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Home , Boris Belkin, David Oistrakh, Gianandrea Noseda, Janine Jansen, Kirill Kondrashin, Polaris (composition)

London Symphony Living Music

Sunday 28 February 2016 7pm Barbican Hall

ROMEO AND JULIET Shostakovich Concerto No 2 INTERVAL Berlioz Romeo and Juliet – Suite

London’s Symphony Orchestra Gianandrea Noseda conductor violin

Part of

shakespeare400.org

Concert finishes approx 9pm 2 Welcome 28 February 2016

Welcome Living Music Kathryn McDowell In Brief

Welcome to this evening’s LSO concert conducted LSO 2016/17 SEASON NOW ON SALE by Gianandrea Noseda. Last week we were delighted to announce that he will take up the position of Booking is now open for the LSO’s 2016/17 season. Principal Guest Conductor from August 2016 (for Full listings for all concerts taking place between further information see page 3). September 2016 and July 2017 can be found on the LSO website, along with details on how to This concert is part of our Shakespeare 400 series purchase tickets. of concerts and events celebrating the great playwright’s influence on music in the year marking lso.co.uk/201617season the quatercentenary of his death. For this final instalment of the series, Gianandrea Noseda will conduct a suite featuring orchestral movements SHAKESPEARE 400 from Berlioz’s magnum opus, Romeo and Juliet. The LSO’s Shakespeare celebrations form part of In the first half the Orchestra will be joined by Shakespeare 400, a consortium of leading cultural violinist Janine Jansen, who has long been a friend of and educational organisations, coordinated the LSO, for a performance of Shostakovich’s Violin by King’s College London, marking the 400th Concerto No 2. In 2016/17 Janine Jansen will be the anniversary of Shakespeare’s death. subject of the LSO’s Artist Portrait and will perform concertos by Bernstein, Brahms and Berg. lso.co.uk/shakespeare shakespeare400.org I’d like to take this opportunity to extend a special welcome to those in the audience who attended today’s LSO Discovery Day exploring Berlioz’s A WARM WELCOME TO TONIGHT’S GROUPS passion for Shakespeare’s works. The LSO offers great benefits to groups of 10+, I hope you enjoy the performance and can join including 20% discount on standard tickets. us again at the Barbican soon. On 9 March the Tonight we are delighted to welcome: Orchestra will be joined by conductor/composer Thomas Adès for the first of two concerts forming JTB Live part of his Composer Focus with us. Friends of Kettle’s Yard Jane Cole & friends

lso.co.uk/groups

Kathryn McDowell CBE DL Managing Director London Symphony Orchestra Living Music

The LSO presents its new family of conductors

We are delighted to announce exciting changes to our line-up of conductors, taking effect from the 2016/17 season. On Wednesday 24 February we announced that Gianandrea Noseda will join Daniel Harding as Principal Guest Conductor; will become Conductor Laureate; and André Previn will become Conductor Emeritus.

Managing Director Kathryn McDowell said: ‘The LSO is delighted to welcome Gianandrea Noseda as Principal Guest Conductor, joining Daniel Harding, and that Michael Tilson Thomas and André Previn, who both have a long and illustrious history with the LSO, will strengthen their bond as Conductors Laureate and Emeritus respectively. Following our appointment of Sir as Music Director from 2017/18 these changes bring together a world-class family of conductors, including our Assistant Conductor Elim Chan, who will bring the richest music-making to the LSO’s audiences around the world in the years ahead.’

Find out more about our family of conductors at lso.co.uk /conductors 4 Programme Notes 28 February 2016

Dmitri Shostakovich (1906–75) No 2 in C-sharp minor Op 129 (1967)

1 MODERATO Oistrakh was surprised by its unusual and (for 2 ADAGIO violinists) awkward key of C-sharp minor, and by 3 ADAGIO – ALLEGRO some of the double-stopping which at first seemed to him quite impossible. But of course Shostakovich JANINE JANSEN VIOLIN knew exactly the effect he wanted.

