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Home , Boris Belkin, Daniel Harding, Janine Jansen, The Oceanides

London Symphony Living Music

Sunday 5 February 2017 7pm Barbican Hall

LSO ARTIST PORTRAIT:

Sibelius The Oceanides Bernstein Serenade INTERVAL Nielsen Symphony No 4 London’s Symphony Orchestra (‘The Inextinguishable’)

Sir Antonio Pappano conductor Janine Jansen

Concert finishes approx 8.55pm

Filmed and broadcast live by Mezzo 2 Welcome 5 February 2017

Welcome Living Music Kathryn McDowell In Brief

Welcome to tonight’s LSO concert at the Barbican, LSO 2017/18 SEASON NOW ON SALE which marks the start of this season’s Artist Portrait series, focusing on violin soloist Janine Jansen. The LSO’s inaugural season with Sir as Music Director is now on sale. Beginning with a ten- The LSO has performed with Janine Jansen regularly day celebration to welcome him in September, the for many years all over the world, and she is a season features concerts to mark 100 years since favourite with our audiences and with the musicians the birth of Bernstein and 100 years since the death of the Orchestra. Across three concerts we will of Debussy, world premieres from British composers, hear her perform a wide range of repertoire, from the beginning of a Shostakovich symphonies cycle, Bernstein’s Serenade tonight to Brahms’ Violin and a performance of Stockhausen’s Gruppen in the Concerto in March, and finally the Berg Turbine Hall at Tate Modern. in April, showing the many different sides of her celebrated artistry. alwaysmoving.lso.co.uk

This evening’s programme is conducted by another good friend of the LSO, Sir Antonio Pappano. He NEW RELEASE ON LSO LIVE opens with Sibelius’ The Oceanides and closes with Nielsen’s Symphony No 4, ‘The Inextinguishable’ – Sir John Eliot Gardiner’s critically acclaimed a pair of works written in 1914 by two of classical performance of Mendelssohn’s A Midsummer music’s most influential Nordic composers. Night’s Dream with the LSO and Monteverdi Choir is now available to order and download from LSO Live. I would like to take this opportunity to thank our media partners at Mezzo, who are filming tonight’s lsolive.lso.co.uk concert for live and future broadcast across mainland Europe. A WARM WELCOME TO TONIGHT’S GROUPS I hope you enjoy the performance and can join us next time on 15 February, when Daniel Harding The LSO offers great benefits for groups of ten or conducts Rachmaninov’s Symphony No 2 and a more, including 20% discount on standard tickets. new work by Mark-Anthony Turnage. At these concerts we are delighted to welcome:

Friends of Kettle’s Yard

lso.co.uk/groups

Kathryn McDowell CBE DL Managing Director lso.co.uk Programme Notes 3

Jean Sibelius (1865–1957) The Oceanides Op 73 (1914)

PROGRAMME NOTE WRITER In August 1913, Sibelius accepted an invitation Although The Oceanides is scored for a large ANDREW ACHENBACH is a from a wealthy American patron of the arts by the orchestra (including triple woodwind, two pairs freelance music consultant and name of Carl Stoeckel to visit the United States. of and two harps), the sounds Sibelius journalist. He contributes to Stoeckel had inaugurated a music festival in Norfolk, creates are, for the most part, of quite extraordinary Gramophone and writes programme Connecticut, and many prestigious contemporary delicacy and subtlety (certain commentators have notes for the LSO, BBC Symphony figures (Dvorˇák, Bruch and Saint-Saëns amongst justifiably described Sibelius’ technique as almost Orchestra and BBC Proms. them) had already enjoyed his handsome hospitality. ‘impressionistic’, drawing parallels with Debussy’s Stoeckel requested that Sibelius supply a new work ). All the material for this exquisite seascape for the 1914 Norfolk Festival. The resulting score is derived from just two ideas: the first, a lengthy, COMPOSER PROFILE was The Oceanides, the only by chirruping theme for two heard at the outset, PAGE 6 Sibelius not to have a Finnish inspiration (according crops up on more than one occasion, thus lending to classical mythology the Oceanides were nymphs the piece a formal character akin to that of a free who inhabited the waters). rondo (indeed, Sibelius’ original title for the score was Rondo of the Waves); the second idea is ‘Up till now I have never … conducted another orchestra much simpler, a plangent call followed by an made up of so many skilful musicians as that orchestra of a expressive, rising phrase on the . The initial tranquil scene is gradually undermined, as menacing hundred players that Mr Stoeckel got together from Boston storm-clouds begin to gather on the horizon. and from the New York . For example, Eventually, the music rises to a towering climax, breathtaking in its physical power and effortless in The Oceanides I achieved a build-up that, to a very great orchestral resource, before concluding in a mood degree, surprised even myself.’ of uneasy calm. on the premiere of The Oceanides

