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Home , Claudio Abbado, John Eliot Gardiner, Michael Tilson Thomas, Simon Rattle

Fifty years of music

Thinking Big Orchestral works on an epic scale The magazine of the London Symphony LSO Discovery JANUARY 2020 A celebration of 30 years LSO East London Academy Nurturing talent in the city January 2020

Letter from the Managing Director Kathryn McDowell 04 News 09 LSO Discovery at 30 his issue of Living Music There was a period of intense activity as the new provides you with a snapshot of term started at the Guildhall School of Music & some of the LSO’s achievements Drama, with colleagues welcoming the new intake 16 All Around the World over the past few months, as well on the Orchestral Artistry scheme as part some more personal reflections of Guildhall Artist Masters Degree delivered of some of the projects, tours in close collaboration with us. This programme and concerts that have taken combines the Guildhall School’s academic place during this time period. reputation and infrastructure with the practical skills and experience of the LSO’s musicians, A particularly significant string conductors and soloists to create a unique of firsts sums up the latter half academic offer, developing both professional of 2019 for the LSO, both at home and entrepreneurial skills. 10 Michael Tilson Thomas 12 Thinking Big and abroad. We undertook a tour to five Latin American countries in May – the first in the In addition to restarting the schemes engaging Orchestra’s 120-year history, as well as Sir Simon with emerging talented musicians, we kicked Rattle’s first tour with the LSO to Hong Kong, off a new cycle of activities for less advantaged mainland China and Vietnam in September. members of the community with LSO Create. And back in London, LSO Discovery’s exciting This offers exciting opportunities for adults with new initiative, the LSO East London Academy, learning disabilities and their supporters welcomed its first intake, offering an unprecedented and carers to engage with the LSO as audience opportunity for musical training to exceptionally members, active music-makers and performers. promising young instrumentalists from diverse Our Key Stage Concerts for schools begin again, cultural and socio-economic backgrounds from along with a host of other opportunities aimed our ten East London partner boroughs. at other age groups from newborns and under- 16 Developing Talent 18 All Around the World fives up to and including adult learning. September and October are always very busy months as we launch into a new season, and It just leaves me to thank all our readers – as the 2019/20 academic year began, the LSO LSO Patrons and Friends, corporate and continued its strong support of many young principal funders, Board members, past players, and emerging artists, with a new intake of students music industry colleagues, charitable trusts and musicians joining Discovery schemes. This and foundations, local and national government includes the String Experience scheme, which members. Thanks too to our partners, the offers paid side-by-side performance opportunities Barbican and the Guildhall School of Music & in LSO Barbican concerts to 15 string students Drama, as well as Arts Council and auditioned from London music colleges. Then the City of London for their continuing support. Published by the London Symphony Orchestra Ltd the aforementioned East London Academy Barbican Centre, Silk Street, London EC2Y 8DS 24 LSO East London Academy 26 Meet Christine Pendrill established its first cohort of 20 young string All best wishes for a prosperous and Editor Emma Baker players who began their first term of work. healthy 2020. Graphic Design Justine Bannwart Print Tradewinds Photography Mark Allan, Phil Channing, Chris Christodoulou, Liam Hennebry, Sarah Hickson, Kevin Leighton, Ranald Mackechnie, Doug Peters, Tibor Pluto, Vahan Stepanyan, Clive Totman The LSO is funded by Arts Council England in partnership Kathryn McDowell CBE DL with the City of London Corporation, which also provides Managing Director the Orchestra’s permanent home at the Barbican

LSO registered charity in England number 232391

lso.co.uk 3 LSO & Guildhall Side-by-Side Huang Xiao at Soundhub Showcase

THE CUNNING LITTLE VIXEN LSO DISCOVERY END-OF-YEAR OF JULY 2019 CELEBRATIONS The two final performances of the season, SOUNDHUB SHOWCASE semi-staged concerts of Janáček’s The summer hails the end of the academic The Cunning Little Vixen, certainly created year and for LSO Discovery that means A multi-artform showcase of new music a more intimate feeling between the some important end-of-year celebratory came to LSO St Luke’s in July. LSO audience and performers than a regular concerts and events. The annual Discovery Musicians took to the stage to perform concert. It was another highly acclaimed Showcase took place on a packed Barbican music by four on our LSO collaboration between Sir stage on 6 June, conducted by Elim Chan. Soundhub scheme, which gives UK-based and director Peter Sellars, incorporating The evening featured music inspired by composers the opportunity to try out witty filmed projections and choreographed Rimsky-Korsakov’s evocative Scheherazade, new ideas, develop existing work and staging. In her review, The Observer’s with performances and compositions benefit from peer-to-peer networking Fiona Maddocks acknowledged the fine from Classical Meets Jazz, the Discovery and support. For Jamie Man’s Outrenoir II, contribution of the young talent on Senior Choir, LSO Create participants, the audience was plunged into darkness, stage: ‘high praise for the LSO Discovery the Discovery Digital Technology Group as whispered music grew to fill the space, children who participated – as woodland and On Track Next Generation. illuminated only by light sculptures creatures, thrillingly performed by the suspended from the ceiling. Alex Ho’s LSO and Simon Rattle and other rather LSO & GUILDHALL SCHOOL SIDE-BY-SIDE Spiralling Scrolls paired western and good adults ( and Gerald Finley Chinese instruments to explore the for a start).’ The Barbican performances ‘All in all, an inspiring evening’ was how complexity of diasporic culture, while were followed up by a concert in Paris, Colin Anderson, Classical Source, summed Donal Sarsfield took a series of melodic IN THE LIFE OF THE LSO as part of our residency in the city, up the ‘side-by-side’ LSO & Guildhall lines, then deconstructed, reconstructed featuring the children's choir from School concert on 20 June, conducted by and overlapped them to create Off White’s La Maîtrise de Radio France. Sir Simon Rattle, adding to his already distinctive textures. For Sun Keting’s glowing description of the expanded Ensō, dancer Huang Xiao responded to JUNE 2019 DANIIL TRIFONOV ARTIST PORTRAIT Orchestra’s playing of Vaughan Williams’ the music by painting huge black arcs and Fantasia on a Theme by Thomas Tallis. circles on a canvas that stretched across SUMMER’S HERE This season’s LSO Artist Portrait series, ‘As intimate as it was voluptuous, this the floor of the Jerwood Hall. featuring pianist Daniil Trifonov, reached account of a masterpiece soared to ecstasy BMW Classics 2019, the annual free its climax in two concerts with Conductor with largesse and then a dying away to MEDITERRANEAN YOUTH ORCHESTRA concert at Trafalgar Square, kicked Laureate Michael Tilson Thomas and the nothingness from which it enters’. off London’s season of outdoor music Principal Guest Conductor Gianandrea This concert is always an excellent learning The Mediterranean Youth Orchestra in events on a beautiful sunny Sunday on Noseda, plus a stunning solo recital. experience for the players at the same Aix-en-Provence ran from 5 to 19 July, 30 June. Drawing another capacity crowd Futhermore, he wowed guests at our annual time as delivering a stunning exhibition an annual project where LSO musicians of 7,000 in the square, and a further summer fundraising gala. Following the of all sections of the gargantuan orchestra coach members of the Youth Orchestra. 6,000 viewers watching the YouTube and Michael Tilson Thomas evening on 2 June with Guildhall players on every desk, Ginette Decuyper, Matthew Gardner, Telegraph live stream online, it was a great The Times critic was moved to write: ‘slotting seamlessly within the ranks of Robert Turner, Hilary Jones, Jani Pensola, way to showcase the Orchestra’s work to ‘The Russian pianist dispatched Beethoven’s the LSO’ – Peter Quantrill, i newspaper. Joost Bosdijk, Paul Milner and David Londoners and passing tourists. Emperor Concerto with a dazzling Jackson were involved, leading various Bushra El-Turk’s specially commissioned combination of virtuosic brilliance and workshops and lessons with them over piece Tuqus — written for mixed-ability poetic tenderness, the soft tone of his a fortnight, concluding with a concert orchestra — had its world premiere, chosen Fazioli instrument suiting his at the Grand Théâtre de Provence in performed by the Orchestra alongside mood of intimate rapture perfectly’, and Aix-en-Provence on 19 July. 55 young musicians from the LSO On Track duly awarded the evening the coveted David Elton programme and the Guildhall School. five stars. A great way to end the series.

