engagements with the Royal Concertgebouw, Tokyo acclaimed iPad app, The Orchestra. Her latest Metropolitan Symphony and Sydney Symphony recording, Esa-Pekka Salonen’s Violin Concerto with orchestras, the National Orchestra of Spain and the Finnish Radio Symphony Orchestra conducted the Finnish Radio Symphony Orchestra, including by the composer, was nominated for a Grammy on tour to Vienna, Salzburg and Innsbruck. In North Award in 2014. America, Josefowicz performs with the Cleveland and Toronto Symphony orchestras, the Los Angeles Philharmonic, Seattle Symphony, St Louis Symphony, and Washington DC’s National Symphony orchestras. Josefowicz also appears in recital at New York’s Zankel Hall as well as in Berkeley and Denver.

Violin have been written especially for Leila Josefowicz by composers including John Adams, Esa-Pekka Salonen, and Steven Mackey. Scheherazade.2 was given its world premiere by Josefowicz in March 2015 with the New York Philharmonic conducted by Alan Gilbert. Luca Francesconi’s concerto Duende – The Dark Notes, also written for Josefowicz, was given its world premiere by her in 2014 with the Swedish Radio Symphony Orchestra and Susanna Mälkki, before being performed by Josefowicz, Mälkki and the BBC Symphony Orchestra at the BBC Proms in July 2015. lso.co.uk The Orchestra 11

London Symphony Orchestra Your views On stage Inbox

FIRST VIOLAS Roman Simovic Leader Heather Atkins Gareth Davies Nicholas Betts Julia Besnard Beautiful Final Concert for Valery Gergiev Carmine Lauri Malcolm Johnston Alex Jakeman Gerald Ruddock @londonsymphony. London is going to miss you … Lennox Mackenzie German Clavijo on the LSO with Valery Gergiev on 18 October 2015 Clare Duckworth Lander Echevarria PICCOLO Nigel Broadbent Anna Bastow Sharon Williams Dudley Bright Gerald Gregory Robert Turner James Maynard James Humphries What a night @londonsymphony Jörg Hammann Heather Wallington OBOES Maxine Kwok-Adams Jonathan Welch Olivier Stankiewicz BASS That Bartók was edgy in the fast tempo and sublime in Elizabeth Pigram Caroline O’Neill Rosie Staniforth Paul Milner the slow. Heard stuff not heard before. Ian Rhodes Richard Holttum on the LSO with Valery Gergiev on 18 October 2015 Sylvain Vasseur Elizabeth Butler Rhys Watkins Francis Kefford Thomas Davey Antoine Bedewi David Worswick Cat Jackson What a beautiful and inspiring Michael Foyle PERCUSSION @londonsymphony concert for Gergiev to finish on. Helena Smart Rebecca Gilliver Chris Richards Neil Percy Eleanor Fagg Alastair Blayden Chi-Yu Mo Tom Edwards I loved every note! Jennifer Brown Tom Lee on the LSO with Valery Gergiev on 18 October 2015 SECOND VIOLINS Noel Bradshaw Oliver Yates David Alberman Daniel Gardner Lorenzo Iosco Thomas Norris Hilary Jones HARPS Heather Young Very much enjoying the @londonsymphony Sarah Quinn Miwa Rosso Bryn Lewis playing Bartók and Stravinsky this evening. A rousing end to Miya Väisänen Peteris Sokolovskis Rachel Gough Celine Saout David Ballesteros Orlando Jopling Joost Bosdijk the weekend! #music Iwona Muszynska Penny Driver CELESTE on the LSO with Valery Gergiev on 18 October 2015 Andrew Pollock CONTRA BASSOON John Alley Paul Robson DOUBLE BASSES Dominic Morgan Laurent Quenelle Edicson Ruiz CIMBALOM Hazel Mulligan Colin Paris HORNS Christopher Bradley Samantha Patrick Laurence Vittorio Schiavone Wickramasinghe Matthew Gibson Angela Barnes Sophie Rosa Thomas Goodman Paul Gardham Stephen Rowlinson Joe Melvin Jonathan Lipton Jani Pensola Stephen Craigen Simo Väisänen

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 Lefever Award Silk Street [email protected] work experience by playing in rehearsals The Polonsky Foundation London and concerts with the LSO. The scheme EC2Y 8DS Photography auditions students from the London music 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. London Symphony Orchestra Season 2015/16

LSO FUTURES THOMAS ADÈS The LSO’s biennial festival of contemporary music Spirit of Today: Composer Focus

9–13 Mar 2016, Barbican & LSO St Luke’s Wed 9 Mar 2016, Barbican Wed 16 Mar 2016, Barbican Featuring Adès, Berio, Ligeti and Schoenberg, Thomas Adès Polaris Thomas Adès Asyla plus new works from LSO Soundhub & Panufnik Scheme composers Brahms Violin Concerto Sibelius Violin Concerto Darren Bloom and Elizabeth Ogonek Thomas Adès Brahms Franck Symphony in D minor Thomas Adès Tevot The London Symphony Orchestra gratefully acknowledges support from PRS for Music Foundation, Britten-Pears Foundation and The Helen Hamlyn Trust Thomas Adès conductor Thomas Adès conductor Anne-Sophie Mutter violin Christian Tetzlaff violin

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