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Home , Boris Belkin, Emanuel Ax, Evgeny Kissin, Friedrich Gulda, Itamar Golan, Janine Jansen

Jansen/Maisky/ Argerich Trio Tuesday 6 February 2018 7.30pm, Hall

Beethoven in G minor, Op 5 No 2 Shostakovich Trio No 2 in E minor, Op 67 interval 20 minutes Schumann Sonata No 1 in A minor, Op 105 Mendelssohn No 1 in D minor, Op 49

Janine Jansen violin cello piano Adriano Heitman Adriano

Part of Barbican Presents 2017–18

Programme produced by Harriet Smith; printed by Trade Winds Colour Printers Ltd; advertising by Cabbell (tel. 020 3603 7930) Confectionery and merchandise including organic ice cream, quality chocolate, nuts and nibbles are available from the sales points in our foyers.

Please turn off watch alarms, phones, pagers etc during the performance. Taking photographs, capturing images or using recording devices during a performance is strictly prohibited.

If anything limits your enjoyment please let us know The City of during your visit. Additional feedback can be given Corporation is the founder and online, as well as via feedback forms or the pods principal funder of located around the foyers. the 2 by thetragic death of thecomposer’sclose during theSecondWorld War, iscoloured while Shostakovich’s SecondTrio, written work of tremendous fervour andbrilliance, piano trios.Mendelssohn’sDminorTrio isa Together they present two vastly different Jansen isastar of theyounger generation. for more thanfour decades, whileJanine Maisky have beenperforming together introduction. MarthaArgerich andMischa musicians socelebrated thatthey needno Tonight we are delighted to welcome three Welcome

Available on iTunes, Soundcloud and the Barbican website Barbican the and Soundcloud iTunes, on Available , andNicoMuhly. Iestyn Davies, Joyce DiDonato, SirHarrisonBirtwistle, Sir JamesMacMillan, George Benjamin,Andrew Norman, artists from around theworld. Recent artists include for exclusive interviews andcontent from thebestclassical Stream ordownload ourBarbican ClassicalMusicpodcasts Barbican Classical MusicPodcasts Huw Humphreys, Head of Music,Barbican I hopeyou enjoy theconcert. even by thiscomposer’sstandards. a mere four days –anastounding feat ardent FirstViolinSonata was written in wit to highdrama. Schumann’s surging, equally andwhichranges from sheer for treating stringinstrumentandpiano Cello Sonata, awork that isgroundbreaking We beginwithBeethoven, andhisSecond gifted maninmany different fields. friend Ivan Sollertinsky, anextraordinarily

Beethoven’s Op5Cello were published In keeping withstandard practice atthetime, away. far First Symphony (1799–1800) don’t seemsovery the Op 18 String Quartets (1798–1800) andthe mastery of the‘Pathétique’ PianoSonata (1797–8), times, especiallyinOp5No2,whenthedaring products of hismid-twenties –infact there are field. Itresulted intwo of themostimpressive intimate, sometimescombative –inanew musical that kindof relationship –sometimestenderly playing, itseems,showed himaway to develop had acquired new drama andbrilliance.Duport’s the relationship between theviolinandpiano Mozart’s groundbreaking violinsonatas, inwhich Beethoven had beendeeply impressed by even theviolin. display andexpressive power thecellocouldrival playing, heshowed thatwhenitcameto dazzling Duport bringanew technical wizardry to hiscello the composeratkeyboard. Not onlydid Jean LouisDuport,whogave thepremieres with wrote histwo sonatas was theoutstanding virtuoso cellist Beethoven apparently had inmindwhenhe prolific cellist-composerLuigiBoccherini,butthe Wilhelm was anenthusiasticsupporter of the II –to whomboth sonatas are dedicated. Friedrich to thecourtof thePrussianKingFriedrichWilhelm certainly written inBerlinduringBeethoven’s visit his two CelloSonatas, Op5.Thesewere almost latter halfof the18th centuryto compare with Beethoven’s time,butthere isnothing from the Music for solocellowasn’t uncommonin 3 Rondo: Allegro presto tosto più molto 2 Allegro – espressivo ed sostenuto 1 Adagio (1796) 2 Gminor, 5 No 2 in Op No Sonata Cello