4 Living Music January 2020 News lso.co.uk 5 TOUR TO ASIA

The Orchestra embarked on a tour to LSO COMPOSERS Asia at the end of September, the first leg involving concerts in Hong Kong LSO JERWOOD COMPOSER+ LSO SOUNDHUB as part of the 30th Anniversary of the Hong Kong Cultural Centre. Despite The LSO Soundhub programme concerns over whether the concert welcomed four new members schedule would be interrupted by for the new season: Clare Elton, the political demonstrations taking place Ryan Latimer, Ruaidhrí Mannion in the city, everything went smoothly. and Anselm McDonnell. Based at It was particularly special having Hong LSO St Luke’s, the LSO Soundhub Kong-native pianists Colleen Lee and programme provides a flexible Aristo Sham perform with the Orchestra, environment for four composers to and they were very popular with local develop and showcase new work audiences. We also welcomed Emanuel through exploration, collaboration and Ax at one of the HK concerts and he experimentation. They have access continued on the tour to China. We Hollie Harding to vital resources, state-of-the-art presented five concerts – across Shenzhen, equipment and professional support. Guangzhou, Shanghai, Wuhan and Xi’an – We welcomed a new intake of six to Soundhub’s ongoing development featuring Brahms’ Concerto No 2 our composer programmes for the is led by the composers who take part Play the Mile and Symphony No 2, and Rachmaninov’s 2019/20 season. Des Oliver and Hollie and responds directly to their needs. Symphony No 2. The tour concluded with Harding joined the Jerwood Composer+ AUGUST 2019 SEPTEMBER 2019 an outdoor concert in Hanoi, for the third for a programme that will see them Alex Ho and Keting Sun both took part year in a row, in front of 30,000 people plan and deliver two chamber-scale in 2018/19 LSO Soundhub Phase II, A FEAST OF FESTIVALS NEW SEASON OPENING WEEK and which was live-streamed to a further concerts from conception to performance, and now continue on a further year, global audience online. taking a role in every part of the process. developing new works for the February Classical music lovers in Europe are spoilt In what has now become tradition, the They receive support, guidance and Soundhub showcase. for choice and beautiful locations during opening concert of the 2019/20 season expertise from LSO staff, as well August as cities across the continent featured all-British repertoire, conducted OCTOBER 2019 as an external mentor, in order to gain The Soundhub community is also celebrate with festivals of music and other by Sir Simon Rattle. The concert opened with experience in every aspect of putting extended to a wider group of Associates art forms. Sir Simon Rattle, Gianandrea the world premiere of Antisphere by Emily MOZART AT LSO ST LUKE’S on a successful new music performance. who, along with the Members, benefit Noseda and the Orchestra played 13 Howard, a former Panufnik Composer. This includes learning about programming from access to Soundhub events at LSO concerts between 13 August and 11 But the highlight of the evening for Demonstrating their versatility and for specific audiences, planning and St Luke’s, LSO rehearsals and concerts, September in a total of nine different many was the thrilling performance by virtuosity, the Orchestra’s principal wind organising events, as well as marketing, plus access to space and other resources, locations including, on consecutive nights, soloist Leila Josefowicz who played players took centre stage as soloists budgeting and public relations. Through and benefit also from the supportive a BBC Prom at the and ’ a decade in concertos by Mozart at LSO St Luke’s this process they gain invaluable network that they constitute, now a concert at the Usher Hall as part of the after she gave its premiere in 2009. The in October conducted by Jaime Martín, knowledge and practical experience comprised of over 100 composers. Edinburgh International Festival. It seems Times wrote in a five-star review: ‘Leila who recently began his tenure as Music in how to establish and promote no European summer music festival is Josefowicz animated Matthews’ score Director of Chamber Orchestra. themselves professionally. The concerts These two programmes are set among complete without the LSO. with apache energy, a fearless dance over Opening the show, Timothy Jones played will be part of the artistic programme a holistic framework of development for sprung woodwind and gleaming bells.’ Mozart’s Second Horn Concerto before at the Orchestra’s venue on London’s emerging composers that has evolved PLAY THE MILE IS LAUNCHED Andrew Marriner gave a farewell performance Old Street, LSO St Luke’s. by actively listening to participants The following night, Sir Simon Rattle of the Clarinet Concerto in A. In the C major over many years. As partners in Culture Mile, the LSO conducted Messiaen’s Éclairs sur l’Au-delà … Oboe Concerto, Olivier Stankiewicz Meanwhile, Daniel Kidane and collaborated in Play the Mile, which took performed with over 100 musicians showcased a new cadenza by Hong Kong Amir Konjani rounded off their time LSO Soundhub is generously supported place across the Culture Mile from 18 May filling the Barbican stage. With extra composer, Tonia Ko, before Juliana Koch, on the Jerwood Composer+ scheme, by Susie Thomson to 25 August and explored the value of play reinforcements across the woodwind, Rachel Gough, Chris Richards and Daniel with a concert of music for voice and creativity in everyday life. Culture Mile, brass and percussion, the orchestral forces Timothy Jones joined forces for the and strings in October that featured LSO PANUFNIK COMPOSERS SCHEME concentrated on a stretch from Farringdon provided a surround-sound experience Sinfonia Concertante in E flat. Juice Vocal Ensemble alongside to Moorgate, aims to redefine the City for the audience, with flutes and clarinets LSO members David Alberman, Each year, six composers gain invaluable of London as a global leader in both dotted around the hall. This was a special Clare Duckworth and Jennifer Brown. insights into the performance of their culture and commerce. Play the Mile took performance with the LSO clearly relishing Amir presented a concert in November new music directly from the Orchestra’s Culture Mile a step closer to realising this both its scope and intimacy. Bachtrack that blended instrumental innovation players, under the leadership of composer with its first extended season of activity gave it five stars: ‘In Rattle’s hands the with performing sculpture; it included Colin Matthews and LSO Principal Guest including two LSO happenings involving divinity in this music comes from string his music for a screening of the Oscar- Conductor François-Xavier Roth. the LSC with , and a Jerwood playing that is unashamedly luxurious, winning short film The Silent Child. A further two are offered commissions composer event. All events were free and dynamically pliant and deeply sensuous; Keep up-to-date with all for later concert performance. an example of what was on offer included paradise is here, and it is in our ears.’ LSO Jerwood Composer+ is generously supported by Jerwood Arts over 100 free short concerts in one our latest at lso.co.uk/blog The LSO Panufnik Composers Scheme is generously weekend at the Sound Unbound festival, and lso.co.uk/news supported by Lady Hamlyn and The Helen Hamlyn Trust Anna Bastow spanning hundreds of years of music.

