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Home , 2012 Echo Klassik Awards, Claudio Abbado, Il Giardino Armonico, Malcolm Bilson, Piotr Anderszewski, Trevor Pinnock

LSO SEASON CONCERTS SIR

Thursday 7 February 2019 7.30–9.30pm Barbican

Weber : Euryanthe Mendelssohn Concerto for Violin and Interval Schumann Symphony No 3, ‘Rhenish’

Sir John Eliot Gardiner conductor violin Kristian Bezuidenhout SCHUMANN Programme Notes on Pages 4 to 9 Sunday 10 February 2019 7–9pm Barbican Hall

Schumann Overture: Manfred Beethoven No 1 Interval Schumann Symphony No 1, ‘Spring’

Sir John Eliot Gardiner conductor piano

Programme Notes on Pages 10 to 14 Welcome Latest News On Our Blog

Thanks to our media partner Classic FM, CENTRE FOR MUSIC ’S CHOICE: SCHUMANN who have recommended this concert to their listeners. Thursday evening will be broadcast The LSO, Barbican and Guildhall School have LSO players share stories about their live on the LSO’s YouTube channel, and both ambitious plans for a new concert favourite music by concerts will also be captured for the LSO’s hall. The vision for the Centre for Music is and how it came into their lives, from the own recording label LSO Live, as part of a to develop a world-class venue for music symphonies to to song. complete cycle of Schumann’s symphonies and education. First concept designs for the • lso.co.uk/blog conducted by Sir John Eliot Gardiner. project have now been released. • lso.co.uk/news I hope that you enjoy the performances and MEET LAHAV SHANI that you will be able to join us again soon. In these two LSO concerts at the Barbican we In the LSO’s next concert at the Barbican, on THANK YOU TO THE LSO GUARDIANS Ahead of his LSO debut on 28 February, welcome back Sir John Eliot Gardiner, as he Sunday 17 February, pianist Daniil Trifonov conductor Lahav Shani talks about Kurt completes his survey of Robert Schumann’s launches his LSO Artist Portrait with Ravel’s On 10 February we welcome the LSO Weill, musical life in Tel Aviv and stepping symphonies, alongside works by the Piano Concerto in G, conducted by the LSO’s Guardians and extend our thanks for their into ’s shoes as Music Director composer’s contemporaries and colleagues: Music Director Sir . commitment to the Orchestra and for their of the Israel Philharmonic Orchestra. Mendelssohn, Beethoven and Weber. pledge to remember the LSO in their Will. • lso.co.uk/blog In making this commitment, they help to On Thursday 7 February, keyboard artist ensure that our world-class artistic programme Kristian Bezuidenhout makes his London and pioneering education and community 7 FEBRUARY: LIVE-STREAMED CONCERT debut with the Orchestra, appearing projects will thrive for years to come. alongside violinist Isabelle Faust in Kathryn McDowell CBE DL • lso.co.uk/legacies This concert will be broadcast live on our Mendelssohn’s lesser-heard Concerto for Managing Director YouTube channel and will be available to Violin and Piano, which the young prodigy WELCOME TO TONIGHT’S GROUPS watch back for free for the next 90 days. wrote at the age of just 14. On Sunday Visit our website to find out about future 10 February, long-standing friend of the A warm welcome to Campus Travel Groups, broadcasts and how to watch. LSO Piotr Anderszewski returns as soloist Gerrards Cross Community Association, • lso.co.uk/livestream in Beethoven’s First Piano Concerto. The Friends of St Albans Abbey and the United Wards Club (7 February) and Please ensure all phones are switched off. the Institute of Global Studies at the Photography and audio/video recording University of Delaware (10 February). are not permitted during the music.

2 Welcome 7 & 10 February 2019 Continuing the LSO’s concert series with two of the most astounding musicians of our time … ARTIST

Rameau, Betsy Jolas, Poulenc & Ravel with Daniil Trifonov & Sir Simon Rattle 17 February

Ligeti, Haydn, Berg and Gershwin with Barbara Hannigan 17 March

Ives & Beethoven with Daniil Trifonov & 2 June

Solo Recital: Beethoven & Prokofiev with Daniil Trifonov 10 June

Beethoven, Berlioz & Shostakovich with Daniil Trifonov & Gianandrea Noseda 16 June Daniil Trifonov & Barbara Hannigan

Read more and book online lso.co.uk/whats-on Thursday 7 February 2019 In Brief / by Stephen Johnson

LSO SEASON CONCERT hree giants of 19th-century German firing at top strength, and the result was GARDINER’S SCHUMANN Romanticism rub shoulders in this exuberant, colourful, moody and finally this uplifting programme. Weber’s joyous five-movement symphony. It sounds Weber Overture: Euryanthe Euryanthe was a flop, largely thanks to as though it was all conceived in a single Mendelssohn Concerto for Violin and Piano its toe-curling, absurdly engineered libretto. sweep, and the current of the great river runs Interval But there is great music in Euryanthe and, through all of it, carrying the tide of dazzling Schumann Symphony No 3, ‘Rhenish’ fortunately for us, the purely orchestral ideas irresistibly to its exultant conclusion. • Overture is a rip-roaring success, with fine Sir John Eliot Gardiner conductor sweeping love-melodies and a wonderfully Isabelle Faust violin eerie brief appearance of a ghost. Kristian Bezuidenhout fortepiano Mendelssohn was just 14 when he wrote his PROGRAMME CONTRIBUTORS Concerto for Violin and Piano, but he was already a highly experienced composer, and Stephen Johnson is the author of Bruckner just two years short of writing his string Remembered (Faber). He also contributes Streamed live at youtube.com/lso Octet, one of the towering masterpieces regularly to BBC Music Magazine and The of the Romantic chamber repertoire. Guardian, and broadcasts for BBC Radio 3 Concert ends approx 9.30pm This Concerto may not be a fully perfect (Discovering Music), BBC Radio 4 and the achievement, but it is full of startling, BBC World Service. memorable ideas and bursting with life, and the dramatic reversal at the end – Andrew Stewart is a freelance music triumph twisted at the last minute into journalist and writer. He is the author tragedy – is stunning. Mastery, one senses, of The LSO at 90, and contributes to is only just around the corner. a wide variety of specialist publications. Robert Schumann had just taken up the post of conductor in the city of Düsseldorf when he wrote his ‘Rhenish’ Symphony – a prospect that both enthralled and terrified him. Exploring the Rhineland countryside and seeing the cathedral in Cologne set Schumann’s normally fertile imagination

