London Living

Sunday 24 May 2015 7.30pm Barbican Hall

LSO INTERNATIONAL FESTIVAL

Beethoven Violin Concerto INTERVAL Brahms German

Daniel Harding conductor Christian Tetzlaff violin Dorothea Röschmann soprano Matthias Goerne baritone London’s Symphony Orchestra chorus director

Concert finishes approx 9.55pm

The LSO International Violin Festival is generously supported by Jonathan Moulds CBE

International Violin Festival Media Partner 2 Welcome 24 May 2015

Welcome Living Music Kathryn McDowell In Brief

This evening we are pleased to welcome back the THE LSO AT THE BBC PROMS LSO’s Principal Guest Conductor for a programme culminating in Brahms’ German The LSO returns to the BBC Proms this summer Requiem. The London Symphony Chorus, led by with Principal Conductor for a concert the LSO’s Choral Director Simon Halsey, join Daniel on 28 July showcasing all five of Prokofiev’s piano Harding for his first performance of this work with concertos. Joining the Orchestra on stage at the the Orchestra. Royal Albert Hall will be soloists Daniil Trifonov, Sergei Babayan and Alexei Volodin. Tickets are The LSO International Violin Festival also continues now on sale through the Royal Albert Hall. tonight with a performance of Beethoven’s Violin Concerto by Christian Tetzlaff, who has worked with bbc.co.uk/proms both the Orchestra and Daniel Harding on many occasions in the past, recently performing a BBC Radio 3 Lunchtime Concert at LSO St Luke’s. A WARM WELCOME TO TONIGHT’S GROUPS

We are grateful for Jonathan Moulds’ generous The LSO offers great benefits for groups of ten or support of the Festival, and to our media partner more, including 20% discount on standard tickets, The Strad, who continue to cover the Festival in a dedicated group booking phone-line, priority print and online. booking and, for larger groups, free hot drinks and the chance to meet LSO musicians at private interval I would also like to take this opportunity to thank receptions. Tonight, we are delighted to welcome: the musicians who played in this evening’s LSO Platforms recital, a chance for musicians from the The Gerrards Cross Community Association Guildhall School to perform free pre-concert recitals Farnham U3A Concert Club on the Barbican stage. Redbridge and District U3A University of Wisconsin Please join us again on 2 June when Daniel Harding Eventika Travel SRL and the Orchestra will be joined by Janine Jansen for The University of Minnesota, Morris a performance of the Mendelssohn Violin Concerto, Elizabeth Hayllar and Friends following a short tour to Germany and Switzerland. Ian Fyfe and Friends Swen Wiehen and Friends Annette Graves and Friends Edwin Poquette and Friends

lso.co.uk/groups Kathryn McDowell CBE DL Managing Director lso.co.uk LSO International Violin Festival 3

Coming soon LSO International Violin Festival

Thu 10 Oct 7.30pm HAITINK & AX Mozart Piano Concerto No 9 K271 Shostakovich Symphony No 4 conductor Emanuel Ax piano Is there a creamier, more ravishing violin timbre in the Tue 15 Oct 7.30pm world today than that from HAITINK & AX Ehnes’ Strad? Add immaculate Mozart Piano Concerto No 27 K595 Shostakovich Symphony No 15 tuning, serene lyricism and an Bernard Haitink conductor understated but unfaltering Emanuel Ax piano musicality, and it’s clear why the young Canadian is fast becoming the connoisseur’s fiddler-of-choice. The Times

JANINE JANSEN JAMES EHNES ALINA IBRAGIMOVA BBC RADIO 3 LUNCHTIME Tue 2 Jun 2015 7.30pm Sun 7 Jun 2015 7.30pm Sun 14 Jun 2015 7.30pm CONCERTS AT LSO ST LUKE’S

Edward Rushton I nearly went, there* Bartók Divertimento for Strings Mozart Violin Concerto No 3 Thu 11 Jun 2015 1pm Mendelssohn Violin Concerto Korngold Violin Concerto Mahler Symphony No 1 (‘Titan’) James Ehnes violin Mahler Symphony No 5 Rachmaninov Symphonic Dances Steven Osborne piano

Daniel Harding conductor Marin Alsop conductor Bernard Haitink conductor Thu 18 Jun 1pm, LSO St Luke’s Janine Jansen violin James Ehnes violin Alina Ibragimova violin Veronika Eberle violin Michail Lifits piano * UK premiere LSO Platforms 6pm – Korngold Chamber Music performed by Guildhall School students 020 7638 8891

The LSO International Violin Festival is generously supported by Jonathan Moulds CBE International Violin Festival Media Partner lso.co.uk/violinfestival 4 Programme Notes 24 May 2015

Ludwig van Beethoven (1770–1827) Violin Concerto in D major Op 61 (1806)

1 ALLEGRO MA NON TROPPO It was not until one of the 19th century’s greatest 2 LARGHETTO violinists, Joseph Joachim, performed it in London 3 RONDO: ALLEGRO in 1844 under Mendelssohn’s baton that the work came to be recognised as the sublime masterpiece CHRISTIAN TETZLAFF VIOLIN that it is. Joachim was only twelve years old at the time, but later descriptions of his playing, which Beethoven did not provide cadenzas for the talked of artistic perfection with bravura as a premiere of his Violin Concerto, but he did compose secondary consideration, perhaps explain how it cadenzas when he transformed the piece into a was that he was the first one to be able to put the piano concerto a year later. In tonight’s performance, concerto across; these qualities, after all, apply Christian Tetzlaff performs his own arrangements of equally well to the work itself. those cadenzas. ‘All its most famous strokes of For Beethoven, the concerto was not a form to be taken lightly. Like Mozart, the first great master genius are not only mysteriously of the Classical concerto, he composed concertos quiet, but mysterious in radiantly principally for his own instrument, the piano; PROGRAMME NOTE WRITER whereas Mozart’s output of piano concertos ran happy surroundings.’ LINDSAY KEMP is a senior to nearly 30, Beethoven completed only five, each Donald Tovey on Beethoven’s Violin Concerto producer for BBC Radio 3, including of them a dynamic and virtuosic conflict between programming lunchtime concerts soloist and orchestra. It is not hard to picture him from Wigmore Hall and LSO St Luke’s, at the keyboard, challenging the orchestra to battle The circumstances of the first performance in Artistic Director of the London in the gigantic flourishes of the first movement of Vienna in December 1806 sound somewhat less Festival of Baroque Music, and a the ’Emperor’ Concerto, running it ragged in the promising. Beethoven had rushed to complete the regular contributor to Gramophone fleet-footed games of the finale of the First, or piece in time and the soloist, Franz Clement, was magazine. coaxing it patiently into submission in the slow apparently forced to sight-read much of the music movement of the Fourth. at the concert. This sounds hard to believe, but it is surely significant that the autograph contains Compared to these dramas, his only completed many alterations to the solo part, perhaps made violin concerto is a very different animal, a work at Clement’s suggestion, after what one can of unprecedented warmth and serenity that its only imagine was a somewhat hairy premiere. first audiences evidently found rather puzzling. If Beethoven made things hard for his soloist, ’The opinion of connoisseurs admits that it contains however, Clement did not show the concerto to beautiful passages but confesses that the context its best advantage by playing the second and third often seems broken and that the endless repetition movements at opposite ends of the concert from of unimportant passages produces a tiring effect’, the first, and inserting some virtuoso showpieces ran one account of its first performance. Clearly, in between (including one played with the violin a little more action was expected. upside down). lso.co.uk Programme Notes 5