Shostakovich wrote both of his violin concertos for The Concerto’s general layout follows a relatively (1908–74), a musician whom he knew conventional plan of sonata-form first movement, three-part slow movement and rondo finale, would understand his intentions in every detail and all bound together in a subtle web of cross- communicate them with complete mastery. references and relationships, and each marked by Shostakovich’s iron control of pacing and tempo. PROGRAMME NOTE WRITER Although completed in 1948, Shostakovich’s First Each movement features a central cadenza that ANDREW HUTH Violin Concerto had to wait more than seven years serves as an integral development. In the long for its first performance. The composer went on to first movement the solo cadenza is contrapuntal, compose four more concertos: a lightweight with double-stopping throughout. A short cadenza concerto for his son Maxim (1957), the two forms the central section of the searching slow concertos for (1959 and 1966) movement, with orchestral interjections that give and then in 1967 his final concerto ‘for David Oistrakh’s it the character of some dramatic recitative. In the 60th birthday’ (a year early, in fact, so the following finale, the most varied of the movements in tempo DAVID OISTRAKH (1908–74) year he presented Oistrakh with his sonata for and character, the solo cadenza develops themes was one of the foremost violinists violin and piano). After an unadvertised out-of-town from the whole concerto. and violists of his generation. He performance, the Concerto was given its official worked with many of the leading premiere by Oistrakh with in in the , on 26 September 1967 and was recorded Europe and America and was the by the same performers soon afterwards. dedicatee of a number of the most important additions to the violin If the Second Violin Concerto is less frequently heard repertoire of the 20th century. than the First, that is no reflection on its quality. The Within the Soviet Union he was First, for all its originality, falls within the tradition of awarded many prizes and awards the big Romantic violin concertos. But like so much including the Stalin Prize in 1943, of the music of Shostakovich’s last decade, the the title of People’s Artist of the USSR Second speaks in a quieter and more intimate voice. INTERVAL – 20 minutes in 1953 and the Lenin Prize in 1960. It is more inward, less immediate in its gestures and There are bars on all levels of the Concert Hall; ice cream more ambiguous in expression. The music is always can be bought at the stands on Stalls and Circle level. lucid, but although there is never any doubt as to what is happening, why it happens is another matter, Why not tweet us your thoughts on the first half of the and places a heavy burden of interpretation not only performance @londonsymphony, or come and talk to on the players but also on the listener. LSO staff at the Information Point on the Circle level? lso.co.uk Composer Profile 5

Dmitri Shostakovich Composer Profile London Symphony Orchestra

After early piano lessons with his mother, COMPOSER FOCUS Shostakovich enrolled at the Petrograd Conservatory in 1919. He supplemented his family’s meagre income from his earnings as a cinema pianist, but progressed to become a composer and concert pianist following the critical success of his First Symphony in 1926 and an ‘honourable mention’ in the 1927 Chopin International Piano Competition in .

Shostakovich announced his Fifth Symphony of 1937 as ‘a Soviet artist’s practical creative reply to just criticism’. A year before its premiere he had drawn a stinging attack from the official Soviet mouthpiece Pravda, in an article headed ‘Muddle THOMAS ADÈS instead of music’. When the Fifth Symphony was One of Britain’s most innovative composers premiered in Leningrad, the composer’s reputation conducts the LSO in performances of his COMPOSER PROFILE WRITER and career were rescued. Acclaim came not only works alongside pieces by Brahms, Sibelius ANDREW STEWART from the Russian audience, who gave the work a and Franck that inspired their creation. 40-minute ovation, but also from musicians and critics overseas. In July 1941 he began work on the SHOSTAKOVICH on LSO LIVE first three movements of his Seventh Symphony, Wed 9 Mar 2016 7.30pm completing the defiant finale after his evacuation in Thomas Adès Schubert & October and dedicating the score to the city. Brahms Violin Concerto Shostakovich Thomas Adès Brahms LSO String In 1948 Shostakovich and other leading composers, Thomas Adès Ensemble were forced by the Soviet cultural commissar, with Anne-Sophie Mutter violin £7.99 Andrey Zhdanov, to concede that their work and Samuel Dale Johnson baritone represented ‘the formalistic perversions and anti- Supported by the Atkin Foundation The LSO String Ensemble, led by democratic tendencies in music’, a crippling blow LSO Leader Roman Simovic, to Shostakovich’s artistic freedom that was healed Wed 16 Mar 2016 7.30pm gives magnificent performances of only after the death of Stalin in 1953. Shostakovich Thomas Adès Schubert’s (arr Mahler) String Quartet answered his critics later that year with the powerful Sibelius Violin Concerto No 14 ‘Death and the Maiden’ Tenth Symphony, in which he portrays ‘human Franck Symphony in D minor and Shostakovich’s (orch Barshai) emotions and passions’, rather than the collective with Christian Tetzlaff violin Chamber Symphony in C minor. dogma of Communism. A few years before the completion of his final and bleak Fifteenth String PRE-ORDER Quartet, Shostakovich suffered his second heart 020 7638 8891 Release date 4 March 2016 attack and the onset of severe arthritis. Many of his lso.co.uk final works are preoccupied with the subject of death. 6 Programme Notes 28 February 2016