4 Concert Introduction 7 February 2019 Carl Maria von Weber Overture: Euryanthe Op 81 1823 / note by Stephen Johnson

he world premiere of Weber’s opera fidelity of his beloved Euryanthe. Soon after education. In 1798 Weber went to Salzburg Der Freischütz (The Free-Shooter) this the much more melodious second theme to study with Michael Haydn, and that same in Berlin in 1821 was the high (violins) derives from another of Adolar’s year saw Weber’s first published work – six point of the composer’s career. Soon it was arias, again expressing his love and devotion. fughettas for piano. Aged 14, Weber and playing in opera houses all over the western family moved to Freiburg where he wrote his world. The influence of Der Freischütz on a Weber’s flair for daring orchestration, so first opera Das Waldmädchen (The Forest whole generation of Romantic nationalists much on display in Der Freischütz, reveals Maiden). The latter half of the first decade was immense, and not just in Weber’s itself at the beginning of the central of the century was marred with troubles for native Germany. Alas, he was never to repeat development section, where the tempo Weber – debt, an ill-fated affair, his father its success. His opera Euryanthe (1823) was drops to Largo and eight muted solo violins, misappropriating a vast amount of money – reasonably well received, at first, but doubts with tremolando violas, conjure up the ghost however, he remained a prolific composer. soon escalated, especially concerning its of Euryanthe’s sister Emma, who saves the libretto, which degenerates into absurdity day by scaring the heroine’s duplicitous rival Things brightened up from 1810; he visited in the third act, in which all the characters Eglantine into confessing her wickedness. several cities and spent time as Director meet quite coincidentally in the middle of The return of Adolar’s themes in the final of Opera in Prague and Dresden, and also a rocky desert. recapitulatory section unquestionably CARL MARIA VON WEBER 1786–1826 worked in Berlin promoting and establishing heralds the opera’s concluding celebration German opera. The successful premiere The music, however, is another matter – of faith and true love. • orn in Holstein, North Germany, of Der Freischütz in Berlin in 1821 led to the influential musicologist Donald Tovey Weber was the eldest of three performances all over Europe. In 1823 he was even pronounced it superior musically to children. After being discharged invited to House, Covent Wagner’s Lohengrin – and there have been from the militia, his father Franz took up Garden, to compose and produce Oberon, several prestigious attempts to rescue it. a number of musical directorships and which premiered in 1826. Fortunately for orchestral concert-goers, founded a theatre company in Hamburg. the Overture to Euryanthe is an unqualified His mother Genovefa was a Viennese singer. While in London, Weber was already success, and it manages to give a taste of Weber had four musically gifted cousins, suffering from tuberculosis, which then took what Weber might have achieved if he’d one of whom was Constanze Weber, who hold entirely. He died at the house of Sir found a better text. married Mozart in 1782, a catalyst in Franz’s George Smart during the night of 4/5 June ambitions of making the young Weber into a 1826. Buried in London, his remains were Several themes from the opera feature in child prodigy like his cousin-in-law. transferred 18 years later to the family vault the Overture. After the introductory flourish, in Dresden. • winds and timpani develop a motif from the A gifted violinist, Weber’s father taught the hero Adolar’s aria expressing confidence in the boy music and gave him a comprehensive Composer Profile by Andrew Stewart

Programme Notes 5 Concerto for Violin and Piano in D minor 1823 / note by Stephen Johnson

1 Allegro Felix laughing somewhere, and calling daring is the slower, recitative-like section • BACH’S INFLUENCE 2 Adagio out, ‘Felix, tust du nichts?’ – ‘Felix, are later on, in which intensely romantic violin 3 Allegro you doing nothing?’ writing is accompanied by tremolos from Mendelssohn was an important exponent the piano – suddenly this is very much of J S Bach’s music in his lifetime. After Isabelle Faust violin Initially Mendelssohn’s parents weren’t 19th-century music. receiving a score of Bach’s St Matthew Kristian Bezuidenhout fortepiano happy with the idea of his becoming a Passion from his grandmother, he staged musician – there were safer, surer ways of The long, complex first movement is the work in Berlin in 1829 – the first endelssohn wrote his Concerto finding fame and fortune. But by the time followed by a simpler but very touching ever performance outside of Leipzig. for Violin and Piano in 1823, when he was eight they yielded to the inevitable Adagio, its style looking forward to Mendelssohn’s admiration for Bach’s he was 14. For any 14 year-old to and found him a composition teacher, Carl Mendelssohn’s famous Songs Without music is also reflected in the be writing a concerto would be precocious Friedrich Zelter. It turned out to be an inspired Words – soon to be a must-have in Elijah and St Paul, as well as his six enough, but by this stage Mendelssohn choice. Zelter gave his young pupil a thorough every middle class Victorian and German Preludes and Fugues for solo piano. was already an experienced composer with grounding in the craft of music-making, at ‘Biedermeier’ parlour. The finale returns a piano concerto, a (not the same time introducing him to the music to the driven, impassioned style of the the famous one) and nine symphonies for of the 18th-century giant J S Bach, then little- first movement, but before long the string orchestra to his name. Just two years known outside specialist musical circles. piano introduces a hymn-like theme with later he was to create one of the towering a strongly Bachian flavour. -like masterpieces of the Romantic chamber The encounter with Bach was a turning point themes were to play similar roles in some repertoire, his glorious Octet for strings. for Mendelssohn, and Bach’s influence • of Mendelssohn’s later masterpieces, yet can be heard at several points in this Mendelssohn’s use of it here has a dramatic Growing up in an energetically cultured Concerto. The choice of two soloists – in force of its own. The chorale returns on violin family environment certainly helped. As an age in which the soloist as romantic and piano near the end of the Concerto in assimilated Jews, the Mendelssohns were individual was beginning to achieve cult a confident D major, appearing to herald dedicated to the German notion of Bildung: status – shows how deeply Bach (who wrote a triumphant major-key ending – all very education in the widest possible sense – several magnificent ‘double’ concertos) had suitable for a Romantic concerto. Yet it is development of the philosophical, emotional left his mark. So too does the energetic, in the Concerto’s original dark and stormy and spiritual, as well as the intellectual muscular counterpoint at the beginning of D minor that soloists and orchestra have faculties. Mendelssohn’s mother, Lea, was the first movement. There are also echoes of their emphatic last word. Even at this early Interval – 20 minutes a prime example of what we’d now call the Mozart, especially the magnificent D minor stage in his career, Mendelssohn is capable There are bars on all levels. ‘Tiger Mother’. One young visitor to the Piano Concerto, K466, and yet this is also of being very much his own man. • Visit the Barbican Shop to see our Mendelssohn household remembered her clearly the work of a young composer who is range of Gifts and Accessories. pricking up her ears when she heard young beginning to know his own mind. Especially Artist Biographies on Pages 15 to 20