6 Living Music January 2020 News lso.co.uk 7 NOVEMBER 2019 THE BLACK PERIL CELEBRATING A quartet of LSO string musicians stepped into the world of jazz in November, forming part ‘Paradise is here, of a 14-piece ensemble for the world premiere of Soweto Kinch’s The Black Peril at the EFG and it is in our ears’ London Jazz Festival. The performance blended music and dance to reflect on a period of civil Bachtrack, on the season opening concert at the Barbican unrest and racial conflict that broke out after World War I, taking inspiration from early black music – everything from ragtime and jazz to West Indian folk. Audiences at LSO St Luke’s 30 received a preview on 16 November at an open rehearsal, followed by a Q&A led by writer and broadcaster Kevin Le Gendre.

COMMUNITY CHOIR FESTIVE SPECTACULAR

The LSO Community Choir and its conductor David Lawrence brought the glamour and razzmatazz of the West End and Broadway Y EARS to LSO St Luke’s on 22 November, in a collaboration with musical theatre’s dynamic OF LSO DISCOVERY duo Ferris & Milnes. The concert, which In 2020, we celebrate the 30th anniversary of showcased the vocal talents and community spirit of people living and working in the local LSO Discovery, the Orchestra’s ground-breaking area, combined Christmas cheer with comedy education and community project. and music, including plenty of choral festive favourites.

TIME FOR US! Since 1990, the LSO has been a pioneer Across 2020, we’ll have many opportunities LSO musicians have been supporting Soundbox, in music education and community to celebrate the work of Discovery, an inclusive ensemble for young musicians engagement. Through inspiring musical as well as to support Discovery’s future with and without learning disabilities, run in experiences and opportunities for learning, development. A particular highlight partnership by LSO, Spitalfields Music, Drake LSO Discovery enriches the lives of 60,000 will be the LSO Discovery Showcase on Music and Tower Hamlets Arts and Music Education Emmanuelle Haïm people per year, encouraging creative Sunday 17 May, a musical extravaganza LSO Discovery Showcase Service. Soundbox teamed up with LSO Create – interests and skills. From its home at LSO from some of Discovery’s most talented an inclusive group for adults with learning IN THE CHARTS FOR CHRISTMAS St Luke’s on Old Street, Discovery works music groups, with contributions from disabilities – to perform the music they created across the City and East London, as well the LSO musicians who have guided our together at an evening concert, entitled Time This December we have been from Bing to as frequently internationally, with LSO participants over the past 30 years. for Us! on 24 November at LSO St Luke’s. Bartók and back to the Baroque. We were musicians and staff taking part in a wide honoured when Kathryn Crosby asked us to range of projects around LSO tours. We are also delighted to announce a very accompany Bing Crosby’s inimitable voice special LSO Summer Gala, which will take DECEMBER 2019 on the newly released Bing at Christmas, and Research shows that as well as increasing place on Wednesday 10 June, at Discovery’s what a thrill it was to pop the fizz for the musical ability and understanding, making beautiful home, LSO St Luke’s, which will A CHORAL CHRISTMAS LSO’s entrance to the Christmas Top Ten! In music enhances personal life skills such be transformed for the evening. The Gala the run up to Christmas, Emmanuelle Haïm as memory, teamwork, self-confidence and will feature Antoine Tamestit, this year’s It was beginning to feel a lot like Christmas on made her LSO debut delving into the motivation, and with a year-round LSO Artist Portrait. the afternoon of 15 December when a 2,000- world of operatic Baroque on 15 December. She programme of over 1,000 workshops and strong congregation comprising audience and led the LSO Chamber Orchestra in a programme 70 concerts, LSO Discovery has reached The work of Discovery wouldn’t be possible performers gathered at the Barbican for the of Handel, Purcell and Rameau, and it was hundreds of thousands of participants without the support of LSO donors, and LSO Discovery Family Concert annual LSO Choral Christmas. Members of the a wonderful chance to see our players shine in over its 30-year history. we are very grateful to all the individuals, audience were treated to magnificent festive a different light in the intimate surroundings companies, trusts and foundations who sounds from the LSO Discovery Choirs, the London of Milton Court. It made a big contrast to our support this work. Symphony Chorus and LSO Community Choir, final concert of 2019 on 19 December, featuring To find out more about getting involved and LSO Brass Ensemble, as well as raising their the fascinating and surreal soundworld of Bartók’s with LSO Discovery, including how voices to join in with some favourite carols. , so beautifully shaped to support our Summer Appeal, please by François-Xavier Roth. contact [email protected]

8 Living Music January 2020 News | LSO Discovery Juliana Koch lso.co.uk 9 The American conductor and Michael Tilson Thomas was 25 years old when he ‘The LSO spirit doesn’t just first conducted the LSO, stepping in for an indisposed the LSO celebrated their fruitful Gennady Rozhdestvensky on 12 May 1970 at the Royal remain, it gets stronger, and 50-year partnership last autumn. Festival Hall. It was just the beginning of a fruitful partnership as over the following decades MTT, as the drives musical risk taking’ conductor is affectionately known, rose to become the Orchestra’s Principal Conductor between 1988 and Michael Tilson Thomas 1995, led the Orchestra on tours of Europe, Japan and the US, made many recordings and is currently the LSO’s Conductor Laureate.

In November 2019, Tilson Thomas and the LSO celebrated their 50 years’ association with a series of concerts at the Barbican that included some of the conductor’s favourite repertoire: Berlioz’s , a Stravinsky exploration, and programmes including Tchaikovsky, Prokofiev, Rimsky-Korsakov and Bruch.

In the words of Michael Tilson Thomas: ‘The personality of an orchestra doesn’t change. Like a champion sports team, its personality evolves, but it never loses its unique spirit. Over the past 50 years I’ve observed that the LSO spirit doesn’t just remain, it gets stronger, and drives musical risk taking. Every player in the orchestra shares in its ideals, its goals and in that same unique musical spirit, creating the perfect team.’ Here, we celebrate this remarkable half-century of collaboration that Tilson Thomas describes as ‘one of the great joys in my life’.

