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Home , BBC Young Musician, James MacMillan, Quickening (MacMillan)

Thursday 1 November 2018 7.30–10pm Barbican Hall

LSO SEASON CONCERT SHOSTAKOVICH NO 4

Kodály Dances of Galánta James MacMillan Concerto SHOSTA (UK premiere) Interval Shostakovich Symphony No 4

Gianandrea Noseda conductor Peter Moore trombone

6pm Barbican Hall LSO Platforms: Guildhall Artists KOVICH Free pre-concert recital Kodály Duo for violin and cello Welcome LSO News Online

lost in action in 1915. The LSO has a long- THE DONATELLA FLICK LSO LSO BLOG: standing relationship with James MacMillan COMPETITION JAIME MARTÍN & PHILIPPE JORDAN dating back to the mid-1990s. The World’s Ransoming was premiered by Principal Cor This month 20 emerging conductors from As part of their LSO debuts last month, we Anglais Christine Pendrill, and in 2008 the across Europe will take part in the 15th spoke to two conductors, Jaime Martín and gave the first performance of the Donatella Flick LSO Conducting Competition. Philippe Jordan, about their programming, St John Passion, an 80th birthday gift to Across two days of intense preliminary working with the Orchestra and how they Principal Conductor Sir . rounds they’ll compete for the chance to came to music. impress our panel of esteemed judges in Shostakovich’s Symphony No 4 closes the Grand Final here in the Barbican Hall To learn about how Jaime Martín this evening’s concert, with the Orchestra on Thursday 22 November. programmed his concert of dance-inspired Welcome to this evening’s LSO concert at the swelling to over 100 musicians for one music, and what Philippe Jordan listens to Barbican, where we are joined by Principal of the composer’s wildest symphonic Visit lso.co.uk/conducting-competition to in his spare time, visit lso.co.uk/blog. Guest Conductor Gianandrea Noseda for the outpourings. The performance is being find out more about the competitors. first of his six concerts this season. recorded for the Orchestra’s label LSO Live, and will be released as part of Gianandrea YOUTUBE: SIR SIMON RATTLE Tonight’s programme opens with Kodály’s Noseda’s ongoing Shostakovich cycle. LSO EAST LONDON ACADEMY CONDUCTS SIBELIUS Dances of Galánta, followed by the UK We look forward to his interpretation premiere of James MacMillan’s Trombone of the First later in the season. Developed in partnership with ten East The LSO’s performance of Sibelius’ Fifth Concerto, the first of two MacMillan premieres London boroughs, the LSO East London Symphony and Janáček’s Sinfonietta, given by the Orchestra this week, featuring I hope that you enjoy the performance Academy is the first step on a path to recorded at the Barbican on Wednesday LSO Co-Principal Trombone Peter Moore as and will be able to join us again soon. making the Orchestra truly representative 19 September, is available to watch on soloist. The members of the Orchestra are On Sunday 11 November, François-Xavier of its community in London. Opening at LSO our YouTube channel until 19 December. exceptional artists in their own right, and Roth will conduct works by Ligeti and Bartók St Luke’s in spring 2019, it aims to identify it is always a great pleasure to hear them alongside Hadyn’s Nelson Mass with the and develop the potential of young East Visit youtube.com/lso for more. taking on the role of soloist. London Symphony Chorus. Londoners who show exceptional musical talent, irrespective of their background or On Sunday we mark 100 years since the financial circumstance. Armistice of 1918 with the world premiere of MacMillan’s All the Hills and Vales Along, Visit lso.co.uk/news to read more about a poignant memorial which sets texts by Kathryn McDowell CBE DL the programme. war poet Charles Hamilton Sorley, who was Managing Director

