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Home , Gramophone Hall of Fame, Ian Bostridge, Lang Lang, Mitsuko Uchida, Oslo Philharmonic, Tabea Zimmermann

London Living Music

Sunday 8 May 2016 7pm Barbican Hall

LSO ARTIST PORTRAIT London’s Symphony Orchestra Mozart Concerto No 20 INTERVAL Bruckner Symphony No 3 (First Version of 1873, ed Nowak 1977)

Daniel Harding conductor Leif Ove Andsnes piano

Concert finishes approx 9.20pm 2 Welcome 8 May 2016

Welcome Living Music Kathryn McDowell In Brief

This evening’s concert is the first in pianist Leif Ove BMW LSO OPEN AIR CLASSICS 2016 Andsnes’ LSO Artist Portrait series. We are delighted that he returns as the soloist in three concerts – two The LSO is delighted to announce details of the 2016 with the Orchestra and one solo recital – beginning BMW LSO Open Air Classics concert on Sunday 22 tonight with Mozart’s No 20 in May at 6.30pm. Conducted by , the D minor, a special work in his repertoire as it was LSO will perform an all-Tchaikovsky programme in the first concerto that he ever performed with a London’s Trafalgar Square, free and open to all, with full orchestra. the Orchestra joined on stage by young musicians from LSO On Track and students from the Guildhall Following the interval, LSO Principal Guest Conductor School for a special arrangement of the composer’s continues his ongoing exploration of Swan Lake Suite. Bruckner’s with the work that established the composer as an important new musical voice, lso.co.uk/openair the Symphony No 3.

A very warm welcome to the retired LSO players LSO AT THE BBC PROMS 2016 and their guests who join us tonight for their annual reunion. We are always delighted to see so many The LSO will be returning to this year’s BBC Proms members of the LSO from years gone by, and are festival at the for a performance very pleased that they have this opportunity to hear of Mahler’s Symphony No 3 on 29 July. This will be the Orchestra perform. conducted by , marking 50 years since his first appearance at the festival, and features I hope you enjoy this evening’s performance and mezzo-soprano Sarah Connolly as the soloist. Public will join us again for the next concerts in the series. booking is now open; for full details visit: On 12 May, Leif Ove Andsnes plays the Schumann Piano Concerto with LSO Principal Guest Conductor bbc.co.uk/proms , and on 10 June he gives a solo recital including Beethoven’s No 18 (‘The Hunt’) and Chopin’s Ballade No 4 in F minor.

Kathryn McDowell CBE DL Managing Director London Symphony Orchestra Living Music

Leif Ove Andsnes LSO Artist Portrait

‘I have no choice but to make music. I love music so much, it is just so much a part of me, that I just have to do it.’

Leif Ove Andsnes

Join us as we continue to SCHUMANN LEIF OVE ANDSNES LEIF OVE ANDSNES celebrate the musical artistry PIANO CONCERTO SOLO RECITAL & FRIENDS of Leif Ove Andsnes with a performance of Schumann’s Piano Thu 12 May 7.30pm Fri 10 Jun 7.30pm Sat 28 May 7pm, Milton Court Concerto on 12 May, and a solo Schumann Piano Concerto Sibelius Brahms recital of Sibelius, Beethoven, Beethoven Symphony No 9 Three Pieces (‘Kyllikki’); The Birch; Piano Quartet No 1 in G major Debussy and Chopin in June. The Spruce; Spring Vision; Piano Quartet No 2 in A major Michael Tilson Thomas conductor The Forest Lake; Song in the Forest Piano Quartet No 3 in C minor Leif Ove Andsnes piano Beethoven Lucy Crowe soprano Piano Sonata No 18 in E-flat major Leif Ove Andsnes piano Christine Rice mezzo-soprano Debussy Christian Tetzlaff tenor La soirée dans Grenade; Tabea Zimmermann Iain Paterson bass Three Études Clemens Hagen Chopin Produced by the Barbican, not part Simon Halsey chorus director Impromptu in A-flat major; of the LSO Season. London Symphony Orchestra Étude in A-flat major; Visit barbican.org.uk for details. Supported by Baker & McKenzie LLP Nocturne in F major; Ballade No 4 in F minor lso.co.uk Leif Ove Andsnes piano 020 7638 8891 4 Programme Notes 8 May 2016