SIBELIUS BOX SET on LSO LIVE Sibelius himself led the first performance on 4 at a special concert devoted to his own music Symphonies (the other works on the programme comprised the Nos 1–7; Symphony No 1, King Christian II Suite, Pohjola’s Kullervo; Daughter and ). In December of the The Oceanides following year, the composer directed the European £19.99 premiere in Helsinki as part of a celebratory 50th birthday concert, which also featured the world Sir conductor premiere of the recently completed Symphony No 5. lsolive.lso.co.uk 4 Programme Notes 5 February 2017

Leonard Bernstein (1918–90) Serenade after Plato’s ‘Symposium’ (1954)

1 PHAEDRUS – PAUSANIAS (LENTO – ALLEGRO) Acceptance might have come sooner but for that 2 ARISTOPHANES (ALLEGRETTO) cumbersome title. Even in its abbreviated form the 3 ERYXIMACHUS (PRESTO) label of Serenade (originally applied to a musical 4 AGATHON (ADAGIO) salutation sung beneath a beloved’s window) might 5 SOCRATES – ALCIBIADES (MOLTO TENUTO – seem an eccentric choice in modern times. Still ALLEGRO MOLTO VIVACE) there was something in the air: Bernstein’s friend Harold Shapero had recently composed a large-scale JANINE JANSEN VIOLIN Serenade in D and Hindemith’s outstanding pupil Ulysses Kay was concurrently engaged on his own. PROGRAMME NOTE WRITER Incurably restless, came to Neither sounds like a violin concerto, but Bernstein DAVID GUTMAN is a writer of CD symbolise American optimism and can-do, while seemed keen to challenge the Classically ordained and programme notes who has also representing the flip-side of the Dream. At the connotations of two brands. provided extensive commentary for time of his death his concert music was considered the BBC Proms since 1996. His books disappointing. Recording tonight’s pseudo-concerto What should we make of the programmatic cover subjects as wide-ranging as four times – that’s including the film of 1986’s superstructure appended to the almost finished Prokofiev and David Bowie and he is performance with Gidon Kremer at the LSO’s score? On one level it recontextualises Stravinsky’s a regular contributor to Gramophone Bernstein Festival – may have looked like special recent Grecian preoccupations as if in jest. and The Stage. pleading, yet standard repertoire status was only just But the bisexual Bernstein had been re-reading around the corner. Long appropriated as a successful Plato’s Symposium on honeymoon and perhaps Plato’s SYMPOSIUM deals with dance piece, the Serenade (after Plato’s Symposium) its bibulous speculations regarding the varieties the question: ‘What is love?’ Speaking for solo violin, strings, harp and percussion has now of love provided an intellectual bolthole from the through Socrates in a dialogue set at achieved acceptance as a mainstream concerto. narrow mores of McCarthyism. The structure at a drinking party, Plato outlines what Our pluralistic age relishes both its direct, sometimes times reflects neither the running order nor the would come to be known as Platonic sophisticated, sometimes demotic mode of character of the speakers in the written source; love, a notion of love that does not communication and the unorthodox accompaniment the composer does however present a series of require the fundamental lack or of timpani, snare drum, tenor drum, bass drum, interlocking statements in which each movement absence, which, he argues, lies at triangle, suspended cymbal, tambourine, Chinese evolves from elements of its predecessor. the heart of lust and sexual desire. blocks, xylophone, glockenspiel, chimes and strings. The first movement begins with an unaccompanied The Serenade was completed on 7 August 1954 violin in the manner of Prokofiev’s Violin Concerto in tardy response to a commission from the No 2, here joined gradually by the strings. The Koussevitzky Music Foundation. Here was an composer describes this as Phaedrus’ formal opportunity to memorialise that great conductor, opening of the symposium in praise of Eros; initially Serge Koussevitzky, while fulfilling a promise to elevated, it develops into a perkier sonata-allegro. violinist . It was premiered at Venice’s Next, Aristophanes is roped in to invoke the fairy-tale La Fenice on 12 September with Bernstein himself mythology of love. Eryximachus lends his name to directing Stern and the Israel Philharmonic. a lively fugato. lso.co.uk Programme Notes 5