6 Programme Notes 7 February 2019 Felix Mendelssohn in Profile 1809–47 / profile by Andrew Stewart

— ‘Even the smallest task in music is so absorbing, and carries us so far away from town, country, earth, and all worldly things, that it is truly a blessed gift of God.’ Felix Mendelssohn —

elix Mendelssohn was the grandson revived Bach’s St Matthew Passion exactly of the Enlightenment philosopher 100 years after its first performance. Soon Moses Mendelssohn and son of after, a trip to London and the Scottish an influential German banker. Born into a highlands and islands inspired the overture privileged family, as a boy he was encouraged The Hebrides. In 1830 he travelled to at to study the piano, learned to draw from his the suggestion of Goethe and while in Rome mother and became an accomplished linguist started his so-called ‘Scottish’ and ‘Italian’ and Classical scholar. In 1819 he began symphonies. In 1835 he was appointed composition studies with Carl Friedrich Zelter. conductor of the Leipzig Gewandhaus, SIR JOHN ELIOT GARDINER ON LSO LIVE greatly expanding its repertoire with early His family’s wealth allowed their home music and his own works, including Explore Sir John Eliot Gardiner’s recordings in Berlin to become a refuge for scholars, the E minor Violin Concerto. Two years on LSO Live, including his recent cycle of artists and musicians. The philosopher Hegel later he married Cecile Jeanrenaud and in Mendelssohn’s symphonies. and scientist Humboldt were among regular 1843 he founded the Leipzig Conservatory. visitors, and members of the Court Orchestra LSO Live recordings can be purchased from and eminent soloists were available to His magnificent biblical Elijah, the LSO Live website and the Barbican perform the latest works by Felix or his older commissioned for and first performed at shop, are available to stream on Spotify, sister Fanny. Young Mendelssohn’s twelve the 1846 Birmingham Musical Festival, soon Apple Music and Primephonic, and can be string symphonies were first heard in the gained a place alongside Handel’s downloaded on iTunes and Amazon. intimate setting of his father’s salon. in the hearts of British choral societies and audiences. He died in Leipzig in 1847. • lsolive.co.uk Mendelssohn’s maturity as a composer was marked by his Octet (1825) and concert overture to Shakespeare’s A Midsummer Night’s Dream (1826). In 1829 Mendelssohn

Composer Profile 7 Robert Schumann Symphony No 3 in E-flat major Op 97, ‘Rhenish’ 1850 / note by Stephen Johnson

1 Lebhaft (Lively) Third Symphony. But the title Schumann Schumann may also have been thinking The final movement brings extreme 2 Scherzo: Sehr mässig (Very moderate) chose, ‘Rhenish’, is also a sign of his growing of the river in the following Scherzo. This contrast, bursting into life without any 3 Nicht schnell (Not fast) nationalist sympathies – as is his use of movement is often described as a Ländler – preparation – a reminder perhaps of how 4 Feierlich (Ceremonious) German tempo markings instead of the the country cousin of the sophisticated Schumann was prone to abrupt mood- 5 Lebhaft (Lively) usual Italian. For Germans the River Rhine urban waltz – and the main theme does swings. The effect is like stepping out has long been a potent national symbol, have a hearty Germanic folksy quality. of a vast, dimly lit cathedral, full of grim n March 1850, Robert Schumann as Wagner understood well when he made But Schumann’s metronome marking is reminders of suffering and mortality, into was offered the post of Music it the hiding place of the elemental treasure relatively fast which, combined with the the bright sunlight of a bustling Rhineland Director in the Rhineland port of in his opera Rhinegold. emphatic downbeat, gives this music the market town. Gradually Schumann draws Düsseldorf. At first he was apprehensive: character of an energetic rowing song. together memories of themes from earlier he had doubts (well-founded, as it turned It is important to remember that in movements, before ending in a rousing out) about his abilities as a conductor, and Schumann’s time, ‘Germany’ as a political The third movement is a gentle intermezzo, tumult of brass fanfares and surging strings. he remembered his friend Mendelssohn’s entity did not exist: instead there was with fine watery imagery: the flowing, The elemental power of the great river now disparaging comments about the quality of a strange, loose federation of German divided lower strings (subtly enhanced by carries us through to the close. • the musicianship in Düsseldorf. It seems he speaking duchies, principalities and city- cello solo) in the second theme, and the was hoping for something more prestigious states, and the notion of a unified pan- running bass semiquavers in the coda, are in his home city of Leipzig, or possibly in German land was still a Utopian dream, suggestive of deep, unseen undercurrents. his adopted home of Dresden – though the a long way short of the sinister significance This hint of something powerful at work experience of the recent armed uprising it was to acquire in the 20th century. under the surface prepares the way for the in Dresden had made him understandably fourth movement. Here the key changes to nervous. Even so, Schumann’s mood could While Schumann may have been thinking a grave E-flat minor, as Schumann records swing suddenly: a trip to Cologne, just up in specifically national terms, the glorious his impressions of the ceremony in Cologne river from Düsseldorf, later that month sent opening – a theme that bursts straight onto Cathedral. So far in this symphony we’ve his imagination soaring. The magnificent the scene and sustains its song as though heard nothing from the three ; Gothic cathedral thrilled him, and in borne forward on a powerful current – has now they enter in solemn splendour, September he made a point of returning to been strongly influential outside German- imitating the counterpoint of a sombre witness a procession for the enthronement speaking lands: Dvořák, Borodin, Elgar and church motet. E-flat minor was a key of the city’s new Cardinal. Nielsen were all audibly impressed by its Schumann chose for some of his darkest headstrong 3/4 momentum. For Schumann utterances: the tragic Manfred Overture Delight in the sights, sounds and general this was undoubtedly a reflection of the and the dread-saturated ‘Ich hab im Traum character of the Rhinelands was a major great river itself: there are quieter moments, geweinet’ (I wept in a dream) from the song influence on the moods and colours of the but the sweeping energy continues to the end. cycle Dichterliebe are in the same key.