BEETHOVEN on LSO LIVE Although Beethoven knew how to play the violin, new tune, which is then alternated with the main it was not really his instrument, so we should not theme before a peaceful coda, a fanfare-like be too surprised that his concerto does not adopt outburst from the strings and a short cadenza lead Nos 1–9 the confrontational and virtuoso tone of the piano straight into the finale. £19.99 concertos. And unlike the piano, the violin cannot lsolive.lso.co.uk accompany itself, with the result that the orchestra FINALE has to play along almost all of the time. Beethoven Here again, the form is simple – a rondo whose does not fight against this. Instead he turns it to uncomplicated treatment may owe much to ‘A towering achievement.’ an advantage by writing a supremely conciliatory Beethoven’s haste to complete the concerto, but The Times concerto in which the violin and orchestra are in whose recurring theme is irresistible nevertheless. agreement throughout. As Donald Tovey has said, And there is real originality in the way in which the Benchmark Beethoven Cycle ’all its most famous strokes of genius are not only movement opens with the theme given out by the BBC Music Magazine mysteriously quiet, but mysterious in radiantly soloist over a bare, prompting accompaniment from happy surroundings’. the and basses, and in the way that, just when Classical Recordings of the Year you feel Beethoven has proved that he could carry New York Times FIRST MOVEMENT on for ever, he wittily brings the concerto to an end. This is certainly true of the work’s unusual opening, Nominated for Best Classical Album where five gentle drum beats introduce the sublime 49th Annual Grammy Awards first theme, and then proceed to dominate and unify the whole movement through repeating and recycling their insistent rhythm in different contexts. There is no menace in this (as well there might be), and when the solo violin first enters it is not to contradict the orchestra, or even to contribute any new themes of its own, but to enrich the music with soaring embellishments and eloquent refinements of the movement’s glorious melodic material.

SECOND MOVEMENT This non-aggressive attitude is even more noticeable in the placid slow movement, which seems to start out as a straightforward set of variations on the INTERVAL – 20 minutes theme introduced right at the beginning on muted There are bars on all levels of the Concert Hall; ice cream strings – so straightforward, indeed, that the music can be bought at the stands on Stalls and Circle level. never leaves the key of G major and the solo violin The Barbican shop will also be open. at first offers no more than gentle accompanimental arabesques. After the third variation, however, (a Why not tweet us your thoughts on the first half of the loud restatement of the theme by the orchestra performance @londonsymphony, or come and talk to alone), the soloist introduces a brief but sonorous LSO staff at the Information Desk on the Circle level? 6 Composer Profiles 24 May 2015

Ludwig van Beethoven Composer Profile Composer Profile

Beethoven showed early musical Johannes Brahms was born promise, yet reacted against his in , the son of an father’s attempts to train him as impecunious musician; his mother a child prodigy. The boy pianist later opened a haberdashery attracted the support of the Prince- business to help lift the family out Archbishop, who supported his of poverty. Showing early musical studies with leading musicians at promise he became a pupil of the Bonn court. By the early 1780s the distinguished local pianist Beethoven had completed his first and composer Eduard Marxsen compositions, all of which were and supplemented his parents’ for keyboard. With the decline meagre income by playing in the of his alcoholic father, Ludwig bars and brothels of Hamburg’s became the family bread-winner infamous red-light district. as a musician at court. In 1853 Brahms presented himself Encouraged by his employer, to in Düsseldorf, the Prince-Archbishop Maximilian Franz, Beethoven travelled to winning unqualified approval from the older composer. Brahms fell in Vienna to study with Joseph Haydn. The younger composer fell out love with Schumann’s wife, Clara, supporting her after her husband’s with his renowned mentor when the latter discovered he was secretly illness and death. The relationship did not develop as Brahms wished, taking lessons from several other teachers. Although Maximilian Franz and he returned to Hamburg; their close friendship, however, survived. withdrew payments for Beethoven’s Viennese education, the talented In 1862 Brahms moved to Vienna where he found fame as a conductor, musician had already attracted support from some of the city’s pianist and composer. The Leipzig premiere of his German Requiem wealthiest arts patrons. His public performances in 1795 were well in 1869 was a triumph, with subsequent performances establishing received, and he shrewdly negotiated a contract with Artaria & Co, Brahms as one of the emerging German nation’s foremost composers. the largest music publisher in Vienna. Following the long-delayed completion of his First Symphony in 1876, he composed in quick succession the Violin Concerto, the two piano He was soon able to devote his time to composition or the Rhapsodies, Op 79, the First Violin Sonata and the Second Symphony. performance of his own works. In 1800 Beethoven began to complain His subsequent association with the much-admired court orchestra in bitterly of deafness, but despite suffering the distress and pain of Meiningen allowed him freedom to experiment and de­velop new ideas, tinnitus, chronic stomach ailments, liver problems and an embittered the relationship crowned by the Fourth Symphony of 1884. legal case for the guardianship of his nephew, Beethoven created a series of remarkable new works, including the Missa solemnis and his In his final years, Brahms composed a series of profound works for late symphonies and piano sonatas. It is thought that around 10,000 the clarinettist Richard Mühlfeld, and explored matters of life and death people followed his funeral procession on 29 March 1827. Certainly, his in his Four Serious Songs. He died at his modest lodgings in Vienna posthumous reputation developed to influence successive generations in 1897, receiving a hero’s funeral at the city’s central cemetery three of composers and other artists inspired by the heroic aspects of days later. Beethoven’s character and the profound humanity of his music. Composer Profiles © Andrew Stewart lso.co.uk LSO International Violin Festival 7

Artist Focus Christian Tetzlaff

1 MOVEMENT ONE 2 MOVEMENT TWO 3 MOVEMENT THREE

NAME NAME INSTRUMENT

Programme note body.