or lefthand,whiletheother handreleases torrents dialogue between thecelloandpiano’sright this movement isanimpassioned,often lyrical deftly from theendingof theAdagio. Muchof cello’s searching openingphrases emerging Then theAllegro beginsitssurging drama, the expectant half-close. one another, untilthey finally cometogether onan between each other, echoingoreven interrupting much more evenly: thetwo instrumentspassideas of bars,after whichthehonoursare distributed then thecelloopensoutinfullsongfor acouple the pianoleads, thecellocommentsdiscreetly. But No 2 suggeststhatthismightreally bethecase: violin sonatas. Theslow, sombre openingof Op 5 keyboardist takes precedence, asinMozart’s as ‘Sonatas for PianoandCello’–officially the least atthecloseof thesonata. humour of Beethoven’s later masterpieces –not royal dedication,butwithlittlehintsof thetigerish has gonebefore, inkeeping, perhaps,withthe skill. Thisismuchmore ‘courtly’musicthanwhat requires someagility –another tribute to Duport’s to anaccompanying role, through thewritingstill ways, withthecellosometimesbeingconsigned as asurprise.Now equalityshows itselfinother witty playfulness of theRondo finale may come After thisdark-toned outpouring,thecharming, of long,soaringmusicalparagraphs. yet written, anditshows extraordinary command most ambitioussonata movement Beethoven had of racing tripletordupletfigures. Thiswas the (1770–1827)

3 Programme notes 4 Sollertinsky’s death, andinallprobability too early asDecember 1943 –two monthsbefore to somesources, Shostakovich began theTrio as such athing)isprobably, yes andno.According actually ‘explain’ it?Thecorrect answer (ifthere is Do thesereferences to themusic’slife andtimes dominating theTrio’s finale. with itswildlybittersweet keening inflections, It’s nosurprisethento find klezmerdancemusic, especially whenitcameto itsexpression inmusic. of persecutionmoved Shostakovich deeply, ‘Final Solution’.Jewish resilience intheface the first indicationsof thehumancostof Hitler’s soon brought horrifyingdiscoveries –not least of theNazi-occupiedEastern European countries favour. Thebeginningof theprocess of ‘liberation’ the SecondWorld War beganto turninRussia’s Rubinstein. Itwas alsoin1944 that thetideof (1882), composedinmemoryof hismentor Nikolai going back to Tchaikovsky’s AminorPianoTrio follows inasolidRussiantradition of elegiac trios as amusicalvessel for theexpression of loss Shostakovich’s choiceof thisparticularmedium without him.’ to him.Itwillbeunbelievably hard for meto live ‘He was my closestfriend.Iowe allmy education death’, Shostakovich wrote to Sollertinsky’swidow. in words allthegriefIfelt whenIheard of [his] had comeasaterrible shock.‘Icannot express Sollertinsky, whosesuddendeathinFebruary the musicologistandbrilliantpolymathIvan to thememoryof oneShostakovich’s friends, in spring1944. Thescore bearsadedication their markontheSecondPianoTrio, composed an openwound. Clearlyrecent events didleave music often seemsto beartheimprintof itsera like Shostakovich isoneof thosecomposerswhose 4 Allegretto – 3 Largo troppo non 2 Allegro –Moderato 1 Andante Trio Eminor,Piano 67 2 in Op No ShostakovichDmitry had seenplentyof both duringtheNazisiege dance of deathanddestruction:Shostakovich scherzo inallbutname.Thisisunmistakably a mocking grimace intheAllegro nontroppo, a Dance musicnow takes onasavage, bitterly music emerging towards the climax. accelerates steadily, withthefirst hintsof klezmer After thisdesolate vision,thefirst movement followed by thepianoinitslowest, darkest depths. the violinenters inimitation onitslowest string, folk-like melodyinicyharmonics,underwhich Shostakovich hasthecellosoundahigh,hushed easy explanation. Inadaringimaginative stroke, something perhapstoo mysterious andinternal for its inspiration from somewhere else entirely – lament thatopenstheSecondPianoTrio gets reached thecomposer. Inwhichcasetheeerie early for news of theNazideathcampsto have including Shostakovich himself –have noted its celebrations, especiallyweddings, butmany – Klezmer musicistraditionally associated with Now theklezmerdancerstake centre stage. spectral dance musicof thefinale. ultimately resolved, itsimplypassesinto theweird, been devastatingly bereaved. Here thepainisn’t unappeasable nature of grieffor thosewhohave heavily charged chords conveys powerfully the This relentlessly repeating, circling pattern of searingly eloquentlines,again inimitation. the piano,above whichviolinandcelloweave seven statements of arotating chordal pattern on the variation pattern couldn’tbemuchsimpler: passacaglia. Here, intheLargo third movement, are contained intheoldvariation form, the Shostakovich’s mostpowerful elegiac statements this comes–even more clearly–grief.Someof of hishomecityLeningrad (St Petersburg). After (1906–75) (1944) (1944)