8 Programme Notes 7 February 2019 Robert Schumann in Profile 1810–56 / profile by Stephen Johnson

he youngest son of a Saxon Besides welcoming the financial return • SCHUMANN’S VOCAL MUSIC bookseller, Robert Schumann was that published Lieder (songs) could deliver, encouraged by his father to study Schumann was also able to preserve his Schumann wrote hundreds of songs and his music. Soon after his tenth birthday in 1820, intense feelings for Clara in the richly cycles Dichterliebe, Liederkreis, Frauen-Liebe young Robert began taking piano lessons expressive medium of song. The personal und Leben and Myrthen continue to enjoy in his home town of Zwickau. Although nature of Schumann’s art even influenced pride of place in recital repertory. Schumann enrolled as a law student at his choice of certain themes, with the notes Leipzig University in 1828, music remained A–B–E–G–G enshrined as the theme of Less well-known is his one opera, Genoveva, an overriding passion and he continued to one set of piano variations in tribute to premiered in 1850 around the same time as study piano with Friedrich Wieck. his friend Countess Meta von Abegg. Wagner’s Lohengrin and similarly inspired by Germanic legend. Unfortunately, negative criticism in the press was instrumental — in the composer’s decision not to write a ‘To send light into the darkness of men’s hearts – such is the duty of the artist.’ second opera. — Robert Schumann

The early death of his father and two Schumann also developed his skills as of his three brothers influenced Schumann’s a composer of symphonies and concertos appreciation of the world’s suffering, during his years in Leipzig. intensified further by his readings of Romantic poets such as Novalis, Byron and Four years after their marriage in Hölderlin and his own experiments as poet September 1840, the Schumanns moved and playwright. Schumann composed a to Dresden where Robert completed number of songs in his youth, but it was not his C major Symphony. In the early 1850s until he fell in love with and became secretly the composer’s health and mental state engaged to the teenage Clara Wieck in seriously declined. In March 1854 he decided September 1837 that he seriously began to to enter a sanatorium near Bonn, where he exploit his song-writing gift. • died two years later. •

Composer Profile 9 Sunday 10 February 2019 In Brief / by Stephen Johnson

LSO SEASON CONCERT o concert programme could ‘Classical’ concerto style are too narrow and GARDINER’S SCHUMANN illustrate the extremes of Robert restricting for what he wants to say. And yet, Schumann’s nature better than as with Schumann at his finest, that very Schumann Overture: Manfred this. The First Symphony, subtitled ‘Spring’, struggle to find new ways to express what Beethoven Piano Concerto No 1 was written the year after his long-thwarted must be expressed is part of what makes Interval marriage to the brilliant young pianist and this music so thrilling, and so inspiring for Schumann Symphony No 1, ‘Spring’ composer Clara Wieck. It overflows with us today. • joy, tender lyricism and exquisite mercurial Sir John Eliot Gardiner conductor playfulness. At times it seems the symphonic Piotr Anderszewski piano framework is barely able to contain the swelling tide of emotions and ideas. Concert ends approx 9pm PROGRAMME CONTRIBUTORS There are few shadows here – or at least not deep ones. However the Manfred Overture, Stephen Johnson is the author of Bruckner written nearly ten years later, is perhaps the Remembered (Faber). He also contributes darkest, the most acutely telling of all musical regularly to BBC Music Magazine and The responses to Byron’s long dramatic poem Guardian, and broadcasts for BBC Radio 3, Manfred, the classic depiction in verse of the BBC Radio 4 and the BBC World Service. tortured, alienated romantic hero. Urgent, impassioned and finally desolate, it may Lindsay Kemp is a senior producer for BBC have some of the same stylistic fingerprints Radio 3, including programming lunchtime as the ‘Spring’ Symphony, but spiritually it concerts at and LSO St seems to come from another world. Luke’s; Artistic Advisor to York Early Music Festival; Artist Director of Baroque at the Between these two, aptly enough, comes Edle Festival; and a regular contributor to the composer Schumann idolised, and Gramophone magazine. who always seemed able to embrace and resolve the volcanic extremes of mood Andrew Stewart is a freelance music Schumann struggled to contain - Ludwig van journalist and writer. He is the author Beethoven. The First Piano Concerto shows of The LSO at 90, and contributes to Beethoven himself in the throes of a creative a wide variety of specialist classical spring, aware that the conventions of music publications.

10 Concert Introduction 10 February 2019 Robert Schumann Overture: Manfred Op 115 1848 / note by Stephen Johnson

n Byron’s Manfred many of the had a sister who died terribly young – in this obsessions of the Romantic age case by her own hand. Schumann was also cluster together, clothed in rich, shocked by the premature death of his close compelling dramatic verse. Manfred is an friend Mendelssohn in 1847. All of these outcast, noble yet tormented, godlike but factors may have combined to give urgency tragically flawed – ‘half-dust, half-deity’. to the music Schumann wrote to accompany What saves him ultimately is his heroic a stage production of Manfred in 1848–9. pride, leading him to defy both Heaven and THANK YOU Hell. Yet Manfred is also haunted by guilt There is fine music in Schumann’s Manfred for a sin he cannot remember. This turns out score, but the outstanding movement is the to be his incestuous love for his deceased Overture. At the beginning three thrusting TO OUR sister, Astarte, but for most of the poem it is chords register Manfred’s internal strife the namelessness of Manfred’s ‘crime’ – his with impressive economy; then plaintive unconsciousness of the source of his guilt – woodwind and strings seem to cry out for LSO GUARDIANS that makes it so poignant and intriguing. compassion. However the tempo soon accelerates and a restless allegro emerges. Schumann probably encountered Byron’s For this Overture Schumann chose an Secure the future Manfred in his 20s, but it was in 1848 that especially dark key, E-flat minor, which is Leaving a legacy to the London Symphony Orchestra acquaintance deepened into passion. His wife particularly challenging for strings, yet the is one of the most enduring gifts you can make, Clara wrote that the poem ‘inspired Robert sense of strain this creates adds to the to an extraordinary degree.’ Another friend intensity. The dramatic impetus is terrific, and ensures that future generations will have access recalled Schumann reading Manfred aloud: but at the end the Allegro peters out, leaving to the outstanding music-making of the Orchestra. ‘Suddenly his voice failed him, his eyes filled the plaintive woodwind and string figures When the time is right for you to include a gift with tears, and he was so overcome with from the slow introduction to bring the emotion that he could read no further.’ Overture to a starkly tragic conclusion – in your Will, please remember us. no hint of Manfred’s final ‘triumph’ here. • This level of identification is understandable: To find out more about Legacy Giving, or to have a discussion Both Byron and Schumann were complex, Composer Profile on Page 9 about a gift in your Will, please contact us: hypersensitive, given to emotional extremes and prone to severe depression – of which lso.co.uk/legacies | [email protected] | 020 7382 2542 a sense of inexplicable guilt is often a symptom. Also like Manfred, Schumann