Music linked to Agathon’s panegyric to ‘all of love’s powers, charms and functions’ is the emotive heart of the work, where the composer channels Shostakovich, provides a cadenza for the soloist and demonstrates his own mastery of extended melody.

BERNSTEIN AND THE LSO The finale begins in a mood of high seriousness, Leonard Bernstein conducted the with Socrates reflecting on what has already been LSO for the first time in 1966 in a said musically. Alcibiades’ arrival with drunken performance of Mahler’s Symphony gate-crashers provokes a switch to the vernacular No 7 at the Royal Festival Hall, in the ensuing rondo. With the soloist now tipsy, the followed by Mahler’s Symphony strings attempt to imitate a swing band. Is this party No 8 at the Royal Albert Hall. He a rave? Has sex triumphed after all? The composer’s established a close and enduring annotation is more guarded: relationship with the Orchestra over the following two decades. In 1986 ‘If there is a hint of jazz in the the LSO mounted the Bernstein celebration, I hope it will not be Festival, with film screenings, exhibitions and performances, taken as anachronistic Greek BERNSTEIN 100 including a televised gala concert party-music, but rather the natural from the Barbican celebrating his 5 Nov 2017 Symphony No 3 ‘Kaddish’ music and career. According to the expression of a contemporary with Marin Alsop New York Times, following a rehearsal American composer imbued of the Serenade, Bernstein told the 8 Nov 2017 Orchestra’s Leader, ‘That’s exactly with the spirit of that timeless Symphony No 1 ‘Jeremiah’ the way I dreamed it.’ Following the dinner party.’ with Marin Alsop Festival, Bernstein became the LSO’s 16 Dec 2017 President in 1987, a title he held until Leonard Bernstein on Serenade Wonderful Town (concert version) his death in 1990. Symphony No 2 ‘The Age of Anxiety’ with Sir Simon Rattle

HALF SIX FIX 21 Dec 2017 INTERVAL – 20 MINUTES Wonderful Town (concert version) There are bars on all levels of the Concert Hall; ice with Sir Simon Rattle cream can be bought at the stands on Stalls and Circle level. Tweet us your thoughts on the first half of the alwaysmoving.lso.co.uk/bernstein performance @londonsymphony. 6 Composer Profiles 5 February 2017

