Thursday 13 December 2018 7.30–9.55pm Barbican Hall

LSO SEASON CONCERT FOLK ROOTS, URBAN ROOTS

Bartók Hungarian Peasant Songs Szymanowski Harnasie Interval Stravinsky Ebony Concerto Osvaldo Golijov arr Gonzalo Grau Nazareno Bernstein Prelude, Fugue and Riffs

ROOTS & Sir conductor Edgaras Montvidas Chris Richards Katia and Marielle Labèque pianos Gonzalo Grau percussion Raphaël Séguinier percussion London Chorus ORIGINS chorus director In celebration of the life of Jeremy Delmar-Morgan

Streamed live on youtube.com/lso

Recorded by BBC Radio 3 for broadcast on Tuesday 18 December

Welcome Jeremy Delmar-Morgan In Memory 1941–2018

We are also delighted to welcome Katia and Jeremy Delmar-Morgan was a member of Marielle Labèque, who perform Nazareno, the LSO Advisory Council for over 20 years, a double piano suite drawn from Osvaldo a Director of LSO Ltd from 2002 to 2013, and Golijov’s La Pasión según San Marco, thereafter a Trustee of the LSO Endowment arranged by Gonzalo Grau, who appears Trust. He was also Honorary President of alongside Raphaël Séguinier as one of this the Ronald Moore Sickness and Benevolent evening’s percussion soloists. We then close Fund, where he brought invaluable advice with Prelude, Fugue and Riffsby the LSO’s to the LSO musicians on the investment former President, , with strategy for the fund. After studying LSO Principal Clarinet Chris Richards as soloist. medicine at Cambridge he went into the City for a career in stock-broking, latterly elcome to this LSO concert at Tonight’s concert is performed in combining the two in the financing of the Barbican. Tonight the LSO’s memory of our esteemed former Trustee, medical research. Music Director Sir Simon Rattle Jeremy Delmar-Morgan. We extend continues his theme of Roots and Origins a warm welcome to all his family and Jeremy and his wife Mary have been with a programme bridging jazz, folk and friends who are in the audience. generous Patrons throughout their entire . association with the LSO, and have drawn The performance will be streamed live on many other people into supporting the We begin with one of Bartók’s least the LSO’s YouTube channel, and available LSO over the years. performed works, his Hungarian Peasant to watch back for 90 days after. Thank you Songs, before the is joined on- to BBC Radio 3, who also record tonight’s He will be remembered for his sense of stage by the London Symphony Chorus and concert for broadcast on 18 December. humour, his lively, charming personality tenor Edgaras Montvidas (who makes his and his zest for life – whether for music, LSO debut this evening) for Szymanowski’s I hope that you enjoy the concert and that sailing or fast cars. His love of the LSO’s ballet-pantomime depicting the Tatra you are able to join us again soon. music-making was an inspiration, and his mountain region, Harnasie. Following this, wise counsel, always quietly offered, was LSO Principal Clarinet Chris Richards will hugely appreciated by everyone at the LSO. perform the central role in Stravinky’s jazz- Tonight we celebrate Jeremy’s life with inspired Ebony Concerto. The members of gratitude and affection. the LSO are all exceptional musicians in their own right, and it is a great pleasure to hear Kathryn McDowell CBE DL them perform with the Orchestra as soloists. Managing Director

2 Welcome 13 December 2018 Latest News On Our Blog Tonight’s Concert In Brief / by Liam Hennebry

BRITISH COMPOSER AWARDS MARIN ALSOP ON LEONARD onight’s is a truly pan-global PROGRAMME CONTRIBUTORS BERNSTEIN’S programme, with roots that stretch On Tuesday 4 December, The British from the folk traditions of central Edward Bhesania is a writer and editor Academy of Songwriters, Composers Marin Alsop conducted Bernstein’s Candide, Europe to the Latin dance rhythms of South who reviews for The Strad and The Stage. and Authors announced the winners of with the LSO earlier this month. Having America, the story of the Christian Passion, He has also written for The Observer, the 2018 British Composer Awards. worked closely with the composer across and North American big band jazz with its BBC Music Magazine, International Piano, her career, Marin drew on her unique insight origins on the African continent. The Tablet and Country Life. Congratulations go to 2018 Panufnik into Bernstein’s music, words and sense of composer Cassie Kinoshi, whose piece theatre to tell us about the production. Ruggedly cheerful Hungarian Peasant Songs Stephen Downes is Professor of Music at Afronaut won the Award in the Jazz start us off, with melodies drawn from Royal Holloway, University of London. He Composition for Large Ensemble category, • lso.co.uk/blog Bartók’s collections in Hungary between is a recipient of the and to Soundhub Associate Liam Taylor- 1904 and 1913, before Szymanowski’s Memorial Medal. West, whose piece The Umbrella won the Harnasie celebrates the rich highland culture Community or Educational Project Award. WELCOME TO TONIGHT’S GROUPS of the Tatra mountain region bordering Paul Griffiths has been a critic for nearly 40 and Slovakia. years, including for The Times and The New • lso.co.uk/news A warm welcome to the groups who Yorker, and is an authority on 20th- and join us in the audience tonight: After the interval, Stravinsky’s sultry and 21st-century music. Among his books are unclassifiableEbony Concerto fuses classical studies of Boulez, Ligeti and Stravinsky. FELIX MILDENBERGER NAMED Sara Hawes & Friends music, jazz, ragtime and blues, before He also writes novels and librettos. LSO ASSISTANT CONDUCTOR The Jonathan Levene Music Scholarship Osvaldo Golijov’s Nazareno draws on the percussive rhythms of Cuban and Jan Smaczny is the Sir Hamilton Harty The Donatella Flick LSO Conducting Brazilian music to tell the Passion story Professor of Music at Queen’s University, Competition came to a thrilling conclusion from a vividly Latin American perspective. Belfast. A well-known writer and on Thursday 22 November, with the prize broadcaster, he specialises in the life and going to 28-year-old German conductor Felix The concert closes with what Sir Simon works of Dvořák and Czech . Mildenberger. He now takes up the position Rattle describes as the ‘greatest classical big of LSO Assistant Conductor, working with the band piece of all time’. Bernstein’s Prelude, Andrew Stewart is a freelance music Orchestra’s Music Director Sir Simon Rattle, Fugue and Riffsis an intoxicating cocktail journalist and writer. He is the author of The and Principal Guest Conductors François- of blasting , fast swinging tempos, LSO at 90, and contributes to a wide variety Xavier Roth and Gianandrea Noseda. chromaticism and luscious jazz changes. of specialist classical music publications.