Programme Notes 11 Piano Concerto No 1 Op 15 1795 / note by Lindsay Kemp

1 Allegro con Brio holding back in order to make a splash with a exuberantly robust piano writing admits • BEETHOVEN’S FIRST COMPOSITION 2 Largo batch of striking new compositions. This he the air of a new and more assertive age. 3 Rondo: Allegro duly did in 1795–96 with his Op 1 Piano Trios, Beethoven’s first published work was a set Op 2 Piano Sonatas and Op 3 String Trio. The first movement begins quietly but soon of piano variations in C minor on a theme Piotr Anderszewski piano gets into a vigorous , so that by the by Ernst Christoph Dressler, composed age On 29 March 1795 Beethoven appeared for time the piano enters the best way for it 12. The following year, Beethoven’s teacher hen Beethoven arrived in Vienna in the first time in public in a work of his own, a to make an impression is by momentarily Gottlob Neefe wrote in the Magazine of 1792, just a few weeks before his piano concerto performed at the Burgtheater occupying itself with a totally new theme. Music, ‘If he continues like this, he will be, 22nd birthday, it was to study with which was received with unanimous A formal nicety occurs in the opening without a doubt, the new Mozart.’ the world’s most famous composer, Haydn, applause. We do not know which concerto orchestral section, when the strings’ lovingly and to absorb some of the atmosphere this was – it could have been the one now shaped second theme is three times The variations use clever harmonies and hint of what was arguably the musical capital known as No 2, which had actually been curtailed, allowing the woodwind to cloud at the tempestuous character which would of the world. He first made his name as a written some time before – but since it was the music and lead it away to a new key. be a hallmark of Beethoven’s mature style. virtuoso pianist, performing in the private advertised as ‘entirely new’ and Beethoven This is typical Beethoven, surprising or even houses of the aristocracy, mostly in the form himself described No 2 as ‘not among my shocking his audiences, but how much more of improvisations so daring that one fellow best compositions’, No 1 looks more likely to pleasing the effect then becomes when this pianist conceded that he was ‘no man, he’s have been part of the grander strategy. same theme later reappears in the woodwind, a devil; he’ll play me and all of us to death’. this time in its full, untroubled form. There are accounts of him moving listeners Despite his studies with Haydn, it is to to tears one moment, and the next berating Mozart that Beethoven owes the greatest The central Largo is broadly expressive them for not being sufficiently attentive. debt in this piano concerto, and Mozart with warmth and a sense of well-being had provided the genre with its formal and that comes as much from its harmonies When it came to formal composition, expressive model during the 1780s. Yet and resourcefully varied textures (there is Beethoven was more circumspect. During while the First Piano Concerto has often a telling role for solo ) as from its the early 1790s he published few works, been likened to Mozart in the context of melodic distinction. The concerto ends with and those reluctantly. In 1794 a letter to the Beethoven’s other works, there are plenty a sparkling Rondo which mixes high-spirits publisher Simrock revealed why: ‘I had no of ways it shows its author’s hand. This is with knowing hints at the fashionable, desire to publish any variations at present, a piece with the brightness and confidence percussive ‘Turkish’ style. • Interval – 20 minutes for I wanted to wait until some more of youth, one which takes as its starting There are bars on all levels. important works of mine, which are due point the congenially militaristic - Artist Biographies on Pages 15 to 20 Visit the Barbican Shop to see our to appear very soon, had been given to the and-drum world of Mozart’s concertos in the range of Gifts and Accessories. world.’ In other words, he was deliberately same key, and with brash dynamism and

12 Programme Notes 10 February 2019

Ludwig van Beethoven in Profile 1770–1827 / profile by Andrew Stewart LEEDS PIANO FESTIVAL IN LONDON

eethoven showed early musical His public performances in 1795 were well promise and the boy pianist received, and he shrewdly negotiated a attracted the support of the contract with Artaria & Co, the largest Prince-Archbishop Maximilian Franz, music publisher in Vienna. He was soon who supported his studies with leading able to devote his time to composition or musicians at the Bonn court. By the early the performance of his own works. In 1800 1780s Beethoven had completed his Beethoven began to complain bitterly of first compositions •, all of which were deafness, but despite suffering the distress for keyboard. With the decline of his and pain of tinnitus, chronic stomach alcoholic father, Ludwig became the family ailments, liver problems and an embittered Thursday 4 April 1pm, LSO St Luke’s breadwinner as a musician at court. legal case for the guardianship of his nephew, SCHOLARS Three young pianists, hand-picked by — Lang Lang, showcase their talents. ‘Music is indeed the mediator between the spiritual and sensual life.’ Thursday 4 April 7.30pm, LSO St Luke’s — ERIC LU Ludwig van Beethoven Be one of the first to hear Eric Lu, winner of ‘The Leeds’ 2018. Encouraged by the Prince-Archbishop, he created a series of remarkable new works, Beethoven travelled to Vienna to study including the Missa Solemnis and his late Friday 5 April 7.30pm, LSO St Luke’s with . He fell out with his symphonies, string quartets and piano renowned mentor when the latter sonatas. It is thought that around 10,000 Steven Osborne explores Beethoven’s discovered Beethoven was people followed his funeral procession on final, profound piano sonatas. secretly taking lessons from 29 March 1827. Certainly, his posthumous several other teachers. reputation developed to influence successive Saturday 6 April 7.30pm, LSO St Luke’s Although Maximilian Franz generations of composers and other BARRY DOUGLAS withdrew payments for artists inspired by the heroic aspects of Barry Douglas pairs small-scale and Beethoven’s Viennese Beethoven’s character and the profound expansive works by Tchaikovsky, education, the talented humanity of his music. • Rachmaninov and Schubert. musician had already attracted support from some of the On sale now at lso.co.uk/leedsinlondon city’s wealthiest arts patrons.

Composer Profile 13 Robert Schumann Symphony No 1 in B-flat major Op 38, ‘Spring’ 1841 / note by Stephen Johnson

