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Home , Piano Concerto (Tippett), The Midsummer Marriage

Sunday 22 April 2018 7–9.25pm Barbican Hall

LSO SEASON CONCERT TIPPETT & MAHLER

Tippett The Rose Lake * Interval Mahler comp Cooke Symphony No 10

Sir Simon Rattle conductor

* Supported by Resonate, a PRS Foundation RATTLE initiative in partnership with the Association of British Orchestras, BBC Radio 3 and The Boltini Trust

Streamed live on YouTube and recorded for broadcast on Monday 23 April on BBC Radio 3

Welcome LSO News Online

It has been a long-term project for the THE LSO’S 2018/19 SEASON LIVE STREAMS LSO and Sir Simon Rattle to revive Tippett’s final masterpiece, and it is thanks to The LSO’s 2018/19 season is now on sale. Tonight’s concert will be broadcast live on Resonate, a PRS Foundation initiative in Highlights include Music Director Sir Simon the LSO’s YouTube channel, and will also be partnership with the Association of British Rattle’s exploration of folk-inspired music available to watch back in full for 90 days. Orchestras, BBC Radio 3 and The Boltini Trust, in his series Roots and Origins; the Visit youtube.com/lso for more. that this performance has been possible. continuation of Gianandrea Noseda’s Shostakovich cycle; Artist Portraits Our next live stream will take place on Today we hosted a Discovery Day focused on with and conductor Barbara Hannigan Sunday 24 June 2018 at 7pm, as the LSO’s Tippett at the Barbican and LSO St Luke’s, and pianist Daniil Trifonov; and seven world Principal Guest Conductor Gianandrea with an open rehearsal, chamber music and premieres across the season. Full listings Noseda conducts Shostakovich’s Symphony Welcome to tonight’s concert, as the LSO’s talks. A warm welcome to attendees who are available at lso.co.uk/201819season. No 10 and Violin Concerto No 1, with soloist Music Director Sir Simon Rattle guides join us in the audience this evening. Nicola Benedetti, live from the Barbican Hall. us through the final works of two great composers – Sir and Gustav As well as being recorded for future BMW CLASSICS IN TRAFALGAR SQUARE Mahler. This season we have explored the broadcast on BBC Radio 3, tonight’s WELCOME TO THE NEW MEMBERS late works that Mahler never heard in his performance is also being streamed live The LSO and Sir Simon Rattle will perform a OF THE VIOLA SECTION lifetime, from Das Lied von der Erde to the on the LSO’s YouTube channel, and will free open-air concert in Trafalgar Square on Ninth Symphony. We finally arrive at the be available to watch again for 90 days. Sunday 1 July, alongside 50 young musicians On Monday 16 April we welcomed two composer’s unfinished Tenth Symphony, from the LSO On Track programme and new Members to the LSO, Steve Doman and published posthumously in a ‘performing I hope that you enjoy tonight’s concert musicians from the Guildhall School. Carol Ella, both joining the Viola section. version’ by Deryck Cooke in the 1960s. and that you can join us again soon. Visit lso.co.uk/bmwclassics for details. Find out more on our blog. On 17 and 20 May the LSO’s Conductor Tonight’s performance of The Rose Lake Laureate Michael Tilson Thomas conducts is a very special occasion for the Orchestra. Sibelius and Beethoven’s Missa Solemnis. STOCKHAUSEN AT TATE MODERN The piece was originally commissioned by Read our news, watch videos and more the LSO to mark Tippett’s 90th birthday, On Saturday 30 June the LSO and • lso.co.uk/news and it is fitting that we will hear it exactly Sir Simon Rattle will bring Stockhausen’s • youtube.com/lso 25 years after it was completed, on 22 orchestral masterpiece Gruppen to • lso.co.uk/blog April 1993. The work was premiered at Tate Modern’s Turbine Hall. Tickets go the Barbican in February 1995, and was Kathryn McDowell CBE DL on sale at 10am on Monday 23 April. last conducted here with the LSO in 2005. Managing Director Visit lso.co.uk/tate for full details.