2 Welcome 1 November 2018 Tonight’s Concert / by Gianandrea Noseda Coming Up

any of the problems we face to Shostakovich being denounced for writing Sunday 4 November 2018 7pm Sunday 11 November 2018 7pm today – with globalisation on one advanced modern music, and the symphony Barbican Hall Barbican Hall side and the sobering power of was rejected. But even as the USSR rejected individual states on the other – are partly him, he found his roots elsewhere. This was a ALL THE HILLS AND VALES ALONG NELSON MASS due to a lack of knowledge about our own turning point. From Symphony No 4 onwards, origins. As artists, our responsibility is to bring his became Mahlerian in spirit, James MacMillan Ligeti Lontano people together to uncover our collective not only in following Mahler’s poetry, but also All the Hills and Vales Along * Bartók Cantata profana roots by showing the influence they have in in terms of what a symphony is supposed Shostakovich Symphony No 4 Haydn Nelson Mass music. If we can share that information with to do, how it depicts society. In Mahler's the widest possible audience, we can help. symphonies you can recognise the sounds Gianandrea Noseda conductor François-Xavier Roth conductor of Bohemia and the same is true with Ian Bostridge tenor Camilla Tilling soprano This evening’s concert begins with Kodály’s Shostakovich. The noble, trivial, vulgar, London Symphony Chorus Adèle Charvet mezzo-soprano spectacular Dances of Galánta. Based on old tender, grotesque elements of Shostakovich's Simon Halsey chorus director Julien Behr tenor Hungarian dances, the piece has a flavour of Russia are all present in these works. National Youth Brass Band of Great Britain Matthew Rose bass the Danube and ‘Mitteleuropa’. It is followed London Symphony Chorus by James MacMillan’s Trombone Concerto. PROGRAMME NOTE WRITERS * Commissioned by the London Symphony Orchestra and Simon Halsey chorus director MacMillan was composer-in-residence 14-18 NOW: WW1 Centenary Art Commissions, with the world premieres taking place at The Tryst festival when I served as Chief Conductor at the BBC Wendy Thompson studied at the Royal (chamber version) on 6 October 2018 and LSO (orchestral Philharmonic so I know and love his work. College of Music and King’s College, version) on 4 November 2018 Tuesday 13 November 2018 6.30pm I believe we have to give today’s important London. In addition to writing about Barbican Hall composers the possibility of composing music she is Executive Director of Classic and displaying their output. Music has Arts Productions, a major supplier of HALF SIX FIX: ALSO SPRACH ZARATHUSTRA not stopped talking to us and it’s vitally independent programmes to BBC Radio. important that we listen. Supported by LSO Patrons Debussy Prélude à l’après-midi d’un Faune Andrew Huth is a musician, writer and Strauss Also sprach Zarathustra And finally, Shostakovich. Everything the translator who writes extensively on French, Part of the Barbican’s For the Fallen: Introduced on stage by the conductor composer wrote is 100 percent Russian – Russian and Eastern European music. Marking the First World War Centenary he really dug inside the soul of Russian François-Xavier Roth conductor society and its people. But Symphony No 4 Andrew Stewart is a freelance music is a problematic work because it was journalist and writer. He is the author of The composed immediately after the opera LSO at 90, and contributes to a wide variety Lady Macbeth of Mtsensk, which had led of specialist publications.

Tonight’s Concert 3 Zoltán Kodály Dances of Galánta 1933 / note by Wendy Thompson