Jean Sibelius Leonard Bernstein Composer Profile Composer Profile

As a young boy, Sibelius made A gifted scholar, Bernstein took rapid progress as a violinist his first piano lessons at the age and composer. In 1886 he of ten and continued to study abandoned law studies at Helsinki the instrument when he enrolled University, enrolling at the Helsinki at Harvard University in 1935. Conservatory and later taking From 1939 to 1941 he pursued lessons in and Vienna. The graduate studies at the Curtis young composer drew inspiration Institute, emerging as a star pupil from the Finnish ancient epic, the in Fritz Reiner’s conducting class. , a rich source of Finnish Bernstein made front-page news cultural identity. These sagas of on 13 November 1943 when the remote Karelia region greatly he deputised for Bruno Walter appealed to Sibelius, especially as conductor of the New York those concerned with the dashing Philharmonic, achieving instant youth Lemminkäinen and the critical success and breaking the bleak landscape of Tuonela, the mould by being the first person kingdom of death – providing the literary background for his early tone- to give a public performance with that orchestra wearing a grey lounge poems, beginning with the mighty choral symphony Kullervo in 1892. suit. His progress as a conductor was rapid, and in 1958 he was appointed Music Director and Chief Conductor of the . The Finns swiftly adopted Sibelius and his works as symbols of national In the same year he launched a series of televised children’s concerts. pride, particularly following the premiere of the overtly patriotic Bernstein was also active as a writer and regular broadcaster, although Finlandia in 1900, composed a few months after Finland’s legislative he managed to find time to create a large output of works. rights had been taken away by Russia. ‘Well, we shall see now what the new century brings with it for Finland and us Finns,’ Sibelius wrote Since his death, the music of Leonard Bernstein has been subjected to on New Year’s Day 1900. The public in Finland recognised the idealistic close scrutiny under the musicologist’s microscope. Although opinions young composer as a champion of national freedom, while his tuneful on his posthumous reputation are divided, it could be reasonably Finlandia was taken into the repertoire of around the world. argued that his work as a composer, performer and educator has had In 1914 Sibelius visited America, composing a bold new work, The a greater influence on current trends in contemporary music than, Oceanides, for the celebrated Norfolk Music Festival in Connecticut. for example, the avant-garde compositions of Stockhausen or Boulez. Unlike many of his contemporaries, Bernstein kept faith with the Although Sibelius lived to the age of 91, he effectively abandoned aesthetic ideals and artistic concerns of composers from an earlier composition almost 30 years earlier. Heavy drinking, illness, relentless age, reaching audiences with powerful, often dramatic scores and self-criticism and financial problems were among the conditions that crafting memorable, heart-on-sleeve melodies. Essentially, he posed influenced his early retirement. He was, however, honoured as a great music that was approachable without being banal, sentimental without Finnish hero long after he ceased composing, while his principal works being mawkish. Above all, he knew how to write a good tune. became established as an essential part of the orchestral repertoire. Composer Profiles © Andrew Stewart London Symphony Orchestra Living Music

LSO ARTIST PORTRAIT Janine Jansen In partnership with Wigmore Hall

AT THE BARBICAN

Sun 12 Mar 7pm Brahms Violin Concerto conductor

Thu 6 Apr 7.30pm Berg Violin Concerto Gianandrea Noseda conductor

AT WIGMORE HALL

Wed 8 Feb, Wigmore Hall Music by Berg, Schoenberg and Korngold

Fri 2 Jun, Wigmore Hall Music by Schubert and Messiaen

lso.co.uk | 020 7638 8891 wigmore-hall.org.uk 8 Programme Notes 5 February 2017

Carl Nielsen (1865–1931) Symphony No 4 Op 29 (‘The Inextinguishable’) (1914–16)