If note goesEach over performance a spread. of this concerto is different, even if you play it with the same orchestra on tour ten times. It’s about how your PROGRAMME NOTE AUTHOR Last paragraph. LINDSAY KEMP is a senior body works and how your heart is at that moment. You will always producer for BBC Radio 3, including find different interpretations. programming lunchtime concerts from LSO St Luke’s, Artistic Director After performing it 280 times, people may think, ‘What’s the of the Lufthansa Festival of point for him?’ The point is to really convince this audience, Baroque Music, and a regular contributor to Gramophone magazine. on this night, of the total beauty of the piece, and that job never changes. The challenge is always the same.

Christian Tetzlaff on Beethoven’s Violin Concerto

LSO INTERNATIONAL VIOLIN Christian Tetzlaff plays a modern violin made by Tetzlaff first appeared with the LSO in 2009. ‘I love FESTIVAL: FIND OUT MORE Stefan-Peter Greiner (b 1966). It is his third instrument performing with the LSO and I love being on tour by the German luthier, whose instruments he has with them,’ he says. ‘Its sheer fantastic quality aside, Get to know the soloists in the played since 2002, when he gave up the Stradivarius the LSO is also an orchestra that I just enjoy being LSO International Violin Festival he had been loaned. ‘If I were to play a Strad and with.’ The Beethoven Concerto, which he plays and find out more about their a Guarneri in a double-blind test with my Greiner, I with the LSO for the first time tonight, has been an instruments on our website, am sure that no one could tell which was the new important work for him throughout his career. ‘I’ve featuring in-depth profiles, instrument,’ he told The Strad in 2005. ‘When I play reached around 280 performances of this piece! interviews, live-streamed artist with , if they don’t know what I’m playing, That might sound weird to somebody who is not conversations and more. they always ask if it’s a Strad or a Guarneri.’ doing it all the time, but it is a total joy, because it is a complex, big and difficult piece. The background of lso.co.uk/violinfestival According to Greiner, the violin was ‘based like all all those performances makes me freer than I have my instruments on a Guarneri model. I don’t make ever been. And also, of course, in those 280 times ‘strong copies’ based on a specific instrument, but I’ve played it in so many different settings and with Guarneri’s work gives us a great deal of freedom to so many different conductors and orchestras that it’s develop our own models.’ a big part of me.’ 8 Programme Notes 24 May 2015

Johannes Brahms (1833–97) German Requiem Op 45 (1865–68)

1 SELIG SIND, DIE DA LEID TRAGEN early 1850s when the 20-year-old Brahms first met (BLESSED ARE THEY THAT MOURN) Robert and Clara Schumann. They were amazed at 2 DENN ALLES FLEISCH ES IST WIE GRAS this young genius, and shortly afterwards Schumann (FOR ALL FLESH IS AS GRASS) published the famous article which proclaimed 3 HERR, LEHRE DOCH MICH Brahms to be the long-awaited Messiah who would (LORD, MAKE ME TO KNOW MINE END) bring to fulfilment all the best tendencies in German 4 WIE LIEBLICH SIND DEINE WOHNUNGEN music. Within months Schumann’s mental health (HOW LOVELY ARE THY DWELLINGS) collapsed; he attempted suicide and was confined in 5 IHR HABT NUN TRAURIGKEIT an asylum, where he died in 1856. In the meantime, (AND YE NOW THEREFORE HAVE SORROW) Brahms became closely attached to Schumann’s 6 DENN WIR HABEN HIE wife Clara, and the music from these years expresses (FOR HERE HAVE WE NO CONTINUING CITY) much of the turmoil and stress he experienced. 7 SELIG SIND DIE TOTEN (BLESSED ARE THE DEAD) ‘As far as the text is concerned,

DOROTHEA RÖSCHMANN SOPRANO I confess that I would gladly omit MATTHIAS GOERNE BARITONE even the word ‘German’ and LONDON SYMPHONY CHORUS SIMON HALSEY CHORUS DIRECTOR instead use ‘Human’. PROGRAMME NOTE WRITER Brahms, writing to Carl Martin Reinthaler, ANDREW HUTH is a musician, Brahms was a questioning, subtle agnostic who Director of Music at the Bremen Cathedral writer and translator who writes could not accept any dogmatic form of religion. extensively on French, Russian and His German Requiem is not a liturgical work, nor Eastern European music. even specifically Christian. There is no mention of In 1854 Brahms began a sonata for two pianos, sin or redemption, no vision of eternal judgement which then turned into a projected symphony in or plea for divine mercy. Instead, there is an almost D minor. The first movement of this, in its turn, pagan sense of inevitable fate, tempered by stoic eventually became the opening movement of the MARTIN LUTHER (1483–1546) endurance and a search for consolation and hope. First Piano Concerto (1856–58), while the theme of a initiated the Protestant Reformation The ‘German’ in the title has nothing to do with slow movement in the triple rhythm of a Sarabande by nailing his Ninety-Five Theses nationalism, but refers to the language: Brahms became the basis of the second movement of the to the door of Wittenberg Castle admired the poetry and wisdom to be found in Requiem. The dark style of that Brahms Church in 1517. He argued that many passages in the Bible and compiled his own devised for the Concerto certainly influenced the the theological underpinnings texts from the Old and New Testaments and the Requiem’s overall sound; and the Concerto’s slow of Catholicism were flawed and Apocrypha in the venerable 16th-century translation movement marks the first appearance of a particular proposed a radical new interpretation by Martin Luther. mood of resigned serenity that is so characteristic of of scripture and faith that would the Requiem, the work which Brahms hoped would form the basis of all subsequent The immediate stimulus for the composition of be worthy of Schumann’s prophecies and stand as a Protestant denominations. the Requiem was the death of Brahms’ mother in suitable memorial to him. February 1865, but its genesis goes back to the lso.co.uk Programme Notes 9