Hector Berlioz (1803–69) Romeo and Juliet – Suite (1839)

1 INTRODUCTION THE MUSIC 2 ROMEO ALONE 3 LOVE SCENE FIRST MOVEMENT: INTRODUCTION 4 QUEEN MAB The opening section establishes the principle of 5 ROMEO IN THE TOMB OF THE CAPULETS dramatically explicit orchestral music: a violent fugato depicting the street battles of Montagues PROGRAMME NOTE WRITER On their own, the five orchestral movements of and Capulets, leading to a recitative, dominated DAVID CAIRNS Romeo and Juliet that we hear tonight do not give by (and accompanied by angry string us a full idea of the work as a whole – the precisely mutterings), which represents the Prince quelling calculated balance of voices and instruments in this the rioters. His music rebukes theirs by taming and Mahler-like ‘dramatic symphony’. What they do show ‘mastering’ it, taking the fugato theme and stretching is the sheer originality and variety of invention that it out into long, authoritative commands. Shakespeare’s play inspired in Berlioz. SECOND MOVEMENT: ROMEO ALONE ‘A sublime thunderclap, illuminating Out of the ’ questioning phrases grows a the most distant depths. rich extended melody above the noble, curving movement of and basses. The sound of I recognised true grandeur, distant dance music (rhythmic strings, tambourine true beauty, dramatic truth.’ and drums) leads to an expressive melody which will be heard again at the height of the Berlioz on his first experience of Shakespeare dance, where the full strength of the orchestra PAGANINI AND BERLIOZ is deployed, including multiple percussion, with were first introduced after a He saw it performed in Paris by a company from spectacular panache. performance of Berlioz’s Symphonie England in 1827 when he was 23, and it lived with fantastique in Paris in 1833. Paganini him, part of his inmost soul, ever afterwards. In 1839, THIRD MOVEMENT – LOVE SCENE then commissioned Berlioz to after a long gestation, and freed from crippling debts The still, moonlit Capulet garden (allegretto), then, at compose him a concerto by Paganini’s generous cheque, he felt ready to the heart of the symphony, the wordless love scene, to which Berlioz responded with translate what it meant to him into music. It would an adagio, in A major and with a rich texture of divided the symphony for orchestra and be not an opera but a concert work of a new kind, strings pierced by eloquent woodwind solos – the solo viola Harold in Italy. Paganini a choral-orchestral symphony, and an expression of balcony scene in sound. initially rejected the piece. After what he had learned from the two supreme creators, hearing a performance, however, Shakespeare and Beethoven, whose dramas and no FOURTH MOVEMENT – QUEEN MAB he proclaimed Berlioz a genius and less dramatic symphonies had shown him the way. One can’t help wondering how well, in 1839, an sent him a gift of 20,000 francs, the orchestra, even one trained and conducted by the generosity of which allowed Berlioz composer, was able to play a movement that today to pay off his debts and begin work is still, a century and a half later, one of the most on Romeo and Juliet, a work which technically difficult in the repertoire. The constant had pre-occupied him for many years. interchange of strings and woodwind (as though playing some gleeful but dangerous game), the lso.co.uk Programme Notes 7