• lso.co.uk/blog

Tonight’s Concert 3 Béla Bartók Hungarian Peasant Songs 1933 Béla Bartók in profile 1881–1945

1 Ballad – Largamente them results in an extensive suite including in which he became Professor of Piano at the 2 Hungarian Peasant Dances variations on the tragic ‘Ballad of Angoli Budapest Conservatory. Bartók established Borbála’. The orchestral version, along with his mature style with such scores as the artók’s relationship with Hungarian the Transylvanian Dances and Hungarian ballet The Miraculous Mandarin (1918–19, folk song was both vast and Sketches, arose in part from Bartók’s completed 1926–31) and his opera Duke intimate. Vast in that he became publisher’s desire to popularise his music Bluebeard’s Castle (1911, completed 1918). an avid collector of folk song from 1904 for a wider audience. He revived his career as a concert pianist when he came across real examples of in 1927 when he gave the premiere of his Hungarian national melodies as opposed The Ballad which initiates these two First in Mannheim. to the romanticised ‘Gypsy’ style beloved contrasting movements begins with a of customers in the cafés of Vienna and rugged modal theme, irregular in rhythm Bartók detested the rise of fascism and Budapest. Much encouraged by his friend and interspersed with gentler, more quizzical in October 1940 he emigrated to the US. Zoltán Kodály, his enthusiasm for Hungarian interludes, which returns to dominate the At first he concentrated on ethno- folk song led not only to arrangements of close. The succeeding Peasant Dances musicological researches, but eventually the melodies, but to serious collecting trips begin with a robust, athletic theme adorned returned to composition and created a first in Slovakia, Transylvania and further with ear-catching orchestral touches. orn in 1881 in Nagyszentmiklós, significant group of ‘American’ works, east in Europe and, in 1913, North Africa. This opening melody frequently returns Hungary (now Sinnicolau Mare, including the Concerto for Orchestra as the dominant musical idea, but one Romania), Bartók began piano and his Third Piano Concerto. The intimacy arises from the fact that, along that is challenged with bold variations lessons with his mother at the age of five. with many contemporaries, such as Vaughan and the occasional rhythmic surprise. • From 1899 he studied piano and composition Throughout his working life, Bartók collected, Williams and Janáček, the contact with at the Royal Academy of Music in Budapest, transcribed and annotated the folk-songs folk song went well beyond collecting and Programme Note by Jan Smaczny where he created a number of works echoing of many countries, a commitment that arranging to a profound underpinning of his the style of Brahms and Richard Strauss. brought little recognition but one which he compositional style from orchestral music to regarded as his most important contribution vocal music and chamber works. After graduating he discovered Austro- to music. He declined the security of a Hungarian and Slavic folk music, travelling composition professorship during his final The orchestral Hungarian Peasant Songs of extensively with his friend Zoltán Kodály years in America, although he did accept 1933 arose from a piano collection entitled and recording countless ethnic songs and the post of Visiting Assistant in Music at Fifteen Hungarian Peasant Songs composed dances which began to influence his own Columbia University from March 1941 to 1942 between 1914 and 1918, and published in compositions. His compositions were also until ill health forced his retirement. • 1920. Although the piano originals were influenced by the works of Debussy, to which based on folk song, Bartók’s treatment of he was introduced by Kodály in 1907, the year Composer Profile by Andrew Stewart

4 Programme Notes 13 December 2018 Karol Szymanowski Harnasie 1923–31 / note by Stephen Downes

Tableau I: In the Mountain Pasture During the war, Szymanowski had explored Iwaszkiewicz, Szymanowski’s cousin and The scenes which follow move from the 1 Redyk (The driving in spring of flocks of an array of exotic inspirations (Arab, collaborator on the opera , courtship, through various highland songs sheep to mountain pastures) Persian) and though, in the context of the was unconvinced by the coexistence of and dances, to the wedding and the 2 Mimic Scene (Courtship) then newly independent Poland, his post- primitivism and sophistication. abduction of the bride. In the epilogue we 3 Tatra Robbers’ March war enthusiasm for highland music may hear distant sounds of Harnaś’ love song, 4 Mimic Scene (The Harnaś and the Girl) appear of nationalist temper, the composer Harnasie was finally completed in March the return of the old fiddler, and an off- 5 Tatra Robbers’ March (Finale) abhorred insular nationalism. His aim was 1931. It was first staged 1935 in Prague, stage tenor singing a Tatra folk song on to bring Polish folk culture into the world and then in Paris in 1936. The full libretto the ecstasy of love. Tableau II: In the Inn of high art European modernism, thereby for the stage action is now lost, but a 6a Wedding assuring Poland’s place on the international synopsis which Szymanowski wrote in 1934 The combination of spring and wedding 6b Capping the Bride stage of new musical developments. provides the story. It begins with the forced rites highlights Harnasie’s relationship to 6c The Song of the Siuhaje marriage of a young highland girl who is in Stravinsky’s The Rite of Spring and Les Noces, 7 The Tatra Highlanders’ Dance In 1923, an initial scenario for what would love with Harnaś, leader of the highland with which there are several similarities, 8 The Raid of Harnasie. Dance. become the ballet Harnasie was written brigands. Harnaś abducts her during the notably the explosive primitivism. But (Abduction of the Bride) by Jerzy Rytard, one of Szymanowski’s wedding celebrations and they escape to Szymanowski was always also a lyricist, 9 Epilogue Zakopane friends. In the following year, his mountain hideaway. and elements of Romantic yearning Szymanowski published a major essay on and an idealised view of love persist. Edgaras Montvidas tenor Highland (Góral) Music, in which he described The opening evokes the arrival of spring Szymanowski’s music moves between London Symphony Chorus its purity and power. His transcription of after the harsh Polish winter, when the quotation, allusion and transformation of Simon Halsey chorus director a highland song appeared in the magazine sheep are taken to mountain pastures. folk sources and independent, non-folk Pani (Lady). He would turn to this song We hear a highland melody (the ‘Sabała’) material. It is a strategy which reveals he town of Zakopane, which nestles when composing the ballet score. which had enthralled Szymanowski when his desire to preserve the heritage of under the jagged peaks of the the musicologist Adolf Chybiński played it to highland music and to deploy it in a work Tatra mountains, was a sustained Composition of the ballet’s music was him in 1921. Around this folk origin elaborate of innovation, to bring an ancient Polish site of inspiration for Polish artists in the frequently interrupted by burdensome orchestral textures gradually evolve. The tradition into the contemporary world of art. • early-20th century. Szymanowski’s first administrative duties as Szymanowski combination of folk simplicity with high art visit after World War I, in 1922, was a crucial took on leadership roles in Warsaw’s main complexity is one of Szymanowski’s finest turning point. He became enthralled by Tatra musical institutions. After a summer of compositional achievements. An old fiddler highland culture and sought to embrace its intensive composition in 1928 a performance (a stage version of the celebrity Zakopane Interval – 20 minutes special qualities within a modern musical of the first tableau was held in Warsaw in violinist, Bartuś Obrochta) is introduced, a Visit the Barbican Shop on Level -1 to style which was distinctively Polish yet also March of the following year. It received a figure symbolic of Highland band culture. see our range of Gifts and Accessories. of pan-European significance. favourable critical response, though Jarosław