repeat: itspain-heavy chords are allowed to fall harmonics –onlythistimethepattern doesn’t Largo’s chordal pattern, now withmore icystring themes lead eventually to onelaststatement of the flurry of pianofigures. Ghostsof thetwo klezmer Trio’s openinglamentsweeps back inthrough a to aterrifying climax, attheheightof whichthe The finale’s two leading dancethemesbuild tragic. Itisalmostalways laughter through tears.’ multifaceted, itcanappearto behappy whileitis still-controversial ‘Memoirsof Shostakovich’: ‘itis telling ambiguity. Inthewords of Testimony , the , the interval utterance, itisfar from depressing. that ultimately, nomatter how darkandpainedits raises itto atrulytranscendent level, andensures feeling inShostakovich’s SecondPianoTrio that though itisthemasterly marriage of form and hint thatgriefcanatleastbeendured. Intheend Resolution hascomeatlast,and withitperhapsa motivic memoriesflickering onviolinandcello. wearily onto hushedchords of Emajor, withfaint 20 minutes

5 Programme notes 6 For alongtimetheFirstViolinSonata was begun to agree withSchumann’slater verdict. It isonlyrecently, however, thatviolinistshave strings of my heart’. mind. Thistime,henoted, ‘itstrucktheinnermost with hiswife Clara atthepiano,hechangedhis performed by thestellar virtuosoJoseph Joachim, better.’ ButwhenSchumannheard theFirstSonata wrote asecondone,which Ihopehasturnedout for violinandpiano’,heremarked, ‘andso I judgement atfirst: ‘Ididnot like thefirst sonata It’s possiblethattheseassociationscloudedhis ‘when Iwas extremely angrywithcertain people’. biographer WilhelmJosephvon Wasielewski, was ‘composed’,hetold hisfriendandlater he wrote injustfour days inSeptember 1851 –it been channelledinto theFirstViolinSonata, which criticism. Someof hisfrustration appearsto have was having to contend withoppositionandsevere conductor becamealltoo clear. Before longhe the orchestra, butsoonhisshortcomings asa experienced abriefhoneymoon periodwith months of thatyear. Schumannseemsto have appeared withbreathtaking speedintheclosing Concerto andtheThird (‘Rhenish’)Symphony, soared withit:two masterpieces, theCello his moodsoared, and,assooften, hiscreativity of musicaldirector of thecity’sorchestra. Atfirst Germany’s Lower Rhineland,to take upthepost In 1850, Schumannmoved to Düsseldorf,in [Lively] 3 Lebhaft 2 Allegretto expression’] [‘With passionate Ausdruck leidenschaftlichem 1 Mit Aminor, 105 1 in Op No Sonata Violin opening phrase seemsto promise afullermelodic a playful, self-questioningintermezzo. Thelilting After thiscomesnot somuchaslow movement as instrumental song. the effect iscloserto acontinuousoutpouringof similar rhythmically andinmelodiccontour, sothat form first movement –butinfact they’re very themes –asthere shouldbeina‘proper’ sonata- Schumann. Technically there are two contrasting uplifting. Andmelodicallythisisvintage can becaptivating, itsnear-delirious momentum of ‘passionate expression’ Schumannasks for, it relentless. But,given understanding andthekind impetuosity thatinunsympathetic handscanfeel the first movement hasakindof sustained swirling perspective haschanged.Yes, thepianowritingin during hisyears atDüsseldorf.Butwithtimethe Schumann’s increasingly unstable state of mind suggestions thatsomeof itsfailings reflected dismissed astechnically flawed, andthere were the senseof funpersiststo thevery lastnotes. end isunambiguouslyinthe‘dark’minorkey, but of Schumann’sgreat pianocycle but now withsomethingof thedemonichumour mode, withmore feverishly active pianowriting, ironically teasing. Thefinale returns to theminor yielding to somethingwhimsical,mock-gruff or flowering, butfrequently ithaltsinmid-phrase, (1810–56) Kreisleriana (1851) (1851) . The . The