Wolfgang Amadeus Mozart (1756–91) Piano Concerto No 20 in D minor K466 (1785)

1 ALLEGRO One can well imagine the impression the piece 2 ROMANCE made in the composer’s home town; there can be 3 ALLEGRO ASSAI few clearer demonstrations of how far he had left behind. D minor is a relatively unusual key LEIF OVE ANDSNES PIANO for Mozart, and therefore a significant one. Later he would use it both for Don Giovanni’s damnation PROGRAMME NOTE WRITER The decade which Mozart spent in from scene and for the , and there is something LINDSAY KEMP is a senior 1781 until his death was when he truly found his of the same grim familiarity with the dark side, a producer for BBC Radio 3, including own voice as a composer, and nowhere is this new glimpse of the grave it seems, in the first movement programming Lunchtime Concerts maturity and individuality better shown than in his of this concerto. from LSO St Luke’s, Artistic Director piano concertos of the period. Altogether he wrote of the London Festival of Baroque 17 of them while in the Imperial capital, mostly for ‘Mozart’s Piano Concerto No 20 Music, and a regular contributor to himself to play at the public and private concerts was the first concerto I ever Gramophone magazine. that helped to provide him with financial support, and as such they were the works with which he performed with a professional was most closely associated by his audiences. More orchestra, aged 14 in Stavanger. COMPOSER PROFILE importantly, it was with them that he established the PAGE 7 piano concerto for the first time as a sophisticated It is a piece which has become means of personal expression rather than a vehicle an old friend over the years and for polite public display. performing it always reminds The high-point in the series came with the five me of that first overwhelming concertos composed in the period of just over a year and unforgettable experience from the beginning of 1785. K466 – completed and first performed in February 1785 – is chronologically as a teenager.’ at the head of this group, but musically speaking Leif Ove Andsnes it also stands out in many ways. The composer’s JOHANN GEORG LEOPOLD father Leopold, visiting Vienna at the time, heard FIRST MOVEMENT MOZART (1719–87) was Mozart’s the premiere, and a little over a year later was The opening orchestral section contrasts brooding father and teacher, as well as a organising a performance by a local pianist back in menace with outbursts of passion, presenting along highly regarded musician in his own Salzburg. He later described the occasion in a letter the way most of the melodic material that will serve right, authoring a pedagogical work to his daughter: ‘Marchand played it from the score, the rest of the movement. Even so, it is with a new on violin playing that still stands as and [Michael, brother of Joseph] Haydn turned over theme, lyrical but searching and restless, that the a credible source for 18th-century the pages for him, and at the same time had the piano enters; this is quickly brushed aside by the performance practice. pleasure of seeing with what art it is composed, orchestra, but the soloist does not give it up easily, how delightfully the parts are interwoven and what later using it to lead the orchestra through several a difficult concerto it is. We rehearsed it in the morning different keys in the central development section. and had to practise the rondo three times before The movement ends sombrely, pianissimo. the orchestra could manage it’. lso.co.uk Programme Notes 5

London Symphony Orchestra

SECOND MOVEMENT The slow second movement, in B-flat major, is MORE MOZART IN entitled ‘Romance’, a vague term used in Mozart’s day to suggest something of a song-like quality. 2016/17: NOW ON SALE In fact this is a rondo, in which three appearances of the soloist’s artless opening theme are separated MOZART REQUIEM on LSO LIVE by differing episodes, the first a drawn-out melody for the piano floating aristocratically over gently ‘Ritualistic, monumental and throbbing support from the strings, and the second thrillingly dramatic.’ a stormy minor-key eruption of piano triplets, shadowed all the way by sustained woodwind chords.

Sir conductor FINALE Storminess returns in the finale, though this time one Available at senses that it is of a more theatrical kind than in the lsolive.lso.co.uk first movement. This is another rondo, and although in the Barbican the main theme is fiery and angular, much happens Shop or online at in the course of the movement to lighten the mood, iTunes & Amazon culminating after the cadenza in a turn to D major Violinist and conductor Nikolaj Znaider for the concerto’s final pages. A purely conventional directs the London Symphony Orchestra in a ‘happy ending’ to send the audience away smiling? new two-season cycle of Mozart’s exquisite Perhaps so, but the gentle debunking indulged in by Violin Concertos alongside the dramatic final the horns and trumpets just before the end suggests symphonies of Tchaikovsky. that Mozart knew precisely what he was doing. Sun 18 Dec 2016 7pm Mozart Violin Concerto No 1 Mozart Violin Concerto No 4 Tchaikovsky Symphony No 4