Programme Notes 5 Karol Szymanowski in Profile 1882–1937 Igor Stravinsky in profile 1882–1971

friends in 1905. He supported Polish music peasant-wedding ballet Les Noces (1914–23). throughout his life and served as Director Before that was completed, a ballet based of the Warsaw Conservatoire from 1927 to on 18th-century music, Pulcinella (1919–20), 1929. Szymanowski’s output falls loosely opened the door to a whole neo-Classical into three periods. Before World War I he period, which was to last three decades and followed the style of Strauss and Wagner, more. He also began spending much of his with big, densely chromatic . time in Paris and on tour with his mistress By 1914 he was moving towards an exotic Vera Sudeikina, while his wife, mother and aesthetic similar to that explored by children lived elsewhere in France. Debussy and Scriabin, which came of his growing fascination with Arabic cultures. Up to the end of the 1920s, his big works were nearly all for the theatre (including When Poland gained its independence in the nine he wrote for Diaghilev). By 1918, this rekindled Szymanowski’s patriotic contrast, large-scale abstract works sentiments and suddenly his works were began to dominate his output after 1930, infused with elements of traditional Polish including three symphonies, of which the folklore – the , Symphony No 4 first,Symphony of Psalms (1930), marks arol Szymanowski was born in and No 2 are prime examples. hird in a family of four sons, Igor also his reawakened religious observance. Tymoszówka (modern-day Ukraine) The enduring characteristic of his works is Stravinsky had a comfortable In 1939, soon after the deaths of his wife in the former kingdom of Poland. undoubtedly their intense expressionism, upbringing in St Petersburg, and mother, he sailed to New York with He was first taught music by his father, tempered by a deep-seated spirituality. • where his father was Principal at Vera, whom he married, and with whom he who instilled in the young composer an the Mariinsky Theatre. In 1902 he started settled in Los Angeles. Following his opera acute and ardent sense of patriotic duty Composer Profile by Fabienne Morris lessons with Rimsky-Korsakov, but he The Rake’s Progress (1947–51) he began to which would influence his entire life and was a slow developer, and hardly a safe interest himself in Schoenberg and Webern, career. At 19 he began composition and bet when Sergei Diaghilev’s Ballet Russes and within three years had worked out a piano lessons in Warsaw but struggled to commissioned The Firebird in 1909. The new serial style. Sacred works became more find a suitable outlet in a city that was, by success of that work encouraged him to and more important, to end with all accounts, far from a thriving cultural remain in western Europe, writing scores Canticles (1965–66), which was performed capital. Until 1911 Szymanowski published almost annually for Diaghilev. The October at his funeral, in Venice in 1971. • his own works under the auspices of Revolution of 1917 sealed him off from his the Young Polish Composers’ Publishing homeland; his response was to create a rural Composer Profile by Paul Griffiths Company, a group founded by him and some Russia of the mind, in such works as the

8 Composer Profiles 13 December 2018 Igor Stravinsky Ebony Concerto 1945 / note by Edward Bhesania

1 Allegro moderato the composer admitted to being ‘somewhat The finale alternates a sombre bass clarinet • STRAVINSKY ON LSO LIVE 2 Andante unnerved by … my lack of familiarity with theme – not unlike an African-American 3 Moderato – Con moto – Moderato – this sort of thing’. spiritual – with two variations, the first Vivo – Same tempo led by tenor , the second by The concerto’s title relates not to the the energetic solo clarinet, before coming Chris Richards clarinet black wood of the clarinet but to Africa, to rest in an austere chorale coda. • the roots of jazz. Stravinsky studied n many ways the Russian ballets recordings of Herman’s band and consulted that had catapulted Stravinsky with a saxophonist on fingerings for to international fame earlier in the instrument. A few weeks after the the 20th century – The Firebird (1909–10), premiere – given by Herman and his band at Petrushka (1910–11) and The Rite of Spring Carnegie Hall on 25 March 1946 – Stravinsky (1913) – are a lifetime away from this tight- conducted the Ebony Concerto’s first knit jazz concerto grosso of 1945. In between recording. ‘What I remember most clearly,’ had come Stravinsky’s exile in Europe; the he later recalled, ‘is the smoke in the triple blow that brought the deaths of his recording studio. When the musicians did elder daughter, his wife and his mother in the not blow horns they blew smoke.’ space of just seven months (1938–39); and his marriage to the dancer Vera Sudeikina, The concerto’s first movement opens with Stravinsky The Rite of Spring with whom he had been conducting an open sprightly, rhythmically perilous exchanges Ligeti Mysteries of the Macabre affair for the best part of 20 years. between brass and , and is later Berg Three Fragments from ‘Wozzeck’ coloured by tom-toms, piano, guitar and Webern Six Pieces for Orchestra By 1941, Igor and Vera had applied for US harp. Its second theme is a strained high- citizenship and moved to West Hollywood. wire melody that leads to a brief cadenza- Sir Simon Rattle conductor With his European royalties frozen during like passage for solo clarinet, before the Barbara Hannigan the war, Stravinsky knew his future lay spitting brass-and-saxophones return. in America. (He even made an orchestral Blu-ray & DVD set arrangement of The Star-Spangled Banner). The second movement is blues tinged Filmed at the Barbican Hall in January 2015 So he had no hesitation in accepting a with a dirge, which lightens up with some $2,000 commission from the clarinettist and smooth, close-harmony and sharp lsolive.co.uk bandleader Woody Herman to write a piece duelling between trumpets and . for Herman and his band, The Herd – even if But smooth wins out in the end.