10 Living Music January 2020 Michael Tilson Thomas 50 Years of Music lso.co.uk 11 Writer and broadcaster Stephen Johnson looks at some of the large-scale works the LSO has performed over the past six months, and how it takes great skill and confidence to carry off such magnificent ‘monsterpieces’.•

12 Living Music January 2020 Thinking Big lso.co.uk 13 ‘There are moments when the impact can be literally stunning, but there are others where it’s the weird, impressionistic delicacy of the that takes the breath away.’ It’s glorious, but there’s also something savage, primeval about Belshazzar’s Feast, not least in its setting of lines like ‘Happy shall he be that taketh thy children / And dasheth them against a stone’. No wonder The LSO at the BBC Proms Sir Simon Rattle This theatrical flair was a prime asset monkeys. Yet each parody has a way of the Synod of the Church of England vetoed when it came to the LSO’s Proms date turning out more beautifully and even its performance in cathedrals, despite on 20 August last year, which showcased authentically than the composer’s declared its impeccably biblical text. But where no fewer than three huge works. Edgard scheme might suggest. More importantly many other conductors have gone for Varèse’s Amériques (1927), like a gigantic Koechlin was a fabulous orchestrator barnstorming impact, Sir Simon – with concerto for orchestra, allowed the (several noted contemporaries sought his his deeper knowledge of Walton than It was to a much later, and very different LSO to show off its splendid array of top-class help and advice), and orchestral line-up most – takes a more balanced approach, large-canvas work of Messiaen to which ‘A distinct “Wow!” There’s a story that when instrumentalists as soloists in their own of Les Bandar-Log – rich and variegated showing how complex and multifaceted the LSO turned to begin the current season. saw Niagara Falls, and experienced the right. This spectacular monsterpiece employs enough in itself – is used with the skill this extraordinary work is, as several critics Éclairs sur l’Au-delà … (‘Lightning was heard from full force of its deafening roar for the first no fewer than 20 woodwind instruments, of a magician. noted of performance. Over the Beyond’, 1991) was Messiaen’s last time, he shouted exultantly, ‘Fortissimo 20 brass and 12 percussionists, as well as completed composition. It is nothing less the auditorium at last!’ It makes sense. Surely part of the harps and a suitably enlarged body of William Walton originally conceived his The very night after this magnificent than an attempt to portray the Heavenly appeal for Mahler in deploying his famously strings. There are moments when the impact oratorio Belshazzar’s Feast (1931) concert, Sir Simon and the LSO travelled City, as described in the biblical Book of following the huge orchestral forces was the body-and- can be literally stunning, but there are for small chorus, soloist and an ensemble to Edinburgh to perform John Adams’ Revelation. Like Turangalîla it is a multi- soul-shaking power he was able to generate, others where it’s the weird, impressionistic of just 15 players. But it seems the music symphony-like (1985) at multi-movement work (eleven movements first movement’s just like a modern-day rock star glorying delicacy of the orchestration that takes had other ideas. For the premiere at the the city’s International Festival. Adams’ in this case), and also like Turangalîla in the weight and depth a modern sound the breath away. Varèse’s title ‘Americas’ Leeds Festival Walton submitted a score orchestra is smaller than Varèse’s, but still it reflects its composer’s intense but sledgehammer system can offer. But that’s only part – he was clearly thinking of southern demanding a large double chorus, baritone significantly larger than one would normally idiosyncratic Roman Catholicism through of the appeal. The extension of the sound continent as much as the northern – might soloist and a full, colour-enhanced expect to see on today’s concert platform. characteristic sound-symbols: slow-moving ending. A delighted palette is another. Think of the wealth remind us of the poet John Donne’s symphony orchestra with alto saxophone, The work grew out of a dream the composer wind , tender and luscious hymns of colour Mahler produces with his harps, ‘Oh, my America, my Newfoundland’. One piano, organ and plenty of percussion. had, in which he saw a huge tanker rise to the risen Christ, and birdsong, brilliantly Sir Simon swung piano, celesta and mandolin in his famous moment harps and percussion (including But extra brass instruments were on hand out of the waters of Bay and transfigured by the immense woodwind ‘Symphony of a Thousand’ (Symphony No 8), the aptly named ‘Lion’s roar’) are conjuring for a performance of Berlioz’s colossal take off into the sky like a rocket. Massive and percussion sections. In marked contrast round and blew the like his Viennese contemporary Gustav Klimt up the enticements and terrors of the , so the conductor Sir Thomas brass chords, with four trumpets and to the fevered expression of Turangalîla inlaying gold leaf and precious stones into Amazonian rainforest, then seconds later Beecham breezily suggested to Walton, two tubas, pound out repeated chords however, a ritualised stillness prevails woman in question his sumptuously erotic paintings. clamorous brass, pounding drums and ‘As you’ll never hear the thing again, my boy, in an accelerating rhythm, like giant metal in Éclairs sur l’Au-delà …, while the enormous a screaming factory siren evoke another why not throw in a couple of brass bands?’ object slowly gathering momentum, forces (the score asks for 128 musicians), a silent kiss. It is Sir Simon Rattle is one of the select handful kind of jungle – the concrete and steel Walton obliged, and the newly enlarged while the percussion vividly recreate the spread out over a wide physical space, convey of conductors who has had the experience ecosystem of the modern American city. Belshazzar’s Feast was a sensational ‘beautiful brownish-orange oxide’ on a feeling of scale – it’s like entering a gigantic the kind of reaction of performing and recording all the Mahler success. Evocations of jazz (hence the the ship’s hull. It’s a vision that’s both cathedral in which multitudinous acts of symphonies, so he is especially qualified Another jungle – namely Rudyard Kipling’s saxophone and colourful percussion) and glorious and alarming, suggesting the devotion are unfolding calmly and quietly. of which most to take on the colossal works the LSO has The Jungle Book – provided the inspiration of the disturbingly lascivious dream-world wonder of human achievement and the In his pre-concert talk, Sir Simon recalled been programming over the past six months. for the maverick French composer Charles of Richard Strauss’ Salome sit alongside damage it’s increasingly doing to the living the first time he heard it and being reduced conductors can Qualified and intensely enthusiastic, as Koechlin’s symphonic poem Les Bandar‑Log moments where the extra brass and organ world around it. During this Usher Hall to tears for virtually its whole 60-minute anyone who attended those concerts can (1940). Conceived as a satire, this crazily, convey a sense of vertiginous gigantism performance, a distinct ‘Wow!’ was heard span. That sense of profound absorption only dream.’ attest; they will have witnessed how moodily inventive ‘Scherzo of the Monkeys’ comparable to the apocalyptic religious from the auditorium following the first comes across whenever he directs Éclairs Sir Simon’s joyous energy communicates was meant as a parody of all the noisily paintings of the Victorian John Martin. movement’s sledgehammer ending. sur l’Au-delà …. I too can remember itself deep into the orchestra – even when contending forms of musical avant-gardeism A delighted Sir Simon swung round and the astonishment of two lifelong Messiaen- that orchestra takes up most of the stage, in Koechlin’s day – Schoenbergian 12-tone blew the woman in question a silent agnostic friends after hearing it in Sir Simon’s and beyond. serialism, neo‑Classicism, polytonality kiss. It is the kind of reaction of which hands. ‘It really shouldn’t work,’ said one and atonality – all literally ‘aped’ by the most conductors can only dream. of them, ‘but it just did!’