Nikolaj Znaider conductor/violin

INTERVAL – 20 minutes Sun 14 May 2017 7pm There are bars on all levels of the Concert Hall; ice cream Mozart Violin Concerto No 5 can be bought at the stands on Stalls and Circle level. Tchaikovsky Symphony No 5 The Barbican shop will also be open. Nikolaj Znaider conductor/violin Why not tweet us your thoughts on the first half of the performance @londonsymphony, or come and talk to 020 7638 8891 LSO staff at the Information Point on the Circle level? lso.co.uk London Symphony Orchestra Living Music

Gianandrea Noseda opens the season with the Verdi Requiem, his first concerts as LSO Principal Guest Conductor

Sir concludes his Mendelssohn symphonies cycle

Two new commissions from Mark-Anthony Turnage receive their world and UK premieres

Janine Jansen performs in three concerts as part of her LSO Artist Portrait

François-Xavier Roth continues his After Romanticism series

Bernard Haitink conducts Bruckner, Mahler and Beethoven with

Lang Lang returns to close the season with Bartók’s Piano Concerto No 2

See the full listings, now on sale, at lso.co.uk/201617season lso.co.uk Composer Profiles 7

Wolfgang Amadeus Mozart Anton Bruckner Composer Profile Composer Profile

Born in Salzburg on 27 January Anton Bruckner was born 1756, Mozart began to pick out in Ansfelden, near Linz, on tunes on his father’s keyboard 4 September 1824, the eldest of before his fourth birthday. His five surviving children. He was first compositions were written taught music by his schoolmaster down in the early months of 1761; father and later by his godfather. later that year, the boy performed After his father’s death, the boy in public for the first time at the became a chorister at St Florian, University of Salzburg. Mozart’s an Augustinian monastery to the ambitious father, Leopold, court south-east of Linz. He later moved composer and Vice-Kapellmeister to the Upper-Austrian capital to to the Prince-Archbishop of study as a teacher and eventually Salzburg, recognised the money- returned to teach at St Florian. making potential of his precocious son and pupil, embarking on a Self-doubt and lack of confidence series of tours across Europe. troubled the talented young musician, who reluctantly auditioned for, and was appointed In 1777 Wolfgang, now 21 and frustrated with life as a musician-in- to, the post of organist at Linz Cathedral. His composition skills service at Salzburg, left home, visiting the court at Mannheim on were reinforced by prolonged private study of harmony and strict the way to . The Parisian public gave the former child prodigy a counterpoint, although he still felt ill-prepared to write symphonic lukewarm reception, and he struggled to make money by teaching works. In 1868 he became professor of harmony, counterpoint and and composing new pieces for wealthy patrons. A failed love affair organ at the Vienna Conservatory, and slowly developed his reputation and the death of his mother prompted Mozart to return to Salzburg, as an outstanding symphonist. Although wounded by adverse criticism, where he accepted the post of Court and Cathedral Organist. the devoutly religious, deeply insecure Bruckner addressed issues of human existence and the mystery of creation within his nine In 1780 he was commissioned to write an opera, , for the monumental symphonies. He died in Vienna on 11 October 1896. Bavarian court in Munich, where he was treated with great respect. However, the servility demanded by his Salzburg employer finally Composer Profiles © Andrew Stewart provoked Mozart to resign in 1781 and move to Vienna in search of a more suitable position, fame and fortune. In the last decade of his life, he produced a series of masterpieces in all the principal genres of music, including the operas The Marriage of Figaro (1785), Don Giovanni (1787), Così fan tutte and , the Symphonies Nos 40 and 41 (‘Jupiter’), a series of sublime piano concertos, a clarinet quintet and the Requiem, left incomplete at his death on 5 December 1791. 8 Programme Notes 8 May 2016

Anton Bruckner (1824–96) Symphony No 3 in D minor (First Version of 1873, ed Nowak 1977)