London Symphony Orchestra

After a poorly rehearsed run-through of three LSO SING – SUMMER EVENTS movements in Vienna in December 1867, Brahms conducted the first performance on 10 April (Good Friday) 1868 in Bremen Cathedral, just a month before his 35th birthday. The Requiem then BRAHMS on LSO LIVE consisted of only six movements. Brahms soon added a seventh movement and in February 1869 Brahms the final form of the work was premiered under German Carl Reinecke in Leipzig. Within a year it had received Requiem 20 performances in Germany and Switzerland, and £8.99 soon made Brahms famous throughout . lsolive.lso.co.uk The first movement, with divided and cellos Valery Gergiev conductor but no or , establishes a prevailing LSO COMMUNITY SINGING DAY: mood; each of the following movements has its AFRICAN AMERICAN JOURNEY ‘The LSO sound is immaculate’ own distinct colouring, its own particular shade Sat 20 Jun 10.30am–4.30pm, LSO St Luke’s Classical Music Sentinel of objectivity or intimacy, resulting in an overall Come along to this inspiring Singing Day and explore arch-like structure. how gospel music originated from African spirituals and the European hymn tradition. The solo baritone in the third and sixth movements, and the soprano in the fifth, sing passages which David Lawrence conductor are among the most deeply expressive and personal utterances in all of Brahms’ music. It is the chorus, 2014/15 CLOSING CONCERT: though, that bears the burden of the Requiem, RATTLE AND LSO DISCOVERY conveying the inner meaning of the words that Brahms Sun 5 Jul 7.30pm, Barbican had so carefully chosen to express his deepest A new children’s from Jonathan Dove, thoughts on life and death. Not that Brahms himself The Monster in the Maze, followed by Walton’s ever tried to explain in words what he was doing. First Symphony, played by students from the Whenever he was asked what lay behind his music Guildhall School side-by-side with LSO musicians. he would turn away questions with the sort of gruffness he seems to have inherited from his father. Sir conductor After the Bremen premiere of the Requiem, which LSO Discovery Junior and Senior reduced many in the audience to tears, old Jakob LSO Community Brahms was discovered taking snuff outside the Guildhall Symphony Orchestra cathedral, simply muttering ‘It didn’t sound too bad’. 020 7638 8891 lso.co.uk 10 Texts 24 May 2015

Johannes Brahms German Requiem: Texts

1 Seilig sind, die da Leid tragen Blessed are they that mourn Selig sind, die da Leid tragen, denn sie sollen Blessed are they that mourn, Matthew 5:4 getröstet werden. for they shall be comforted.

Die mit Tränen säen, werden mit Freuden ernten. They that sow in tears shall reap in joy. Psalm 126:5,6 Sie gehen hin und weinen und tragen edlen Samen, They that go forth and weep, bearing precious seed, und kommen mit Freuden und bringen ihre Garben. shall doubtless come again with rejoicing, bringing their sheaves with them.

Seilig sind, die da Leid tragen … Blessed are they that mourn …

2 Denn alles Fleisch es ist wie Gras For all flesh is as grass Denn alles Fleisch es ist wie Gras For all flesh is as grass, and all the glory of man as 1 Peter 1:24 und alle Herrlichkeit des Menschen the flower of grass. The grass withers, and the flower wie des Grases Blumen. Das Gras ist verdorret thereof falleth away. und die Blume abgefallen.

So seid nun geduldig, lieben Brüder, bis auf die Be patient therefore, brethren, unto the coming of James 5:7 Zukunft des Herrn. Siehe, ein Ackermann wartet the Lord. Behold, the husbandman waiteth for the auf die köstliche Frucht der Erde und ist geduldig precious fruit of the earth, and has long patience for darüber, bis er empfahe den Morgenregen und it, until he receive the morning and evening rain. Abendregen. So seid geduldig. So seid geduldig. So be ye patient.

Denn alles Fleisch es ist wie Gras … For all flesh is as grass…

Aber des Herrn Wort bleibet in Ewigkeit. But the word of the Lord endureth for ever. 1 Peter 1:25

Die Erlöseten des Herrn werden wieder kommen, And the ransomed of the Lord shall return, and come Isaiah 35:10 und gen Zion kommen mit Jauchzen; ewige Freude to Zion with songs and everlasting joy upon their wird über ihrem Haupte sein; Freude und Wonne heads: they shall obtain joy and gladness, and sorrow werden sie ergreifen und Schmerz und Seufzen and sighing shall flee away. wird weg müssen. lso.co.uk Texts 11

3 Herr, lehre doch mich Lord, make me to know mine end Herr, lehre doch mich, daß ein Ende mit mir haben Lord, make me to know mine end, and the measure Psalm 39:4–7 muß, und mein Leben ein Ziel hat, und ich davon muß. of my days, what it is: that I may know how frail I am. Siehe, meine Tage sind einer Hand breit vor dir, und Behold, thou hast made my days as an handbreadth; mein Leben ist wie nichts vor dir. and mine age is as nothing before thee.

Ach, wie gar nichts sind alle Menschen, die doch so Surely every man walketh in a vain show: surely they sicher leben. Sie gehen daher wie ein Schemen, und are disquieted in vain: he heaps up riches, and knows machen ihnen viel vergebliche Unruhe; sie sammeln not who shall gather them. und wissen nicht wer es kriegen wird.

Nun Herr, wess soll ich mich trösten? Ich hoffe auf dich. And now, Lord, what wait I for? My hope is in thee.

Der Gerechten Seelen sind in Gottes Hand The souls of the righteous are in the hand of God, Wisdom of und keine Qual rühret sie an. and there shall no torment touch them. Solomon 3:1

4 Wie lieblich sind deine Wohnungen How lovely are thy dwellings Wie lieblich sind deine Wohnungen, Herr Zebaoth! How lovely are thy dwellings, O Lord of hosts! Psalm 84:1,2,4 Meine Seele verlanget und sehnet sich nach den My soul longs, yea, even faints for the courts of the Vorhöfen des Herrn; mein Leib und Seele freuen sich Lord: my heart and my flesh cries out for the living in dem lebendigen Gott. Wohl denen, die in deinem God. Blessed are they that dwell in thy house: they Hause wohnen, die loben dich immerdar. will always be praising thee.