2 Welcome 22 April 2018 Tonight’s Concert / by Oliver Soden Coming Up

onight’s is a concert of last works ‘I think the minute you hear The Rose Lake Thursday 17 May 2018 7.30pm Sunday 3 June 2018 7pm and incomplete manuscripts. and you hear the finale of the Tenth you’ll Barbican Hall Barbican Hall Mahler, suffering from a defective know what I was after – both of them, heart valve, knew he might not live to they’re in some kind of transcendent region MTT & JANINE JANSEN PICTURES AT AN EXHIBITION complete his Tenth Symphony, and didn’t. that only comes to people near the end Tippett, beginning The Rose Lake at the of the journey. It’s as simple as that.’ Sibelius Violin Concerto Ravel Rhapsodie espagnole age of 86, knew he might not finish his Sibelius Symphonies Nos 6 & 7 Beethoven No 3 ‘song without words for orchestra’, but did. Mussorgsky arr Ravel PROGRAMME NOTE WRITERS Michael Tilson Thomas conductor Pictures at an Exhibition Mahler’s work, left unfinished and heard Janine Jansen violin tonight in Deryck Cooke’s performing Oliver Soden is a writer and broadcaster Gianandrea Noseda conductor version, was composed in the knowledge on music and the arts. His work includes Recommended by Classic FM Yefim Bronfman piano that his wife, Alma, had been unfaithful. an edition of John Barton’s ten-play epic Its score is annotated with anguish: ‘To live Tantalus; articles in publications such as Recommended by Classic FM for you! To die for you!’ the composer wrote Gramophone and The Guardian; and a number on the final page of the final movement. of appearances on BBC Radio. His biography Tippett, seeking with The Rose Lake to of Michael Tippett will be published by Sunday 20 May 2018 7pm capture in sound the effect of light playing Weidenfeld and Nicolson in 2019. Barbican Hall on the pink waters of an African lake, was Sunday 24 June 2018 7pm suffering from near blindness. At some parts Stephen Johnson is the author of Bruckner MISSA SOLEMNIS Barbican Hall of the manuscript his swollen handwriting Remembered. He contributes regularly to gives out altogether, and, depressed and BBC Music Magazine and The Guardian, Beethoven Missa Solemnis SHOSTAKOVICH exhausted, he was at the mercy of dictation and broadcasts for BBC Radio 3, BBC Radio 4 and amanuenses. The piece that resulted and the BBC World Service. Michael Tilson Thomas conductor Shostakovich Violin Concerto No 1 is one of joy and sunlight, with little or Camilla Tilling soprano Shostakovich Symphony No 10 no Mahlerian anguish, and a chirruping, Andrew Stewart is a freelance music Sasha Cooke mezzo-soprano cheeky coda that punctures the reverie. journalist and writer. He is the author Toby Spence Gianandrea Noseda conductor of The LSO at 90, and contributes to Luca Pisaroni - Nicola Benedetti violin Why programme the works together? a wide variety of specialist classical London Symphony Chorus ‘Wisdom. Colour.’ replies Simon Rattle. music publications. Simon Halsey chorus director Generously supported by Reignwood

Generously supported by The Atkin Foundation

Tonight's Concert 3 Michael Tippett The Rose Lake, a song without words for orchestra 1991–3 / note by Oliver Soden medium fast – Standing by Lake Retba, he began to imagine seem a remarkable, perhaps unprecedented, extensive battery of percussion, including The Lake begins to sing: slow – The Rose Lake. ‘A song without words for achievement. Physical difficulties had not two tam-tams, a and tubular bells. fast – orchestra’, it would be nothing so crude as hampered Tippett’s creative power, nor his The horn section is augmented to six The Lake Song is echoed from the sky: slow – a sonic depiction of the lake, but an attempt determination to explore new worlds with players. And most clear to an audience at a fast – medium slow – to capture in music the dappled interplay each passing piece. A 60-year career had live performance is the array of rototoms: The Lake is in full song: slow – between water and light and colour, and seen his music shift from verdant lyricism drums tuned to a specific pitch by rotating medium slow-medium fast – medium slow – to chart a progression from dawn to dusk. to fragmented violence and back again. the head. Invented in the late 60s, less The Lake Song leaves the sky: slow – cumbersome and with a lighter sound than fast – — , they were soon beloved of pop The Lake sings itself to sleep: medium slow – ‘I reached Lake Retba at midday, just in time to see it turn a marvellous groups such as Pink Floyd. Tippett had used medium fast rototoms before, in his large-scale setting transluscent pink. The sight of it triggered a profound disturbance in me: of Yeats’ Byzantium (1988–90), but they are n Senegal, north-west Africa, the sort of disturbance which told me that the new orchestral work had begun.’ more prominent in The Rose Lake, which a little way north-east of the — calls for three octaves, no fewer than 38 capital, Dakar, there is a pink lake, individual drums, spread one-to-a-note like separated from the Atlantic ocean only by a Michael Tippett on his experiences of Lake Retba in Senegal a gigantic keyboard across the back of the narrow line of sand dunes. Lake Retba, as it stage. The rototom part, one of the most is called, contains an algae (dunaliella salina) Composition did not begin until August 1991. Listeners cannot help but hear The Rose difficult and extensive in the instrument’s that produces a red pigment able to absorb Macular degeneration and cataracts had made Lake as a swansong, and Tippett himself repertoire, takes no prisoners, requiring light. Catch the lake in bright sunshine, as Tippett almost blind. The first seven minutes knew it would be his last major work. But the players literally to sprint back and forth Michael Tippett did in November 1990 •, of the work took him around eight months, in many ways the piece is more questing along the drums, mallets flashing. two months before his 86th birthday, and and he suffered badly from exhaustion and than valedictory, and although it has a its waters shine an eerie, dusty pink. depression. He struggled on, but eventually rich, twilit beauty, it uses techniques and Studded through The Rose Lake are five his loyal assistant and near namesake, instruments that added new colours to Lake Songs, rapturously lyrical, densely Tippett, by then acclaimed as one of the Michael Tillett •, was called in to sit by him its composer’s palette. The summation but somehow translucently orchestrated. country’s leading composers and enjoying at the piano and take dictation. Tippett of Tippett’s return in old age to the lyricism They are also developmental, each song a an Indian summer of astonishing creativity, regained enough strength to finishThe Rose of his earlier works, The Rose Lake variation reflecting and refracting motifs had promised and the London Lake, in his own hand, on 22 April 1993. nevertheless has its own climate. from the first: a yearning major ninth, Symphony Orchestra a piece of some kind first rising and then setting; a curl of notes for his 90th birthday celebrations. The score is, on any terms, one of fertile The piece requires a large orchestra, rarely introduced during a Wagnerian passage imagination and exquisite detail. Knowledge heard all together, but divided into soloists for the horns above a deep-sea drone of of its compositional circumstances makes it and chamber ensembles. There is an E-flat (the first note ofThe Ring), as if