1 ALLEGRO The motion of that elemental will can be felt throughout 2 POCO ALLEGRETTO this symphony. Although the broad outlines of the 3 POCO ADAGIO QUASI ANDANTE four conventional symphonic movements can be 4 ALLEGRO made out, the ‘Inextinguishable’ is really conceived in a single sweep. Nielsen normally identifies the PROGRAMME NOTE WRITER Denmark remained neutral throughout the upheaval movements of his symphonies with numbers, but STEPHEN JOHNSON is the author of World War I, but its citizens have always been here it would be difficult to know exactly where to of Bruckner Remembered (Faber). acutely sensitive to the activities of its large and put them. Transitions between movements are so He contributes regularly to BBC powerful neighbour to the south. For Nielsen there skilfully dovetailed that it isn’t always easy to see Music Magazine and The Guardian, was an added dimension of philosophical crisis. It where one movement ends and another begins. and broadcasts for BBC Radio 3 may be hard to believe now, but many European And while each movement has its own themes, (BBC Legends and Discovering artists initially welcomed the prospect of war: here the more one gets to know the symphony the more Music), Radio 4 and World Service. was a grand opportunity for ‘spiritual cleansing’, the family resemblances begin to reveal themselves. and a celebration of the traditional masculine One senses that the basic thematic material presented virtues of courage, loyalty and devotion to one’s in the symphony’s early stages is in a state of continual country. Before the hostilities Nielsen had been an evolution. As the Ancient Greek philosopher Heraclitus enthusiastic nationalist. But as he began to realise put it: ‘All is flux, nothing is stationary’. NIELSEN on LSO LIVE the horrors men could inflict on each other for Kaiser Sir Colin Davis conducts all six – or King – and Country, his faith was rocked to the The Fourth Symphony begins in chaos, violence and of Nielsen’s symphonies in this core. Nationalism, he wrote not long after the war, tonal instability, with massed woodwind and string critically acclaimed box-set. had been transformed into a ‘spiritual syphilis’, the figures clashing aggressively. But as the fury subsides justification for the expression of ‘senseless hate’. a calm, singing woodwind tune emerges that will be Available at lifted up magnificently in the bright key of E major lsolive.lso.co.uk, Nielsen’s faith in humanity may have suffered a at the end of the work. After many upheavals, the in the Barbican setback, but rather than give in to despair he felt initial Allegro claws its way to a massive anticipation Shop or via Apple strongly driven to make some kind of affirmative of that final outcome (only based on the tune’s Music and Spotify. statement: belief, if not in human beings (still less final phrase – the full glory is yet to come). But this in nationhood), then perhaps in life itself. This is fades into a gentle, intermezzo-like Poco Allegretto, an important clue to the meaning of the title of his dominated by woodwind. This has plenty of folkish Fourth Symphony. Nielsen added an explanatory charm, yet it also has its moments of mystery. note at the beginning of the score: This too seems to fade, then a sudden anguished ‘The composer has tried to indicate outburst from strings and timpani begins the Poco in one word what music alone is adagio. After more fraught struggles this heaves itself up to another massive anticipation of the capable of expressing to the full: symphony’s final E major triumph. A moment of The elemental Will of Life. Music wonderfully atmospheric, pregnant stillness (oboe and high strings), and a hurtling string passage lead – is life, and like it, inextinguishable.’ after a dramatic pause – into the final Allegro. lso.co.uk Programme Notes 9

Carl Nielsen Composer Profile

‘If music were to assume human Often described as a ‘nationalist’, Nielsen’s role in Denmark’s rise to musical nationhood is without form and explain its essence, parallel. Indeed, many of the songs Danish school it may say something like this: children are still taught today were composed by Nielsen. But after World War I Nielsen turned against ‘I love the vast surface of silence; nationalism, describing it pungently as a ‘spiritual and it is my chief delight to break it.’’ syphilis’. Having hymned nationhood in his Third Symphony (1911) he portrayed its decline from the Carl Nielsen ‘high and beautiful’ into ‘senseless hate’ in the strutting march rhythms of the Fifth (1922). This music seems determined to sing of hope, yet it meets powerful opposition, as a second timpanist Nielsen’s national consciousness was of a very joins the first to lead a destructive onslaught. After different kind from that of most late 19th- and early a quiet but tense section, the timpani begin their 20th-century national composers. His family were attack with redoubled energy, but somehow the first Danish peasants on the island of Funen (Fyn) and movement’s hopeful tune manages to reassert itself his father was leader of a village band. Young Carl through the turmoil, now in full E major radiance. And soon joined as a violinist, and his first compositional yet the timpanists are not silenced. Their final hammer MORE NIELSEN THIS SEASON efforts were dance tunes. Thus, unlike the vast blows suggest that the struggle to affirm must go on – majority of nationally inclined composers, Nielsen there can be no final, utopian resolution. Thu 8 Jun 2017 7.30pm, Barbican didn’t have to ‘discover’ his country’s indigenous Brahms Piano Concerto No 2 culture: it was in his blood. Nielsen Symphony No 5 At 14 Nielsen enrolled in the army as a trumpeter, Michael Tilson Thomas conductor making himself useful in military bands by learning Yuja Wang piano a wide range of instruments. How and when he first encountered isn’t clear but by the lso.co.uk | 020 7638 8891 age of 19 he had become accomplished enough as performer and composer to attend the Copenhagen Conservatory. Throughout his life Nielsen remained a fascinating mixture of earthy simplicity and intellectual sophistication, reading widely and keeping up to date with musical innovations. Initially he reacted against Wagner’s modernism, but in later years he was fascinated by what progressive- minded composers like Bartók, Schoenberg and Hindemith were doing. His very last works show him as keen as ever to extend his musical horizons, though without sacrificing the rootedness. 10 Artist Biographies 5 February 2017

