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Home , Peter Webber, Stephen Frears

London Symphony Orchestra Living Music

Thursday 11 December 2014 7.30pm Barbican Hall

LSO ON FILM: THE MAGIC AND MAJESTY OF

Alexandre Desplat Love Theme from ‘The Twilight Saga: New Moon’ Girl with a Pearl Earring – Suite The Curious Case of Benjamin Button – Suite Stephen Frears – Suite (featuring ‘Philomena’ and ‘The Queen’) Ghost Writer – Suite The Grand Budapest Hotel

INTERVAL

Main titles from ‘Godzilla’ King’s Speech – Suite Dave Arch piano Pelléas et Mélisande: Sinfonia Concertante for Flute and Orchestra Gareth Davies flute Birth – Suite London’s Symphony Orchestra The Imitation Game Harry Potter and the Deathly Hallows – Suite

Alexandre Desplat conductor

Dominique Lemonnier artistic director Sol Rey & Ange Leccia videos Xavier Forcioli production coordinator Kraft Engel Management / Richard Kraft & Laura Engel concert associate producer

Concert finishes approx 9.45pm 2 Welcome 11 December 2014

Welcome Living Music Kathryn McDowell In Brief

Welcome to this evening’s LSO concert where APPLICATIONS FOR THE 2015 PANUFNIK it is a great pleasure to welcome composer COMPOSERS SCHEME ARE NOW OPEN and conductor Alexandre Desplat in this special Once again the LSO will offer six UK-based performance of his music scored for film. composers the opportunity to write a new three- minute work for the London Symphony Orchestra. The LSO has a long and fruitful relationship The scheme culminates with a public workshop with Alexandre Desplat, having recorded many in March 2016 during which the new pieces will of the scores you will hear this evening for the be rehearsed by François-Xavier Roth and the films concerned, and the Orchestra is delighted London Symphony Orchestra at LSO St Luke’s. to bring this music to centre stage. Applicants should be under the age of 45 and should be of British nationality, studying in the UK, The LSO was the first to record music that was or resident in the UK for at least three years. specifically written to accompany film, and the first to record in the Abbey Road Studios over lso.co.uk/composers 80 years ago, where many of these recordings still take place today. LSO SING Following a sell-out tour to Australia and Singapore The London Symphony Orchestra has an abundance in November, the LSO has two more concerts of singing opportunities that people from all walks of before Christmas. On Sunday the LSO’s massed life can join in with in 2015. Whether you are a seasoned choirs (the London Symphony Chorus, Community choral singer or have not sung since school, why not Choir and Discovery Choirs) are joined by the LSO join us for a Singing Day at LSO St Luke’s next year. Brass Ensemble in a special festive performance, All workshops are led by the LSO’s experienced choral and on 18 December, we welcome back to the team and are accompanied by piano or an LSO chamber podium Nikolaj Znaider for a programme of ensemble. Our three workshops in 2015 give you Beethoven and Mahler. the chance to explore Duruflé’s Requiem, discover some of the choral music that inspired Brahms, I hope you enjoy tonight’s performance and I look and immerse yourself in traditional gospel music. forward to seeing you again before Christmas. lso.co.uk/singingdays

TONIGHT’S GROUPS This evening we welcome Nicole Hu & Friends. Kathryn McDowell CBE DL For more details on group bookings, visit Managing Director lso.co.uk/groups lso.co.uk Artist Biographies 3