1 GEMÄSSIGT (MODERATE), MISTERIOSO The result is a musicological nightmare: which of 2 ADAGIO: FEIERLICH (SOLEMN) these versions should we take as authoritative? 3 SCHERZO: ZIEMLICH SCHNELL (RATHER FAST) – The true answer – alas – is probably all of them TRIO: GLEICHES ZEITMASS (IN THE SAME TEMPO) – SCHERZO and none of them. It may not make life easy for 4 FINALE: ALLEGRO conductors, but at the same time it poses a stimulating challenge to the would-be interpreter. PROGRAMME NOTE WRITER In September 1873, the 49-year-old Anton Bruckner How, in essence, did Bruckner’s idea of his STEPHEN JOHNSON is the author at last met the man he revered as ‘The Master of Symphony No 3 change, and how can one of Bruckner Remembered (Faber). all Masters’, Richard Wagner. He took with him two best reflect it in performance? He also contributes regularly to BBC symphonies, the Second and the newly completed Music Magazine and The Guardian, Third, in the hope that Wagner might accept the ‘To the eminent Excellency and broadcasts for BBC Radio 3 dedication of one of them. Apparently Wagner was Richard Wagner, the Unattainable, (Discovering Music), BBC Radio 4 initially dismissive, but with a mixture of charm and the BBC World Service. and desperation Bruckner persuaded him to look World-Famous, and Exalted at the manuscript scores. Returning later that day, Master of Poetry and Music, Bruckner was thrilled to hear Wagner picking out the COMPOSER PROFILE opening theme of the Third Symphony on the piano. in Deepest Reverence Dedicated PAGE 7 ‘First of all he said nothing’, Bruckner recalled, ‘then by Anton Bruckner.’ he embraced me and kissed me again and again. The dedication for Bruckner’s Third Symphony Afterwards he pointed to a pile of music and said, ‘Look – nothing but dedications. But your work is a masterpiece; I am delighted and honoured that it’s For listeners who know Bruckner’s Symphony No 3 intended for me’. from the final 1889 or 1877 scores (the most frequently performed versions) there will be plenty of surprises The approval of The Master should have been in the original 1873 score. The sound of the music enough to settle all doubts, but for the desperately is purer, more austere than in the more obviously insecure Bruckner it had the opposite effect. The Wagnerian later versions. The effect can be like going Bruckner himself conducted this work he now proudly offered to the world as his from a romantically restored late-Gothic cathedral symphony’s PREMIERE IN 1877 ‘Wagner’ Symphony simply had to be perfect, to an untouched, chaste Norman masterpiece. But when the original conductor died a and he made three substantial revisions before if the 1873 score sounds less Wagnerian than the month before the concert. Bruckner the first performance. The Symphony’s disastrous more familiar, later versions, there are clear tributes had little experience conducting reception at its 1877 premiere, and its subsequent to Wagner, several of which Bruckner later removed. an orchestra, and they rebelled. critical mauling from the Viennese press, knocked Likewise many in the audience were Bruckner’s confidence still further, and there were As the Adagio builds to its grand final climax, trumpets hostile to Bruckner’s music, walking to be more revisions, some of them drastic, before and trombones play the choral theme ‘Gesegnet out during the performance and the score we know as the ‘final’ version was sollst du schreiten’ (‘Go forth with blessings’) from leaving behind only a small group published in 1889. Act II of Wagner’s Lohengrin – perhaps a prayer for of dedicated supporters including a Wagner’s ‘blessing’ on his compositional calling. young Gustav Mahler. In the first movement, in the long hushed passage lso.co.uk Programme Notes 9

BRUCKNER on LSO LIVE before the return of the opening theme, woodwind In the 1873 score the Adagio is significantly longer Discover Bruckner’s Symphonies recall Isolde’s ‘Liebestod’ motif from Wagner’s Tristan than in 1877 or 1889. Instead of a simple A–B–A Nos 4, 6 and 9 on LSO Live, including and Isolde, after which widely spaced strings play layout, there’s a more elaborate A–B–A–B–A. Despite Bernard Haitink’s version of the Brünnhilde’s ‘Magic Sleep’ harmonies from Act III of this spaciousness, and the relative plainness of some Ninth, named Album of the Week in Die Walküre. Two images of heroic women literally of the writing, the sense of steady growth to the The Sunday Times and Editor’s Choice or metaphorically falling asleep! Could this have any great climax is particularly impressive in this version. in Gramophone. connection with the fact that Bruckner also intended The Scherzo on the other hand was to be the least- his Symphony No 3 – or at least parts of it – as a revised of the four movements. It has driving, dance Available at memorial to his mother? The touching sarabande- energy, while the lighter Trio is strongly flavoured lsolive.lso.co.uk like (three-time) theme in the Adagio was described with rustic dance elements (somewhat smoothed in the Barbican by Bruckner as an elegy for Theresia Bruckner – out in later revisions) – a reminder that the younger Shop or online at a strong-minded, highly musical woman and, like Bruckner had supplemented his meagre teacher’s iTunes & Amazon her son, prone to depression. income by playing in Upper-Austrian village bands.