4 Programme Notes 22 April 2018 Retba had merged with the Rhine. begins with trickles of harp that suddenly • TIPPETT THE TRAVELLER • MICHAEL TILLETT Floating at the centre of The Rose Lake dissolve into woodwind chirrup. A final comes ‘The Lake in full song’, with flocks watery hiccup from the brass is marked in Tippett’s parents moved to Europe when After studying at the Royal College of of strings ducking and diving in joyous the score not with a bang but a ‘plop’. he was 15, and he and his brother would Music, Michael Tillett joined the choir of flight, lit by a midday glare of brass. visit them unaccompanied during the Morley College in London, of which, during The premiere of The Rose Lake, on 19 school holidays. These early experiences World War II, Michael Tippett had become The five songs are inlaid into a backdrop February 1995, was part of an LSO season generated a taste for travel that would an enterprising conductor. From the 1940s mosaic of contrasting musical tiles, entitled Tippett: Visions of Paradise. remain with Tippett throughout his life, onwards Tillett became invaluable to Tippett resulting in patchwork interludes that dart As the applause began, and a frail Tippett, and he frequently embarked on holidays as a proofreader and editor for every one around the orchestra between the five now 90, was helped on to the platform, which would influence his compositions. of the composer’s scores. Tippett came to pools of song. Highly contrasted with the a band of musicians knows as ‘The Hecklers’, After being asked to serve as composer rely on Tillett’s eye for detail and consulted songs, the interludes lay out undeveloping who were at the time protesting against in residence at the Aspen Music Festival him most days. Tillett was also a teacher of blocks of sound in spare and imaginative the supposed cacophany of contemporary in Colorado in 1965, Tippett made regular music, holding posts at Rugby and Highgate combinations of instruments, occasionally music, began to shout and catcall: ‘Visions journeys to the US, which would bring schools, and was a founder member of quoting from Tippett’s earlier pieces, of hell!’ The Hecklers were, claimed their jazz and blues influences into his work. Dartington Summer School in Devon. as in a thick swirl of eleven-part strings leader, ‘booing for beauty’. With The Rose The composer explained how themes in from his (1958–61). The Lake, the joke was on them. • his large-scale choral work The Mask of songs make use of canonic imitation, with Time (1980-2) were influenced by ‘places one instrument mirroring or echoing the Tonight’s performance of The Rose Lake like Chitzen Itza and Uxmal, which I visited other. The interludes are fascinated with is supported by Resonate, a PRS Foundation in Mexico around the time of composing heterophony: two instruments play the initiative in partnership with the Association the work’. He travelled until the very end same line simultaneously, and while one of British Orchestras, BBC Radio 3 and of his life, visiting Sweden for a festival keeps to the melody, the other washes it The Boltini Trust. of his music only two months before his in ripples of decoration. death aged 93.

The five songs and five interludes are book-ended by an introduction and a coda. Interval – 20 minutes Tippett, in his late music, was eager always There are bars on all levels of the to snap listeners out of their reverie. The Concert Hall; ice cream can be bought Rose Lake doesn’t rage against the dying of at the stands on Stalls and Circle level. the light, but nor does it go gently. Its wispy Visit the Barbican Shop on Level -1 to see coda, using flotsam from the introduction, our new range of Gifts and Accessories.