Alexandre Desplat Composer

Six time Oscar nominee, Alexandre Desplat, nomination for The Queen and won his first European with hundreds of scores and numerous awards Film Award. The same year, he won a Golden Globe, to his credit, is one of the most worthy heirs of a Los Angeles Film Critics Association Award and a the French film scoring masters. His approach to World Soundtrack Award for the The Painted Veil. film composition is not only based on his strong In 2008 he composer for Lust, Caution () and musicality, but also on his understanding of cinema, The Curious Case of Benjamin Button (), which allows him to truly communicate with which earned him a second Oscar nomination and a directors. He studied piano and trumpet before fourth BAFTA and Golden Globe nomination. choosing the flute as his main instrument. With his score for ’s The Ghost Raised in a musical and cultural mix with a Greek Writer in 2010 he won a second César and a second mother and French father who studied and were European Film Award. The same year, he wrote married in California, he grew up listening to the the music for the second film in the Twilight saga, French symphonists Ravel and Debussy and to jazz. a platinum record, and The King’s Speech for which He enriched his classical musical education by he won the BAFTA, Grammy Award and was nominated studying Brazilian and African music, which later led for the fourth time at the Oscars and for the fifth him to record with Carlinhos Brown and Ray Lema. time at the Golden Globes. 2010–11 saw Desplat An avid fan of cinema, he expressed his desire to score ’ films Harry Potter and the Deathly compose for the big screen early on. During the Hallows Parts I & II; the latter became the third recording of his first film he met violinist Dominique most successful movie of all time. 2011 saw further Lemonnier who became his favourite soloist, artistic scores: The Tree of Life (Terence Malik), Carnage director and wife. She founded the Traffic Quintet for (Roman Polanski), Fantastic Mr Fox (), which he composed and transcribed soundtracks. The Well’s Digger Daughter (Daniel Auteuil) and The Ides of March (). In 2003 he burst onto the Hollywood scene with his evocative score to Girl with a Pearl Earring, In 2012, collaborations resulted in Zero Dark Thirty which earned him nominations at the Golden Globes, (), Reality (Matteo Garrone), Renoir BAFTAs and European Film Awards. In 2005 he (Gilles Bourdos), Zulu (Jerome Salle), Moonrise composed strong and remarkable parts for the film Kingdom (Wes Anderson) and Rust and Bone of Jacques Audiard The Beat That My Heart Skipped, (Jacques Audiard) for which he won a third César. that won the Silver Bear at the Berlinale as well as He also scored Argo (Ben Affleck), which was his first César. In 2006, he received his first Academy awarded the Oscar for best film, and earned Desplat Award nomination for his score to Stephen Frears’ a sixth nomination from BAFTA, as well as a fifth The Queen. In the same year, he also won a Golden nomination at the Golden Globes and the Oscars. Globe for his score to John Curran’s The Painted Veil, performed by pianist Lang Lang. In 2013 he penned the scores of The Monuments Men (George Clooney), Venus in Fur (Roman Polanski), Prizes and collaborations with leading directors then Stephen Frears’ Oscar nominated Philomena and started to flow. In 2007, he received his first Oscar The Grand Budapest Hotel by Wes Anderson. 4 Programme Notes 11 December 2014

The Curious Case of a Frenchman in Hollywood: The film music of Alexandre Desplat

It is curiously ‘Hollywood’ that in 2003, after scoring for Girl with the Pearl Earring, Alexandre Desplat at the tender age of 42 was hailed as a new talent.

PROGRAMME NOTE WRITER to Desplat’s sensitivity ‘about SARAH BREEDEN regularly protecting great performances … contributes to BBC Proms family supporting and amplifying rather concert programmes, has written than simplifying and reducing’. on film music for LPO as well as LSO, It helps that it’s all done ‘with school notes for London Sinfonietta humour, charm and speed’. and the booklet notes for the EMI Classical Clubhouse series. A self-confessed cinephile from She was Editor of LSO publications, an early age, Desplat was seduced has edited BBC Proms in the Park by ‘the eclecticism of what a souvenir programmes, and worked movie composer could offer’. for BBC Proms for several years. It was Alex North’s score for Spartacus (1960) which made him first sit up and take notice and He had been working for 20 years and already he claims his influences are John Williams, Bernard had about 50 scores to his name, albeit in France. Herrmann, Franz Waxman and Fellini’s composer In fairness, Girl with the Pearl Earring did bring of choice, Nino Rota. Some of these composers do him to the centre of the Hollywood film industry come shining through in his oeuvre. It has been and resulted in a career which has seen him pointed out that Desplat’s scores are possibly more collaborate with big name directors including atmospheric and concentrate on mood rather Wes Anderson, Roman Polanski, Ang Lee and than just highlighting visual markers. Desplat puts George Clooney, working on mainstream films this down to his homeland’s film music culture, from drama and thrillers, monster blockbusters, the influence of French ‘Nouvelle Vague’, the music music for the incredibly successful franchises of of documentary-style films from the late 50s and Twilight and Harry Potter, to the more intimate 60s by such luminaries as Jean-Luc Goddard and films of Stephen Frears, with several Oscar François Truffaut. nominations and award wins along the way. Whatever the genre, influence or style, Desplat’s It’s not just luck and talent, though. Desplat has scores, sans images, have the power to move, made canny choices by, he says, ‘getting closer thrill and inspire the imagination. to directors who understand what the music can display’ such as Roman Polanski. , director of The King’s Speech, also fits that category. Hooper puts their successful collaboration down lso.co.uk Programme Notes 5