The Symphony’s opening remained more or less The finale sets out determinedly, with rushing string the same in all of Bruckner’s revisions. We begin figures and a powerful forward-striding theme for with misty string figurations, through which emerges brass. It rises in two great waves, but then the tempo a striking trumpet theme (particularly admired drops and the second theme strikingly combines by Wagner). The movement is laid out on a large a lightweight polka theme (strings) with solemn scale: exposition (presentation of the themes), chorale phrases on brass and woodwind. Once, development and recapitulation, with the exposition when strolling through Vienna at night, Bruckner arranged – typically for Bruckner – into three noticed dance music coming from a nearby house, contrasted thematic groups. The music is sometimes while across the road the body of a famous architect animated, sometimes still and meditative, but in lay in state. ‘That’s life’, he observed. ‘That’s what I the background one may sense a slow and patient wanted to show in my Third Symphony. The polka underlying pulse. If the listener can accept this slow represents the fun and joy in the world, the chorale background current as the ‘real’ tempo of the music, its sadness and pain.’ At the end of the Symphony the stop-start foreground activity ceases to be however it is joy that triumphs, as the Symphony’s frustrating, and one can enjoy the gradual build-up opening trumpet theme returns, radiantly to the final outcome. However much Bruckner may transfigured in the major key. have enriched the sound of the Symphony in his later revisions, he was unable to improve on this – in fact some would argue that in places the cuts he imposed on the structure considerably weakened it. 10 Artist Biographies 8 May 2016

Daniel Harding Conductor

Born in Oxford, Daniel Harding began his career His operatic experience includes Strauss’ Ariadne assisting Sir at the City of Birmingham auf Naxos, Mozart’s Don Giovanni and The Marriage Symphony Orchestra, with which he made his of Figaro at the Salzburg Festival with the Vienna professional debut in 1994. He went on to assist Philharmonic, Britten’s The Turn of the Screw and at the Philharmonic and made Berg’s Wozzeck at House, Covent his debut with the orchestra at the 1996 Berlin Festival. Garden, Mozart’s Die Entführung aus dem Serail at the Bayerische Staatsoper, Munich, Mozart’s From September 2016 he will become the Music The Magic Flute at the Wiener Festwochen and Director of the and will continue Berg’s Wozzeck at the Theater an der Wien. Recent to carry out his roles as Music Director of the and future guest engagements include the world Swedish Radio Symphony Orchestra, Principal Guest premiere of Olga Neuwirth’s Masaot/Clocks Without Conductor of the London Symphony Orchestra and Hands with the Orchestra in Music Partner of the New Philharmonic. He Vienna, Cologne and Luxembourg; a European tour is Artistic Director of the Ohga Hall in Karuizawa, with the Royal Concertgebouw Orchestra; and a return Japan and was recently honoured with the lifetime to the US to conduct the Los Angeles Philharmonic. title of Conductor Laureate of the Mahler Chamber Principal Guest Conductor Orchestra. His previous positions include Principal His recent recordings for , London Symphony Orchestra Conductor and Music Director of the MCO (2003–11), Mahler’s Symphony No 10 with the Vienna Principal Conductor of the Trondheim Symphony Philharmonic Orchestra, and Orff’s Carmina Burana Music Director (1997–2000), Principal Guest Conductor of Sweden’s with the Bavarian Radio Symphony Orchestra, have Swedish Radio Symphony Orchestra Norrköping Symphony (1997–2003) and Music both won widespread critical acclaim. For Virgin/EMI Director of the Deutsche Kammerphilharmonie he has recorded Mahler’s Symphony No 4 with the Music Partner Bremen (1997–2003). Mahler Chamber Orchestra; Brahms’ Symphonies New Japan Philharmonic Nos 3 and 4 with the Deutsche Kammerphilharmonie He is a regular visitor to the Vienna Philharmonic, Bremen; Britten’s with the London Artistic Director Staatskapelle, Royal Concertgebouw, Symphony Orchestra (winner of a Grammy Award Ohga Hall , the Bavarian Radio, Leipzig for best opera recording); Mozart’s Don Giovanni and Gewandhaus and the Orchestra Filarmonica della Britten’s The Turn of the Screw, both with the Mahler Conductor Laureate Scala. Other guest conducting engagements have Chamber Orchestra; works by Lutosławski with Mahler Chamber Orchestra included the Munich Philharmonic, Orchestre Solveig Kringelborn and the Norwegian Chamber National de Lyon, Philharmonic, London Orchestra; and works by Britten with Philharmonic, Royal Philharmonic, Santa and the . Cecilia Orchestra of Rome, Orchestra of the Age of Enlightenment, Rotterdam Philharmonic, Frankfurt In 2002 he was awarded the title Chevalier de l’Ordre Radio Orchestra and the Orchestre des Champs- des Arts et des Lettres by the French Government Elysées. US he has performed with and in 2012 he was elected a member of The Royal include the New York Philharmonic, Swedish Academy of Music. Orchestra, Boston Symphony Orchestra, Los Angeles Philharmonic and Chicago Symphony Orchestra. lso.co.uk Artist Biographies 11