ogether with Béla Bartók, Zoltán countryside to persuade young men to Following lessons in Paris with CM Widor, Kodály was one of the leading sign up to the army. Kodály presents the Kodály returned to Budapest in 1907 to Hungarian composers of the first themes in a rondo sequence. The opening lecture at the Academy of Music. He also half of the 20th century. His father worked slow introduction features a poignant contributed music reviews to various as a station-master, and Kodály’s childhood theme, introduced by a cadenza. publications, and continued his folk-song was dictated by the family’s postings to This becomes the main material of the studies with Bartók. Political upheavals in towns on Hungary’s rail network. When he rondo, in which slow sections called lassú, 1919 robbed Kodály of his post as deputy was three, they moved to Galánta, a market characterised by syncopated and dotted director of the Academy of Music; however, town on the main line between Budapest rhythms, are separated by faster episodes his career received a significant boost and Bratislava. They spent seven years (friss) featuring solos for and flute. with the premiere in 1923 of the Psalmus there, a time Kodály remembered as being The string of dance tunes gradually becomes Hungaricus, a grand oratorio composed to particularly idyllic. When in 1933, by then a faster and wilder, until the slow opening mark the 50th anniversary of the union respected teacher, educationalist, composer, melody and the clarinet cadenza return to of Buda and Pest. The work was soon and avid folk-music collector, Kodály was herald the whirlwind ending. • recognised abroad, its success followed by commissioned to write an orchestral work that of Kodály’s opera Háry János (1926) and to celebrate the 80th anniversary of the • ZOLTÁN KODÁLY 1882–1967 its related orchestral suite. During the 1930s Budapest Philharmonic Society, he chose he completed two suites of folk dances, to recall his happy childhood days and the Sir Arthur Bliss once noted that the ‘voice the Dances of Marosszék and the Dances of musical traditions of Galánta. of Kodály in music is the voice of Hungary’. Galánta, which swiftly entered the orchestral Kodály was born in the small Hungarian repertoire. During World War II Kodály The melodies used in Dances of Galánta town of Keckskemét, and received his remained in Budapest where he managed drew on several old published volumes of elementary education in Galánta where to help many Jews and others persecuted Hungarian dances, one of which listed its his father became station master. In 1900 by the Nazis. source as ‘from several Gypsies in Galánta’, he moved to Budapest where he studied and also on Kodály’s own recollections of Hungarian and German at the Pázmány In addition to his work as a composer, Kodály folksongs sung by his schoolmates and University and enrolled at the city’s continued his folk-music research, publishing dances played by the famous town band, developing Academy of Music. Church works five volumes of Hungarian folk music, and led by a gypsy fiddler called Mihók. The dominate his early compositional output. also developed an influential method of work is based on the verbunkos, a style of At this time his fascination for Hungarian music instruction for young children. • Hungarian recruiting dance performed by folk music took hold and he collaborated musicians who accompanied the Austro- with Béla Bartók on a project to collect, notate Composer profile by Andrew Stewart Hungarian army recruiters touring the and edit national folk songs and dances.

4 Programme Notes 1 November 2018 Sir James MacMillan Trombone Concerto (UK premiere) 2017 / note by James MacMillan

Peter Moore trombone dominated by the sound of a siren! The (2001) and (2005-06), St John quartet music is reprised, but this time Passion (2007) and St Luke Passion (2013). his is a single-movement work with four violas. This heralds the main slow based on a ‘ghostly’ theme of section of the concerto, which is initially He was featured composer at the seven notes (and three pitches) hymn-like in character, but settles to an Festival (1993), Southbank Centre (1997), which is heard at the start and repeats episode which highlights the trombone in BBC’s Barbican Composer Weekend in many different guises throughout the ‘discussion’ with solo horn and two solo (2005) and Grafenegg Festival (2012). His opening slow section. Each time it is joined cellos, where the music is marked delicato interpreters include soloists , by new counter-material, most importantly e lontano, espressivo, dolente and ‘like , Jean-Yves Thibaudet and a high expressive melody on solo trombone. chamber music’. A new, high, intervallically- , conductors Leonard Slatkin, This solo material descends in tessitura as altered and ethereal version of the main Sir Andrew Davis, Marin Alsop and Donald the other accompaniments become busier theme arrives at the end of this, and the Runnicles, and choreographer Christopher and unsettled. concerto finally moves to the final dance-like Wheeldon. His recordings can be found on section, throwing ‘chugging’ strings against BMG/RCA Red Seal, BIS, Chandos, Naxos, Eventually the music gives way to a dance- virtuoso fast tonguing on trombone. Hyperion, Coro, Linn and Challenge Classics. like ‘scherzo’ variation, based on the opening • SIR JAMES MACMILLAN melodic shape. This is an Allegro, marked This climaxes in a cadenza where the four Recent highlights include premieres of marcato e ritmico. This halts abruptly when have a final semi-improvised James MacMillan is the pre-eminent MacMillan’s A European Requiem, Stabat some of the opening slow counter-materials conversation before a brief codetta, Scottish composer of his generation. Mater for The Sixteen and this Trombone return and are briefly developed, principally dominated by the hymn-like expressivity He first attracted attention with the Concerto for Jörgen van Rijen with the Royal a prominent flute melody. from earlier. The concerto is dedicated acclaimed BBC Proms premiere of Concertgebouw Orchestra. • to Jörgen van Rijen and in memoriam The Confession of Isobel Gowdie (1990). A new dance rhythm takes over, a flowing Sara Maria MacMillan. • His Veni, Veni waltz-like idea, again a variation on the Emmanuel (1992) has received over 500 opening theme. Gradually this poise is performances worldwide by undermined by fast scurrying on the including the LSO, New York and Los Angeles Interval – 20 minutes lower instruments, which eventually Philharmonics and the Cleveland Orchestra. There are bars on all levels of the throws the music forward into the central Concert Hall; ice cream can be bought ‘development’ and the pulse gets faster Other major works include the cantata Seven at the stands on Stalls and Circle level. and more frantic. This is halted briefly by a Last Words from the Cross (1993), Quickening Visit the Barbican Shop on Level -1 to contrapuntal quartet for the four trombones, (1998) for soloists, children's , mixed see our range of Gifts and Accessories. before the music reaches its fastest point, choir and orchestra, the operas Inès de Castro