Programme Notes 5 Michael Tippett in Profile 1905–98 / by Oliver Soden

From 1940 to 1951 he was an enterprising After Britten’s death in 1976, Tippett had head of music at Morley College, in South no real competition for the title of Britain’s London. On the outbreak of war Tippett’s ‘greatest living composer’, an accolade to Trotskyist politics gave way to a committed which he lived up for a two-decade Indian pacifism, and in August 1943, having refused summer that saw no decline in energetic to fulfil the conditions of his exemption output. His was a career of constant self from war service as a conscientious objector, reinvention. The lyricism that book-ended he served a three-month sentence in his compositions contained a period of Wormwood Scrubs. violent and fragmented mosaics, not least his war-blasted Homeric opera King Priam Works such as his String Quartet No 1 (1934–5) (1958–61). His third opera, and the Concerto for Double (1966–9), was shot through with jazz and (1938–9) displayed for the first time and in all electric guitar, while the Symphony No 3 its originality the seductive rhythmic gallop (1970–72) turned both to Beethoven and and blues-inflected lyricism of his hard-won to blues for spiritual and emotional solace. — ichael Tippett was born on 2 January compositional maturity. In 1944 Benjamin ‘I am quite certain in my heart 1905 into a precariously wealthy Britten, who had become a close friend, Much of Tippett’s late music has yet to fasten family that was politically aware helped organise the premiere of Tippett’s its hold on the repertoire, but Birmingham of hearts that modern music (his mother was imprisoned as a suffragette) oratorio A Child of Our Time (1939–41). Opera Company’s revival, in April 2015, and modern art is not a conspiracy, but relatively unmusical. As a child, and of his fourth opera, (1973–6), but is a form of truth and integrity maybe as an adult too, he was something The oratorio’s success seemed almost to thrillingly re-imagined the work for the 21st of the perennial outsider, at odds with, even unravel the following decade when Tippett’s century. A final opera, (1985–8), for those who practise it honestly, ahead of, the beliefs and taboos of the times. first opera, remains unrecorded and awaits reappraisal. decently and with all their being.’ (1946–52), was greeted with bafflement In his 80s, now a member of the Order of Tippett was eventually acclaimed as a and dislike. The breakdown of his Second Merit, Tippett produced a handful of last, Michael Tippett composer of international stature and Symphony’s premiere, in 1958, only added luminous works: a large-scale setting of Yeats’ — importance, but his career was slowburn, to the suspicion in which his music could Byzantium (1989–90); the last of his five and his originality slow to develop. be held. A younger generation of performers string quartets (1990–91); and The Rose Lake After studies at the Royal College of eventually offered up such pieces new (1991–3), which crowned a 60-year career that, Music there followed almost a decade minted to a fresh and devoted audience, as for all innovators, has been greeted alike of ambitious amateur music-making and Tippett began to enjoy considerable with consternation and with jubilance. • alongside involvement in left-wing politics. success. He was knighted in 1966.

6 Composer Profile 22 April 2018 Join Sir Simon Rattle on a voyage through the music of Haydn.

Available now Hybrid SACD | Digital

lsolive.co.uk AN IMAGINARY ORCHESTRAL JOURNEY Gustav Mahler comp Cooke Symphony No 10 in F-sharp minor 1910 / note by Stephen Johnson