1 Andante un poco maestoso – At first Schumann considered giving the comes a challenge to such self-assertion original: the Scherzo returns, but quickly Allegro molto vivace First Symphony’s movements subtitles: with a dramatic full-orchestral twist to loses energy – a silence, then fragmentary 2 Larghetto ‘Spring’s Awakening’, ‘Evening’, ‘Happy D minor. The rest of the substantial slow memories of Trio I bring the music to a soft, 3 Scherzo: Molto vivace – Playmates’ and ‘Fullness of Spring’. But introduction can be seen as a struggle to teasingly inconclusive ending. The fantastic, Trio I: Molto più vivace – Scherzo – these were soon dropped – probably wisely, regain the home key and with it that initial mercurial humour of Schumann’s great solo Trio II – Scherzo – Coda as they could have provided a false trail. confidence. A hushed timpani roll piano cycles is here recreated brilliantly in 4 Allegro animato e grazioso Is the ‘Spring’ in the title simply picturesque, on a remote G-flat drops a semitone to F orchestral terms. a depiction of seasonal pleasures comparable (an effect quite new in orchestral music), n 12 September 1840, Robert to Vivaldi’s famous violin concerto? Or is and an exhilarating crescendo sweeps us Like the first movement the finale begins Schumann married the extraordinary this more a spiritual and creative spring? into the Allegro molto vivace and a much portentously, with a massively harmonised young woman with whom he’d During the 1830s Schumann had written faster version of the opening fanfare rising scale on full orchestra. But its sturdy been obsessively in love for five years. Clara, virtually nothing but solo piano music. theme: hopeful expectation is transformed bürgerlich seriousness is deflated by the née Wieck, was just 21 but she’d already Now he felt able to tackle and perfect for into energetic action. delightful chattering melody that follows. established herself as an outstanding virtuoso himself the form taken to new heights Later, rustling string tremolos and an pianist and a highly promising composer. by his idol Beethoven. The Larghetto slow movement begins ominous fanfare echo the finale of Courtship had been long and painful, not least with a tender, song-like violin melody Schubert’s then little-known ‘Great’ C major because of the bitter opposition of Clara’s One can sense his determination to make borne forward on a lightly flowing Symphony, whose manuscript Schumann father, Friedrich Wieck. Unstable and prone a grand entrance in the First Symphony’s accompaniment. Its transformation soon had discovered in Vienna in 1838. But the to alarming mood-swings, Schumann seems opening: an arresting fanfare for horns and afterwards for woodwind, solo horn and slow horn and cadenza that follows is to have kept his mental balance during this , echoed grandly by full orchestra. strings is a wonderful example of the kind pure Schumann – for a moment, it seems, a ordeal by pouring out music. Schumann spent some time agonising about of translucent orchestration Schumann’s new world of magical possibility is opened the pitches of the trumpet’s first phrase. detractors have claimed was beyond him. up. Then the flute segues effortlessly back During 1840 he produced a staggering Its rhythmic pattern on the other hand was Another fine touch follows, as the three into the main theme, which leads to a quantity of great songs, then in 1841, at last clear from the start: Schumann apparently trombones foreshadow the Scherzo theme bracing, steadily accelerating coda. • established in the marital home, Schumann derived it from a line in a poem by Adolf in hushed quasi-choral harmonies. turned his attention to orchestral projects: Böttger: ‘Im Thale blüht der Frühling auf!’ Composer Profile on Page 9 the First Symphony, the original version of (In the valley Spring blossoms forth). In the following Scherzo this becomes a Symphony No 4, the Overture, Scherzo and Böttger’s words fit the fanfare effortlessly, robust, earthy dance tune, contrasting Finale and the first movement of the Piano and Schumann’s accents on the brass parts beautifully with the two excitedly racing Concerto (originally entitled Fantasie). underline the connection. Next, however, Trio sections. The ending is particularly

14 Programme Notes 10 February 2019 Sir John Eliot Gardiner conductor

ir John Eliot Gardiner stands as Achievement Award and a Diapason d’or de 1973 and returns this season for Mozart’s an international leader in today’s l’année 2012. His many recording accolades The Marriage of Figaro. From 1983 to 1988 musical life, respected as one of include two GRAMMY awards and he has he was artistic director of Opéra de Lyon, the world’s most innovative and dynamic received more Gramophone Awards than any where he founded its new orchestra. musicians, constantly at the forefront of other living artist. enlightened interpretation. His work as Gardiner’s book, Music in the Castle of Heaven: Artistic Director of his Monteverdi Choir, Gardiner’s long relationship with the LSO A Portrait of , was and Orchestre has led to complete symphony cycles and published in October 2013 by Allen Lane, Révolutionnaire et Romantique has marked numerous recordings on LSO Live, most leading to the Prix des Muses award (Singer- him out as a central figure in the early music recently of Mendelssohn and Schumann, Polignac). In 2014 Gardiner became the first revival and a pioneer of historically informed which continues this season. Other guest ever President of the Bach-Archiv Leipzig. performance. As a regular guest of the world’s highlights this season include Sir John holds honorary doctorates from leading symphony , such as the the Symphonieorchester des Bayerischen the , New LSO, Symphonieorchester des Bayerischen Rundfunks, Royal Orchestra Conservatory of Music, the universities Rundfunks, Royal Concertgebouw Orchestra and Orchestra dell’Accademia Nazionale of Lyon, Cremona, St Andrews and King’s and Gewandhausorchester Leipzig, Gardiner di Santa Cecilia. He returned in 2016 to College, Cambridge, where he studied and conducts repertoire from the 17th to the the for semi-staged is now an Honorary Fellow; he is an Honorary 20th century. performances of Stravinsky’s Oedipus Rex, Fellow of King’s College, London and the a work he also recorded with the LSO and British Academy, and an Honorary Member of The extent of Gardiner’s repertoire is Monteverdi Choir. the , who awarded illustrated in the catalogue of award- him their prestigious Bach Prize in 2008. winning recordings with his own ensembles Gardiner and the Monteverdi Choir and He became the inaugural Christoph Wolff and leading orchestras including the Vienna Orchestras perform regularly at the world’s Distinguished Visiting Scholar at Harvard Philharmonic on major labels (including major venues and festivals, including University in 2014/15 and was awarded Decca, Philips, Erato and 30 recordings Salzburg, Berlin and Lucerne Festivals, the Concertgebouw Prize in January 2016. for ). Since 2005 Lincoln Center and the BBC Proms, where Gardiner was made Chevalier de la Légion the Monteverdi Choir and Orchestras have Gardiner has performed over 60 times since d’honneur in 2011 and was given the Order of recorded on their independent label, Soli his debut in 1968. Gardiner has conducted Merit of the Federal Republic of Germany in Deo , established to release the live opera at the Wiener Staatsoper, Teatro alla 2005. In the UK, he was made a Commander recordings made during Gardiner’s Bach Scala, , Opéra National de Paris and of the British Empire in 1990 and awarded Pilgrimage in 2000, for which Royal Opera House, Covent Garden, where he a knighthood for his services to music in he received Gramophone’s 2011 Special has appeared regularly since his debut in the 1998 Queen’s Birthday Honours List. •

Artist Biographies 15 Sir John Eliot Gardiner on Robert Schumann

SCHUMANN, THE SYMPHONIST

chumann had huge ambitions for his symphonies and his big choral works. But there has been this thick web of misunderstanding surrounding him, which started with Richard Wagner, who didn’t rate Schumann and felt that Schumann didn’t know how to orchestrate. But that’s a complete nonsense.

I think Schumann learned his craft in cahoots with Mendelssohn. They both lived in Leipzig, and Mendelssohn conducted the first performance of Schumann’s ‘Spring’ Symphony, among other works. Although Schumann is a different beast, there are ‘fingerprints’ of Mendelssohn in his orchestration.