organisations? Evidenceof thatrestless energy to mention several other of thecity’s musical (where Bach had beendirector of music), not Leipzig Opera HouseandSt Thomas Church with theGewandhaus Orchestra andatthe magnificent Trio, whilesimultaneously working have found thetimeandenergy to composethis assai appassionato’ (Finale).How elsecouldhe allegro edagitato’ (first movement) and‘Allegro printed page withsuchmarkingsas‘Molto in theFirstPianoTrio itisreflected ontheactual less exacting. Onecanoften hearitinhismusic: on to great thingseven ifhisparents had been Mendelssohn thatmightwell have driven him That said,there was arestless intensity to enjoy it.’ approval,’ hewrote, ‘even thoughIcannolonger ‘I willnever ceaseto endeavour to gainhis oratorio, soon to seehissontriumphwithasuitably grand today. WhenAbraham diedin1836, justtoo for whichhe’smostwidelyloved andadmired Night’s Dream trivia suchastheOverture to Handel, rather thanwasting histimewith‘elfin’ produce seriousreligious works inthemannerof made itplainto hissonthatheexpected himto andcomposer, Abraham Mendelssohn Once young Felix had decidedonthelife of a nothing?’). Norwas hisfather any lessdemanding. call out,‘Felix, tustdunichts?’(‘Felix, are you doing breaking outanywhere inthehouse,shewould friend, ifLeaheard thesoundof merry-making classic TigerMother. According to onechildhood all accounts, thecomposer’smother Leawas a Parental expectations had alot to dowithit.By the 1830s; butthen,whenwas heanything else? administrator –Mendelssohnwas abusy manin Composer, conductor, concert-pianist, educator, appassionato assai Allegro 4 Finale: evivace Leggiero 3 Scherzo: tranquillo molto con 2 Andante 1 Molto allegro ed agitato Trio Dminor,Piano 49 1 in Op No Mendelssohn Felix St Paul, –inother words thekindof thing Mendelssohnwas devastated: A Midsummer A Midsummer Outwardly theFirst PianoTrio’s four-movement century. Classicist hebecameinthelatter partof the19th Romantic, not theexquisite ‘Dresden China’ that, for many atthistime,Mozartwas anearly the mostilluminatingof musicians’–areminder Mendelssohn as‘theMozartof the19th century, performance in1839, Robert Schumannhailed indecently fullof wonderful melodies.After thefirst scintillating, richlyimaginative andalmost of Mendelssohnathisbest:impassioned,tender, virtuosic style.Buttheoverall effect isstilltypical he revise thepianowritinginamore Romantic- pianist-composer Ferdinand Hiller, whosuggested advice of Mendelssohn’sfriendandfellow in thispiece.It’struethatpartlyreflects the a wholebar’srest isalong-anticipated luxury his own instrument,thepiano–for thepianist can alsobeseeninMendelssohn’swritingfor Programme notes ©Stephen Johnson such balanced,multifaceted mastery. was right: there issomethingMozartean about brilliance andintimate conversation –Schumann three instruments. Passion andformal elegance, for democratic equalityanddialoguebetween the virtuosity withthedemandsof truechambermusic outstanding skillintheway hebalances piano throughout the FirstTrio, Mendelssohn shows Mendelssohn’s uniquemastery of thisform. And (with nocentral triosection)isareminder of of sustained song,whilethesparklingScherzo engineering, asistheslow movement’s arch the first movement isasuperb feat of musical dramatic thrustwithlong-breathed lyricismin key attheclose.Butfusionof Beethovenian brilliant Finalewithatriumphantturnto themajor song form, aquicksilver Scherzoandanurgent, movement, aslow movement insimpleA–B–A plan isfairly conventional: afast sonata-form first (1809–47)

(1839)

7 Programme notes 8 Adriano Heitman Shostakovich andTchaikovsky. Debussy, Ravel, Franck, Prokofiev, Stravinsky, Messiaen aswell asChopin,Schumann,Liszt, includes Bach andBartók,Beethoven and and 20thcenturies,thoughherlarge repertoire performances of virtuosopianoworks of the19th She isparticularlyrenowned for her intheworld. has beenoneof themostprominent andpopular International ChopinCompetition.Sincethenshe Piano Competitionsandin1965 theWarsaw In 1957 shewon theBolzanoandGeneva included andStefan Askenase. withFriedrichGulda.Herteachers also moved to andcontinuedherstudiesin of 5withVincenzoScaramuzza. In1955 she She had herfirst pianolessonsattheage Martha Argerich was borninBuenosAires. ArgerichMartha About the performers pianists NelsonFreire andStephen Kovacevich, She regularly performs andrecords with a significant amountof timeto chambermusic. orchestras andconductors, shealsodevotes festivals and withtheworld’s mostprestigious In addition to performing frequently atleading Martha Argerich piano