1 Adagio and at the same time struggled to come ‘Purgatorio’ – was certainly salvageable. began to look more closely. He realised 2 Scherzo to terms with the death of his beloved These were presented to the world, and that Mahler had come closer than anyone 3 Purgatorio daughter Maria, he’d thrown himself back the Adagio made quite an impression, thought to finishing the Symphony. Once 4 [Scherzo] into his conducting and composing career not least because its startlingly dissonant Cooke had established the order of the 5 Finale as energetically as ever. The killer blow harmonies and near-expressionist intensity sketches, it could be seen that melodies, almost certainly came in that summer brought it closer to the wild imaginings of harmonies, counterpoints and important ustav Mahler's death in 1911, of 1910, when Mahler discovered that his Viennese radicals like Arnold Schoenberg orchestral colours were indicated quite at the shockingly early age of 50, adored wife and muse Alma, whom he and Alban Berg than anything he’d written clearly for nearly the whole work. Cooke came as a complete surprise to set about producing what he called a many. Only the previous year, the premiere — ‘Performing Version’ of the sketches – of his colossal, heaven-storming Eighth Not long after Mahler’s death came the news that during that fateful not a ‘completion’ however. Cooke always Symphony had stunned the German-speaking insisted that he'd meant only to give an musical world into the realisation that Mahler summer he’d been working on a Tenth Symphony. How far had he got with it? idea of the state the Symphony had wasn’t just a great conductor, he was also Was any of it performable? The answers were tantalising. reached at the time Mahler died, not to an outstandingly original composer. Here was — speculate as to how it might have been the triumph Mahler had longed for all his life, in its final form. and yet he’d only had a pitiful few months had hymned in quasi-religious tones in his before. But as to the other three planned to enjoy it. When Mahler's last two completed Eighth Symphony, was having an affair with movements, all that apparently remained Cooke's ‘Performing Version’ was a works – the Ninth Symphony and the ‘Song- the handsome, brilliant young architect, was a hopeless, tangled mass of sketches. revelation. What it showed was that the Symphony’ Das Lied von der Erde (The Song Walter Gropius. Although Mahler and Alma Was this confusion itself a reflection Tenth was on its way to being one of of the Earth) – were heard for the first time, were able to patch things up, the shock of Mahler’s state of mind at the time? Mahler’s most audacious, stirring and many heard a note of farewell in the music. gradually began to tell physically. Mahler’s Scrawled across these pages were heart- magnificently structured symphonies. Added to the news that Mahler’s health heart finally gave way the following May. rending verbal exclamations, to Alma, to While much of it echoed the death- had been precarious for some time, it all God or the Fates: ‘The Devil dances it with shadowed utterances of the Ninth began to make sense. Mahler had seen his Not long after Mahler’s death came the me!’ ‘You alone know what it means!’ Over Symphony and Das Lied von der Erde, own end coming, and had anticipated it in news that during that fateful summer the Symphony's final huge sigh Mahler had the ending in particular suggested that his last two masterpieces. he'd been working on a Tenth Symphony. inscribed his pet name for Alma, ‘Almschi!’ he’d begun to move into new spiritual How far had he got with it? Was any of it territory. Certainly the ghostly, tonally In fact it wasn’t quite as straightforward performable? The answers were tantalising: For years most experts insisted that the rootless theme for unaccompanied violas as that. The diagnosis of a heart lesion, the first movement, a substantial Adagio, second, fourth and fifth movements of the that begins the first movement sounds made back in 1907, wasn't necessarily a life was more-or-less complete, and one other – Tenth Symphony were beyond rescue. Then like the voice of a man who has just sentence. As Mahler began to recover, a strange, sinister little movement entitled the English musicologist Deryck Cooke • returned from the abyss.

8 Programme Notes 22 April 2018 Eventually – after much tortured aspiration funeral procession for a young fireman • DERYCK COOKE • MAHLER SYMPHONIES ON LSO LIVE and sardonic, deflated dance music – there Mahler and Alma witnessed in New York. is a cathartic climax, with an immense piled- Yet somehow the Symphony survives this up dissonance and a painfully sustained vision of abysmal nothingness. A wonderful high note. Yet the coda brings long flute solo is the first sign of life consolation, and the warmest, most returning again, then the singing resumes tonally stable music we've heard so far. with growing fervour. An agitated middle section, culminating in a memory of the In the Scherzo that follows, the dance first movement’s climactic dissonance, fails music of Mahler’s home city Vienna and to destroy what Mahler called the Tenth of the Austrian countryside is subjected Symphony’s ‘one great song’. An exquisite to an exuberant rhythmic ‘deconstruction’ hymn to love emerges, culminating in that of a kind that might have impressed heartfelt final sigh: ‘Almschi’. Love may not Stravinsky. The Scherzo ends with a be, as the Bible has it, ‘strong as death’, but magnificent upsurge, culminating in a while it still breathes, Mahler seems to say, great shout of joy. Could this be life there can yet be hope. • Deryck Cooke (1919–76) was a musicologist returning in triumph? But then comes the and writer who specialised in music of Mahler Symphonies Nos 1 to 9 haunted Purgatorio, with its unmistakable the 19th century, particularly Wagner and cries of pain in the central section. After Mahler. After studying music at Selwyn Valery Gergiev conductor this the second Scherzo takes us back College, Cambridge, he went on to work London Symphony Orchestra to the nightmarish intoxication of the for the BBC from 1947 to 1959, and again first movement ofDas Lied von der Erde. as Music Presentation Editor from 1965. Available to purchase at lsolive.lso.co.uk It is on the sketch pages of this movement In addition to creating his ‘Performing and Amazon or to stream on Spotify and that we find many of those agonised Version’ of Mahler’s Tenth Symphony, Apple Music exclamations to Alma. he published a number of essays including The Language of Music (1959) and Wagner’s Then, as the Scherzo morphs into the Musical Language (1979). Finale, comes one of Mahler’s most awe-inspiring inspirations: muffled drum strokes separated by long ‘dead’ silences, with eerie, fragmentary deep bass sounds. Apparently this is in part a memory of a

Programme Notes 9 Gustav Mahler in Profile 1860–1911

Gustav Mahler’s early experiences of music were influenced by the military bands and folk singers who passed by his father’s inn in the small town of Iglau. Besides learning many of their tunes, he received formal piano lessons from 1897–1907 VIENNA Director, Vienna Hofoper local musicians, gave his first recital in 1870 and, five years later, applied for a place at the Vienna Conservatory.