What follows is an insight into tonight’s music, in the Desplat was brought in to work on The Queen (2006), order of the year in which each work was released. Stephen Frears’ study of a monarch in jeopardy, after, as Frears put it, a ‘catastrophic’ first attempt by English director asked Desplat another composer. Desplat found to write the score for his Girl with the Pearl it tricky too: ‘the movie calls for Earring (2003) after hearing his music on a music – but not too much music, Jacques Audiard film: ‘he had a sense of restraint and it couldn’t be loud, huge, which I liked’, he explains. Based on Tracy pompous, or bombastic’. What Chevalier’s fictional take on the story behind Desplat created begins with what Vermeer’s famous painting, the film’s captivating you would expect, a ‘majestic camera-work, dedication to lighting and detail, theme, but it soon turns into and stellar performances from something else as old and new as the young servant, Griet, and ’s worlds collide – the sound of a harpsichord gives an brooding Vermeer, inspired a score which captures almost mocking sense of history. But what comes the atmosphere perfectly. The music is dominated across is music which complements the Queen’s by Griet’s Theme, a waltz which weaves its way calm composure beautifully, while betraying her through the film and underpins Griet’s youthful anxiety in the aftermath of the untimely death innocence on the verge of sexual awakening. of Diana, Princess of Wales.

Alexandre Desplat’s Girl with the Pearl Earring earned Desplat the first Since The Queen, Frears and Desplat have worked BRITISH ACADEMY (BAFTA) of six British Academy Award nominations and was together on three more films. ‘I like working with nominations include: swiftly followed by Birth (2004), the score which one Stephen’, claims Desplat, ‘because he leaves you Girl with the Pearl Earring (2003) reviewer described as ‘classically The Queen (2006) elegant and restrained to the point The music becomes increasingly layered and The Curious Case of of glaciality’. It is an unsettling mysterious, with dark undertones on the lower Benjamin Button (2009) psychological drama in which Fantastic Mr Fox (2010) a widow of ten years (Nicole strings, blasts of fatalistic Tchaikovskian horns. The King’s Speech (2011) Kidman), about to remarry, is Argo (2013) confronted by a boy claiming he is her first husband. in peace’. Clearly it is a successful partnership as The Prologue, heard this evening, begins with a nursery both scores for The Queen and Philomena have ACADEMY AWARD nominations: music-box feel with celeste and delicate pulsating resulted in Academy Award nominations. Peace The Queen (2006) flutes like a baby’s heartbeat. The music becomes was something Frears’ titular character in their The Curious Case of increasingly layered and mysterious, with dark latest collaboration, Philomena (2013) was seeking. Benjamin Button (2009) undertones on the lower strings, blasts of fatalistic The film is based on the true story of Philomena Fantastic Mr Fox (2010) Tchaikovskian horns (which are used later to great Lee’s search for her illegitimate child fifty years The King’s Speech (2011) effect in a scene at the opera) and clashing of major after he was forcefully taken away from her, and Argo (2013) and minor keys until thumping timpani announce the relationship which develops between herself Philomena (2014) a sudden death. After a dramatic pause, the theme and , the journalist who became tentatively resumes – a clever musical reincarnation. fascinated with her plight. Desplat met the real 6 Programme Notes 11 December 2014 continued … The film music of Alexandre Desplat