International PianoCompetitionandtheFestival Beppu Festival inJapan.In1999 shecreated the Since 1998 shehasbeenArtisticDirector of the . duos by Mozart,SchubertandStravinsky with Orchestra underClaudioAbbado, aswell as Piano Concertos, K466andK503withtheMozart Her mostrecent recordings includeMozart’s recording. Magazine Times the GermanRecord Critics’Awards; the for herAmsterdam recital; Artistof theYear from piano concertos; Year andtheConcerto Award for herChopin Abbado; the MahlerChamberOrchestra underClaudio Beethoven’s PianoConcertos Nos 2and3with Prokofiev’s awards for herBartókandProkofiev concertos, has received many awards, includingGrammy been broadcast ontelevision worldwide. She and DG,many of herperformances have She hasrecorded for EMI,Sony, Philips,Teldec Kremer. cellist MischaMaiskyandviolonistGidon American culture through theirlife’s work’. artists for their‘exceptional contributionto awarded hertheKennedy Prize,which honours Association. InDecember2016 Barack Obama the Praemium Imperialefrom theJapanArt Rosette by theJapaneseEmperor, andreceived The Order of theRisingSun,GoldRays with of theAccademia diSanta Cecilia,was awarded the French government, isan Honorary Member Commandeur del’Ordre desArtsetLettres by Martha Argerich hasbeenappointed 2002 theProgetto MarthaArgerich inLugano. Martha Argerich inBuenosAires andinJune Record of theYear; anda Gramophone Award in2007for herShostakovich Cinderella Le MondedelaMusique withMikhailPletnev and Magazine’s Artistof the BBC Music Sunday Sunday ’s Choc ’s Choc Marco Borggreve/Decca Classics Blendulf. Blendulf. Iceland Symphony Orchestra under Daniel Philharmonic underKarina Canellakisand under David Afkham,Royal Stockholm Philharmonic andViennaSymphony orchestras Czech PhilharmonicunderJakubHru Philharmonic underYannick Nézet-Séguin, Pappano, andRotterdam Staatskapelle Dresden underSirAntonio Munich PhilharmonicunderZubinMehta, with theBerlinPhilharmonicunderPaavo Järvi, Other highlightsthisseasonincludeengagements Kammerphilharmonie underPaavo Järvi. Thomas andSemyon Bychkov, andDeutsche Symphony Orchestra underboth Michael Tilson Orchestra underDanieleGatti,London are plannedwiththeRoyal programmes throughout theseason,whiletours a variety of concerto andchambermusic Artist atNew York’s CarnegieHall,performing conductors. ThisseasonsheisPerspectives with theworld’s mosteminentorchestras and international reputation andworks regularly Violinist JanineJansenenjoys anenviable Janine Jansen violin o ša, Oslo ša, Oslo Brahms’s ViolinConcerto withtheOrchestra No 1 withtheLondonSymphony Orchestra and by Pappano, features Bartók’sViolinConcerto digital musiccharts.Herlatest release, conducted 2003 shehasbeenextremely successfulinthe since recording Vivaldi’s She records exclusively for DeccaClassicsand Thibaudet andtheDover Quartet. include achamberprogramme withJean-Yves Nézet-Séguin. FurtherconcertsatCarnegieHall Concerto withthePhiladelphia Orchestra under the USpremiere of Michelvan derAa’s Violin Thedéen andMartinFröst, aswell asgiving la fin dutemps Hall shewillperform Messiaen’s As partof herPerspectives SeriesatCarnegie Gavrylyuk, ElisabethLeonskaja andKathryn Stott. throughout Europe withpianistsAlexander This seasonshegives anumberof recitals and LilyMaisky. Mischa Maisky, MarthaArgerich, concert ispartof amajorEuropean tour with She isadevoted chambermusicianandtonight’s Zealand Symphony orchestras. performing withtheSingapore, Sydney andNew She willalsotravel to theFar EastandAustralia, and Prokofiev withpianistItamar Golan. Verklärte Nacht Schubert’s String Quintet andSchoenberg’s a numberof chambermusicdiscs,including with herown ensemble.Shehasalsoreleased Harding; andanalbumof Bach concertos with ;Tchaikovsky withDaniel with Paavo Järvi;MendelssohnandBruch under ; Beethoven andBritten No 2 withtheLondonPhilharmonicOrchestra a recording of Prokofiev’s ViolinConcerto Other highlightsof herdiscography include dell’Accademia NazionalediSanta Cecilia. withLucasDebargue, Torleif and sonatas by Debussy, Ravel Four Seasons Quatuor pour Quatuor pour back in back in