Programme Notes 5 Dmitri Shostakovich Symphony No 4 in C minor Op 43 1935–36 / note by Andrew Huth

1 Allegretto poco moderato line and produce simple, uplifting music what happened next, but in any event the Shostakovich’s debt to Mahler • is often 2 Moderato con moto for the masses. The doctrine of Socialist performance did not go ahead – the official obvious in the Fourth Symphony. There 3 Largo – Allegro Realism demanded optimism (and above line is that Shostakovich withdrew his score is, first of all, its unusual shape, two vast all an optimistic conclusion), with easily because he was dissatisfied with it, structures framing a much shorter, scherzo- he massive Fourth Symphony understood ideas: a recipe for banality which although this was certainly a face-saving like movement; then there is a deliberate is a vital transitional work in Shostakovich was to tackle head-on, with formula to cover up the fact that severe cultivation of excess, with an enormous Shostakovich’s early career, the enormous success, in his Fifth Symphony. pressure from high quarters had been applied. orchestra, the largest Shostakovich ever outcome of an audibly painful struggle — used, featuring 20 woodwind and 17 brass with a problem that by the mid-1930s had ‘If they cut off both hands, I will compose music instruments with plenty of percussion become acute, and was both musical and and strings in proportion; and above all, political. He had followed his inventive and anyway, holding the pen in my teeth.’ perhaps, the use of popular-style songs, exuberant First Symphony (1926) with two Shostakovich writing in 1936 dances and marches that appear either brash and noisy symphonic glorifications straightforwardly or in ironic distortion. of the Revolution (‘To October’ in 1927, — and ‘The First of May’ in 1929), which he The Fourth, however, was clearly going to The Fourth Symphony was finally brought FIRST MOVEMENT tended to disparage in later life, presumably be unacceptable. It is a wild and inventive to life again during the fragile thaw of the From the start we are roughly thrown into because of their lack of true development outpouring of ideas, often violent and Khrushchev period, when Kyril Kondrashin a world out of joint, with mechanised march or sense of direction. eccentric, that sums up all the brilliant conducted it in Moscow on 30 December rhythms, pounding brass chords, twisted qualities of the 30-year-old composer and 1961. The performance created a sensation, harmonies and the dry clattering of the With the Fifth, first heard in 1937, he moulds them into a big symphonic structure revealing a side of Shostakovich that had xylophone: a white-hot stream of sound emerged as a true symphonist with a of great originality. It was also the very been unheard for many years, and that stood which is certainly thrilling, but completely simplified language which displayed a opposite of what a good Soviet composer in utter contrast to such officially acceptable lacking in human warmth or sensitivity. powerful command of long-range structure was expected to produce, and Shostakovich recent works as Symphony No 12 (‘The Year Another disconcerting feature is the apparent and purpose. As to the Fourth, composed knew perfectly well that to continue in this 1917’), premiered just three months earlier. absence of anything like symphonic form in 1936, it lay unperformed and unknown vein was to court disaster. A contemporary Soviet reviewer described or behaviour, as events seem to follow one for 25 years. The date is all-important, it as ‘an extremely abrupt and graphic another in an almost random manner. This for it was while he was working on the He nevertheless completed the symphony in juxtaposition of nobility and frighteningly is something of an illusion, for the sonata Fourth Symphony that Shostakovich read 1936, likely working under a state of dreadful iconoclastic grotesquerie … the cruel principle is at work, but the usual signposts the condemnation in Pravda of his opera doubt and pressure, and it was rehearsed struggle between the human and the blind that listeners expect are missing, or even Lady Macbeth of Mtsensk. It was a clear by the Leningrad Philharmonic under Fritz and mechanically inhuman which stands pointing in the wrong direction. warning that from now on composers Stiedry, a refugee from Nazi Germany. opposed to it.’ This is as good an image as would be expected to follow the party There are conflicting accounts of exactly any to sum up the Fourth Symphony.