Sir Antonio Pappano Conductor

Sir Antonio Pappano has been Music Director of the Król Roger, Sir Harrison Birtwistle’s The Minotaur Royal Opera House since 2002, and Music Director and Mark-Anthony Turnage’s Anna Nicole. The of the Orchestra dell’Accademia Nazionale di Santa 2015/16 season saw him leading new productions of Cecilia in Rome since 2005. Nurtured as a pianist, Mussorgsky’s Boris Godunov, Mascagni’s Cavalleria repetiteur and assistant conductor at many of the rusticana and Pagliacci, and productions in the 2016/17 most important opera houses of Europe and North season and beyond include new stagings of Bellini’s America, including at the Lyric Opera of Chicago and Norma and Verdi’s Otello, and revivals of Wagner’s several seasons at the Bayreuth Festival as musical Der Ring des Nibelungen and Die Meistersinger von assistant to for productions of Nürnberg, and Puccini’s Manon Lescaut. Wagner’s Tristan and Isolde, Parsifal and Der Ring des Nibelungen, Pappano was appointed Music Pappano has appeared as a guest conductor with Director of Oslo’s Den Norske Opera in 1990, and many orchestras around the world, including the from 1992 to 2002 served as Music Director of the Berlin, Vienna, New York and Munich Philharmonic Théâtre Royal de la Monnaie in Brussels. From 1999 Orchestras, the Royal Orchestra, the he was Principal Guest Conductor of the Israel Chicago and Boston symphonies, the Philadelphia Philharmonic Orchestra. and Cleveland Orchestras and the Orchestre de Music Director Paris. Recent highlights include his debuts with Royal Opera House, Covent Garden Pappano made his debut at the Vienna Staatsoper the Chamber Orchestra of Europe and the London in 1993, replacing Christoph von Dohnànyi at the Philharmonic at the Aldeburgh Festival, and Music Director last minute in a new production of Wagner’s Siegfried, performances at the BBC Proms and Bucharest Orchestra dell’Accademia Nazionale his debut at the Metropolitan Opera New York in Festival with the Accademia Nazionale di Santa di Santa Cecilia 1997 with a new production of Tchaikovsky’s Eugene Cecilia. Future appearances include his debuts with Onegin, and in 1999 he conducted a new production the Verbier Festival Orchestra and the Staatskapelle of Wagner’s Lohengrin at the Bayreuth Festival. He Dresden, return visits to the Berlin and New York has worked at the San Francisco Opera, Lyric Opera Philharmonics, the Royal Concertgebouw Orchestra of Chicago, Théâtre du Châtelet and Staatsoper and Staatskapelle Berlin, and tours of Europe, SIR ANTONIO PAPPANO Berlin, and highlights of recent seasons include Asia and the US with the Accademia Nazionale IN THE 2017/18 SEASON his operatic debut at the Salzburg Festival (Verdi’s di Santa Cecilia. Don Carlo) and the Teatro alla Scala (Berlioz’s The Sun 26 Nov 2017 7pm Trojans). His repertoire at the Royal Opera House His awards and honours include a 2003 Olivier Liszt Sposalizio; Totentanz*; has been notably wide-ranging, generating acclaim Award for Outstanding Achievement in Opera, the A Faust Symphony in productions including Strauss’ Ariadne auf Naxos, 2004 Royal Philharmonic Society Music Award, and Berg’s Wozzeck and Lulu, Verdi’s Falstaff, Les vêpres the Bruno Walter prize from the Académie du Disque Alice Sara Ott piano * Siciliennes and Aida, Puccini’s La bohème and Lyrique in Paris. In 2012 he was made a Cavaliere Brenden Gunnell tenor Il trittico, Mozart’s Don Giovanni, Shostakovich’s di Gran Croce of the Republic of Italy, and a Knight Gentlemen of the London Lady Macbeth of Mtsensk, Beethoven’s Fidelio, of the British Empire for his services to music, and Symphony Chorus Wagner’s Parsifal and Der Ring des Nibelungen, in 2015 he was named the 100th recipient of the Rossini’s The Barber of Seville and William Tell, Royal Philharmonic Society’s Gold Medal, the body’s alwaysmoving.lso.co.uk Giordano’s Andrea Chenier, Szymanowski’s highest honour. lso.co.uk Artist Biographies 11