Programme Notes 9 Osvaldo Golijov arr Gonzalo Grau Nazareno 2000 arr 2009 (UK Premiere) / note by Edward Bhesania

1 Berimbau audacious re-imagining of the genre, Golijov array of West African and South American of the Pasión. Golijov uses Cuban comparsa 2 Tambor en blanco y negro – threw in – as well as orchestra, chorus and percussion, and later layered by a higher, and Brazilian samba styles associated with 3 Guaracha y Mambo – solo soprano – three Afro-Cuban vocalists, a circling rhythm on the second piano. After carnival as Christ carries the Cross through 4 Sur – Brazilian-style jazz vocalist, an Afro-Cuban reaching their apex the layers slowly recede. the assembled crowds. But while the 5 Tormenta y Quitiplá – vocalist and dancer, and a capoeira dancer. Pasión will conclude with a Jewish lament 6 Procesión The title of the second movement, ‘Tambor (Kaddish) sung in Aramaic, the language In 2008, tonight’s pianists Katia and en blanco y negro’, refers to the pianos of Jesus, Nazareno ends with vivid colours Katia and Marielle Labèque pianos Marielle Labèque commissioned the becoming ‘drums in white and black’ as they and thrilling energy that are unashamedly Gonzalo Grau percussion Venezuelan multi-instrumentalist, take over the batá drum rhythms of the Latin American. • Raphaël Séguinier percussion composer and arranger Gonzalo Grau, who Pasión’s three ‘Anuncios’ (Announcements). had worked with Golijov on elements of the Towards the end, the pianos appear to spiral t’s tempting to think of the jazz Pasión, to arrange a suite from the work out of control, but three strikes of the claves influences in Stravinsky’s Ebony for two pianos and orchestra. For Grau, lead to the ‘Guaracha y Mambo’. This is Concerto as representing an urban the necessary removal of the text for the the Latin-American heart of Nazareno, an sophistication, but jazz itself has its roots commission represented a challenge but exuberant mambo with ripping trumpets, in Africa, and the same is true of Latin also opened up ‘possibilities not just for an and apparently quoting the late-1950s hit American music, which infuses so much instrumental version of the original work, ‘Tequila’ made famous by The Champs. of Osvaldo Golijov’s work. but for perhaps a new composition inspired by Golijov’s Pasión’. This is followed without a break by the Born to Eastern European Jewish parents beautifully songful ‘Sur’, which captures in Argentina, Golijov grew up listening to The result was Nazareno (the title, the poignancy of Jesus’ unease as he prays Jewish liturgical and klezmer music as well meaning ‘Nazarene’, refers to the place in Gethsemane before coming to terms as to Argentine tango, and his music often of Jesus’ childhood home). Each of its with his sacrifice: ‘The spirit truly is ready, reflects these divergent influences. In 2000, six movements is based on one of the but the flesh is weak.’ This movement also his La Pasión según San Marcos (The Passion Pasión’s 34 movements. links to the next, ‘Tormenta y Quitiplá’, According to St Mark) was given its world which Gonzalo Grau describes as ‘a flashy premiere in Stuttgart, commissioned to ‘Berimbau’ refers to the Brazilian bow- and virtuosic transition … with a frenetic, mark both the turn of the millennium and shaped single-string instrument, associated ascending climax, where the two pianos 250 years since the death of J S Bach. This with capoeira, which featured in the ‘Visión’ and the marimba play an intricate layering was a Jew telling a Christian story from a movement of the Pasión. The movement of polyrhythms’. It’s a high-octane blast Latin American perspective, drawing on is driven by a percussive rhythm in the that leads directly to the final movement, musical styles from Cuba and Brazil. In this bass of the first piano, joined by a colourful ‘Procesión’, based on the Crucifixion section

10 Programme Notes 13 December 2018 Osvaldo Golijov in Profile b 1960

PhD in the United States at the University of Pennsylvania, where he studied with George Crumb. He went on to become a Tanglewood fellow, and studied with British composer Oliver Knussen.

Since the early 1990s, Golijov has enjoyed collaborations with some of the world’s leading chamber music ensembles such as the Kronos Quartet and the St Lawrence String Quartet, in addition to relationships Eric Lu (4 Apr) with artists such as Yo-Yo Ma, Dawn Upshaw and Robert Spano. In 2000, the premiere of Golijov’s La Pasión según San LEEDS PIANO FESTIVAL IN LONDON Marcos took the music world by storm. The svaldo Golijov grew up in an Boston Globe called it ‘the first indisputably Thursday 4 April 1pm, LSO St Luke’s Friday 5 April 7.30pm, LSO St Luke’s Eastern European Jewish household great composition of the 21st century.’ SCHOLARS STEVEN OSBORNE in La Plata, Argentina. Born to a Golijov has also received acclaim for other piano teacher mother and physician father, groundbreaking works such as his opera Three young pianists, hand-picked by Known for his insightful interpretations, Golijov was raised in an environment of Ainadamar and the clarinet quintet The Lang Lang, showcase their talents. Steven Osborne explores Beethoven’s classical chamber music, Jewish liturgical Dreams and Prayers of Isaac the Blind, final, profound piano sonatas. and klezmer music, as well as the new tango as well as music he has written for the of Astor Piazzolla. His music is known for films of Francis Ford Coppola. Thursday 4 April 7.30pm, LSO St Luke’s Saturday 6 April 7.30pm, LSO St Luke’s its seamless integration of a diverse array ERIC LU BARRY DOUGLAS of musical styles and genres including Golijov served as the Debs Composer’s Chair klezmer and Caribbean influences as well as at Carnegie Hall. He is Loyola Professor Be one of the first to hear Eric Lu, winner Barry Douglas pairs miniatures with more electronic music and extended instrumental of Music at College of the Holy Cross in of ‘The Leeds’ 2018, who held jury and expansive works, in a concert featuring and vocal techniques. Worcester, Massachusetts, where he has audience spellbound by his performances. Tchaikovsky, Rachmaninov and Schubert. taught since 1991. • After graduating, Golijov moved to Jerusalem lso.co.uk/leedsinlondon to study at the Jerusalem Rubin Academy with Mark Koytman before completing his

Programme Notes 11 Leonard Bernstein Prelude, Fugue and Riffs 1949 / note by David Gutman