wrong-footing rhythms, the high horn fanfares, the ENJOYING BERLIOZ’S pace at which it happens, are a brilliant musical ROMEO & JULIET? equivalent of Mercutio’s famous speech and, more Join the Berlioz Society for than that, a musical response to the whole nimble- just £20 to find out more! witted, comic-fantastical, fatally irrational element central to the play. The Berlioz Society is an international society FINAL MOVEMENT – ROMEO IN THE TOMB promoting the music, OF THE CAPULETS writings and life of The Tomb Scene follows the Garrick version of the Hector Berlioz, play (as given in Paris in 1827), where Juliet wakes Romantic composer while Romeo is still alive. This is the most graphic extraordinaire, with author of the orchestral movements. The sequence of David Cairns as President. musical events is: an allegro agitato e disperato of controlled ferocity as Romeo kills Paris and bursts Members receive a Bulletin three times a year, into the tomb; solemn chords as he surveys the containing up-to-date research and articles on cavernous scene, then a long, grieving melody for Berlioz. Special events in London, notably the cor anglais, horn and four over drum rolls Society Study Weekend in November, and visits BERLIOZ on LSO LIVE and syncopated bass; descending chromatic cello to the annual Festival Berlioz in France are scale as he drinks the poison; Juliet stirring to life regularly organised. Berlioz (to an echo of her soliloquy in the love scene); their , wild embraces (to nightmarishly bright, baseless theberliozsociety.org.uk La mort de orchestral textures and distorted love themes); Contact the Secretary at linda.edmondson@ Cléopâtre Romeo’s collapse and death (trombones crying out, phonecoop.coop or Holly Bank, Rowley, £7.99 twisting bass, silence); Juliet’s decision (trenchant Westbury, Shropshire SY5 9RZ . string chords, rapid scales); dissonant fortissimo Registered Charity No 1124443 conductor chords as she stabs herself; a tremor in the strings, Antoine Tamestit viola solo oboe dwindling to nothing. Karen Cargill mezzo-soprano

‘Gergiev maintains a strong tension from the outset, and paces Harold in Italy with an urgency and emotional fire that are rare, and violist Antoine Tamestit brings a dramatic flair to his part, in contrast with more purely lyrical interpretations that tend toward the introspective.’ All Music 8 Composer Profile 28 February 2016

Hector Berlioz Composer Profile

Hector Berlioz was born in south-east France in In the 1840s he took his music abroad and 1803, the son of a doctor. At the age of 17 he was established a reputation as one of the leading sent to Paris to study medicine, but had already composers and conductors of the day. He was conceived the ambition to be a musician and soon celebrated in Germany (where Liszt championed became a pupil of the composer Jean-François him), in (where receipts from his concerts Le Sueur. Within two years he had composed the paid off the debt from the Parisian failure of The Messe solennelle, successfully performed in 1825. Damnation of Faust), in Vienna, Prague, Budapest In 1826 he entered the Paris Conservatoire, winning and London. These years of travel produced less the Prix de Rome four years later. Gluck and Spontini music. In 1849 he composed the Te Deum, which were important influences on the formation of his had to wait six years to be performed. But the musical style, but it was his discovery of Beethoven unexpected success of L’enfance du Christ in at the Conservatoire concerts, inaugurated in 1828, Paris in 1854 encouraged him to embark on a that was the decisive event in his apprenticeship, project long resisted: the composition of an epic turning his art in a new direction: the dramatic concert opera on The Aeneid which would assuage a work, incarnating a ‘poetic idea’ that is ‘everywhere lifelong passion and pay homage to two great present’, but subservient to musical logic. idols, Virgil and Shakespeare. COMPOSER PROFILE WRITER DAVID CAIRNS His first large-scale orchestral work, the Although Béatrice et Bénédict (1860–62) came autobiographical Symphonie fantastique, followed later, the opera The Trojans (1856–58) was the in 1830. After a year in Italy he returned to Paris and culmination of his career. It was also the cause of BERLIOZ THE AUTHOR began what he later called his ‘Thirty Years’ War his final disillusionment and the reason, together Despite only really turning to against the routineers, the professors and the deaf’. with increasing ill-health, why he wrote nothing of musical criticism to earn a living, The 1830s and early 1840s saw a series of major consequence in the remaining six years of his life. Berlioz became a distinguished works, including Harold in Italy (1834), Benvenuto The work was cut in two, and only part performed author. His book, Evenings with Cellini (1836), the Grande Messe des Morts (1837), in 1863, in a theatre too small and poorly equipped. the Orchestra, is a witty and the Shakespearean dramatic symphony Romeo and Berlioz died in 1869. often hilarious collection of tales, Juliet (1839), the Symphonie funèbre et triomphale stories and gossip that musicians (1840) and Les nuits d’été (c 1841). Some were well- exchanged to relieve the tedium received; but he soon discovered that he could not of the bad music they were paid to rely on his music to earn him a living. He became a perform. The book is still in print. prolific and influential critic – a heavy burden for a composer but one that he could not throw off. lso.co.uk Artist Biographies 9