After graduation, Mahler supported himself 1860 BORN 1888–94 1899–1900 by teaching, before accepting a succession of Kalischt, Bohemia SECOND SYMPHONY, ‘RESURRECTION’ FOURTH SYMPHONY conducting posts in Kassel, Prague, Leipzig, (now Czech Republic) Mahler’s most intimate symphony, Budapest and Hamburg, culminating in the ending with a childlike vision of position of Resident Conductor and then 1891–97 HAMBURG heaven, sung by a soprano soloist. Director of the prestigious Vienna Hofoper. Chief Conductor, The demands of both opera conducting and 1880 Hamburg Stadttheater administration meant that he could only FIRST MAJOR WORK devote the summer months to composition. Das klagende Lied Working in the Austrian countryside he completed his nine symphonies, and a series of eloquent, often poignant songs. 1893–96 THIRD SYMPHONY 1901–02 FIFTH SYMPHONY & MARRIAGE An anti-Semitic campaign against Mahler Written in Mahler’s ‘composing hut’ in The Fifth’s Adagietto slow movement was in the Viennese press threatened his position Steinbach am Attersee, Austria (pictured). dedicated to the composer’s future wife, at the Hofoper, and in 1907 he accepted an 1875–9 STUDIES Alma Schindler (pictured). They married in 1902. invitation to become Principal Conductor of Vienna Conservatory & the Metropolitan Opera and later the New Vienna University York Philharmonic. In 1911 he contracted a bacterial infection and returned to Vienna. When he died a few months before his 51st birthday, Mahler had just completed part of his Tenth Symphony and was still working on sketches for other movements. 1884–88 FIRST SYMPHONY, ‘TITAN’ ‘From Inferno to Paradise’ Profile by Andrew Stewart Mahler’s original subtitle for the First’s finale

10 Composer Profile 22 April 2018 1902 MAHLER BY EMIL ORLIK ‘Perhaps the greatest farewell symphony written by anybody. In each of the four movements he is saying goodbye to something.’ 1906–07 EIGHTH SYMPHONY ‘Symphony of a Thousand’ for orchestra, soloists, Leonard Bernstein on the Ninth Symphony children’s chorus and two mixed choirs. 1908–09 DAS LIED VON DER ERDE 1907 ILLNESS Mahler’s ‘Song-Symphony’ Mahler’s daughter Maria dies from scarlet fever and & NINTH SYMPHONY diphtheria. Mahler learns of the heart disease that would lead to his death just a few years later.

1911 DIED Vienna, Austria

1907–11 NEW YORK 1904–05 Conductor at the Metropolitan Opera and, later, SEVENTH SYMPHONY Principal Conductor of the New York Philharmonic.

1960s & 1970s TENTH SYMPHONY Deryck Cooke publishes his completed performing versions of the Tenth Symphony, 1903–06 SIXTH SYMPHONY, ‘TRAGIC’ based on Mahler’s sketches. Pictured right: Cover of Die Muskete, January 1907, subtitled ‘Tragic Symphony’. The caption reads: ‘Good gracious! I forgot the Images (Page 11) Lebrecht Music & Arts Photo Library motor horn! Ah well, now I have an excuse for writing another symphony.’ (Page 10, Left) Furukama

Composer Profile 11 SEASON OPENING CONCERT BRAHMS, DEBUSSY, ENESCU HARRISON BIRTWISTLE, JOHN ADAMS Sir Simon Rattle HARRISON BIRTWISTLE, HOLST, with Leonidas Kavakos violin 1 May 2019 MARK-ANTHONY TURNAGE, BRITTEN 16 & 18 December 2018 16 September 2018 BERLIOZ 150 HALF SIX FIX: SIBELIUS 5 May 2019 DVOŘÁK, JANÁČEK, BRITTEN with Barbara Hannigan soprano 18 September 2018 9 January 2019 BRITTEN, MAHLER 8 May 2019 JANÁČEK, SZYMANOWSKI, SIBELIUS SIBELIUS, ABRAHAMSEN, NIELSEN with Janine Jansen violin with Barbara Hannigan soprano 19 September 2018 10 January 2019 VAUGHAN WILLIAMS, GRAINGER, BRUCKNER with Guildhall School musicians 20 June 2019