14 Living Music January 2020 Thinking Big lso.co.uk 15 DEVELOPING TALENT LSO LIVE Jane Williams is the LSO’s Head of Orchestral Artistry. She explains how the programme, delivered with the Guildhall School of Music & Drama, is helping to train the next generation TURNS 20 of top-flight musicians. In 1999, at a time when the recording industry was in a state of flux and major labels were decreasing The Guildhall School of Music & Drama’s the newcomers. For 2019, there are their investment in classical music, the LSO took year begins in mid-September, so by that 40 students across the two years, DAVIS point I’ll have mapped out the schedule from ten different countries. For some matters into its own hands and LSO Live was born. for the new intake of Orchestral Artistry of them, it’s their first time living in Sir was instrumental in the formation of LSO Live, his recordings students who will be working closely with London, or the UK, or, indeed, Europe. Managing Director Kathryn McDowell explains how. reflecting passions for composers such the Orchestra as part of their studies. They arrive with a range of experience: as Berlioz, Sibelius and Nielsen. The awards and acclaim his releases some have come up through conservatoires received helped cement the Orchestra’s The vocational Orchestral Artistry programme and are beginning their professional The LSO’s history in the recording industry goes back label as an important new voice and is put together in consultation with the careers, some have taken an academic to the earliest days of the Orchestra. The LSO was paved the way for its future success. GSMD (the students are all postgraduate university music degree and are coming founded in 1904, and by 1913 it was a pioneer in early instrumentalists on the Guildhall Artist to a conservatoire to polish their playing recordings, later opening Abbey Road Studios in London Masters programme) and with LSO members, while learning about the profession from LSO Side-by-Side Concert with Sir in 1931, and working with many who are keen to share their knowledge those at the very top, while others have other conductors over the years, including Principal HAITINK RATTLE and to meet and work with talented young already played professionally. Most of Conductors in the 1960s and The great Dutch conductor Bernard Few conductors would choose Haitink’s recordings complemented Schumann’s Das Paradies und die Peri players. The programme is constantly the students are in their early to mid 20s, discovery with the Stravinsky repertoire in the 1980s. the Davis years, and his enduring as their first recording project with evolving, and focuses on the skills so important but ages range up to late 30s. he knows so well, having himself worked relationship with the Orchestra a new orchestra, but that’s exactly produced inspired accounts of music what Sir Simon Rattle did. Our Music to the success of the LSO itself: mastering with the composer. But in the 1990s the recording market changed as by Brahms, Bruckner, and one of Director’s recordings continue to be a true a wide range of repertoire at a fast pace, A VOYAGE OF DISCOVERY opportunities to record symphonic music became the finest Beethoven symphony cycles reflection of his trailblazing approach preparation for auditions as well as for the Orchestral Artistry is an important aspect more scarce, so the Orchestra took matters into its ever made. to programming with Orchestra. concert stage, experiencing LSO Discovery Since the students are here to play their of our collaborative work with the own hands, setting up its own label – LSO Live. (education and community work) from the instruments, and to learn alongside the Guildhall: just as term started in 2019, inside by becoming involved with workshops LSO, we schedule a variety of experiences: I arranged for Principal Flute Gareth In 2019, the Orchestra celebrated 20 years of LSO Live, and training sessions, and the practicalities regular orchestral repertoire sessions Davies, Principal Bassoon Daniel Jemison, which remains innovative to this day, using the latest GERGIEV NOSEDA and protocols of orchestral life – such as Q&As (with LSO players sprinkled throughout Viola Germán Clavijo and Co-Principal technology to capture the Orchestra’s most exciting The LSO’s next Principal Conductor Our Principal Guest Conductor’s label brought the music of his homeland, debut involved taking over from on how to be a professional and workshops the student orchestra to coach and Double Bass Colin Paris to give orchestral performances. Although many other have recording works by Rachmaninov, Sir Colin Davis at the last minute to on concert management. share insights), sit-ins (where students masterclasses at the Hong Kong Academy followed suit, LSO Live has the largest and broadest Tchaikovsky, Stravinsky and Scriabin produce an acclaimed recording of during his tenure. Inspired by LSO Britten’s . Noseda has are on stage in an LSO rehearsal, often of Performing Arts while the LSO was catalogue, and the widest distribution internationally. Live’s success, Gergiev even enlisted gone on to record the music of Verdi, As early as possible in the first term, I make playing), instrumental masterclasses, and on tour in the region. It was a way to spread the LSO’s help to found his own Tchaikovsky and Mussorgsky and sure the Orchestral Artistry students mock auditions replicating the terrifying the word internationally about LSO’s The label was set up to be an agile operation, with the Mariinsky Label, one of the many to embark on a journey through the partners we now support. Shostakovich symphonies. get to hear the LSO on the Barbican stage: experience of playing orchestral repertoire orchestral training, and hopefully to interest digital era in mind, and the LSO’s Members were invested this year Sir Simon Rattle welcomed them to a panel of LSO instrumentalists some Hong Kong students in coming to from the beginning, agreeing to a royalty arrangement to his rehearsal (check out First Violin (Discovery Department Assistant Mikey the Guildhall. rather than an upfront fee for their recordings. In the early Maxine Kwok-Adams’ Twitter account for Lowe rose to the challenge recently, days, we recorded with Sir Colin Davis and then Principal the evidence!). We arrange an induction scheduling 40 auditions involving 15 LSO Alongside my role with Orchestral Artistry Conductor , who developed his own Mariinsky ROTH GARDINER meeting involving some of the LSO players players and four piano accompanists I also teach Arts Management at Middlesex Label, now distributed by LSO Live. A passionate supporter of new music, Sir ’s LSO Live recordings François-Xavier Roth’s Panufnik blend the conductor’s enlightened (a mix of seasoned members and those in five spaces concurrently, all in a single University, and am currently working Legacies series has allowed scores interpretations with the Orchestra’s newer to the Orchestra) who talk about afternoon!). A highlight of this past on a research project for the charity Help We now record regularly with Sir Simon Rattle, of young composers to record their unique sound. He follows his revelatory music for the first time. Looking Mendelssohn series with a cycle of their own training and musical experiences autumn term has been a performance Musicians UK on the trajectory of early-career and our Principal Guest Conductors Gianandrea Noseda and ahead, our Principal Guest Conductor Schumann’s symphonies. and their recommendations for making conducted by Michael Tilson Thomas, classical musicians. I find it very rewarding François-Xavier Roth. We make recordings that embody the will bring his trademark enterprising programming to the label with new the most of the programme. I also ask the who has taken the Orchestral Artistry and how the different strands of my work artistic vision of the Orchestra, creating an immediacy recordings across the coming season. second-year students for their top tips for other Guildhall students on a voyage of continually inform and enrich one other. and dynamism that is really appealing to listeners.

16 Living Music January 2020 Developing Talent | LSO Live at 20 lso.co.uk 17 During the second half of 2019, the LSO travelled the world, bringing its unique brand of musical inspiration to the four corners of the earth. •

18 Living Music January 2020 All Around The World lso.co.uk 19 WAY Santa Barbara OUT WEST When the Orchestra travelled out to California last summer, Lucy Thraves, Editor of Classical Music magazine, joined them. She reports on the LSO’s burgeoning partnership with LSO and The Academy Festival Orchestra with LSO Voyager Concert Music Academy of the West in Santa Barbara.