Philomena and wanted to approach the music ‘with The Ghost Writer (2010) gave Desplat an prudence, carefully, worried that I would be intruding opportunity to work with another of his favourite on an intimate story’. Philomena had a brief liaison directors, Roman Polanski who as a music-lover, with a young man she met at a fair resulting in according to Desplat, likes his music ‘to mislead, the pregnancy and the main theme, again a waltz, to boost the energy in a scene, to create an conjures up a fairground organ, complete with bass invisible world and make it visible’. A talented writer clarinet and celesta. Melancholy permeates: it is a (Ewan McGregor) is employed to ghost write fleeting moment of joy leaving a lifetime of sadness. an ex-prime minister’s () story, Who could resist taking on ‘extraordinary the previous ghost writer having been murdered. characters in extraordinary circumstances From films based in fact to complete fantasy, The author soon finds himself in jeopardy. A tense Desplat next revealed versatility, combining drama thriller, it’s no surprise that Desplat drew inspiration so you can do extraordinary things?’. and whimsy in The Curious Case of Benjamin from Bernard Herrmann, the master of scoring Alexandre Desplat on taking on Harry Potter Button (2008), a score which received a shower for suspense, but also in the mix is a splash of of award nominations. A curious movie indeed: strings, a nod at John Williams Benjamin (Brad Pitt) lives his life in reverse starting and even a dash of minimalism, to make a heady out as an old man and dies, as a baby, in the cocktail of a score which is still uniquely Desplat. arms of Daisy (), the love of his life. She, of course, Desplat captures the King’s character grows old the conventional way. and impediment brilliantly with the hesitant To reflect Benjamin’s innocence and awe of the world around theme of repeated pizzicato and pauses. him, Desplat decided a chamber score would best serve and indeed, the score is 2010 was a busy year and found Desplat working intimate with a feeling of space and the passing of on perhaps his most successful score to date in time. Inevitably there is an undertone of sadness: terms of award nominations plus a BAFTA win, Benjamin and Daisy only have a few fleeting glorious with The King’s Speech. Desplat captures the months together when their ages collide in their 40s. King’s character and impediment brilliantly with the hesitant theme of repeated pizzicato and pauses. More doomed love was to follow, but this time It has a childlike and wistful air. Desplat explains combined with teenage angst. The Twilight that the heart of the music is dealing with the heart Saga: New Moon (2009) is the second film in the of the King himself: ‘He can’t talk about himself, he Twilight series which sees the now-vampire can’t express himself … the music is the media to Bella and Edward forced apart … Desplat sets the bring his voice and his emotions out. It is the terror scene with a yearning love theme complete with of the microphone’. Interestingly, the score was more Tchaikovskian horns again in the minor key, recorded through the original microphone used by which gives it a suitable tinge of gothic. King George VI for one of his speeches, which must have given an uncanny sense of reality and history to the proceedings. lso.co.uk Programme Notes 7