5 Ihr habt nun Traurigkeit And ye now therefore have sorrow Ihr habt nun Traurigkeit; aber ich will euch And ye now therefore have sorrow; but I will see you John 16:22 wiedersehen und euer Herz soll sich freuen und eure again, and your heart shall rejoice, and your joy no Freude soll niemand von euch nehmen. man taketh from you.

Ich will euch trösten, wie Einen seine Mutter tröstet. As one whom his mother comforts, so will I comfort you. Isaiah 66:13

Sehet mich an: Ich habe eine kleine Zeit Mühe und Behold with your eyes, how that I have but little Ecclesiasticus Arbeit gehabt und habe großen Trost funden. labour and have gotten unto me much rest. 51:27

12 Texts 24 May 2015

Johannes Brahms German Requiem: Texts (continued)

6 Denn wir haben hie For here have we no continuing city Denn wir haben hie keine bleibende Statt, For here have we no continuing city, Hebrews 13:14 sondern die zukünftige suchen wir. but we seek one to come.

Siehe, ich sage euch ein Geheimnis: Wir werden Behold, I show you a mystery; we shall not all 1 Corinthians nicht alle entschlafen, wir werden aber alle sleep, but we shall all be changed, in a moment, 15:51,52,54,55 verwandelt werden; und dasselbige plötzlich, in in the twinkling of an eye, at the last trump: for the einem Augenblick, zu der Zeit der letzten Posaune. shall sound, and the dead shall be raised Denn es wird die Posaune schallen, und die Toten incorruptible, and we shall be changed. werden auferstehen unverweslich, und wir werden verwandelt werden.

Dann wird erfüllet werden das Wort, das geschrieben Then shall be brought to pass the saying that is steht: der Tod is verschlungen in den Sieg. written, Death is swallowed up in victory. Tod, wo ist dein Stachel? O death, where is thy sting? Hölle, wo ist dein Sieg? O grave, where is thy victory? Revelation Herr, du bist würdig, zu nehmen Preis und Ehre und Thou art worthy, O Lord, to receive glory and honour 4:11 Kraft, denn du hast alle Dinge erschaffen, and power: for thou hast created all things, and for und durch deinen Willen haben, sie das Wesen thy pleasure they are and were created. und sind geschaffen.

7 Selig sind die Toten Blessed are the dead Revelation Selig sind die Toten, die in dem Herren sterben von Blessed are the dead which die in the Lord, from 14:13 nun an. Ja, der Geist spricht, daß sie ruhen von ihrer henceforth: yea, says the Spirit, that they may rest Arbeit; denn ihre Werke folgen ihnen nach. from their labours; and their works do follow them. lso.co.uk 2015/16 Highlights 13

LSO Season 2015/16 Highlights Concerts at the Barbican

The LSO at full tilt is a terrifying, glamorous beast.

The Times on the LSO with Daniel Harding

London’s Symphony Orchestra

2015/16 SEASON OPENING CREATIVE GENIUSES MAN OF THE THEATRE SHAKESPEARE 400 with Bernard Haitink with Sir Simon Rattle with Valery Gergiev with Sir and

Bruckner Symphony No 7 Debussy Pelléas et Mélisande Stravinsky The Firebird Mendelssohn Tue 15 Sep 2015 directed by Peter Sellars Fri 9 Oct 2015 A Midsummer Night’s Dream Sat 9 & Sun 10 Jan 2016 Tue 16 Feb 2016 Mahler Symphony No 4 Stravinsky The Rite of Spring Sun 20 Sep 2015 Ravel, Dutilleux and Delage Sun 11 Oct 2015 Berlioz Romeo and Juliet with Leonidas Kavakos Sun 28 Feb 2016 Brahms Symphony No 1 Wed 13 Jan 2016 Bartók The Miraculous Mandarin Wed 23 Sep 2015 Sun 18 Oct 2015 Bruckner Symphony No 8 Thu 14 Apr 2016 020 7638 8891 lso.co.uk 14 Artist Biographies 24 May 2015

Daniel Harding ‘Daniel Harding conducted with total conviction.’ Conductor The Times

Born in Oxford, Daniel Harding began his career His operatic experience includes Strauss’ Ariadne assisting Sir Simon Rattle at the City of auf Naxos, Mozart’s Don Giovanni and The Marriage Symphony Orchestra, with which he made of Figaro at the with the Vienna his professional debut in 1994. He went on to Philharmonic, Britten’s The Turn of the Screw assist at the and Berg’s at the Royal Opera House, and made his debut with the Orchestra at the Covent Garden, Mozart’s Die Entführung aus 1996 Berlin Festival. dem Serail at the Bayerische Staatsoper, Munich, and Wozzeck at the Theater an der Wien. Closely He is Music Director of the Swedish Radio associated with the Aix-en-Provence Festival, Symphony Orchestra, Principal Guest Conductor he has conducted a number of new productions of the London Symphony Orchestra and there, including Mozart’s Così fan tutte and Music Partner of the New Japan Philharmonic. Don Giovanni, Britten’s The Turn of the Screw, He is Artistic Director of the Ohga Hall in Karuizawa, Tchaikovsky’s Eugene Onegin and Verdi’s La Traviata. Japan and was recently honoured with the lifetime title of Conductor Laureate of the Mahler His recent recordings for Deutsche Grammophon, Chamber Orchestra. His previous positions Mahler’s Symphony No 10 with the Vienna Principal Guest Conductor include Principal Conductor and Music Director Philharmonic Orchestra and Orff’s Carmina Burana London Symphony Orchestra of the (2003–11), with the Bavarian Radio Symphony Orchestra, Principal Conductor of the Trondheim Symphony have both won widespread critical acclaim. Music Director Orchestra (1997–2000), Principal Guest Conductor For Virgin/EMI he has recorded Mahler’s Symphony Swedish Radio Symphony Orchestra of Sweden’s Norrköping Symphony Orchestra No 4 with the Mahler Chamber Orchestra; (1997–2003) and Music Director of the Deutsche Brahms’ Symphonies Nos 3 and 4 with the Music Partner Kammerphilharmonie Bremen (1997–2003). Deutsche Kammerphilharmonie Bremen; New Japan Philharmonic with the LSO (winner of a Grammy He is a regular visitor to the , Award for best opera recording); Don Giovanni Artistic Director Dresden Staatskapelle, Royal Concertgebouw, and The Turn of the Screw, both with the Mahler Ohga Hall Bavarian Radio Symphony, Leipzig Gewandhaus Chamber Orchestra; works by Lutosławski with and Orchestra Filarmonica della Scala. Other guest Solveig Kringelborn and the Norwegian Chamber Conductor Laureate conducting engagements have included the Berlin Orchestra; and works by Britten with Mahler Chamber Orchestra Philharmonic, Munich Philharmonic, Orchestre and the Britten Sinfonia. National de Lyon, Oslo Philharmonic, London Philharmonic, Royal Stockholm Philharmonic, In 2002 he was awarded the title Chevalier de l’Ordre Orchestra of the Age of Enlightenment, Rotterdam des Arts et des Lettres by the French Government, Philharmonic, Frankfurt Radio Orchestras and the and in 2012 he was elected a member of The Royal Orchestre des Champs-Élysées. US orchestras Swedish Academy of Music. with which he has performed include the New York Philharmonic, Philadelphia Orchestra, Boston Symphony Orchestra, Los Angeles Philharmonic and Chicago Symphony Orchestra. lso.co.uk Artist Biographies 15