6 Programme Notes 1 November 2018 SECOND MOVEMENT of Shostakovich’s symphonies to end with • MAHLER’S INFLUENCE • THE LATEST FROM LSO LIVE Developing from a sad waltz-like theme on an impression of numbness and uncertainty. the strings, this short second movement By his own admission, Shostakovich’s offers some relief from the restless The significance the composer himself music changed substantially after he was turmoil of the first: it is a far more organic attached to the symphony emerges from introduced to the work of Gustav Mahler. structure, with tempo and metre unchanged a reported conversation in 1970, five years The two composers suffered similar political throughout. Even so, there are many before his death: fates in the 1930s too. Just as Shostakovich unsettling elements and a strangely weird suffered as a result of the Communist conclusion provided by the dry ticking of ‘How they managed to contort us, to warp Party banning the performance of his castanets, wood block and side drum (an our lives! … You ask if I would have been Fourth Symphony, Mahler’s music was effect that would re-appear 35 years later different without the Party Guidance? being posthumously banned by the Nazi at the end of Symphony No 15). Yes, almost certainly. No doubt the line authorities in Germany, who considered that I was pursuing when I wrote the Fourth the music to be ‘degenerate’. THIRD MOVEMENT Symphony would have been strong and Formed in two main parts, the third sharper in my work. I would have displayed movement features a slow and very more brilliance, used more sarcasm, I could Mahlerian funeral march leading to a have revealed my ideas openly instead shattering brass-dominated climax of having to resort to camouflage; I would Shostakovich Symphony No 8 (a mixture of march and chorale), and an have written more pure music.’ • allegro finale launched by a breathless two- Gianandrea Noseda conductor note figure that had featured in the first two movements. This little figure becomes quite Recorded live at the Barbican Hall in April 2018 obsessive in the course of the movement. There is no comfortable resolution at the ‘It was all there in Gianandrea Noseda’s end of the symphony. After a long section outstanding performance with the London which at times veers towards the frivolity Symphony Orchestra. With fluid, unshowy of Rossini, the march-chorale returns gestures, the Italian conductor let the music accompanied by the battering of two sets of tell its own story.' timpani. The music then fades and freezes The Times on the tonic chord of C minor, with wisps of remembered themes on timpani and celeste. This was the first, but by no mean the last, lsolive.co.uk