The final Suite of the evening showcases music from A gigantic monster the last instalments of the Harry Potter series, wreaked havoc in the Deathly Hallows Parts One (2010) and Two spring of 2014 when (2011). It would be a brave composer who took on Godzilla came crashing the mantle of John Williams, the first three movies’ onto cinema screens. composer, and to carry on where Patrick Doyle and Desplat must have Nicholas Hooper rubbed his hands with Who could resist taking on ‘extraordinary had left off. glee at the prospect of characters in extraordinary circumstances But, as Desplat producing a score for put it, who could such a creature. so you can do extraordinary things?’. resist taking on He claims he likes to ‘extraordinary work on genres he Alexandre Desplat on taking on Harry Potter characters hasn’t done before in extraordinary circumstances so you can do and this was a perfect extraordinary things?’. Displaying a touch of genius, case in point. Out came the big guns. Gone was Desplat takes Williams’ original ‘Hedwig’ theme and the intimate chamber orchestra replaced with adds a good helping of menace, fear and heightened full symphonic works with knobs on. Listen out for tension as the Potter Trio of Harry, Ron and Hermione quivering strings, strong percussive beats and the put aside childish things as they are faced with mournful braying on brass – the ‘broken soul’ of the something far more evil than a cheat at Quidditch, lonely lizard in the distance. Harry’s nemesis Lord Voldemort. Desplat delivers music more suitable for the double bill which seemingly In complete contrast, the eccentric visual imaginings has a higher death count than The Godfather. of Wes Anderson came close on Godzilla’s tail, in the guise of the colourful The Grand Budapest Desplat has a love for writing for film but he always Hotel (2014). Although the use of folk instruments adored the music of turn-of-the-century classical to create a mood could be considered a cliché, for composers such as Ravel, Debussy and Satie. In an this film, set as it is in an imaginary central European interview in 2010 when asked if he wanted to write country during the 1930s, it would have been almost concert music, he answered in the affirmative but impossible to ignore them and indeed, magyar explained that his film career was all-consuming. mandolins come to the fore. In ‘Wes World’ music Finally he found a window of opportunity in 2013 is a ‘fifth dimension’ says Desplat. The music had to to write his Pelléas et Mélisande: Sinfonia be as precise as the hero, M Gustave’s uniform. Concertante for Flute and Orchestra, inspired by Maeterlinck’s play. The play was the inspiration for impressionist Debussy’s opera of the same name The music had to be as precise and his influence can clearly be heard in the second as the hero, M Gustave’s uniform. movement of Desplat’s version, with its dappled, light orchestration and meandering flute. 8 Programme Notes 11 December 2014 continued … The film music of Alexandre Desplat

Music that would be ‘subjective, ALEXANDRE DESPLAT SCORES inside the head of Turing’, RECORDED BY THE LSO

have the epic vista of the War, 2000 The Luzhin Defence a tender love story and a thriller! 2003 Inquietudes 2004 Upside of Anger 2004 Birth The release last month of The 2004 Hostage Imitation Game has ‘awards’ 2005 Derailed written all over it, and if anyone 2006 The Queen deserves a prize it is Desplat for 2008 Largo Winch: Deadly Revenge completing the score in a mere 2008 Cheri three weeks. Modestly, Desplat 2009 Coco Before Chanel brushes that aside by claiming 2009 The Tree of Life that it was easy to write for such 2009 The Twilight Saga: New Moon a good movie. The film charts 2010 The Special Relationship the story of the mathematical 2010 Tamara Drewe genius Alan Turing (Benedict 2010 Harry Potter and the Cumberbatch) who cracked the Deathly Hallows: Part One German Enigma code machine, 2010 The Well-Digger’s Daughter and then in the 50s was vilified 2010 A Better Life for being gay, resulting in tragedy. Director Morton 2011 Harry Potter and the Tyldum’s list of requests for Desplat would have Deathly Hallows: Part Two challenged a composer with three months to fulfil 2011 The Ides of March the brief, let alone three weeks, including music that 2012 Rise of the Guardians would be ‘subjective, inside the head of Turing’, have 2012 Zero Dark Thirty the epic vista of the War, a tender love story and a 2013 Philomena thriller! The main theme does, in fact, tick all of these 2013 The Monuments Men boxes, certainly there is a sweeping love theme 2014 The Imitation Game underpinned by minimalistic ostinato on piano and 2014 Unbroken strings with a precise, mathematical rhythm. 2014 Suffragette lso.co.uk Artist Biographies 9