In the past, conductors like Mahler decided Schumann wasn’t so good at orchestration, and they decided to retouch his writing. But I don’t feel it’s in the least necessary. In these concerts Sir John Eliot Gardiner continues his Schumann cycle with the LSO, which Schumann’s orchestration is incredibly launched in 2018 at the Barbican and on tour in Germany. In an excerpt from a conversation transparent, and revealing of his personality and his turbulence. For that you have to with David Nice, he introduces us to Robert Schumann’s orchestral music, and we hear from be incredibly alert to the mood changes. some of the LSO’s musicians about their own favourite works by the composer. You hear beautiful melodies, but there’s a subterranean effort below the surface, there’s subversion.

16 Sir John Eliot Gardiner on Schumann 7 & 10 February 2019 — MUSICAL LANGUAGE ‘He’s trying his utmost to make his case for abstract music on a symphonic • ORCHESTRA’S CHOICE It’s very vocal. What I find hugely helpful canvas, to be the equivalent of poetry, to be the equivalent of the novel.’ when interpreting the Schumann symphonies Jennifer Brown cello — with a modern orchestra is to get the orchestra to speak it. This abstract music ‘The Schumann piece I love best by far I think it’s a question of the approach of an STANDING TO PLAY needs to be spoken and delivered as if it is is his Konzertstück for four solo horns orchestra and the approach of a conductor. oratory, as rhetoric, as song. and orchestra, Op 86. Technically very If they allow themselves to be influenced Without chairs the strings can stand closer challenging for the four horns but also by the late 19th-century, opulent concept of together – they can hear each other and The vowels need to be legato and smooth, full of gorgeous lyrical phrases.’ Schumann, to my mind they’re missing the the sight-lines are better. They can play the consonants need to be triggered like point. Schumann is one of the successors to like soloists. Chamber orchestras have percussive edges. If the woodwind use Stephen Doman viola Beethoven: he’s trying his utmost to make been standing to play for yonks – and it that with their embouchure, and if the his case for abstract music on a symphonic gives extra energy. With Schumann it’s strings use it with their bowing articulation, ‘The Piano Quartet. I feel there is more canvas, to be the equivalent of poetry, to important – his sound palette is so full of you’re three-quarters of the way through depth of emotion in it than in the more be the equivalent of the novel. I think he light and shade, tension, suffering and pain. in uncovering his musical language. • familiar Piano Quintet. As a student, succeeds triumphantly. this was one of my first experiences of Schumann is the par-excellence Romantic playing chamber music at a high level, composer, and his musical language is an experience and a piece that I will THE COMPOSER’S OWN REVISIONS elusive. It doesn’t obviously come from never forget.’ Beethoven, or Mozart or Haydn, it’s really By his own admission, Schumann was unique. So the standing isn’t the main Maxine Kwok-Adams violin a lesser conductor [than Mendelssohn]. thing. The main thing is coming to terms When he took his symphonies to Düsseldorf with Schumann’s musical language, ‘My first encounter with his symphonic to conduct them himself in the 1850s, which is very tricky. repertoire was when I received the he tended to double-up instruments in Scherzo from Symphony No 2 as the winds as a belt-and-braces approach. an audition excerpt. In concert, the It means the second version of the D minor excitement of a section of players flying Symphony (No 4) is very imposing, but through the semiquavers like the devil doesn’t have the transparency, the elegance was on our heels elevated Schumann for or the fire of the original, the 1841 version. me to a completely different level.’

Sir John Eliot Gardiner on Schumann 17 Isabelle Faust violin

sabelle Faust dives deep into She is deeply committed to the performance COMING UP every piece of music that she of contemporary music, and is currently ISABELLE FAUST plays, considering the musical and preparing premieres by Péter Eötvös, Ondřej historical context, and using historically Adámek, Marco Stroppa, and Thursday 14 & 21 March 7.30pm appropriate instruments to achieve the for the forthcoming seasons. Barbican most authentic performance possible. Her repertoire ranges from Heinrich Biber Isabelle Faust’s extensive discography Dvořák Violin Concerto to . includes many critically acclaimed Interval recordings, and she has been awarded the Mahler Symphony No 4 After winning the renowned Leopold Mozart Diapason d’Or, , Gramophone Competition and the Paganini Competition Award, Choc de l’année and other prizes. conductor at an early age, she began giving regular Her most recent recordings include Mozart’s Isabelle Faust violin guest performances with the world’s major violin concertos with Il Giardino Armonico Anna Lucia Richter soprano orchestras, including the Berlin Philharmonic under the direction of , Orchestra, Boston Symphony Orchestra, and Freiburg under the lso.co.uk/whatson NHK Symphony Orchestra Tokyo, Chamber direction of Pablo Heras-Casado. Other 020 7638 8891 Orchestra of Europe and Freiburg Baroque popular recordings include sonatas and Orchestra. She has worked closely with scores for violin solo by J S Bach, as well leading conductors, including Claudio as violin concertos by Beethoven and Berg Abbado, Giovanni Antonini, Frans Brüggen, under the direction of . Sir John Eliot Gardiner, Bernard Haitink, , Philippe Herreweghe, A committed chamber musician, Isabelle Andris Nelsons and Robin Ticciati. Faust has a long-standing collaboration with the pianist Alexander Melnikov. Together Isabelle Faust’s repertoire embraces a they have recorded all of Beethoven’s Violin broad range of eras and styles. In addition Sonatas, among other works. to concerto appearances, projects have included a performance of Schubert’s Octet Isabelle Faust is Artist-in-Residence at Kölner with historical instruments, György Kurtág’s Philharmonie during the 2018/19 season. • Kafka Fragments with soprano , and Igor Stravinsky’s The Soldier’s Tale with the actor Dominique Horwitz.