Programme Notes 7 Dmitri Shostakovich in Profile 1906–75 / by Andrew Stewart

fter early lessons with his With the outbreak of war against Nazi and passions’, rather than the collective mother, Shostakovich enrolled Germany in June 1941, Shostakovich began dogma of Communism. A few years before at the Petrograd Conservatory to compose and arrange pieces to boost the completion of his final and bleak in 1919. He supplemented his family’s public morale. He lived through the first Fifteenth String Quartet, Shostakovich meagre income from his earnings as a months of the German siege of Leningrad, suffered his second heart attack and the cinema pianist, but progressed to become serving in the auxiliary fire service. onset of severe arthritis. Many of his final a composer and concert pianist following works – in particular the penultimate the critical success of his First Symphony In July he began work on the first three symphony (No 14) – are preoccupied with in 1926 and an ‘honourable mention’ in the movements of his Seventh Symphony, the subject of death. • 1927 Chopin International Piano Competition completing the defiant finale after his in Warsaw. Over the next decade he evacuation in October and dedicating the embraced the ideal of composing for Soviet score to the city. A micro-filmed copy society, and his Second Symphony was was despatched by way of Teheran and dedicated to the October Revolution of 1917. an American warship to the US, where it was broadcast by the NBC Symphony Orchestra Shostakovich announced his Fifth Symphony and Toscanini. In 1943 Shostakovich of 1937 as ‘a Soviet artist’s practical creative completed his Eighth Symphony, its reply to just criticism’. A year before its emotionally shattering music compared premiere he had drawn a stinging attack by one critic to Picasso’s Guernica. from the official Soviet mouthpiecePravda , in an article headed ‘Muddle instead of In 1948 Shostakovich and other leading music’, in which Shostakovich’s initially composers, Prokofiev among them, were successful opera Lady Macbeth of Mtsensk forced by the Soviet cultural commissar, was condemned for its extreme modernism. Andrei Zhdanov, to concede that their ‘It is leftist bedlam instead of human work represented ‘most strikingly the music,’ the article claimed. When the Fifth formalistic perversions and anti-democratic Symphony was premiered in Leningrad, tendencies in music’, a crippling blow to the composer’s reputation and career were Shostakovich’s artistic freedom that was rescued. Acclaim came not only from the healed only after the death of Stalin in 1953. Russian audience, who gave the work a Shostakovich answered his critics later that reported 40-minute ovation, but also from year with the powerful Tenth Symphony, musicians and critics overseas. in which he portrays ‘human emotions

8 Composer Profile 1 November 2018 Homelands

Gianandrea Noseda’s 2018/19 concert series with the London Symphony Orchestra continues …

‘As artists, we can bring people together by showing how many influences our roots have on music.’

Rachmaninov Piano Concerto No 3 Shostakovich Symphony No 1 28 March 2019

Strauss Triple Bill 31 March 2019

Shostakovich Concerto No 1 for Piano, and Strings Berlioz Harold in Italy 16 June 2019

Half Six Fix: Read more and book online Strauss & Shostakovich 27 March 2019 lso.co.uk Gianandrea Noseda conductor