1 Prelude are improvising. In fact, only at the very end with that orchestra wearing a grey lounge 2 Fugue is there some flexibility – the performers suit. His progress as a conductor was rapid, 3 Riffs themselves decide when the piece should and in 1958 he was appointed Music Director actually stop! and Chief Conductor of the New York Chris Richards clarinet Philharmonic. In the same year he launched The Prelude is launched on trumpets and a series of televised children’s concerts. ernstein was not a natural trombones, the Fugue on saxophones, Bernstein was also active as a writer and improvising jazzman – however, the Riffs by the solo clarinet and piano. regular broadcaster, although he managed to composing ‘written-out’ jazz was What remains is a kind of all-embracing, find time to create a large output of works. no problem. Writing fluently for clarinet solo wild yet structured, written out jam and jazz combo, he set down Prelude, Fugue session that seldom fails to bring the Since his death, the music of Leonard and Riffsin November 1949, conceiving house down. Shamelessly eclectic as it is, Bernstein has been subjected to close it as an American riposte to Stravinsky’s ‘trying everything’ as it does – including scrutiny under the musicologist’s Ebony Concerto. And yet the jazz musician what sounds like a visit to a strip club – microscope. Although opinions on his Woody Herman, who had also commissioned Bernstein’s idiom is unmistakably his own. • posthumous reputation are divided, it the Stravinsky, appears not even to have could be reasonably argued that his work acknowledged receipt of Bernstein’s score, as a composer, performer and educator his own career in disarray. Its ‘real’ premiere • LEONARD BERNSTEIN IN PROFILE have had a greater influence on current did not take place until October 1955 with trends in contemporary music than, for the new soloist and dedicatee Benny A gifted scholar, Bernstein took his first example, the avant-garde compositions of Goodman, presented in the context of one of piano lessons at the age of ten and Stockhausen or Boulez. Unlike many of his Bernstein’s celebrated TV programmes, his continued to study the instrument when contemporaries, Bernstein kept faith with second Omnibus show, an enquiry into the he enrolled at Harvard University in 1935. the aesthetic ideals and artistic concerns nature of jazz. Seemingly destined to remain From 1939 to 1941 he pursued graduate of composers from an earlier age, reaching a pièce d’occasion, it has instead become studies at the Curtis Institute, emerging audiences with powerful, often dramatic increasingly familiar in recent years. as a star pupil in Fritz Reiner’s conducting scores and crafting memorable, heart-on- class. Bernstein made front-page news on sleeve melodies. Essentially, he posed music As the title promises, the music integrates 13 November 1943 when he deputised for that was approachable without being banal, classical forms and contrapuntal structures Bruno Walter as conductor of the New York sentimental without being mawkish. Above with jazz/swing melodies and rhythms, Philharmonic, achieving instant critical all, he knew how to write a good tune. • doing so with such naturalness that it success and breaking the mould by being the sounds sometimes as though the players first person ever to give a public performance Composer Profile by Andrew Stewart

12 Programme Notes 13 December 2018 Sir Simon Rattle conductor

ir Simon Rattle was born in Liverpool Music education is of supreme importance et Mélisande, Strauss’ Salome and Bizet’s and studied at the Royal Academy to Sir Simon. His partnership with the Berlin Carmen, a concert performance of Mozart’s of Music in London. From 1980 to Philharmonic broke new ground with the Idomeneo and many concert programmes. 1998, he was Principal Conductor and Artistic education programme Zukunft@Bphil, Adviser of the City of Birmingham Symphony earning him the Comenius Prize, the Schiller Sir Simon has long-standing relationships Orchestra and was appointed Music Director Special Prize from the city of Mannheim, with the leading in London, in 1990. He moved to Berlin in 2002 and held the Golden Camera and the Urania Medal. Europe and the US, initially working closely the positions of Artistic Director and Chief He and the Berlin Philharmonic were with the Los Angeles Philharmonic and Conductor of the Berlin Philharmonic until appointed International UNICEF Boston Symphony Orchestra, and more he stepped down in 2018. Sir Simon became Ambassadors in 2004 – the first time this recently with The Philadelphia Orchestra. Music Director of the London Symphony honour has been conferred on an artistic He regularly conducts the Vienna Orchestra in September 2017. ensemble. Sir Simon has also been awarded Philharmonic, with whom he has recorded several prestigious personal honours, which the complete Beethoven symphonies and Sir Simon has made over 70 recordings for include a knighthood in 1994, becoming piano concertos with , and is EMI (now Warner Classics) and has received a member of the Order of Merit from Her also a Principal Artist of the Orchestra of the numerous prestigious international awards Majesty the Queen in 2014, and being given Age of Enlightenment and Founding Patron for his recordings on various labels. Releases the Freedom of the City of London in 2018. of Birmingham Contemporary Music Group. on EMI include Stravinsky’s Symphony of Psalms (which received the 2009 Grammy In 2013 Sir Simon began a residency at the During the 2018/19 season Sir Simon will Award for Best Choral Performance); Berlioz’s Baden-Baden Easter Festival, conducting embark upon tours to Japan, South Korea, Symphonie fantastique; Ravel’s L’enfant et Mozart’s The Magic and a series of South America and Europe with the London les sortilèges; Tchaikovsky’s The Nutcracker – concerts with the Berlin Philharmonic. Symphony Orchestra. He will conduct the Suite; Mahler’s Symphony No 2; and Subsequent seasons have included Czech Philharmonic Orchestra for the first Stravinsky’s The Rite of Spring. From performances of Puccini’s Manon Lescaut, time in Mahler’s Das Lied von der Erde and 2014 Sir Simon recorded the Beethoven, Peter Sellars’ ritualisation of Bach’s St John will return to the Deutsche Staatsoper Schumann and Sibelius symphony cycles Passion, Strauss’ Der Rosenkavalier, Berlioz’s Berlin, the Bavarian Radio Symphony on the Berlin Philharmonic’s new in-house The Damnation of Faust, Wagner’s Tristan Orchestra and the Berlin Philharmonic. label, Berliner Philharmoniker. His most and Isolde and, most recently, Parsifal in In March 2019 he will conduct Peter Sellars’ recent recordings include Debussy’s Pelléas 2018. For the Salzburg Easter Festival, revival of Bach’s St John Passion with both et Mélisande, Turnage’s Remembering, and Rattle has conducted staged productions of the Berlin Philharmonic and the Orchestra Ravel, Dutilleux and Delage on Blu-Ray and Beethoven’s Fidelio, Mozart’s Così fan tutte, of the Age of Enlightenment. • DVD with the LSO on LSO Live. Britten’s , Debussy’s Pelléas