Leif Ove Andsnes Piano

With his commanding technique and searching of Grieg’s Lyric Pieces won Gramophone Awards. interpretations, the celebrated Norwegian pianist His recording of Mozart’s Piano Concertos Nos 9 Leif Ove Andsnes has won acclaim worldwide. and 18 was another New York Times ‘Best of the He gives recitals and plays concertos in the world’s Year’ and Penguin Guide ‘Rosette’ recipient. He won leading concert halls and with its foremost orchestras, yet another Gramophone Award for Rachmaninov’s besides being an active recording artist. An avid Piano Concertos Nos 1 and 2 with Sir Antonio chamber musician, he served as co-artistic director Pappano and the Berlin Philharmonic. A series of of the Risor Festival of for nearly recordings of Schubert’s late sonatas, paired with two decades, and was music director of California’s Lieder sung by Ian Bostridge, inspired lavish praise, 2012 . He was inducted into the as did the pianist’s world premiere recordings of in July 2013. Marc-André Dalbavie’s Piano Concerto and Bent Sørensen’s The Shadows of Silence, both of which Highlights of the current season include major were written for him. European and North American solo recital tours with a programme of Beethoven, Debussy, Chopin Andsnes has received ’s distinguished honour, and Sibelius, as well as Schumann and Mozart Commander of the Royal Norwegian Order of St Olav. concerto collaborations in the US with the Chicago, In 2007, he received the prestigious Peer Gynt Prize, Cleveland and Philadelphia orchestras. In Europe awarded by members of parliament to honour Andsnes performs with the Bergen Philharmonic, prominent Norwegians for their achievements in Zurich Tonhalle, Leipzig Gewandhaus and Munich politics, sports and culture. He is the recipient of the Philharmonic and this season he will also tour Royal Philharmonic Society’s Instrumentalist Award Brahms’ Three Piano Quartets with his frequent and the Gilmore Artist Award, and, saluting his many musical partner, Christian Tetzlaff, together with achievements, Vanity Fair named Andsnes one of its Tabea Zimmermann and Clemens Hagen. ‘Best of the Best’ in 2005.

Andsnes now records exclusively for Classical. Leif Ove Andsnes was born in Karmøy, Norway in His previous discography comprises more than 30 1970, and studied at the Bergen Music Conservatory discs for EMI Classics – solo, chamber and concerto under the renowned Czech professor Jirí Hlinka. He releases, many of them bestsellers – spanning has also received invaluable advice from the Belgian repertoire from the time of Bach to the present day. piano teacher Jacques de Tiège who, like Hlinka, has He has been nominated for eight Grammy awards greatly influenced his style and philosophy of playing. and received many international prizes, including He is currently an Artistic Adviser for the Prof Jirí six Gramophone Awards. His recordings of the Hlinka Piano Academy in Bergen where he gives an music of his compatriot have been annual masterclass to participating students. especially celebrated: the New York Times named Andsnes’ 2004 recording of Grieg’s Piano Concerto Andsnes lives in Bergen and in 2010 achieved one of with and the Berlin Philharmonic his proudest accomplishments to date, becoming a ‘Best CD of the Year,’ the Penguin Guide awarded it a father for the first time. His family expanded in 2013 coveted ‘Rosette,’ and both that album and his disc with the welcome arrival of twins. 12 The Orchestra 8 May 2016