Janine Jansen Violin

With an enviable international reputation, violinist Jurowski, Beethoven and Britten’s Concertos with Janine Jansen works regularly with the world’s most Paavo Järvi, Mendelssohn and Bruch’s Concertos eminent orchestras and conductors. This season she with , Tchaikovsky’s Violin Concerto is the subject of the LSO’s 2016/17 Artist Portrait (with with Daniel Harding, and an album of Bach Concertos conductors Sir Antonio Pappano, Valery Gergiev and with her own ensemble. Janine has also released a Gianandrea Noseda), complemented by a residency number of discs, including Schubert’s at Wigmore Hall. She is also the Artist-in-Residence String Quintet and Schoenberg’s Verklärte Nacht, and at the Philharmonie Luxembourg, where she will Sonatas by Debussy, Ravel and Prokofiev with pianist give both concerto and chamber performances. .

This season, Janine performs with the Vienna Janine has won numerous prizes, including four Philharmonic (), Orchestra Accademia Edison Klassiek Awards, four ECHO Klassik awards, Nazionale di Santa Cecilia (Sir Antonio Pappano) the Preis der Deutschen Schallplattenkritik, NDR and the Orchestre National de Belgique (Andrey Musikpreis for outstanding artistic achievement Boreyko), which includes a memorial concert for and the Concertgebouw Prize. She has been given Philippe Hirschhorn. She will tour Europe with the the VSCD Klassieke Muziekprijs for individual NHK Symphony Orchestra (Paavo Järvi), as well as achievement and the Royal Philharmonic Society visit Asia with the Royal Concertgebouw Orchestra Instrumentalist Award for performances in the UK. (). In September 2015 she was awarded the Bremen MusikFest Award. Janine studied with Coosje A devoted chamber musician, Janine will perform a Wijzenbeek, Philippe Hirschhorn and . number of recitals throughout Europe with pianist Alexander Gavrylyuk. She will also perform various Thirteen years after establishing the hugely chamber music programmes together with Lucas successful International Chamber Music Festival Debargue, Torleif Thedéen, Martin Fröst and Boris in , Janine stepped down from her position Brovtsyn. As part of the Crescendo Programme as Artistic Director in June 2016 and named cellist in Norway she will collaborate with a number of Harriet Krijgh as her successor. JANINE JANSEN talented young musicians at Bergen Festival. IN THE 2017/18 SEASON Janine Jansen plays the 1707 Stradivarius Janine records exclusively for Decca Classics and, ‘Rivaz – Baron Gutmann’ violin, kindly on loan Thu 5 Oct 2017 7.30pm since recording Vivaldi’s Four Seasons back in 2003, from Dextra Musica. Britten Violin Concerto has been extremely successful in the digital music with Semyon Bychkov charts. Her latest release, conducted by Sir Antonio Pappano, features Bartók’s Violin Concerto No 1 Thu 17 May 2018 7.30pm with the LSO and Brahms’ Violin Concerto with Sibelius Violin Concerto the Orchestra dell’Accademia Nazionale di Santa with Michael Tilson Thomas Cecilia. Other highlights of her discography include a recording of Prokofiev’s Violin Concerto No 2 with alwaysmoving.lso.co.uk the London Philharmonic Orchestra and Vladimir 12 The Orchestra 5 February 2017