Artist Biographies 13 Katia and Marielle Labèque pianos

They have appeared with Baroque music Hollywood Bowl, Lucerne Festival, BBC ensembles such as The English Baroque Proms, Ravinia, Tanglewood and Salzburg Soloists with Sir , Festivals. An audience of more than 33,000 Il Giardino Armonico with Giovanni Antonini, attended a gala concert with the Berlin Musica Antica with Reinhard Goebel and Philharmonic conducted by Sir Simon Rattle Venice Baroque with Andrea Marcon, il at Berlin’s Waldbühne, now available on DVD Pomo d’Oro with Maxim Emelyanichev and (EuroArts). A record audience of more then also toured with Orchestra of the Age of 100,000 attended the Vienna Summer Night Enlightenment and Sir Simon Rattle. Concert in Schönbrunn (now available on CD and DVD by Sony). More than 1.5 million Katia and Marielle have had the privilege viewers followed the event worldwide on TV. of working with many composers including Thomas Adès, Louis Andriessen, Luciano They have released a CD Box Set, Sisters, on Berio, , Bryce Dessner, Philip their own label, KML recordings, as well as a Glass, Osvaldo Golijov, György Ligeti and Gershwin/Bernstein album, and their project . In 2015, they presented Minimalist Dream House. The DVD The the world premiere of Philip Glass’ Double Labèque Way, a letter to Katia and Marielle ibling pianists Katia and Marielle Symphony Orchestra, Cleveland Orchestra, Piano Concerto with the Los Angeles by Alessandro Baricco produced by El Deseo Labèque are renowned for their Leipzig Gewandhaus, London Philharmonic Philharmonic Orchestra under the direction (Pedro and Augustin Almodóvar) and filmed synchronicity and energy. Their Orchestra and Los Angeles Philharmonic. of Gustavo Dudamel. Spring 2018 also by Félix Cábez was released by EuroArts. musical ambitions started at an early They have also appeared with the Filarmonia saw the world premiere of Bryce Dessner’s Their biography Une vie à quatre mains (A age and they rose to international fame della Scala, Philadelphia Orchestra, Dresden Concerto for Two Pianos at the Royal Festival Life of Four Hands) by Renaud Machart was with their contemporary rendition of Staatskapelle, Royal Concertgebouw Hall with John Storgårds. A new concerto published in 2016 by Buchet-Chastel. Gershwin’s Rhapsody in Blue (one of the Amsterdam and Vienna Philharmonic. They written by Nico Muhly will be ready in 2020 first gold records in classical music) and have worked under the direction of Marin to be premiered at Lincoln Center with the At the invitation of the Philharmonie in have since developed a stunning career Alsop, Alain Altinoglu, Semyon Bychkov, New York Philharmonic and Jaap van Zweden. Paris, April 2019 will see their attention with performances worldwide. Sir Simon Rattle, Gustavo Dudamel, focused on new projects including the Gustavo Gimeno, Mirga Gražinytė-Tyla, The Labèques play in festivals and renowned creation of a piece by Thom Yorke, which will They have appeared with prestigious Zubin Mehta, Juanjo Mena, Seiji Ozawa, venues worldwide including the Vienna form part of a new programme in quartet orchestras including the Berlin Philharmonic, Sir , Georges Prêtre, Esa- Musikverein, Hamburg Musikhalle, Munich with David Chalmin and Bryce Dessner. • Bavarian Radio Symphony Orchestra, Pekka Salonen, Leonard Slatkin, Michael Philharmonie, Carnegie Hall, Royal Festival Boston Symphony Orchestra, Chicago Tilson Thomas and Jaap van Zweden. Hall, La Scala, Berlin Philharmonie, Blossom,

14 Artist Biographies 13 December 2018 Edgaras Montvidas tenor Chris Richards clarinet

Ruggero in Puccini’s La Rondine and Alfredo Contemporary Music Group with conductors in Verdi’s La traviata for Leipzig Opera. including Robin Ticciati, James Gaffigan, Thomas Zehetmair, HK Gruber and Nicholas Past concert highlights have included McGegan. He has also been broadcast as a the part of the Fisherman in Stravinsky’s soloist numerous times on BBC Radio 3 in Le Rossignol with the Berlin Philharmonic works such as ’ Gnarly Buttons and Pierre Boulez, the Shepherd in and Strauss’ Duett-Concertino. Szymanowski’s King Roger with the Boston Symphony Orchestra, the title role in A keen chamber musician, Chris has Benjamin Godard’s Dante, and Robert in appeared at Carnegie Hall, Wigmore Hall, Lalo’s La Jacquerie for Radio France. This LSO St Luke’s, The Sage Gateshead and the season’s concert highlights include Verdi’s Aldeburgh Festival with artists including the Requiem on tour with the Monteverdi Elias Quartet, Navarra Quartet, Aronowitz and Sir John Eliot Gardiner as well as Ensemble, LSO Chamber Ensemble, Berlioz’s The Damnation of Faust with the Ensemble 360, Thomas Adès, Pascal Rogé his season, Edgaras Montvidas Lithuanian State Symphony Orchestra. hris Richards studied at the and Howard Shelley. In 2008, he gave the performs the title role in Guildhall School of Music & Drama. premiere of Richard Rodney Bennett’s Massenet’s Werther for Bergen Recordings include the part of Helios in While there, he reached the finals Troubadour Music for clarinet and piano at National Opera, Boris in Janáček’s Katya Félicien David’s Herculaneum with the of the Shell/LSO Competition in 2001, Wigmore Hall. He is also a regular member Kabanova for Hamburg Opera, Pinkerton Brussels Philharmonic Orchestra and appearing as a soloist with the London of the John Wilson Orchestra and a Professor in Puccini’s Madame Butterfly for Opéra conductor Hervé Niquet, Marcomir in Saint- Symphony Orchestra for the first time. at the Royal Academy of Music. • Nationale de Lorraine and makes his debut Saëns’ Les Barbares, and Godard’s Dante. After his studies, he was appointed Principal at Zürich Opera and La Scala. Clarinet of Northern Sinfonia at the Sage Montvidas has been awarded the Lithuanian Gateshead and took up his current position His previous opera appearances include Order of Merit medal by President Dalia as Principal Clarinet with the LSO in 2010. the part of Anatol in Barber’s Vanessa at Grybauskaite, the Badge of Honour ‘Carry He has also performed as a guest principal Glyndebourne, Hoffman in Offenbach’s your Light and Believe’ by the Lithuanian with most of the UK’s leading orchestras. The Tales of Hoffman in a new production Ministry of Culture and in 2009, Lithuania’s by Barrie Kosky for Komische Oper Berlin, ‘The Gold Cross of the Stage’ Theatre Award Chris has appeared as a soloist with Flamand in Strauss’ Capriccio for La Monnaie for his performances as Werther. • the LSO, City of Birmingham Symphony in Brussels, Edgardo in Donizetti’s Lucia Orchestra, Northern Sinfonia, English di Lammermoor for Semperoper Dresden, Symphony Orchestra and Birmingham

Artist Biographies 15 Gonzalo Grau percussion / arranger Raphaël Séguinier percussion