London Symphony Orchestra Your views On stage Inbox

FIRST FLUTES HORNS 24 APR: SIR MARK ELDER – ELGAR’S THE DREAM OF GERONTIUS Carmine Lauri Leader Krzysztof Chorzelski Gareth Davies Timothy Jones Lennox Mackenzie Gillianne Haddow Alex Jakeman Angela Barnes Clare Duckworth Malcolm Johnston Alexander Edmundson Peter D Smith Splendid Elgar Dream of Gerontius last night Nigel Broadbent Anna Bastow Jonathan Lipton @LSChorus @londonsymphony Sir Mark Elder excellent. Ginette Decuyper Julia O’Riordan Cristina Gómez Godoy Sarah Willis Gerald Gregory Robert Turner Katie Bennington Jörg Hammann Jonathan Welch TRUMPETS Jeremy Grant Profound, spiritual and luminously performed CLARINETS Maxine Kwok-Adams Elizabeth Butler Philip Cobb Chris Richards Gerontius tonight, thanks @londonsymphony and Mark Elder, Claire Parfitt Carol Ella Gerald Ruddock Chi-Yu Mo Colin Renwick Caroline O’Neill Daniel Newell an Elgarian for our time Ian Rhodes Alistair Scahill BASSOONS Niall Keatley Sylvain Vasseur Martin Schaefer Rachel Gough TROMBONES Mimi Doulton Gerontius had me weeping. What a piece. Rhys Watkins Joost Bosdijk Shlomy Dobrinsky Peter Moore Resplendently sung and played. Alain Petitclerc Rebecca Gilliver James Maynard Jan Regulski Alastair Blayden Dudley Bright Jennifer Brown BASS TROMBONE 28 APR: SIR MARK ELDER – SECOND VIOLINS Noel Bradshaw BUTTERWORTH, VAUGHAN WILLIAMS, RAVEL & DEBUSSY David Alberman Eve-Marie Caravassilis Paul Milner Thomas Norris Daniel Gardner TIMPANI Sarah Quinn Hilary Jones Andrew Mosley Brilliant debut with @londonsymphony by Antoine Bedewi Miya Väisänen Amanda Truelove @TiberghienC tonight in Ravel Concerto for Left Hand. Can’t Matthew Gardner Victoria Simonsen Julian Gil Rodriguez believe he was only using 5 fingers! Naoko Keatley DOUBLE BASSES Colin Paris Belinda McFarlane Katie Salt Had a wonderful evening at @BarbicanCentre William Melvin Patrick Laurence Andrew Pollock Matthew Gibson experiencing the talent and generous hospitality of Paul Robson Thomas Goodman @londonsymphony. You truly fabulous lot Ingrid Button Joe Melvin Eleanor Fagg Rodrigo Moro Martin Hazel Mulligan Simo Väisänen Benjamin Griffiths Haunting Vaughn Williams 3; Jeremy Watt amazing Ravel and just gorgeous La Mer from Mark Elder and @londonsymphony last night! Thank you!

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 Barbara Whatmore Charitable Trust Silk Street [email protected] work experience by playing in rehearsals The Idlewild Trust London and concerts with the LSO. The scheme The Lefever Award EC2Y 8DS Photography auditions students from the London music The Polonsky Foundation Igor Emmerich, Chris Aadland, conservatoires, and 15 students per year Registered charity in England No 232391 Julian Hargreaves, Ranald Mackechnie, are selected to participate. The musicians Taking part in rehearsals and performing in this George Lange Details in this publication were correct are treated as professional ’extra’ players concert were: Lasma Taimina (second violin), at time of going to press. Print Cantate 020 3651 1690 (additional to LSO members) and receive fees Bryony Gibson-Cornish (viola), Zoe Saubat (cello) and Ben Daniel-Greep (double bass). for their work in line with LSO section players. Advertising Cabbell Ltd 020 3603 7937