describing the LSO as ‘an international globally, we do most of our outreach work world’s top orchestras. As well as attending A good partnership requires solid powerhouse’, whose commitment to in London, so when we have partnerships rehearsals and performing side by side foundations, and mutual investment from education is inspiring: ‘Sometimes in the internationally we’re able to develop that with their mentors, they get to know them all sides. You get the impression that this US organisations don’t really put a spotlight work elsewhere.’ in more social settings too – going to the one has both: from the involvement and on outreach,’ he explains. ‘But this is just pub after concerts or getting coffee before enthusiasm of the local community, part of the work the LSO does.’ It’s clear from speaking to LSO players that a rehearsal. But of course it’s not all fun to the LSO’s genuine passion for education, What does it take to be a good orchestral outreach is absolutely integral to their and games. As LSO Chairman and Principal to the diligence of the Academy Fellows, all player? A high level of technical skill Indeed, central to the partnership’s careers. Neil Percy, Principal Percussion, Second Violin David Alberman points out, parties have so much to gain.Geographically and musicality, of course; but crucial, development was the LSO’s Conductor describes teaching as ‘something I’ve for many it can be quite a wake-up call: it’s a long way from the Orchestra’s home – too, is the ability to play as one part Laureate Michael Tilson Thomas, well known always done; I get so much satisfaction out ‘The speed at which we work, the intensity: the palm trees that line the streets outside of a finely calibrated whole. for his longstanding commitment to of it, seeing how young players develop. it gives them lots of food for thought. the concert hall offer a constant reminder education. While he was unable to attend Sometimes just purely being there to say, Rather than having the idea that a period of this – but there’s already a deep sense of For young musicians, finding a thread in 2019 due to a heart operation, both Reed “you need to believe in yourself, because you of preparation is a sort of endless vista … belonging, and a genuine desire to nurture in the lace of an orchestra takes time and and McDowell emphasised the weight of play really brilliantly”.’ He also highlights they need to realise that it’s not like that. this relationship long into the future. practice. It also helps to perform alongside his influence. ‘He’s an extraordinary teacher,’ how important it is to be sensitive to the You have to have your head in the game, musicians who have been playing in a world- says Reed. ‘We had wanted him for a long cultural differences between teaching from the beginning and all the way through.’ renowned orchestra for their professional time at Music Academy of the West, but it styles: what students have been used to and lives. And this is exactly what the students took our partnership with the LSO to get led to expect in their musical development. The strength and warmth with which of California’s Music Academy of the West him to join us here, which speaks to the love These are felt especially keenly in the Santa Barbara has welcomed the Orchestra have been able to do, thanks to a partnership he has for the Orchestra. We’re so excited audition room: ‘We hear all sorts of horror is palpable. At the concerts I attended, the Academy has had with the LSO since to have him back next year.’ stories, like you make one mistake in cheers erupted after each piece with an 2018. For a week every other summer, the an audition and it’s: “thank you very much, enthusiasm rarely witnessed in London. whole orchestra travels to the Academy’s As planning evolved and conversations next please!”’ he explains. ‘But I know And the Orchestra has gone to great lengths home near the idyllic coastal city of Santa broadened, both parties began to realise tutors here who hold some of the top jobs to ensure that it’s playing something for Barbara, to mentor and perform with just how beneficial the partnership could in US orchestras who’ve said that they’ve everyone: the family-friendly concert, the students. be. Increasing visibility on the opposite made small mistakes in every audition.’ devised by Principal Flute Gareth Davies, side of the Atlantic was an obvious pro. set canonical repertoire against a space LSO Managing Director Kathryn McDowell Furthermore, Reed was keen to develop A select few students, known as Keston travel narrative, complete with video and CEO and President of MAW Scott Reed Santa Barbara’s audiences, so it was agreed MAX Fellows, are selected to return to accompaniment and appropriate sound recall how the partnership originated: that the LSO would perform three concerts London the following spring to work with effects by Victor Craven. Children in ‘Scott simply turned up in London one day,’ during their residency, each of which was the LSO for ten days. The aim is to provide the audience were transfixed, although one she laughs. ‘I assumed in the beginning sold out in 2019. Similarly, McDowell saw these young musicians with insight into started crying during a particularly that we were just sharing practice. And the benefit of embedding the LSO’s outreach the reality of life in an orchestra, both on energetic excerpt from Shostakovich’s then I realised that actually we could build work into a community far from its London and off stage, and to give them the best Tenth. (Who can blame him?) a very fruitful partnership.’ Reed agrees, base: ‘Even though the LSO travels possible chance at securing jobs in the Santa Barbara Bowl lso.co.uk 21

20 Living Music January 2020 All Around The World SOUTH OF POSTCARD FROM HE EQUATOR ONG KONG In September, the LSO enjoyed five days in the cosmopolitan city of Hong Kong, on the first leg of the Orchestra’s tour to the Far East with Music Director Sir Simon Rattle.

Hong Kong Montevideo Bay from the air

back in Colombia. My life as a violinist has At the start of the 2019/20 season, The concerts were live-streamed into The LSO undertook its first ever tour to Latin America in May, always been outside my country so after Sir Simon Rattle and the LSO travelled various public spaces around Hong Kong, 12 years with the LSO, playing to friends to Hong Kong on the first leg of their making the music accessible to hundreds covering huge distances and connecting with even more new and family felt like a pinnacle in my career.’ tour to China and Vietnam to play three more people who couldn’t buy tickets. audiences and young musicians. Emma Baker reports. Germán and Julian praise the venues that concerts at the Hong Kong Cultural Centre. ‘Sir Simon and a few of us went to meet hosted the Orchestra’s concerts, particularly It was certainly not the Orchestra’s first trip the people who had been watching the beautiful and historic Teatro Colón in to the Far East, but it was a significant one on the big screen the promoter had set Five countries, six cities, nine concerts: There was certainly much to be organised Buenos Aires, where both players were also as it was the first with Sir Simon, and also up behind the Cultural Centre, and it’s perhaps not an unheard-of itinerary for to bring the Orchestra’s first tour to Latin involved in masterclasses with local young called on local talent in soloists Colleen Lee that felt really special.’ the LSO on tour, but the destination was America to fruition. musicians. ‘The talent in Latin America and Aristo Sham, who played Prokofiev certainly one to remember. Last May, for is immense,’ says Julian, ‘but historically and Rachmaninov’s Third Piano Concertos Did the difficult political situation in the first time in the Orchestra’s 120-year ‘It was unexplored territory for both us there just haven’t been the opportunities. respectively. The programmes this time Hong Kong impact on the tour at all? history, the LSO toured to Latin America. and the local promoters,’ explains Germán. Becoming a musician is a lifetime process did include John Adams’ Harmonielehre, ‘We were of course aware of it, and there Life-size posters of the Orchestra in Hong Kong In just under three weeks the LSO and ‘The Orchestra’s schedule is put together and it needs consistency. It is good to see as well as Haydn and Britten, Brahms and were contingency plans should anything Sir Simon Rattle played in Colombia, Peru, three to four years in advance. The political the opportunities increasing for young Latin Rachmaninov symphonies, and featured happen, but luckily we didn’t get caught Argentina, Uruguay and Chile, in cities situations in some of these countries can American musicians now.’ soloist Emanuel Ax, who performed Brahms’ up in any sort of disturbance in our five Bogotá, Medellín, Lima, Buenos Aires, be volatile and if the government of a country Piano Concerto No 2. days there. The worst thing that happened Montevideo and Santiago, bringing repertoire changes it can make things quite difficult, Another educational highlight was when is that the plane carrying our instruments that included Britten’s Sinfonia da Requiem, both financially and politically, but there was Sir Simon Rattle rehearsed a youth orchestra Violinist Maxine Kwok, who has strong was delayed, so we didn’t have them until Mahler’s Symphony No 5, Berlioz’s a lot of determination to make the tour in Santiago which Germán describes as family links to Hong Kong, explains. quite shortly before the concert, which , and Dvořák’s work, and luckily it did.’ ‘everything you’d want from a youth ‘Travelling with Sir Simon always creates was exciting, to say the least! Slavonic Dances. orchestra – enthusiastic, disciplined, well a great sense of occasion, wherever we go There other were challenges too, which trained and of a really serious standard’. in the world, but this was our first trip with ‘It may sound obvious, but music really It was a landmark tour for the whole included arriving on the first stop of him to Hong Kong and the tickets sold out does transcend the everyday. People want Orchestra, but perhaps especially significant the tour, Bogotá in Colombia, one of the The sheer logistics of taking an 80-strong in a very short space of time. I think people to take time out for two or three hours for the Latin-American members, viola highest cities in the world at over 2,600 orchestra and instruments on tour cannot were also excited to see him work with and hear something that will transport player Germán Clavijo, and violinist Julian metres. ‘Although we had a free day when be underestimated. ‘Sir Simon wanted to local musicians, so it felt very collaborative, them. And as Sir Simon said in one of In rehearsal with Sir Simon Rattle Gíl Rodriguez, who come from Argentina we arrived to acclimatise to the altitude programme John Adams’ Harmonielehre on especially as we were there for five nights.’ our interviews while in Hong Kong, it’s all and Colombia respectively. and the lack of oxygen, that first concert the tour, but the planes available weren’t about the music, and we were there was really tough, especially on the wind physically big enough to move all the Maxine was of course especially proud to share that in whatever way possible.’ What was the local reaction to the tour? and brass players. And jet lag can play funny instruments we needed,’ says Germán. to share the music with her extended ‘It was a must-go cultural event, even tricks on the brain, too – but it’s a small Add to that the huge distances travelled – family in the city. ‘I’ve never lived in Hong Kong beyond the music scene’, says Germán, price to pay for having the privilege of for example, it’s a nearly five-hour flight myself but bringing something that who grew up near Buenos Aires. ‘Even travelling the world.’ Julian adds: ‘I believe between Lima and Buenos Aires – and I consider world-class to friends and family, celebrities on TV were talking about the there were some oxygen tanks backstage there is an immense amount of behind-the- who might not get the opportunity to see LSO. It felt like the event of the decade.’ in Bogotá, just in case!’ scenes work needed to make a tour possible. the Orchestra unless they come to London, ‘Our administration is wonderful,’ says is very significant to me.’ What was it like being back on home Germán. ‘Everything is taken care of for territory? Julian, who comes from us. It frees us up to do what we are there Bogotá, says: ‘It was very special playing to do – to play at our best.’ Violinist Maxine Kwok