Christian Tetzlaff ‘There are few violinists to match him.’ Violin The Guardian

Equally at home in Classical, Romantic and Mozart, Schumann and Brahms with , and contemporary repertoire, Christian Tetzlaff sets Bach’s complete solo Sonatas and Partitas. Ondine standards with his interpretations of the Violin recently released an album featuring Jörg Widmann’s Concertos of Beethoven, Brahms, Tchaikovsky, Violin Concerto with the Swedish Radio Symphony Berg and Ligeti, and is renowned for his innovative Orchestra (Daniel Harding), while his latest recording, chamber music projects and performances of Bach. of Shostakovich’s Violin Concertos with the Philharmonic Orchestra (John Storgårds), appeared Christian regularly works with many of today’s on the label in autumn 2014. leading conductors, and the 2014/15 season sees performances with Daniel Harding (London and Born in Hamburg in 1966, Christian Tetzlaff studied at Swedish Radio Symphony Orchestras, Orchestre the Lübeck Conservatory with Uwe-Martin Haiberg Philharmonique de Radio France), Robin Ticciati and in Cincinnati with . He has been (Rotterdam Philharmonic Orchestra, Wiener Artist-in-Residence with Carnegie Hall, Wigmore Hall, Symphoniker, Scottish Chamber Orchestra) and Tonhalle-Orchester Zürich and hr-Sinfonieorchester, Paavo Järvi (The Deutsche Kammerphilharmonie and was Musical America’s 2005 Instrumentalist Bremen). He is the Artist-in-Residence with the of the Year. He plays a violin made by German Berliner Philharmoniker, where he works with violinmaker Peter Greiner and teaches regularly Sir Simon Rattle and performs in a variety of at the Kronberg Academy near Frankfurt. programmes. He also appears with the Wiener Philharmoniker (Christoph Eschenbach), Münchner Philharmoniker (Pablo Heras-Casado), Royal Concertgebouw Orchestra (Marc Albrecht) and Boston Symphony Orchestra (Andris Nelsons). Chamber music activities include recitals with regular duo partner Lars Vogt in Berlin, London, Toronto, Melbourne and a number of US cities, and performances with the Tetzlaff Quartett in London, Salzburg, Bonn, Tokyo, Osaka and Seoul.

Christian’s recordings have received numerous prizes and awards, including the Diapason d’Or and Edison, Midem Classical and ECHO Klassik awards, as well as several Grammy nominations. His discography includes the Violin Concertos of Dvorˇák, Mozart, Lalo, Sibelius, Tchaikovsky and Beethoven. He has also recorded Mark-Anthony Turnage’s Mambo Blues and Tarantella under Vladimir Jurowski, Bartók’s Sonatas for violin and piano with , Violin Sonatas by 16 Artist Biographies 24 May 2015

Dorothea Röschmann Matthias Goerne Soprano Baritone

Born in Flensburg, Germany, Matthias Goerne is one of the Dorothea Röschmann made most internationally sought-after a critically acclaimed debut at vocalists and a frequent guest at the 1995 Salzburg Festival as renowned festivals and concert Susanna with Harnoncourt and halls. He has collaborated with has returned to the Festival leading orchestras all over the many times to sing Donna Elvira, world. Conductors of the first rank Countess Almaviva, Ilia, Servilia, as well as eminent pianists are Nannetta, Pamina and Vitellia, among his musical partners. with conductors such as Abbado, Harding, Mackerras Matthias Goerne has appeared on and von Dohnányi. the world’s principal opera stages, including the Royal Opera House, At the Metropolitan Opera she Covent Garden; Teatro Real in has sung Susanna, Pamina, Elvira Madrid; National Opera; and Ilia with Levine and, at the ; and the Royal Opera House, Covent Garden her roles have included Pamina and Metropolitan Opera in New York. His carefully chosen roles range from Fiordiligi with Sir and Countess Almaviva with Sir Antonio Wagner’s Wolfram, Amfortas, Kurwenal, Wotan and Orest to the title roles Pappano. At La Scala, Milan she has sung the Countess and has also in Alban Berg’s Wozzeck, Béla Bartók’s Duke Bluebeard’s Castle, and sung Donna Elvira with the company at the Bolshoi with Barenboim. Paul Hindemith’s Mathis der Maler. At the Vienna Staatsoper she has appeared as the Countess and Susanna, and also as Marschallin with Sir Simon Rattle. At the Goerne’s artistry has been documented on numerous recordings, many Bayerische Staatsoper, Munich she has sung Zerlina, Susanna, of which have received prestigious awards, including four Grammy Ännchen, Marzelline, Anne Trulove and Rodelinda. She is also closely nominations, an ICMA award, and only recently the Diapason d’or arte. associated with the Deutsche Staatsoper, Berlin, where her roles For harmonia mundi, he has recorded a Schubert series across eleven include Ännchen with Mehta; Nannetta with Abbado; Eva, Elsa, Pamina, CDs (The Goerne/Schubert Edition). Fiordiligi, Susanna, Zerlina, Micäela, Donna Elvira and the Countess with Barenboim. She has also appeared at La Monnaie, Brussels as Norina From 2001 through 2005, Matthias Goerne taught as an honorary and at the Bastille, Paris as the Countess and as Pamina. professor of song interpretation at the Robert Schumann Academy of Music in Düsseldorf. In 2001, he was appointed an Honorary Member Her recordings include Countess Almaviva with Harnoncourt; Pamina of the Royal Academy of Music in London. A native of Weimar, he and Nannetta with Abbado; Puccini’s Suor Angelica with Pappano; studied with Hans-Joachim Beyer in Leipzig, and later with Elisabeth Strauss’ Four Last Songs with Nézet-Séguin; Brahms’ Requiem Schwarzkopf and Dietrich Fischer-Dieskau. Highlights in the 2014/15 with Rattle (winner of a Grammy and Gramophone Award); Mahler’s season include a tour with the Vienna Philharmonic, concerts with Symphony No 4 with Harding; Handel’s Nine German Arias with the the Chicago Symphony, Boston Symphony, Dallas Symphony, Akademie für Alte Musik Berlin; Messiah with McCreesh; Pergolesi’s and Czech Philharmonic Orchestras, the and with David Daniels and Fabio Biondi; and a disc of the Accademia di Santa Cecilia, as well as song recitals with Piotr Schumann songs with Ian Bostridge and Graham Johnson. In 2014 Anderszewski, Leif Ove Andsnes and Christoph Eschenbach in London, Sony Classical released Dorothea’s debut recital CD, Portraits. Vienna, Berlin and at La Scala in Milan. lso.co.uk Artist Biographies 17