18 Artist Biographies 7 & 10 February 2019 Kristian Bezuidenhout fortepiano

ristian Bezuidenhout is one of He has performed with celebrated artists and Orchestre de Paris. Solo recitals and today’s most notable and exciting including Sir John Eliot Gardiner, Philippe chamber music concerts with , keyboard artists, equally at home Herreweghe, Frans Brüggen, , Sol Gabetta and the Chiaroscuro Quartet on the fortepiano, and modern Giovanni Antonini, Jean-Guihen Queyras, take him to Paris, Amsterdam, Madrid, piano. Born in South Africa in 1979, he began Isabelle Faust, Alina Ibragimova, Rachel Vienna, New York, Washington DC, Montreal, his studies in Australia, completing them at Podger, , Anne Sofie von Vancouver, Zurich and Oxford this season. • New York’s Eastman School of Music, and Otter, Mark Padmore and . now lives in London. After initial training as a pianist with Rebecca Penneys he explored Kristian’s rich and award-winning early keyboards, studying harpsichord with discography on Harmonia Mundi includes Arthur Haas, fortepiano with Malcolm Bilson, Mozart’s complete keyboard music (for which and continuo playing and performance he was awarded the Diapason d’Or and the practice with Paul O’Dette. Kristian first Preis der Deutschen Schallplattenkritik); gained international recognition at the Mozart’s Violin Sonatas with Petra Müllejans; age of 21, after winning first prize and the Mendelssohn and Mozart’s Piano Concertos audience prize in the prestigious Bruges with the Freiburg Baroque Orchestra (ECHO Fortepiano Competition. Klassik); Lieder by Beethoven and Mozart, and Schumann’s Dichterliebe with Mark Kristian is an Artistic Director of the Freiburg Padmore. In 2013 he was nominated as Baroque Orchestra and Principal Guest Gramophone’s Artist of the Year, and recent Director with . He appears releases include Schubert’s Winterreise regularly with the world’s leading ensembles, with Mark Padmore, and Bach’s Sonatas for including Les Arts Florissants, the Orchestra Violin and Harpsichord with Isabelle Faust. of the Age of Enlightenment, Orchestre des Champs-Elysées, Royal Concertgebouw In the 2018/19 season, Kristian play-directs Orchestra, Chicago Symphony Orchestra and programmes with the Scottish Chamber Leipzig Gewandhaus; and has guest-directed Orchestra, Irish Baroque Orchestra, Freiburg (from the keyboard) the Orchestra of the Baroque Orchestra and the English Concert. Eighteenth Century, Tafelmusik, Collegium As a soloist he performs with the Cleveland Vocale, Juilliard 415, Kammerakademie Orchestra, Swedish Chamber Orchestra, Potsdam and the Dunedin Consort. Deutsches-Sinfonie Orchester Berlin

Artist Biographies 19 Piotr Anderszewski piano

iotr Anderszewski is regarded as Piotr Anderszewski has been an exclusive relationship with Beethoven’s iconic work. one of the outstanding musicians artist with Warner Classics/Erato (previously Unquiet Traveller (2008) is an unusual of his generation. He appears Virgin Classics) since 2000. His first recording artist portrait, capturing Anderszewski’s regularly in recital at concert halls including for the label was of Beethoven’s ‘Diabelli’ reflections on music, performance and his the Wiener Konzerthaus, Berlin Philharmonie, Variations, which went on to receive a Polish-Hungarian roots. Wigmore Hall, Carnegie Hall, Théâtre des number of prizes. He has also recorded Champs-Élysées and the Concertgebouw Grammy-nominated discs of Bach’s Partitas In 2016 Anderszewski got behind the camera Amsterdam. His collaborations with 1, 3 and 6 and Szymanowski’s solo piano himself to explore his relationship with his orchestras have included appearances with works, the latter also receiving a Gramophone native , creating a film entitled the Berlin Philharmonic, Berlin Staatskapelle award in 2006. His recording devoted to Je m’appelle Varsovie (My name is Warsaw). • and the NHK Symphony Orchestra. He also works by Robert Schumann received BBC play-directs, working with orchestras such Music Magazine’s Recording of the Year as the Scottish Chamber Orchestra, Chamber award in 2012, and his Bach: Orchestra of Europe and Camerata Salzburg. won a Gramophone and ECHO Klassik in 2015. His most recent recording of two late Mozart In the 2018/19 season Anderszewski concertos with the Chamber Orchestra of appears with the Leipzig Gewandhaus Europe was released in January 2018. Orchestra, Yomiuri Nippon Symphony Orchestra and , Recognised for the intensity and originality among others. His recitals in Europe include of his interpretations, Piotr Anderszewski the Berlin Philharmonie, Lucerne Music has been a recipient of the Gilmore award, Festival, Wiener Konzerthaus and Munich the Szymanowski Prize and a Royal Herkulessaal. After this concert, he will Philharmonic Society award. He has also embark on a recital tour of the US, with other been the subject of several documentaries projects including a residency in Lisbon with by the film maker Bruno Monsaingeon. the Gulbenkian Orchestra and a European Piotr Anderszewski plays Diabelli Variations tour with the Belcea String Quartet. (2001) explores Anderszewski’s particular

20 Artist Biographies 7 & 10 February 2019 London Symphony Orchestra on stage

Leader Violas Horns Timpani LSO String Experience Scheme Carmine Lauri Edward Vanderspar Gareth Davies Martin van de Merwe Antoine Bedewi Since 1992, the LSO String Experience Gillianne Haddow Julian Sperry Angela Barnes Scheme has enabled young string players First Violins Anna Bastow James Pillai Percussion from the London music conservatoires at Clare Duckworth Stephen Doman Stephen Craigen Tom Edwards* the start of their professional careers to gain Ginette Decuyper Robert Turner Olivier Stankiewicz Fabian van de Geest work experience by playing in rehearsals Gerald Gregory May Dolan Juliana Koch *10 February only and concerts with the LSO. The musicians William Melvin Alistair Scahill Rosie Jenkins Trumpets are treated as professional ‘extra’ players Elizabeth Pigram Martin Schaefer Chris Dicken (additional to LSO members) and receive fees Laurent Quenelle Niall Keatley for their work in line with LSO section players. Harriet Rayfield Cellos Andrew Marriner Toby Street* Sylvain Vasseur Tim Hugh Chris Richards The Scheme is supported by: Rhys Watkins Alastair Blayden Chi-Yu Mo Trombones The Polonsky Foundation Morane Cohen- Noel Bradshaw Rebecca Smith Barbara Whatmore Charitable Trust Lamberger Daniel Gardner James Maynard Derek Hill Foundation Gabrielle Painter Hilary Jones Rachel Gough Angus Allnatt Charitable Foundation Amanda Truelove Daniel Jemison Bass Trombone Rob Stafford Second Violins Joost Bosdijk Paul Milner Lord and Lady Lurgan Trust David Alberman Double Basses Miya Väisänen Graham Mitchell Matthew Gardner Colin Paris Editor Julian Gil Rodriguez Patrick Laurence Fiona Dinsdale | [email protected] Iwona Muszynska Matthew Gibson Editorial Photography Csilla Pogany Thomas Goodman Ranald Mackechnie, Chris Wahlberg, Paul Robson Harald Hoffmann, Marco Borggreve, Detlev Lucy Jeal Schneider, Janice Carissa, Sim Canetty-Clarke, Greta Mutlu Marie-Gabrielle de Saint Venant Erzsebet Racz Print Cantate 020 3651 1690 Advertising Cabbells Ltd 020 3603 7937

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