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FIRST FLUTES THU 19 JAN – SIR SIMON RATTLE CONDUCTS TURNAGE AND MAHLER Roman Simovic Leader Edward Vanderspar Adam Walker Philip Cobb Lennox Mackenzie Gillianne Haddow Patricia Moynihan Gerald Ruddock Clare Duckworth Malcolm Johnston Niall Keatley Andrew Mosely Electrifying Mahler 6 from Nigel Broadbent Lander Echevarria PICCOLO @londonsymphony and #SimonRattle on his 62nd birthday. Sharon Williams Ginette Decuyper Julia O’Riordan Such energy and passion. Gerald Gregory Robert Turner Dudley Bright Jörg Hammann Jonathan Welch James Maynard Emily Ross Maxine Kwok-Adams Katrin Burger Rosie Jenkins BASS TROMBONES Oliver Lewis Superstellarsonic Mahler 6 by Rattle and Claire Parfitt Fiona Dalgliesh Paul Milner Elizabeth Pigram Stephen Doman @londonsymphony. Brought out quiet subtleties, Laurent Quenelle Nancy Johnson Christine Pendrill TUBA hammertastic whams and choral sublimeness. Just WOW! Harriet Rayfield Alistair Scahill Patrick Harrild Colin Renwick Sylvain Vasseur TIMPANI Coriander Stuttard @londonsymphony incredible to hear Andrew Marriner Alain Petitclerc Rebecca Gilliver Nigel Thomas Chi-Yu Mo such an electric, dramatic yet poised performance of Mahler Erzsebet Racz Alastair Blayden Antoine Bedewi Jennifer Brown Andrew Harper 6 – exciting future journeys with Rattle! SECOND VIOLINS Noel Bradshaw PERCUSSION Neil Percy Thomas Norris Eve-Marie Caravassilis Luukas Hiltunen Thank you very much, London Symphony Sarah Quinn Daniel Gardner Daniel Jemison David Jackson Miya Väisänen Hilary Jones Joost Bosdijk Sam Walton Orchestra! It was wonderful to watch this extremely Matthew Gardner Victoria Harrild Antoine Bedewi CONTRA emotional symphony after a long day at work! Flawless Belinda McFarlane Judith Herbert Paul Stoneman Dominic Morgan William Melvin Steffan Morris performance, indeed. Bravo! HARPS Iwona Muszynska HORNS DOUBLE BASSES Bryn Lewis Andrew Pollock Timothy Jones Ander Perrino Lucy Wakeford Paul Robson Angela Barnes Patrick Laurence Ingrid Button Alexander Edmundson Matthew Gibson Caroline Frenkel Jonathan Lipton Joe Melvin Gordon MacKay Jocelyn Lightfoot Katerina Nazarova Jani Pensola Robert Yeomans Josie Ellis Paul Sherman Nicholas Worters

LSO STRING EXPERIENCE SCHEME

Established in 1992, the LSO String Experience The Scheme is generously supported by: London Symphony Orchestra Editor Scheme enables young string players at the Barbara Whatmore Charitable Trust Barbican Edward Appleyard start of their professional careers to gain Help Musicians UK Silk Street [email protected] work experience by playing in rehearsals Fidelio Charitable Trust London and concerts with the LSO. The scheme N Smith Charitable Settlement EC2Y 8DS Cover Photography auditions students from the London music Lord and Lady Lurgan Trust Ranald Mackechnie, featuring LSO conservatoires, and 15 students per year LSO Patrons Registered charity in England No 232391 Members with 20+ years’ service. are selected to participate. The musicians Polonsky Foundation Visit lso.co.uk/1617photos for a full list. Details in this publication were correct are treated as professional ’extra’ players at time of going to press. Photography (additional to LSO members) and receive fees Marco Borggreve, Igor Emmerich, for their work in line with LSO section players. Print Cantate 020 3651 1690 Kevin Leighton, Ranald Mackechnie and Musacchio & Ianniello Advertising Cabbell Ltd 020 3603 7937