HALF SIX FIX: JAZZ ROOTS BARTÓK, BRUCKNER Generously supported by Baker McKenzie with Katia & Marielle Labèque pianos 13 & 20 January 2019 12 December 2018 RAMEAU, RAVEL, BETSY JOLAS, POULENC BARTÓK, SZYMANOWSKI, with Daniil Trifonov piano JANÁČEK'S THE CUNNING LITTLE VIXEN STRAVINSKY, GOLIJOV, BERNSTEIN 17 February 2019 27 & 29 June 2019 2018/19 Season with Katia & Marielle Labèque pianos Produced by LSO and Barbican 13 December 2018 Part of LSO 2018/19 Season and Barbican Presents

lso.co.uk/201819season 020 7638 8891 SEASON OPENING CONCERT BRAHMS, DEBUSSY, ENESCU HARRISON BIRTWISTLE, JOHN ADAMS Sir Simon Rattle HARRISON BIRTWISTLE, HOLST, with Leonidas Kavakos violin 1 May 2019 MARK-ANTHONY TURNAGE, BRITTEN 16 & 18 December 2018 16 September 2018 BERLIOZ 150 HALF SIX FIX: SIBELIUS 5 May 2019 DVOŘÁK, JANÁČEK, BRITTEN with Barbara Hannigan soprano 18 September 2018 9 January 2019 BRITTEN, MAHLER 8 May 2019 JANÁČEK, SZYMANOWSKI, SIBELIUS SIBELIUS, ABRAHAMSEN, NIELSEN with Janine Jansen violin with Barbara Hannigan soprano 19 September 2018 10 January 2019 VAUGHAN WILLIAMS, GRAINGER, BRUCKNER with Guildhall School musicians 20 June 2019

HALF SIX FIX: JAZZ ROOTS BARTÓK, BRUCKNER Generously supported by Baker McKenzie with Katia & Marielle Labèque pianos 13 & 20 January 2019 12 December 2018 RAMEAU, RAVEL, BETSY JOLAS, POULENC BARTÓK, SZYMANOWSKI, with Daniil Trifonov piano JANÁČEK'S THE CUNNING LITTLE VIXEN STRAVINSKY, GOLIJOV, BERNSTEIN 17 February 2019 27 & 29 June 2019 2018/19 Season with Katia & Marielle Labèque pianos Produced by LSO and Barbican 13 December 2018 Part of LSO 2018/19 Season and Barbican Presents

lso.co.uk/201819season 020 7638 8891 Sir Simon Rattle conductor

ir Simon Rattle was born in also broken new ground with the education London, Europe and the US, initially working Liverpool and studied at the programme Zukunft@Bphil, earning closely with the Los Angeles Philharmonic Royal Academy of Music. the Comenius Prize in 2004, the Schiller Orchestra and Boston Symphony Orchestras, Special Prize from the city of Mannheim and more recently with the Philadelphia From 1980 to 1998, Sir Simon was Principal in May 2005, the Golden Camera and the Orchestra. He regularly conducts the Vienna Conductor and Artistic Adviser of the City of Urania Medal in Spring 2007. He and the Philharmonic, with which he has recorded Birmingham Symphony Orchestra and was Berlin Philharmonic were also appointed the complete Beethoven symphonies and appointed Music Director in 1990. In 2002 International UNICEF Ambassadors in the piano concertos (with Alfred Brendel) and is he took up his current position of Artistic same year – the first time this honour has also a Principal Artist of the Orchestra of the Director and Chief Conductor of the Berlin been conferred on an artistic ensemble. Age of Enlightenment and Founding Patron Philharmonic where he will remain until of Birmingham Contemporary Music Group. 2018. In September 2017 he became Music In 2013, Sir Simon and the Berlin Philharmonic Director of the London Symphony Orchestra. took up a residency at the Baden-Baden In September 2017, Sir Simon opened his Osterfestspiele performing Mozart’s The first season as Music Director of the London Sir Simon has made over 70 recordings for Magic Flute. Past seasons have included Symphony Orchestra with a programme of EMI record label (now Warner Classics), Puccini’s Manon Lescaut and Peter Sellars’ British music, a concert performance of and has received numerous prestigious ritualisation of Bach’s St John Passion, Berlioz’s The Damnation of Faust, and the international awards for his recordings on Strauss’ Der Rosenkavalier, Berlioz’s The Stravinsky ballets. In November, he toured various labels. Releases on EMI include Damnation of Faust and Wagner’s Tristan Asia with the Berlin Philharmonic Orchestra, Stravinsky’s Symphony of Psalms, Berlioz’s and Isolde. For the Salzburg Osterfestspiele with soloists Yuja Wang and Seong-Jin Cho. Symphonie fantastique, Ravel’s L’enfant et Rattle conducted staged productions of The rest of the 2017/18 season will take les sortilèges, Tchaikovsky’s Nutcracker Suite Beethoven’s Fidelio, Mozart’s Così fan Sir Simon on a European and US tour with and Mahler’s Symphony No 2. Sir Simon’s tutte, Britten’s Peter Grimes and Debussy’s the LSO and to Munich with the Bayerische most recently released recordings in 2017 Pelléas et Mélisande. He also conducted Rundfunk Orchestra. This season he returned (Debussy’s Pelléas et Mélisande and Ravel, Wagner’s complete Ring Cycle with the to Baden-Baden with the Berlin Philharmonic Dutilleux and Delage on Blu-Ray and DVD) Berlin Philharmonic for the Aix-en-Provence for a production of Wagner’s Parsifal. were released on LSO Live. Festival and Salzburg Osterfestspiele and most recently at the Deutsche Oper, Berlin Sir Simon Rattle was knighted in 1994 and in As well as fulfilling a taxing concert schedule and the Wiener Staatsoper. the 2014 New Year’s Honours he received the in Berlin, Sir Simon regularly tours within Order of Merit from Her Majesty the Queen. • Europe, North America and Asia. His Sir Simon has strong, long-standing partnership with the Berlin Philharmonic has relationships with the leading orchestras in