Venezuelan fusion ensemble) and La Clave and Dennis Russel Davis, the MDR Sinfonie Secreta (salsa fusion), which was nominated Orchester in Leipzig and the Sydney for the 2008 Grammys in the Best Tropical Symphony Orchestra and Miguel Harth- Album category. As a recording artist, Grau Bedoya. He has played at major festivals has participated in over 80 productions that including Rock en Seine Festival in France, bridge both classical and popular music. Hungary’s Sziget Festival, Glastonbury Festival, and Fuji Rock Festival in Japan. His most recent productions include the studio recording of Golijov’s La Pasión según He regularly plays and records with Katia San Marcos (winner of the ECHO award and Marielle Labèque, and has worked 2010), Rolando Villazón’s album México on projects including their two piano suite (winner of the ECHO award 2011), and drawn from Leonard Bernstein’s West Nazareno with tonight’s pianists Katia Side Story, their albums Minimalist Dream and Marielle Labèque, all released by the House and Moondog, and a project German label Deutsche Grammophon. championing the music of American onzalo Grau began his musical rummer and percussionist Raphaël composer Bernard Herrmann. studies at the age of three in As a composer, his original works include Séguinier’s work sees him cross a Caracas and has developed skills in the overture Pregunta y Respuesta range of disparate musical styles In 2012, he started the duo UBUNOIR with many instruments, from the viola da gamba commissioned by the Atlanta Symphony from electronic music to rock, pop post-rock, producer, guitarist and composer David and the cello to the flamenco cajón and his (premiered in March 2008), Café con Pan, improvised music as well as classical and Chalmin. He is also part of the trio Triple Sun principal instrument, the piano. A Berklee commissioned by the Chicago Symphony contemporary music. with David Chalmin and Massimo Pupillo. • College graduate, Gonzalo has established Orchestra for the MusicNow concert series himself as a multi-instrumentalist and (premiered in November 2008), the oratorio His international career has seen him play his varied credits include performances Aqua, commissioned by the Bach Academy with prominent musical artists from Rufus with Venezuelan music projects Maroa, International and winner of the European Wainright to Saul Williams, Micky Green, Schola Cantorum de Venezuela, Camerata Composer Award 2011, Viaje, a fantasia Hindi Zahra, Chocolate Genius, Matt Elliott, de Caracas and the Simón Bolivar National for full-orchestra and Latin ensemble, Emilie Simon, Katia and Marielle Labèque, Youth Orchestra, jazz icon Maria Schneider commissioned by the Boston Landmarks Justin Vernon (Bon Iver), and Aaron and and the Latin jazz giant Timbalaye. Orchestra and Fantasía de Guayaba Habanera, Bryce Dessner (The National). He also and a violin concerto commisioned by performs with prestigious orchestras and As a music director he leads two projects Johnny Gandelsman and the Community conductors such as the Berlin Philharmonic of his own, Plural (a latin jazz-Flamenco- MusicWorks (premiered in May 2013). • and Sir Simon Rattle, the Bruckner Orchestra

16 Artist Biographies 13 December 2018 Simon Halsey choral director

imon Halsey occupies a unique and elsewhere. He holds four honorary reputation internationally as one of the position in classical music. He doctorates from universities in the UK, finest professional choral ensembles. is the trusted advisor on choral and in 2011 Schott Music published his book Halsey also initiated innovative projects singing to the world’s greatest conductors, and DVD on choral conducting, Chorleitung: in unconventional venues and orchestras and choruses, and also an Vom Konzept zum Konzert. interdisciplinary formats. • inspirational teacher and ambassador for choral singing to amateurs of every age, Halsey has worked on nearly 80 recording ability and background. Making singing a projects, many of which have won major central part of the world-class institutions awards, including the Gramophone Award, with which he is associated, he has been Diapason d’Or, , and three instrumental in changing the level of Grammy Awards with the Rundfunkchor symphonic singing across Europe. Berlin. He was made Commander of the British Empire in 2015, was awarded He holds positions across the UK and Europe The Queen’s Medal for Music in 2014, and as Choral Director of London Symphony received the Officer’s Cross of the Order of Orchestra and Chorus, Chorus Director of the Merit of the Federal Republic of Germany City of Birmingham Symphony Orchestra in 2011 in recognition of his outstanding Chorus, Artistic Director of Orfeó Català contribution to choral music in Germany. and Artistic Adviser of Palau de la Música, Barcelona, Artistic Director of Berlin Born in London, Simon Halsey sang in the Philharmonic Youth Choral Programme, choirs of New College, Oxford, and of King’s Director of BBC Proms Youth Choir, Artistic College, Cambridge, and studied conducting Advisor of Schleswig-Holstein Musik Festival at the Royal College of Music in London. In Choir, Conductor Laureate of Rundfunkchor 1987, he founded the City of Birmingham Berlin, and Professor and Director of Choral Touring Opera with Graham Vick. He was Activities at University of Birmingham. Chief Conductor of the Netherlands Radio Choir from 1997 to 2008 and Principal He is also a highly respected teacher Conductor of the Northern Sinfonia’s Choral and academic, nurturing the next Programme from 2004 to 2012. From 2001 generation of choral conductors on his to 2015 he led the Rundfunkchor Berlin post-graduate course in Birmingham and (of which he is now Conductor Laureate); through masterclasses at Princeton, Yale under his leadership the chorus gained a

Artist Biographies 17 London Symphony Chorus on stage

President he London Symphony Chorus was with . The Seasons by Haydn, The LSC is always interested in recruiting Sir Simon Rattle om cbe formed in 1966 to complement Belshazzar’s Feast by Walton, Otello by new members, welcoming applications the work of the London Symphony Verdi, and the world premiere of the St John from singers of all backgrounds. Interested President Emeritus Orchestra and in 2016 celebrated its 50th Passion by James MacMillan were all under singers are welcome to attend rehearsals André Previn kbe anniversary. The partnership between the the baton of the late Sir . before arranging an audition. For further LSC and LSO has continued to develop and was The recent recording of Götterdämmerung information, visit lsc.org.uk. • Vice President strengthened in 2012 with the appointment with the Hallé under Sir Mark Elder won a of Simon Halsey as joint Chorus Director Gramophone award and the recording of of the LSC and Choral Director for the LSO. the Grande Messe des morts by Berlioz with Patrons It now plays a major role in furthering the the LSO conducted by Sir Colin Davis won cbe vision of the LSO Sing initiative. an International Music Award in the Choral Howard Goodall cbe Works category. In June 2015 the recording of The LSC has also partnered with many Sir Peter Maxwell Davies’ Tenth Symphony, Chorus Director other major orchestras and has performed commissioned by the LSO and recorded Simon Halsey cbe nationally and internationally with the by the LSO and the LSC with Sir Antonio Berlin and Vienna Philharmonic Orchestras, Pappano, won a prestigious South Bank Sky Associate Director and the Leipzig Gewandhaus Orchestra. Arts award in the Classical category. Matthew Hamilton Championing the musicians of tomorrow, it has also worked with both the National The 2017/18 season included performances Chorus Accompanist Youth Orchestra of Great Britain and of Schoenberg’s Gurrelieder at the BBC Benjamin Frost the European Union Youth Orchestra. Proms in 2017 with the LSO and Sir Simon The Chorus has toured extensively throughout Rattle; Bernstein’s Wonderful Town and Chairman Europe and has also visited North America, Berlioz’s The Damnation of Faust, also Owen Hanmer Israel, Australia and South East Asia. with Sir Simon Rattle; Mahler’s Second Symphony with Semyon Bychkov; and Concert Manager Much of the LSC repertoire has been captured Liszt’s ‘Faust’ Symphony with Sir Antonio Robert Garbolinski in its large catalogue of recordings, which Pappano. Forthcoming highlights include have won nine awards, including five Puccini’s Messa di Gloria with Sir Antonio LSO Choral Projects Manager Grammys. Recent releases include Britten’s Pappano in March and Ives’ A Symphony: Andra East with Gianandrea Noseda New England Holidays with Michael Tilson and Mahler’s Symphonies Nos 2, 3 and 8 Thomas in June.