Gianandrea Noseda Conductor

Gianandrea Noseda was recently appointed Principal France, the Orchestre de Paris, the Filarmonica Guest Conductor of the London Symphony Orchestra della Scala, the Orchestra of Santa Cecilia and the from August 2016, and as the new Music Director Vienna Symphony Orchestra in Europe. Gianandrea of the National Symphony Orchestra in Washington, Noseda has a long-standing relationship with The succeeding from the 2017/18 Metropolitan Opera dating back to 2002 and has season. Widely recognised as one of the leading conducted many new productions including a widely conductors of his generation, he was named Musical praised Prince Igor (Borodin), now available as a DVD America’s 2015 Conductor of the Year, and made for Deutsche Grammophon. two significant achievements in the 2014/15 season: debuts with the Philharmonic Orchestra and Highlights of 2015 included performances with the at the Salzburg Festival, the Vienna Israel Philharmonic, the and Philharmonic in a highly acclaimed production of the Accademia di Santa Cecilia Orchestra, in addition Verdi’s Il Trovatore. to his return to the Verbier Festival. Conducting the Filarmonica Teatro Regio Torino, he made his Since 2007 he has been the Music Director of the debut at the Aix-en-Provence Easter Festival. His Teatro Regio Torino; his initiatives have propelled commitment to young musicians continued with Music Director it onto the global stage, where it has become one the European Union Youth Orchestra’s European Teatro Regio Torino of Italy’s most important cultural ambassadors. Tour in August 2015, which included concerts at the Under his leadership the Teatro Regio Torino has Edinburgh and Grafenegg Festivals. Principal Guest Conductor recorded with the leading singers of our time and The Israel Philharmonic Orchestra toured in Austria, China, France, Germany, Japan Gianandrea Noseda’s intense recording activity (two residences at the Bunka Kaikan), Russia and includes over 50 CDs, many of which have been Principal Conductor the United States (including the historical debut celebrated by critics and received awards. His Orquestra de Cadaqués at Carnegie Hall, acclaimed as one of the most Musica Italiana project, which he initiated over ten important events of the season). years ago, has chronicled under-appreciated Italian Artistic Director repertoire of the 20th century. Conducting the Vienna Stresa Festival Gianandrea Noseda is also Principal Guest Conductor Philharmonic Orchestra and the Orchestra Teatro Regio of the Israel Philharmonic Orchestra, Principal Torino, he has also recorded opera albums with GIANANDREA NOSEDA: Conductor of the Orquestra de Cadaqués and celebrated vocalists such as Ildebrando d’Arcangelo, SEASON 2016/17 Artistic Director of the Stresa Festival (Italy). He was Rolando Villazón, and . at the helm of the BBC Philharmonic Orchestra from Sun 18 & Tue 20 Sep 2016 2002 to 2011 and in 1997 he was appointed the first A native of Milan, Maestro Noseda is Cavaliere Verdi Requiem foreign Principal Guest Conductor of the Mariinsky Ufficiale al Merito della Repubblica Italiana, marking Theatre, a position he held for a decade. his contribution to the artistic life of Italy. Thu 22 Sep 2016 Debussy, Haydn & Shostakovich In addition, Gianandrea Noseda works regularly with the NHK Symphony in Japan, with the Cleveland, lso.co.uk/201617season Philadelphia, Washington and Toronto orchestras in North America, with the Orchestre National de 10 Artist Biographies 28 February 2016

Janine Jansen ‘Janine Jansen is a player that you Violin follow wherever she leads.’ The Times