Simon Halsey Chorus Director

Simon Halsey is a sought-after conductor of Simon Halsey is Professor and Director of Choral choral repertoire at the very highest level and an Activities at the University of Birmingham, where he ambassador for choral singing across the world. directs a postgraduate course in Choral Conducting, Since 2001 he has been Principal Conductor of the in association with the CBSO. Halsey is in great Rundfunkchor Berlin, the permanent partner of the demand as a teacher at other universities and has Berliner Philharmonic In the UK, Halsey has been presented masterclasses at top universities such as Chorus Director of the City of Birmingham Symphony Princeton and Yale. In 2011 Schott Music published Orchestra Choruses for over 30 years and, in 2012, his book and DVD on choral conducting, Chorleitung: was appointed Choral Director of the London Vom Konzept zum Konzert, as part of its ‘Master Symphony Orchestra and London Symphony Chorus. Class’ series. In this position, Halsey leads choral activities across the LSO’s performance and education programmes. Halsey has worked on numerous recording projects, many of which have won major awards, including Simon Halsey is also Artistic Director of the Berliner the Gramophone Award, Diapason d’Or and Echo Philharmoniker’s Youth Choral Programme, as well Klassik. He has won three Grammy Awards for his as Director of the BBC Proms Youth Choir. Since recordings with the Rundfunkchor Berlin: 2007, Choral Director 2014 he has been Artistic Advisor of the Choir 2008 (Best Choral Performances) and 2011 (Best London Symphony Orchestra Academy of the Schleswig-Holstein Musik Festival. Opera Performance). As part of a new relationship London Symphony Chorus Making singing a central part of these world-class with Deutsche Grammophon, Halsey and the institutions, Halsey has been instrumental in changing Rundfunkchor Berlin recorded Spheres with violinist Chorus Director the level of symphonic singing across Europe. Daniel Hope, as well as Morgenlicht, a choir-only City of Birmingham Symphony recording of German hymns, both released in Orchestra Choruses Since becoming Choral Director of the London 2013. Highlights of his discography with the CBSO Symphony Orchestra and London Symphony Chorus Chorus on EMI Classics include Elgar’s The Dream Principal Conductor in 2012, Halsey has been credited with bringing of Gerontius with the CBSO, Sir Simon Rattle, Dame Rundfunkchor Berlin about a ‘spectacular transformation’ (London and John Shirley-Quirk; Beethoven’s Evening Standard) of the LSC. In 2014/15 the LSO and Ninth Symphony with the Vienna Philharmonic and Artistic Director LSC performed Schumann’s Das Paradies und die Sir Simon Rattle; and Mahler’s Symphony No 2 with Berlin Philharmonic Peri with Sir Simon Rattle. In addition to its work with the CBSO, Sir Simon Rattle, Dame Janet Baker and Youth Choral Programme the LSO, the choir joined the Gewandhausorchester Arleen Auger. Leipzig and Alan Gilbert for a performance of Director Beethoven’s Ninth Symphony at the BBC Proms, Born in London, Simon Halsey sang in the choirs BBC Proms Youth Choir and the BBC Philharmonic and Juanjo Mena for of New College, Oxford, and of King’s College, Beethoven’s Fidelio in Manchester. In 2014 Halsey Cambridge, before studying conducting at the Royal also conducted the LSC in a series of a cappella College of Music in London. Halsey was awarded concerts across the UK, including Tallis’ Spem in The Queen’s Medal for Music 2014 for his influence alium and Rachmaninov’s Vespers. on the musical life of the UK, the Officer’s Cross of the Order of Merit of the Federal Republic of Germany in 2011, and holds three honorary doctorates. 18 London Symphony Chorus 24 May 2015