18 Artist Biographies 13 December 2018 Altos Basses Assistant Chorus Frankie Arnull Livi Wilkinson Ayesha Akkari Jorge Aguilar Gavin Buchan Director Kerry Baker Rachel Wilson Elizabeth Boyden Paul Allatt * Damian Day David Lawrence Anna Byrne-Smith Alice Young June Brawner Erik Azzopardi Ian Fletcher Carol Capper * Matthieu Brosset Joaquim Badia Robert Garbolinski * Vocal Coaches Laura Catala-Ubassy Jo Buchan * Paul Beecham John Graham Norbert Meyn Anjali Christopher Maggie Donnelly Philipp Boeing Bryan Hammersley Anita Morrison Lucy Feldman Lynn Eaton Oliver Burrows Owen Hanmer * Rebecca Outram Kara Florish Amanda Freshwater John Farrington Elan Higueras Robert Rice Elisa Franzinetti Tina Gibbs Matthew Fernando Rocky Hirst Joanna Gueritz Joanna Gill * Matthew Flood Nathan Homan * Denotes LSC council Maureen Hall Rachel Green Andrew Fuller * Anthony Howick member Isobel Hammond Jane Hickley Patrizio Giovannotti Peter Kellett Hidemi Hatada Jo Houston Euchar Gravina Alex Kidney Jenna Hawkins Kristie Jagodin Michael Harman George Marshall Sophie Hill Vanessa Knapp Jude Lenier Hugh McLeod Emily Hoffnung Gilly Lawson Kameron Locke Geoff Newman Denise Hoilette Belinda Liao * John Marks Alan Rochford Kuan Hon Anne Loveluck Alastair Mathews Richard Tannenbaum Claire Hussey * Liz McCaw Matthew McCabe Gordon Thomson Jenny Ibbott Aoife McInerney Daniel Owers Robin Thurston Marylyn Lewin Siu-Wai Ng Davide Prezzi Evan Troendle Christina Long Susannah Priede Chris Straw Anthony Wilder Meg Makower Lis Smith Richard Street Louisa Martin Erika Stasiuleviciute Malcolm Taylor Jane Morley Linda Thomas James Warbis Maggie Owen Claire Trocmé Robert Ward * Isabel Paintin Zoe Williams Paul Williams-Burton Andra Patterson Alison Ryan Deborah Staunton Gabrielle Walton-Green

Artist Biographies 19 London Symphony Orchestra on stage tonight

Guest Leader Second Violins Cellos Contra Timpani LSO String Experience Scheme George Tudorache David Alberman Tim Hugh Gareth Davies Dominic Morgan Nigel Thomas Since 1992, the LSO String Experience Thomas Norris Alastair Blayden Camilla Marchant Scheme has enabled young string players First Violins Sarah Quinn Jennifer Brown Horns Percussion from the London music conservatoires at Carmine Lauri Miya Väisänen Noel Bradshaw Piccolo Timothy Jones Neil Percy the start of their professional careers to gain Clare Duckworth David Ballesteros Eve-Marie Caravassilis Patricia Moynihan Angela Barnes David Jackson work experience by playing in rehearsals Ginette Decuyper Matthew Gardner Daniel Gardner Alexander Edmundson Paul Stoneman and concerts with the LSO. The musicians Maxine Kwok-Adams Julian Gil Rodriguez Hilary Jones Jonathan Lipton Oliver Yates are treated as professional ‘extra’ players Elizabeth Pigram Naoko Keatley Salvador Bolon Olivier Stankiewicz Finlay Bain Jacob Brown (additional to LSO members) and receive fees Claire Parfitt Belinda McFarlane Anna Beryl Rosie Jenkins for their work in line with LSO section players. Laurent Quénelle Iwona Muszynska Judith Fleet Trumpets Harp The Scheme is supported by: Harriet Rayfield Andrew Pollock Simon Thompson Cor anglais David Elton Helen Tunstall The Polonsky Foundation Colin Renwick Paul Robson Deborah Tolksdorf Christine Pendrill Toby Street Barbara Whatmore Charitable Trust Julian Azkoul Eleanor Fagg Niall Keatley Piano Derek Hill Foundation Morane Cohen- Csilla Pogany Double Basses Clarinets Paul Mayes Elizabeth Burley Angus Allnatt Charitable Foundation Lamberger Wies de Boeve Chris Richards Simon Cox Lord and Lady Lurgan Trust Erzsebet Racz Violas Colin Paris Chi-Yu Mo Guitar Jan Regulski Edward Vanderspar Patrick Laurence Trombones Tom Ellis Julia Rumley Gillianne Haddow Matthew Gibson Bass Clarinet Peter Moore Helena Smart Malcolm Johnston Thomas Goodman Katy Ayling James Maynard Drum kit Anna Bastow Joe Melvin Rebecca Smith Martin France German Clavijo Jani Pensola Saxophones Editor Lander Echevarria Jim Vanderspar Simon Haram Bass Fiona Dinsdale | [email protected] Stephen Doman Bradley Grant Paul Milner Editorial Photography Robert Turner Shaun Thompson Ranald Mackechnie, Oliver Helbig Stephanie Edmundson Nicholas Moss Umberto Nicoletti, Rokas Darulis, Cynthia Perrin Andrew Findon Peter Smith Lebrecht Music Arts/Bridgeman Images Alistair Scahill Print Cantate 020 3651 1690 David Vainsot Advertising Cabbells Ltd 020 3603 7937 Rachel Gough Joost Bosdijk Details in this publication were correct at time of going to press.

20 The Orchestra 13 December 2018