With an enviable international reputation, violinist Orchestra and Jurowski, Beethoven and Britten’s Janine Jansen works regularly with the world’s Violin Concertos with Paavo Järvi, Mendelssohn and most eminent orchestras including the Royal Bruch with , and Tchaikovsky with Orchestra, and Daniel Harding. Janine has also released a number . This season she is Artist of discs, including Schubert’s String in Residence with the Münchner Philharmoniker, Quintet and Schoenberg’s Verklärte Nacht. performing not only in Munich, but also on tour around Europe. Janine has won numerous prizes, including four Edison Klassiek Awards, three ECHO Klassik awards, Following acclaimed performances, this season the Preis der Deutschen Schallplattenkritik, NDR Janine returns to the Berlin Philharmonic in Baden- Musikpreis for outstanding artistic achievement Baden with Sir Simon Rattle. She also performs with and, most recently, the Concertgebouw Prize. She the Wiener Symphoniker (David Zinman), Czech has been given the VSCD Klassieke Muziekprijs for Philharmonic Orchestra (Semyon Bychkov) and NHK individual achievement and the Royal Philharmonic Symphony Orchestra (Paavo Järvi). Appearances Society Instrumentalist Award for performances with the Royal Concertgebouw Orchestra include in the UK. Janine studied with Coosje Wijzenbeek, concerts with Andris Nelsons in and at Philipp Hirschhorn and . the Enescu Festival in Romania. Janine currently plays the very fine 1727 ‘Baron Janine toured with the Deutsche Kammerphilharmonie Deurbroucq’ Stradivarius kindly loaned to her and Paavo Järvi in December 2015, and this season through ‘Beare’s International Violin Society’. also returns to the Swedish Radio Symphony Orchestra and gives her debut performance of Eliasson’s Violin Concerto with Daniel Blendulf at JANINE JANSEN: LSO ARTIST PORTRAIT the Royal Stockholm Philharmonic Orchestra. IN THE 2016/17 SEASON

A devoted chamber musician, in 2015/16 Janine will Sun 5 Feb 2017 perform a number of recitals throughout Europe Bernstein Serenade with pianists Alexander Gavrylyuk and , as well as a recital tour of Japan. In addition Janine Sun 12 Mar 2017 established and curates the hugely successful Brahms Violin Concerto International Chamber Music Festival in , which takes place in June each year. Thu 6 Apr 2017 Berg Violin Concerto Particularly renowned for her success in the digital music charts, Janine records exclusively for Decca Plus chamber recitals at Wigmore Hall on Classics. Her discography includes an album of 8 Oct 2016, 8 Feb 2017 & 2 Jun 2017 concertos and sonatas by Bach, Prokofiev’s Violin Concerto No 2 with the London Philharmonic In partnership with Wigmore Hall lso.co.uk The Orchestra 11

London Symphony Orchestra Your views On stage Inbox

FIRST VIOLINS FLUTES 16 FEB WITH SIR Roman Simovic Leader Edward Vanderspar Adam Walker Philip Cobb Carmine Lauri Gillianne Haddow Alex Jakeman Gerald Ruddock Lennox Mackenzie Malcolm Johnston Daniel Newell Marty Devereux Superb performance from Clare Duckworth Lander Echevarria PICCOLO Robin Totterdell @londonsymphony and @mco_london tonight. Loved it!. Nigel Broadbent Anna Bastow Sharon Williams Ginette Decuyper Julia O’Riordan TROMBONES Gerald Gregory Robert Turner Peter Moore Robert Stagg Mendelssohn’s MND @BarbicanCentre Olivier Stankiewicz Jörg Hammann Jonathan Welch James Maynard Rosie Jenkins @londonsymphony @S400events brings to the fore the play’s Maxine Kwok-Adams Michelle Bruil BASS Claire Parfitt Carol Ella strange self-haunting. A fine performance. COR ANGLAIS Paul Milner Laurent Quenelle Richard Holttum Christine Pendrill Harriet Rayfield Caroline O’Neill Rafał Babin´ski @londonsymphony @BBCRadio3 Incredible Colin Renwick Patrick Harrild Ian Rhodes CELLOS Andrew Marriner achievement of 15 year old Mendelssohn. Beautiful Sylvain Vasseur Rebecca Gilliver Chi-Yu Mo TIMPANI performance by LSO. Thanks. Rhys Watkins Alastair Blayden Nigel Thomas Jennifer Brown BASSOONS Antoine Bedewi SECOND VIOLINS Noel Bradshaw Rachel Gough David Alberman Eve-Marie Caravassilis Joost Bosdijk PERCUSSION Thomas Norris Daniel Gardner Christopher Gunia Neil Percy Sarah Quinn Hilary Jones Sam Walton CONTRA Miya Väisänen Amanda Truelove Tom Edwards Dominic Morgan Richard Blayden Miwa Rosso Scott Bywater Ignacio Molins Julian Gil Rodriguez Hester Snell HORNS Paul Stoneman Naoko Keatley Timothy Jones DOUBLE BASSES Belinda McFarlane Angela Barnes Edicson Ruiz William Melvin Alexander Edmundson Colin Paris Iwona Muszynska Jonathan Lipton Patrick Laurence Philip Nolte Andrew Budden Andrew Pollock Matthew Gibson Paul Robson Joe Melvin Elizabeth Pigram Jani Pensola Marco Behtash Paul Sherman