ianandrea Noseda is one of and Pan-Caucasian Youth Orchestra in the In recent years, he has conducted Gounod’s the world’s most sought-after village of Tsinandali, Georgia, which begins Romeo and Juliet, which received its conductors, equally recognised in autumn 2019. premiere at the New Year’s Eve Gala in 2016, for his artistry in the concert hall and opera and a new production of Bizet Les pêcheurs house. In January 2016 he was named as Noseda has conducted leading orchestras de perles, which premiered at the New Music Director of the National Symphony and appeared at prestigious opera houses Year’s Eve Gala in 2015. His widely praised Orchestra (US), beginning his four-year including the Berlin Philharmonic, Chicago interpretation of Borodin’s Prince Igor from term with the 2017/18 season. He leads Symphony Orchestra, Cleveland Orchestra, the 2013/14 season is available on DVD from twelve weeks of subscription concerts with La Scala, Munich Philharmonic, Met Deutsche Grammophon. the Orchestra this season, as well as their Orchestra, New York Philharmonic, NHK first appearance together at Carnegie Hall Symphony, Orchestra dell’Accademia Noseda’s intense recording activity runs to in New York in May. Nazionale di Santa Cecilia and the Orchestre more than 60 CDs, many of which have been de Paris. He has also appeared with the celebrated by critics and received awards. His Noseda also serves as Principal Guest Orchestre National de France, Philadelphia Musica Italiana project, which he initiated Conductor of the London Symphony Orchestra, the Royal Opera House, Vienna more than ten years ago, has chronicled Orchestra and Israel Philharmonic Orchestra, Philharmonic, Vienna Symphony, and at the under-appreciated Italian repertoire of the Principal Conductor of the Orquestra de Salzburg Festival and Zürich Opera House. 20th century and brought to light many Cadaqués, and Artistic Director of the Stresa masterpieces. Summer 2018 saw the first Festival in Italy. In July 2018, the Zürich From 2007 until 2018, Noseda served as release of his anticipated Shostakovich Opera House appointed him as its General Music Director of Italy’s Teatro Regio Torino, symphony cycle on LSO Live (Symphony No 5), Music Director beginning in the 2021/22 where he ushered in a transformative era while the second release (Symphony No 8) season, where the centrepiece of his tenure for the company, marked by international came out at the beginning of October. will be a new production of Wagner’s Ring acclaim for its productions, tours, recordings, cycle directed by Andreas Homoki. and film projects. A native of Milan, Noseda is Commendatore al Merito della Repubblica Italiana, marking Nurturing the next generation of artists Gianandrea Noseda also has a cherished his contribution to the artistic life of Italy. is important to Noseda, as evidenced by relationship with the Metropolitan Opera, In 2015, he was honoured as Musical his ongoing work in master-classes and dating back to 2002. He returns this season America’s Conductor of the Year, and was tours with youth orchestras, including the to lead performances of a new production of named the 2016 International Opera Awards European Union Youth Orchestra, and with Cilea’s Adriana Lecouvreur featuring Anna Conductor of the Year. In December 2016 he his recent appointment as Music Director Netrebko, which receives its premiere at the was privileged to conduct the Nobel Prize of the newly created Tsinandali Festival New Year’s Eve Gala on 31 December 2018. Concert in Stockholm. •

10 Artist Biographies 1 November 2018 Peter Moore trombone

eter Moore is Co-Principal L’Auditori in Barcelona, the Barbican and Bousfield. He is a visiting professor at the Trombone of the LSO, a position Lucerne Concert Hall. He has given recitals and was selected he took up in 2014 at the age of 18. at Wigmore Hall (as soloist, and with Alison for representation by Young Classical Nominated by the Barbican as an ECHO Balsom), the Barbican, Hay-on-Wye Festival, Artists Trust (YCAT) in 2014. In 2013 he Rising Star, Moore will give recitals at the BBC Proms, in Melbourne, Australia and won the Wind Section of the Royal Over- major European concert halls during the Kumho Art Hall Yonsei in Seoul. Seas League Competition. • 2018/19 season, from the Amsterdam Concertgebouw to Vienna’s Musikverein, Since winning BBC Young Musician, Peter Cologne Philharmonie and Laeiszhalle, has performed widely in Europe, appearing as Hamburg. Highlights over the last year soloist with the Polish Chamber Orchestra at have included his US debut at the Spoleto the Rheingau and Mecklenburg-Vorpommern PETER MOORE: ECHO RISING STARS Festival in Charleston and the International festivals in Germany, and at the European Friday 18 January 2019 1pm, LSO St Luke’s Trombone Festival, solo tours of China Trombone Festival The Slide Factory in and Colombia, and concertos with the BBC Rotterdam. He has given recitals at major Beethoven Horn Sonata Concert Orchestra and National Orchestra of venues and festival throughout the UK Schumann Drei Fantasiestücke . He was soloist-in-residence with the and toured extensively in Australia and Roxanna Panufnik When you appear Black Dyke Brass Band and in 2018 Rubicon New Zealand. In 2010 his recording of the Brahms Serious Songs Op 121 Nos 2 and 4 released his first solo CD with pianist James Gregson Trombone Concerto with the BBC Gershwin Baillieu to critical acclaim. Concert Orchestra was released by Chandos. Embraceable You His latest CD Life Force with pianist James Fascinating Rhythm In 2008, at the age of twelve, Peter Moore Baillieu was released in June 2018. Bess, You is my Woman Now became the youngest ever winner of the BBC Young Musician Competition, and in Passionate about pushing the boundaries Peter Moore trombone 2015 he joined BBC Radio 3’s New Generation of the trombone and bringing it to a wider Artist scheme. audience, in 2015 Peter was appointed an Tickets £12 + booking fee Ambassador for the BBC Ten Pieces project of £0.60 online or £0.70 by phone As a soloist Peter has appeared with the BBC which introduces children of primary and Symphony, BBC National Orchestra of Wales, secondary age to classical music. He is also Produced by the Barbican. Ulster Orchestra, Thailand Philharmonic, a Yamaha International Artist. Part of Barbican Presents. Barcelona Wind Symphony, National Youth Brass Band and Lucerne Symphony Peter studied with Philip Goodwin at Orchestras at major venues including Chetham’s School of Music, and with Ian