9 About the performers 10 Dextra Musica. Gutmann’ , kindlyonloanfrom Janine Jansenplays the1707 ‘Rivaz, Baron Krijgh ashersuccessor. Director inJune2016 andnamedcellistHarriet she stepped down from herpositionasArtistic Chamber MusicFestival inUtrecht. After 13 years In 2003shefounded theacclaimed International Hirshhorn andBorisBelkin. She studiedwithCoosjeWijzenbeek, Philipp was awarded theBremen MusikFest Award. performances intheUK.InSeptember 2015 she Philharmonic SocietyInstrumentalist Award for for individualachievement andtheRoyal has beengiven theVSCD Klassieke Muziekprijs achievement andtheConcertgebouwPrize.She NDR Musikpreis for outstanding artistic awards, theGermanRecord Critics’Award, Edison KlassiekAwards, four ECHOKlassik She haswon numerous prizes,includingfour

Mat Hennek/DG French andGermanbows, Austrian and As heputsit:‘Iplay anItalian cello,using He considershimselfacitizenof theworld. with many other majormusicalcentres. , Vienna,New York andTokyo, along been enthusiasticallyreceived inLondon,Paris, emigrated to . Hisperformances have He was borninLatvia,educated inRussiaand Rostropovich andGregor Piatigorsky. only cellistto have studiedwithboth Mstislav Mischa Maiskyhasthedistinctionof beingthe Mischa Maisky Mischa Maisky London Symphony Orchestra, Orchestre de Israel and Berlin Philharmonicorchestras, leading orchestras includingtheVienna, years andhasmade many recordings with He hasbeenanexclusive DGartistfor 30 appreciate andenjoy classicalmusic.’ and Ifeel athomeeverywhere where people car, wear aSwisswatch, anIndiannecklace Sri Lankan, halfItalian, Idrive aJapanese four different countries,my secondwife ishalf German strings,my sixchildren were bornin cello to namejustafew. ,JulianRachlin andJanineJansen, Bashmet, , Maxim Vengerov, ,,, Yuri , Evgeny Kissin,ItzhakPerlman, worked includeMarthaArgerich, , Musicians withwhomhehasregularly and . , MarissJansons, Ashkenazy, DanielBarenboim, JamesLevine, ,GiuseppeSinopoli,Vladimir Maria Giulini,LorinMaazel, ZubinMehta, conductors, includingLeonard Bernstein, Carlo leading festivals and hasworked withgreat Mischa Maiskyisaregular guestat theworld’s European tour. with MarthaArgerichwith a40th-anniversary he celebrated hislongstanding friendship Perlman andEvgeny Kissin.Thefollowing year December 2015 atCarnegieHallwithItzhak Another highlightwas atrioconcertin three times. and hehasrecorded theSoloCelloSuites particularly closeto MischaMaisky’sheart over 100 concerts.Bach is acomposer worldwide Bach tour in2000,whichincluded One of thehighlightsof hiscareer was a receiving anumberof Grammy nominations. and (three times),theGrand PrixduDisque in Paris Prize (five times),theECHOKlassikaward prizes, includingTokyo’s Record Academy acclaim andhave beenawarded prominent His recordings have enjoyed worldwide critical Chamber Orchestra of Europe. Paris, OrpheusChamberOrchestra andthe Diapason ’s Record of theYear, aswell as

11 About the performers Kavakos Ma Ax Trio A5 mono ad.indd 1

Images: © Marco Borggreve, Yo-Yo Ma © Jason Bell, Emanuel Ax © Lisa Marie Mazzucco Marie ©Lisa Ax Emanuel Bell, Yo-Yo ©Jason Ma Borggreve, ©Marco Kavakos Leonidas Images: 12 nowBook atbarbican.org.uk/classical1819 Brahms’s perform and Emanuel Ax Piano Trios. Superstar trio Leonidas Kavakos, Yo-Yo Ma Ma/Ax Trio Kavakos/ Sun 9Sep 29/01/2018 17:24