LSO STRING EXPERIENCE SCHEME

Established in 1992, the LSO String Experience The Scheme is supported by London Symphony Orchestra Editor Scheme enables young string players at the Help Musicians UK Barbican Edward Appleyard start of their professional careers to gain The Barbara Whatmore Charitable Trust Silk Street [email protected] work experience by playing in rehearsals The Idlewild Trust London and concerts with the LSO. The scheme The Lefever Award EC2Y 8DS Photography auditions students from the London music The Polonsky Foundation Igor Emmerich, Kevin Leighton, conservatoires, and 15 students per year Registered charity in England No 232391 Ranald Mackechnie, Mausiko Tsusuki, are selected to participate. The musicians Taking part in the rehearsals for this concert Harald Hoffmann Details in this publication were correct are treated as professional ’extra’ players was Ivan Rubido Gonzalez. Taking part in both at time of going to press. Print Cantate 020 3651 1690 (additional to LSO members) and receive fees the rehearsals and concert were Rui Liu and May Dolan. for their work in line with LSO section players. Advertising Cabbell Ltd 020 3603 7937 London Symphony Orchestra Living Music

Leif Ove Andsnes LSO Artist Portrait

PROGRAMME NOTE AUTHOR LINDSAY KEMP is a senior producer for BBC Radio 3, including ‘Iprogramming have no lunchtime choice concerts but to make music. fromI love LSO St music Luke’s, Artistic so much,Director it is just so much of the Lufthansa Festival of Baroquea part Music, of andme, a regular that I just have to do it.’ contributor to Gramophone magazine.

MOZART SCHUMANN LEIF OVE ANDSNES LEIF OVE ANDSNES NO 20 PIANO CONCERTO SOLO RECITAL & FRIENDS

Sun 8 May 7pm Thu 12 May 7.30pm Fri 10 Jun 7.30pm Sat 28 May 7pm, Milton Court Mozart Piano Concerto No 20 Schumann Piano Concerto Sibelius Brahms Bruckner Symphony No 3 Beethoven Symphony No 9 Three Pieces (‘Kyllikki’); The Birch; Piano Quartet No 1 in G major The Spruce; Spring Vision; Piano Quartet No 2 in A major Daniel Harding conductor Michael Tilson Thomas conductor The Forest Lake; Song in the Forest Piano Quartet No 3 in C minor Leif Ove Andsnes piano Leif Ove Andsnes piano Beethoven London Symphony Orchestra Lucy Crowe soprano Piano Sonata No 18 in E-flat major Leif Ove Andsnes piano Christine Rice mezzo-soprano Debussy Christian Tetzlaff violin Toby Spence tenor La soirée dans Grenade; Tabea Zimmerman viola London Symphony Chorus Three Études; Étude in A-flat major Clemens Hagen cello Simon Halsey chorus director Chopin Produced by the Barbican, not part London Symphony Orchestra Impromptu in A-flat major; of the LSO Season. Nocturne in F major; Visit barbican.org.uk for details. Supported by Baker & McKenzie LLP Ballad No 4 in F minor lso.co.uk Leif Ove Andsnes piano 020 7638 8891