Artist Biographies 11 London Symphony Orchestra on stage tonight

Leader Second Violins Cellos Flutes LSO String Experience Scheme Roman Simovic Thomas Norris Rebecca Gilliver Gareth Davies Rachel Gough Peter Smith Since 1992, the LSO String Experience Sarah Quinn Alastair Blayden Camilla Marchant Dominic Tyler Lee Tsarmaklis Scheme has enabled young string players First Violins Miya Väisänen Jennifer Brown Sarah Bennett Lawrence O’Donnell from the London music conservatoires at Emily Nebel Matthew Gardner Noel Bradshaw Luke O’Toole Timpani the start of their professional careers to gain Carmine Lauri Naoko Keatley Daniel Gardner Contra Nigel Thomas work experience by playing in rehearsals Clare Duckworth Belinda McFarlane Hilary Jones Piccolos Dominic Morgan Mark McDonald and concerts with the LSO. The musicians Ginette Decuyper William Melvin Amanda Truelove Patricia Moynihan are treated as professional ‘extra’ players Gerald Gregory Iwona Muszynska Laure Le Dantec Sophie Johnson Horns Percussion (additional to LSO members) and receive fees Maxine Kwok-Adams Andrew Pollock Miwa Rosso Marc Gruber Neil Percy for their work in line with LSO section players. Claire Parfitt Paul Robson Deborah Tolksdorf Angela Barnes David Jackson The Scheme is supported by: Harriet Rayfield Siobhan Doyle Juliana Koch Stephen Craigen Tom Edwards The Polonsky Foundation Colin Renwick Hazel Mulligan Double Basses Rosie Jenkins Jonathan Lipton Paul Stoneman Barbara Whatmore Charitable Trust Sylvain Vasseur Greta Mutlu Colin Paris Maxwell Spiers Anna Euen Benedict Hoffnung Derek Hill Foundation Julian Azkoul Csilla Pogany Patrick Laurence Michael Kidd Jacob Brown Angus Allnatt Charitable Foundation Morane Cohen- Matthew Gibson Meilyr Hughes Lamberger Violas Thomas Goodman Christine Pendrill Rachel Silver Harps Laura Dixon Hannah Strijbos Joe Melvin John Davy Bryn Lewis Gabrielle Painter Gillianne Haddow Jani Pensola Lucy Wakeford Benjamin Roskams Anna Bastow Paul Sherman Andrew Marriner Lander Echevarria Jim Vanderspar Peter Sparks Philip Cobb Piano Carol Ella Elizabeth Drew Catherine Knight Philip Moore Robert Turner Felicity Vine Niall Keatley Editor Michelle Bruil Aaron Akugbo Fiona Dinsdale | [email protected] Stephanie Edmundson E-Flat Clarinet Emmanuel Joste Editorial Photography Philip Hall Chi-Yu Mo Ranald Mackechnie, Chris Wahlberg, Rachel Robson Trombones Kaupo Kikkas David Vainsot Mark Templeton Print Cantate 020 3651 1690 Polly Wiltshire Katy Ayling James Maynard Advertising Cabbells Ltd 020 3603 7937

Bass Trombone Details in this publication were correct Paul Milner at time of going to press.

12 The Orchestra 1 November 2018