Dominique ‘Solrey’ Lemonnier Gareth Davies Artistic Director Flute

Dominique ‘Solrey’ Lemonnier, Gareth Davies is one of the is a violinist, video producer, and flautists of his generation. acts as artistic director for most He studied at the Guildhall School of Alexandre Depslat’s scores. of Music and Drama. Shortly after She has long standing experience graduating, he was appointed in the field of film music. Principal Flute in the Bournemouth Symphony Orchestra at the age Dominique is also the founder of 23. During his time on the and leader of the Traffic south coast, he recorded the Nielsen Quintet string ensemble which concerto with the Orchestra. performs transcriptions of movie In 2000, Gareth was invited to soundtracks with video projection. become Principal Flute with the London Symphony Orchestra With her video partner, where he has remained ever since. Ange Leccia, she created an During his time there, he has played abstract and sensorial clip and recorded with many of the for Alexandre Desplat’s new orchestral piece Pelléas et Mélisande, great conductors including Gergiev, Sir Colin Davis, Haitink, Previn, to show Maeterlinck’s barbaric world. Like an alchemist she combines Jansons, Rostropovich and Boulez. A recording of a concerto by music, images, reminiscences and silences. Karl Jenkins, written especially for him, is available on EMI. He can be heard on many LSO Live recordings including Daphnis et Chloé and Prélude à l’après-midi d’un faune conducted by Valery Gergiev, as well as many film soundtracks including Star Wars, Harry Potter, The Rise of the Guardians and the Twilight saga.

As well as performing, Gareth is in demand as a teacher and regularly coaches students at the London music colleges as well as giving masterclasses in London, New York, Tokyo and Beijing. As part of the LSO Discovery scheme, he also works in schools in East London, working with young students from all aspects of music-making.

Gareth also works as a writer and presenter. He regularly writes for the LSO and also for BBC Music Magazine and Classic FM Magazine, and has presented pre-concert talks and interviews with Sir Colin Davis, Nikolaj Znaider, Gergiev, Pappano and Michael Tilson Thomas, many of which are available online. He has recently written and presented a documentary for Classic FM and his first book, The Show Must Go On published by Elliott and Thompson, is available in bookstores and on Amazon. In his spare time he is flute professor at the Royal College of Music in London. 10 Artist Biographies 11 December 2014

Dave Arch Piano London Symphony Orchestra

Dave is a musician, conductor, THIS DECEMBER arranger and composer. His AND JANUARY WITH THE LSO performances, compositions and arrangements cover a broad cross-section of the music business, from albums, films and commercials, through to television and live work.

He is probably best known as the Musical Director for the BBC’s Strictly Come Dancing, a role he took over in 2006 after working on the spin offs Strictly Dance Fever, Strictly African Dancing, and the Thu 18 Dec 7.30pm Tue 15 Jan 7.30pm vocal equivalent, Just the Two of Us. A BRAVE NEW WORLD THE RITE OF SPRING He has also been the Musical director for the last four Royal Variety Beethoven Webern Six Pieces Performances including its hundredth anniversary, and most recently Piano Concerto No 4 Berg Three Fragments Stepping Out and Pop Star to Opera Star for ITV. Mahler from ‘Wozzeck’ Symphony No 1 (‘Titan’) Ligeti Mysteries of the Macabre Since leaving the Guildhall School of Music and Drama, where he studied Nikolaj Znaider conductor Stravinsky The Rite of Spring piano, he has been active in the recording studio for his whole career. Rudolf Buchbinder piano Sir Simon Rattle Supported by LSO Friends conductor Those with whom he has worked include Joni Mitchell, Diana Ross, Supported by LSO Patrons Paul McCartney, Tina Turner, Kelly Clarkson, Robbie Williams, Gary Barlow, Elton John, Lily Allen, Eurythmics, Andrea Bocelli, Alanis Morissette, Sun 11 Jan 7.30pm Sun 18 Jan 7.30pm Jon Bon Jovi, Jose Carreras, Russell Watson and many more. In addition, ORIENTAL ROMANCE A TOUCH OF SPAIN Dave has worked live with Paul McCartney, promoting his Memory Schumann Verdi Overture: The Force Almost Full album. Das Paradies und die Peri of Destiny Sir Simon Rattle Prokofiev Piano Concerto No 2 conductor Falla The Three-Cornered Hat He has contributed to many film recordings, including Gravity, Philomena, Rimsky-Korsakov Harry Potter and the Deathly Hallows Parts I & II, Star Wars: Revenge of Capriccio Espagnol the Sith, Goldeneye, Notting Hill, Calendar Girls, Bridget Jones’ Diary, Xian Zhang conductor Enemy at the Gates, Star Wars: Return of the Jedi, among many others. Valentina Lisitsa piano In 2010 Dave performed the piano solos for the award winning film, The King’s Speech. He composes and arranges music extensively for television and commercials. 020 7638 8891 lso.co.uk lso.co.uk The Orchestra 11