22 Living Music January 2020 All Around The World lso.co.uk 23 THE FUTURE SOUND OF EAST LONDON The very first LSO East London Academy got under way Looking around the diverse group – all string players in this pilot year – I notice that ‘Sometimes you have a hard piece of music and you doubt yourself last autumn. Violinist and broadcaster Nicole Wilson three-quarters are from BAME backgrounds. met the diverse group of young string players taking ‘We aim to represent the diversity of about it but looking at all those musicians on stage – well if they east London, particularly encouraging their first steps towards musical excellence. young musicians from backgrounds can do it, then I feel I can too. ’ Olivia, LSO East London Academy Student under-represented in professional classical music,’ says Beth. ‘Ultimately, our goal On a rainy Saturday afternoon in November is to break down barriers for young Violinist Belinda McFarlane adds: ‘We are ‘I absolutely loved the Prokofiev concerto,’ ‘Oh no. She doesn’t have to tell me to as I enter LSO St Luke’s, I can already hear people and diversify the professional trying to empower each one with skills such says Olivia, a violinist from Bexley. ‘The do it. It’s just one of those things which the murmur of excitement coming from classical orchestra.’ as playing without a conductor and learning pianist was flawless. Sometimes you have I do. I don’t remember to do the dishes inside. In the main hall are the young to lead. It’s about taking ownership of a hard piece of music and you doubt though. She does need to nag me about musicians who make up the first-ever LSO Today marks the first LSO East London their performance and the programme has yourself about it but looking at all those that!’ she laughs. East London Academy. This new initiative Academy Showcase, the culmination really developed and extended them.’ musicians on stage – well if they can do offers free, high-level training and mentoring the high-level coaching sessions that the it, then I feel I can too if I work hard, put Has learning in such an intensive way proved to young musicians from the LSO’s ten young people have been taking part It must be intimidating to perform in such my heart into it and do what I love doing too much for anyone? ‘We gently resolve partner east London boroughs who show in across the autumn term. Mentored in a formal setting and alongside professional the most. It was so nice to just watch any worries and give them specific help – exceptional promise, and who have been small groups by LSO musicians, who are musicians, but even those who were people who have been playing for so much perhaps with , or sight-reading, nominated by their local Music Education at the very heart of the programme, it’s the apprehensive to start with have blossomed. longer than I have and see what they’ve or playing and listening at the same time,’ Hub through the LSO On Track partnership. first time many of the youngsters have ‘I’m so impressed with these young people,’ achieved. I want to do this for a living!’ explains Belinda. ‘They’re skills that we as played in such small, exposed groups – says Sarah Quinn, Sub-Principal violinist. professional musicians are still honing every ‘It’s great to see some young musicians a different skill to playing solo or within ‘I’m looking forward to their parents hearing Olivia’s not the only one bursting with day, and they require constant attention. from previous On Track projects progress a large orchestra. what they have done tonight. It’s always enthusiasm. Everywhere I look, I see We’ve been able to supply support to anyone onto the East London Academy,’ explains a wonderful moment when they see the wide-eyed wonder. ‘In school, not everyone who’s needed it during this process – it’s Beth Kershaw, LSO On Track Projects ‘I prefer chamber music,’ Irobosa, a cellist progress their child has made. We are asking enjoys their instruments but in these very rewarding to give them the skills to be Manager. ‘While our other repertoire-focused from the borough of Hackney tells me. them to learn very difficult new skills; LSO projects they are all people who able to participate to their full potential.’ projects provide high-profile inspirational ‘It’s a lot calmer and everyone’s playing play more advanced music, listen to everyone want to go further with their music opportunities that stay with young musicians equal parts. I like orchestra but sometimes else in their group, understand where in the future,’ says Rejus, a violinist As I watch this next generation of young Cellist Amanda Truelove with young musicians for life, they are more short term and the the cellos are neglected. With chamber their part fits in and keep going, even if they from Barking and Dagenham. musicians in their final rehearsal before ongoing, sustained impact is less. Our aim music, everyone gets a chance to play to go wrong! You can’t underestimate how tonight’s concert, I can’t help but smile. here is to identify potential in young their full ability.’ difficult that is.’ ‘Yes,’ pipes up Olivia. ‘People in my group The concentration on their faces is musicians and provide opportunities to are funny and nice but they know when immense, but after the final note dies nurture that potential, breaking down any ‘Having a player alongside them changes Over their two years with the East London to focus as well which is great.’ down, a murmur of satisfaction spreads barriers they might encounter in accessing everything,’ says Amanda Truelove, Academy, the young musicians will have around the room as they understand the that kind of training. These are young LSO cellist. ‘What’s been really interesting many more opportunities, such as sitting Patrice, father of bass player Erin, thinks progress they’ve made in just the first people who have the hunger to learn a new is that the ones who are playing second in on rehearsals and interacting with the intense workload is worth it. ‘We see few months of the East London Academy. skill, enjoy challenging experiences and violin or viola are learning that they are the LSO’s family of artists, conductors and such a difference in her confidence, her most of them are very self-motivated.’ not surplus to requirements! It’s a bit of musicians. Last week they watched performance and her technique. It gives ‘We sound quite good!’ one violinist whispers an eye-opener for some of them, but now Gianandrea Noseda in action, rehearsing her the grounding she needs and we see to another. ‘My mum’s going to love this.’ they understand what is involved in true Tchaikovsky’s Symphony No 5 and Prokofiev’s her developing as a musician.’ I ask Irobosa ensemble playing.’ Piano Concerto No 3 with Denis Matsuev. if her mother has to remind her to do her LSO East London Academy is generously supported What did they make of that? violin practice. by The Henocq Law Trust, Linklaters LLP, The Redcliffe Trust and The Lord Mayor’s Appeal 2017