14 Artist Biographies 22 April 2018 London Symphony Orchestra on stage tonight

Leader Second Violins Cellos Flutes Contra Timpani LSO String Experience Scheme Roman Simovic David Alberman Tim Hugh Gareth Davies Dominic Morgan Nigel Thomas Since 1992, the LSO String Experience Thomas Norris Alastair Blayden Adam Walker Fraser Gordon Scheme has enabled young string players First Violins Sarah Quinn Jennifer Brown Alex Jakeman Percussion from the London music conservatoires at Lennox Mackenzie Miya Väisänen Noel Bradshaw Horns Neil Percy the start of their professional careers to gain Clare Duckworth David Ballesteros Eve-Marie Caravassilis Piccolo Timothy Jones David Jackson work experience by playing in rehearsals Ginette Decuyper Matthew Gardner Daniel Gardner Patricia Moynihan Phillip Eastop Sam Walton and concerts with the LSO. The musicians Gerald Gregory Julian Gil Rodriguez Hilary Jones Angela Barnes Nigel Bates are treated as professional ‘extra’ players Maxine Kwok-Adams Naoko Keatley Amanda Truelove Alexander Edmundson Tom Edwards (additional to LSO members) and receive Claire Parfitt Belinda McFarlane Miwa Rosso Olivier Stankiewicz Jonathan Lipton Peter Fry fees for their work in line with LSO section Elizabeth Pigram William Melvin Deborah Tolksdorf Juliana Koch James Pillai Karen Hutt players. Performing in tonight’s concert are Laurent Quenelle Iwona Muszynska Rosie Jenkins Paul Stoneman Elizaveta Tyun (Second Violin), Joel Siepman Harriet Rayfield Paul Robson Double Basses (Cello) and Owen Nicolaou (Double Bass). Colin Renwick Siobhan Doyle Colin Paris Cor Anglais Philip Cobb Harps Sylvain Vasseur Alix Lagasse Patrick Laurence Christine Pendrill Gerald Ruddock Bryn Lewis The Scheme is supported by The Polonsky Rhys Watkins Matthew Gibson Niall Keatley Manon Morris Foundation, Barbara Whatmore Charitable Julian Azkoul Violas Thomas Goodman David Elton Trust, Derek Hill Foundation, The Thistle Shlomy Dobrinsky Edward Vanderspar Joe Melvin Andrew Marriner Trust, Idlewild Trust and Angus Allnatt Laura Dixon Gillianne Haddow Jani Pensola Chris Richards Charitable Foundation. Hazel Mulligan Malcolm Johnston Simon Oliver Sonia Sielaff Dudley Bright German Clavijo Simo Väisänen Peter Moore Anna Bastow E-flat James Maynard Editor Lander Echevarria Chi-Yu Mo Edward Appleyard | [email protected] Stephen Doman Bass Fiona Dinsdale | [email protected] Carol Ella Bass Clarinet Paul Milner Editorial Photography Julia O’Riordan Laurent Ben Slimane Ranald Mackechnie, Oliver Helbig, Robert Turner Tuba Lebrecht Photo Library Heather Wallington Bassoons Ben Thomson Print Cantate 020 3651 1690 Cynthia Perrin Daniel Jemison Advertising Cabbells Ltd 020 3603 7937 Joost Bosdijk Details in this publication were correct at time of going to press.

The Orchestra 15 BBC RADIO 3 LUNCHTIME CONCERTS ACADEMY OF ANCIENT MUSIC

The Academy of Ancient Music takes us back in time and on a tour of the Baroque in their first ever residency at LSO St Luke’s.

Friday 18 May 1pm; Friday 25 May 1pm Friday 8 June 1pm; Friday 15 June 1pm

ECHO RISING STAR RECITALS

ECHO Rising Stars gives Europe’s most brilliant young musicians an international platform – three stars of the future showcase their individual artistry.

Tamás Pálfalvi trumpet Friday 4 May 1pm

Emmanuel Tjeknavorian violin Friday 6 July 1pm

Nora Fischer soprano AT LSO ST LUKE’S Daniël Kool piano Friday 20 July 1pm