London Symphony Orchestra Your views On stage Inbox

FIRST VIOLINS VIOLAS FLUTES HORNS TIMPANI @idmacman I may as well gloat about Carmine Lauri Leader Edward Vanderspar Gareth Davies Timothy Jones Nigel Thomas hearing the @londonsymphony now, as I Tomo Keller Gillianne Haddow Alex Jakeman Andrew Sutton Lennox Mackenzie Malcolm Johnston Patricia Moynihan Brendan Thomas PERCUSSION guarantee I’ll be lost for words tonight. Clare Duckworth German Clavijo Jonathan Lipton Neil Percy on the LSO in Melbourne, Australia 27 Nov Nigel Broadbent Lander Echevarria PICCOLO Tim Ball David Jackson Ginette Decuyper Anna Green Sharon Williams Sam Walton Gerald Gregory Robert Turner TRUMPETS Ian Cape @mashyk_anya HUGE THANK YOU to OBOES Jörg Hammann Heather Wallington Philip Cobb Erika Ohman Joseph Sanders every single member of the Orchestra Maxine Kwok-Adams Jonathan Welch Gerald Ruddock Oliver Yates Rosie Jenkins Elizabeth Pigram Alistair Scahill Robin Totterdell for an Unforgettable night. HARP Claire Parfitt Christopher Deacon COR ANGLAIS Bryn Lewis on the LSO in Sydney, Australia 25 Nov Harriet Rayfield CELLOS Christine Pendrill TROMBONES Ian Rhodes Gilliver Dudley Bright PIANO Sylvain Vasseur Minat Lyons CLARINETS Gianna Cheung I was absolutely blown Peter Moore Dave Arch Jennifer Brown Andrew Marriner James Maynard away when I came to watch your amazing SECOND VIOLINS Noel Bradshaw Chi-Yu Mo SYNTHESISER Thomas Norris Hilary Jones performance and I’m sure everybody BASS TROMBONE Jeff Leach Sarah Quinn Amanda Truelove BASS CLARINET Paul Milner who came and watched any of your Duncan Gould CELESTE Miya Väisänen Eve-Marie Caravassilis performances would agree! I feel blessed David Ballesteros Orlando Jopling TUBA Clive Williamson CONTRABASS Richard Blayden Patrick Harrild that I was able to work on the PLAY CLARINET GUITARS Andrew Pollock DOUBLE BASSES David Fuest John Parricelli workshop alongside such wonderful Paul Robson Colin Paris Nicholas Worters Dan Thomas musicians and people. I can’t thank you David Worswick BASSOONS Patrick Laurence William Melvin Rachel Gough enough for encouraging and inspiring me Matthew Gibson Hazel Mulligan Joost Bosdijk with your guidance and tutelage. Eleanor Fagg Thomas Goodman Helen Paterson Jani Pensola CONTRA BASSOON on the LSO in Sydney, Australia 25 Nov, Dominic Morgan and a joint LSO Discovery/Sydney Opera House young musicians project.

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 The Garrick Charitable Trust Barbican Edward Appleyard start of their professional careers to gain Help Musicians UK 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 Registered charity in England No 232391 Bill Robinson, Alberto Venzago are selected to participate. The musicians Details in this publication were correct Print Cantate 020 3651 1690 are treated as professional ’extra’ players at time of going to press. (additional to LSO members) and receive fees Advertising Cabbell Ltd 020 3603 7937 for their work in line with LSO section players. ‘ THE NO 1 SCI-FI FILM OF ALL TIME’ AMERICAN FILM INSTITUTE

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