24 Living Music January 2020 LSO East London Academy lso.co.uk 25 OUR

Meet Christine Pendrill Principal Cor anglais PEOPLE When did the cor anglais become Who are the most inspirational conductors your main instrument? or composers you have worked with? When I went to study the oboe at the Royal College Out of so many, it seems invidious to single of Music, my teacher suggested the cor anglais out individuals, but working with Sir Colin Davis would offer more opportunities for work. I fell was an absolute joy. He had a way of drawing in love with not only the sound but also the the very best from us with no apparent effort. feel of playing it. It just seemed to suit me. Every performance felt like a true collaboration. I also loved working with . He had Is there one particular piece made a fascinating analytical mind and I always enjoyed you fall in love with the cor anglais? his dry humour. After failing to cover myself Jonathan Lipton Karen Cardy Laure Le Dantec Tim Hugh While at the RCM, I was fortunate enough in glory in one performance of his piece, Dérive 2, to have lessons with Michael Winfield, I apologised profusely. His response was simply, a former LSO player and a wonderful mentor. ‘You mustn’t worry, my dear. You are getting the JONATHAN LIPTON FOURTH HORN LAURE LE DANTEC CELLO He coached me in the solo from the Ravel shape of the piece beautifully – just not G major Piano Concerto in one of my first the content!’ We said a fond farewell to Jonathan Lipton after our tour to Santa A warm welcome to cellist Laure Le Dantec, who joined in August lessons. It’s inspirational writing and Barbara in July 2019. He joined the LSO as Fourth Horn in April 2019. After lessons with Marc Coppey and Raphaël Pidoux at epitomises the eloquent and vocal quality What is the one piece of advice you 1987, after a number of years working with other orchestras, and the Conservatoire National Supérieur in Paris, she entered the I love about the instrument. would give students at music college? prior to that as a builder and ice cream vendor. Jonathan first Paris Conservatoire at the age of 16. There, she studied with Just one? I suppose the most pressing requirement joined the Orchestra’s Board of Directors in 1993, for a tenure Jéröme Pernoo and passed her Masters Diploma with the highest What are your stand-out memories is to make plenty of reeds so that you’re always lasting six years. In that time the Orchestra appointed Sir Colin distinction. Already very interested in symphonic repertoire, from your first season in 1986? equipped to play anything that’s put in front Davis as Principal Conductor, established an annual New York Laure was part of the Royal Concertgebouw Orchestra Academy One of the first projects I was involved in was of you. An esteemed colleague of mine once residency and launched the LSO website. A second stint on the for the 2014/15 season, and then spent a year with the recording South Pacific with and said, ‘If you’ve got a good reed, there’s no need board from 2007–10 included the launch of LSO Discovery’s Radio Symphony Orchestra. Laure is passionate about chamber José Carreras. It was rather outside my musical to practise and, if you haven’t, there’s no point!’ On Track programme. Jonathan’s keen interest and involvement music, playing with the Camerata RCO, formed by musicians in experience at that time and consequently very in Discovery will be fondly remembered: he visited schools and the Royal Concertgebouw, and she has performed across Europe, exciting. Later that year, we gave performances What is your favourite piece of orchestral colleges throughout the UK and, most recently, mentored Keston Russia, Colombia, Canada and Hawaii. Laure says: ‘Joining the in London and Rome of Bernstein’s Age of Anxiety repertoire featuring the cor anglais? MAX Fellows from the Music Academy of the West. Jonathan has LSO, I couldn’t have dreamt of anything more inspiring and with and Bernstein himself It would be a toss-up between Shostakovich been the longest-serving Fourth Horn in the Orchestra’s history. fulfilling than being surrounded by such great artists every day.’ conducting. It was electrifying. Bernstein had Eight and Sibelius’ The Swan of Tuonela. such a huge presence and brought tremendous I seem to be drawn to music with a dark side. KAREN CARDY MARKETING DIRECTOR TIM HUGH PRINCIPAL CELLO energy to his music. Any works that you consider to be After 22 years with the LSO, Karen Cardy began a new chapter Tim Hugh came to the LSO in 1995 as Principal Cello. In his early Which concerts have you most the cor player’s ‘nemesis’?! in summer 2019. Karen held both the roles of Marketing Director days, he received critical acclaim after stepping in at short notice enjoyed this season? After a particularly bad experience with Strauss’ and, from 2006, Centre Director of LSO St Luke’s. She oversaw to perform Pierre Boulez’s Messagesquisse, and in the years since, There are many, but one would have to be Death and Transfiguration early in my career, two award-winning rebranding projects and two decades of he performed with the Orchestra as soloist in concertos by Brahms, Daniil Trifonov playing the Ravel G major Piano I managed to avoid it for over 25 years! It’s not marketing and audience development initiatives. Under her Walton, Haydn and Elgar. A particular highlight of Tim’s time was Concerto with Sir Simon Rattle conducting. even a big solo – the frightening bit is only leadership, the LSO became the first UK orchestra to introduce the UK premiere of Tischenko’s Cello Concerto in 2007, conducted two low, quiet notes right at the beginning. online ticket booking and, among other highlights, she began high- by Valery Gergiev. Most recently, he played Elgar’s Cello Concerto Can you tell us about any of your personal It still gives me goosebumps to think of it! profile advertising campaigns on the Tube, as well as promoting and Brahms’ on tour to Granada and Almería, highlights of your time with the LSO? Rostropovich’s Shostakovich cycle, the launch of LSO Live, the and at the Alhambra Palace. Tim’s 2006 recording of JS Bach’s If I had to choose just one personal highlight, Favourite thing about London? LSO’s centenary, the first BMW LSO Classics in Trafalgar Square, Cello Suites for LSO Live garnered widespread praise, described it would be having commissioned The World’s I love the cosmopolitan nature of London, also and Sir Simon Rattle’s first season as Music Director. In 2009 Karen by BBC Music Magazine as ‘the best performance on a modern cello’. Ransoming from James MacMillan and giving its the overwhelming choice of music, theatres, set up the London Orchestras’ Marketing Consortium. At LSO Tim spent ten days at the Music Academy of the West in Santa world premiere in 1996. It’s a concertante work galleries and museums, not to mention all the St Luke’s, she programmed the ‘Eclectica’ series, and worked with Barbara last summer, and he played in his final series of concerts with for cor anglais and orchestra that fully explores different cuisines available! BBC Radio 3 planning a series of lunchtime concerts. Karen trained the Orchestra in October. After a memorable 24 years of commitment, the plangent qualities of the instrument. a generation of classical music marketers, many of whom were we wish Tim all the best in his future at the Royal House. present at her leaving celebration to wish her well in the future. 26 Living Music Summer 2019 Meet Christine Pendrill | Our People lso.co.uk 27 hostakoich Symphonies Nos 5 & 1 iananrea Nosea Aailable 3 April Digital CD

Discover the latest recording in our Principal Guest Conductor’s Shostakovich cycle