London Symphony Chorus On stage

The London Symphony Chorus was formed in 1966 to complement SOPRANOS ALTOS BASSES the work of the London Symphony Orchestra. The partnership between Kerry Baker Elizabeth Boyden David Aldred Simon Backhouse Faith Baxter Gina Broderick Paul Allatt Bruce Boyd the LSC and LSO was developed and strengthened in 2012 with the Louisa Blankson Jo Buchan * Steven Berryman Andy Chan joint appointment of Simon Halsey as Chorus Director of the LSC and Evaleen Brinton Jenni Butler Daniel Ehrlich Steve Chevis Choral Director for the LSO. Carol Capper * Lizzy Campbell John Farrington Ed Curry Laura Catala-Ubassy Sarah Castelton Matt Fernando Thomas Fea Jessica Collins Maggie Donnelly Simon Goldman Ian Fletcher The LSC also partners other major orchestras and has worked Shelagh Connolly Linda Evans Warwick Hood Robert Garbolinski * Harriet Crawford Lydia Frankenburg * John Marks Gerald Goh internationally with the Berlin and Vienna Philharmonics, Rebecca Dent Tina Gibbs John Moses * John Graham Boston Symphony and the European Union Youth Orchestra. Lucy Feldman Rachel Green Daniel Owers Owen Hanmer * The LSC tours extensively throughout Europe and has visited Isobel Hammond Yoko Harada Stuart Packford Christopher Harvey Emma Harry Amanda Holden Chris Riley Alex Kidney North America, Israel, Australia and South East Asia. Jenna Hawkins Jo Houston Peter Sedgwick Thomas Kohut Emily Hoffnung * Ginger Hunter Brad Warburton Gregor Kowalski * The Chorus has recorded extensively; recent releases include Josefin Holmberg Ella Jackson Robert Ward * Georges Leaver Debbie Jones Christine Jasper Hugh McLeod Britten’s with Gianandrea Noseda, Haydn’s The Seasons, Luca Kocsmarszky Jill Jones Tim Riley Walton’s Belshazzar’s Feast, Verdi’s Otello, and the world premiere of Mimi Kroll Vanessa Knapp Alan Rochford Marylyn Lewin Gilly Lawson Zachary Smith James MacMillan’s St John Passion all under the late Sir Colin Davis; Jane Morley Belinda Liao * Rod Stevens and with Valery Gergiev, Mahler’s Symphonies Nos 2, 3 and 8. Meg Makower Anne Loveluck * Gordon Thomson Maggie Owen Etsuko Makita Robin Thurston Isabel Paintin Dorothy Nesbit Anthony Wilder Last season the Chorus undertook critically acclaimed performances Andra Patterson Helen Palmer of, among other works, Verdi’s , Sir Peter Maxwell Davies’ Frances Pope Susannah Priede Tenth Symphony, Berlioz’s The Damnation of Faust and Romeo and Kate Powell Lucy Reay Carole Radford Maud Saint-Sardos Juliet, and Haydn’s . This season has included the world Liz Reeve Sarah Scott premiere of Sally Beamish’s Equal Voices and Schumann’s Das Paradies Mikiko Ridd Lis Smith Ploen Sopitpongstorn Jane Steele und die Peri with the LSO, the Chorus’ own concert at the Barbican, Rachael Twyford Claire Trocme * denotes council which included Rachmaninov’s Vespers, and Mahler’s Symphony No 2 Laura Ubassy Kathryn Wells member with the Berlin Philharmonic, Sir Simon Rattle and the CBSO Chorus. Lizzie Webb Becky Wheaton Miji Yi If you would like to arrange an audition, contact Aoife McInerney on [email protected] for further details.

President Emeritus André Previn KBE Vice President Patron Chorus Director Simon Halsey Deputy Chorus Director & Accompanist Roger Sayer Assistant Directors Neil Ferris and Matthew Hamilton Chairman Lydia Frankenburg lsc.org.uk lso.co.uk The Orchestra 19

London Symphony Orchestra Your views On stage Inbox

FIRST VIOLINS VIOLAS HORNS nameCristian message Grajner de Sa @londonsymphony just keep Roman Simovic Leader Edward Vanderspar Gareth Davies Timothy Jones getting better and better. Amazing Tchaikovsky 5 with Lennox Mackenzie Gillianne Haddow Alex Jakeman Angela Barnes Ginette Decuyper Malcolm Johnston Alexander Edmundson Bychkov this evening! Gerald Gregory Regina Beukes PICCOLO Jonathan Lipton on the LSO with Semyon Bychkov on 7 May Jörg Hammann German Clavijo Sharon Williams Tim Ball Maxine Kwok-Adams Anna Bastow Laurent Quenelle Julia O’Riordan nameRay Pering message Had a fantastic evening last night, thanks Christopher Cowie Harriet Rayfield Robert Turner Nicholas Betts Rosie Jenkins @TheStradMag. @londonsymphony, @SemyonBychkov and Colin Renwick Heather Wallington Gerald Ruddock Ian Rhodes Jonathan Welch Isabelle Faust were a joy to watch. CLARINETS Sylvain Vasseur Caroline O’Neill Chris Richards Peter Moore on the LSO with Semyon Bychkov on 7 May Rhys Watkins Alistair Scahill Chi-Yu Mo Emma Bassett David Worswick CELLOS Alain Petitclerc BASS Charles Zogheib @londonsymphony One word: wow. Rebecca Gilliver Alina Petrenko Rachel Gough Paul Milner name#Tchaikovsky message #violin #Brilliant Helena Smart Minat Lyons Joost Bosdijk Alastair Blayden on the LSO with Valery Gergiev and Nikolaj Znaider on 12 May SECOND VIOLINS Jennifer Brown CONTRA Patrick Harrild Dominic Morgan David Alberman Noel Bradshaw David Nottage Amazing night @BarbicanCentre with Thomas Norris Eve-Marie Caravassilis Sarah Quinn Daniel Gardner Antoine Bedewi name@londonsymphony message doing an incredible Shostakovich 15. Miya Väisänen Hilary Jones HARPS Loved it, loved it, loved it! #London #culture Richard Blayden Amanda Truelove Bryn Lewis Matthew Gardner Morwenna Del Mar on the LSO with Valery Gergiev and Nikolaj Znaider on 12 May Hugh Webb Naoko Keatley Belinda McFarlane DOUBLE BASSES William Melvin Nikita Naumov Iwona Muszynska Nicholas Worters Andrew Pollock Patrick Laurence Paul Robson Matthew Gibson Gordon MacKay Thomas Goodman Hazel Mulligan Joe Melvin Jani Pensola Sebastian Pennar

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 Garrick Charitable Trust Silk Street [email protected] work experience by playing in rehearsals The Lefever Award London and concerts with the LSO. The scheme The Polonsky Foundation EC2Y 8DS Photography auditions students from the London music Igor Emmerich, Kevin Leighton, conservatoires, and 15 students per year Taking part in both the rehearsals and the Registered charity in England No 232391 Bill Robinson, Alberto Venzago are selected to participate. The musicians performance of this concert were Details in this publication were correct Print Cantate 020 3651 1690 are treated as professional ’extra’ players Chieri Tommi, Jamie Kenny, and Paloma Cueto-Felgueroso Mejias. 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. Something for every mood with the London Symphony Orchestra To roll our online dice, visit: lso.co.uk/findmeaconcert

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