Thursday 28 November 2019 7.30–9.55pm Barbican
LSO SEASON CONCERT TCHAIKOVSKY FIFTH SYMPHONY
Rimsky-Korsakov The Legend of the TCHAIKOVSKY Invisible City of Kitezh – Suite Bruch Violin Concerto No 1 Interval Tchaikovsky Symphony No 5
Gianandrea Noseda conductor Janine Jansen violin
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for the Orchestra’s label LSO Live, which LSO STRING EXPERIENCE SCHEME SIX THINGS YOU SHOULD KNOW ABOUT this year celebrates its 20th anniversary. BARTÓK’S THE MIRACULOUS MANDARIN Thank you to our media partner Classic FM, We are delighted to announce the which has recommended tonight’s concert appointment of 14 players to this year’s Amid the political turbulence of early 20th- to its listeners. LSO String Experience cohort. Since 1992, century Hungary, Bartók began writing his the scheme has enabled young string players pantomime-ballet. Discover more about this Gianandrea Noseda returns to the Barbican from London’s music conservatoires to gain previously censored work ahead of the LSO’s stage with the Orchestra next week, joined work experience by playing in rehearsals and performance on Thursday 19 December. by soloist Khatia Buniatishvili. As we concerts with the LSO. The first rehearsal continue into December, we also look patch begins on Tuesday 10 December, and ELGAR’S CELLO CONCERTO: ahead to our annual Choral Christmas the young players will perform with the 100 YEAR ANNIVERSARY warm welcome to this evening’s concert, featuring the LSO’s massed choirs, Orchestra at concerts throughout 2020. LSO concert with Principal Guest and a performance of Baroque music from On 27 October 1919, the LSO performed the Conductor Gianandrea Noseda. the LSO Chamber Orchestra and specialist WELCOME TO TONIGHT’S GROUPS world premiere of one of the most popular We are delighted to be joined by soloist conductor Emmanuelle Haïm, both on works in the repertoire: Elgar’s Cello Concerto. Janine Jansen – with whom the Orchestra 15 December. I hope that you enjoy tonight’s Bancroft’s School One hundred years later, we take a look at has enjoyed a long relationship, from her performance and that you are able to join Guildford U3A the history of this piece, its current popularity, debut in 2006 to her Artist Portrait in 2017 us again soon. LSO Create Monday Club and how this wasn’t always the case … – to perform Bruch’s First Violin Concerto. LSO String Experience Scheme A tour to Germany with Janine Jansen, AUTUMN’S CLASSIC FM for which she was ‘curating artist’, was a RECOMMENDED CONCERTS highlight of the LSO’s summer schedule, and we look forward to her joining us once At the LSO, we are proud to have been again as the Orchestra returns to Germany Kathryn McDowell CBE DL Classic FM’s Orchestra in the City of London in just a few days’ time. Managing Director for over 17 years. Each season, a selection of our concerts come recommended by Classic Gianandrea Noseda continues his exploration FM. Don’t miss our round-up of autumn’s of music by Russian composers tonight, Classic FM recommended concerts and a look taking us from the mythical story of Rimsky- at where the music sits in the LSO’s history. Korsakov’s The Legend of the Invisible City of Please ensure all phones are switched off. Kitezh to the drama of Tchaikovsky’s Fifth Photography and audio/video recording are • lso.co.uk/more/blog Symphony. The performance will be recorded not permitted during the performance. • classicfm.com
2 Welcome 28 November 2019 Tonight’s Concert In Brief Coming Up
onight’s programme begins and movements. Intense and dramatic at the Sunday 15 December 3pm Thursday 9 January 7.30pm ends with Russian music of the outset, through the course of the symphony Barbican Barbican 19th and 20th centuries, opening darkness gives way to light, the theme with Rimsky-Korsakov’s Suite from The transforming from funereal to triumphant, A CHORAL CHRISTMAS MENDELSSOHN VIOLIN CONCERTO Legend of the Invisible City of Kitezh. Based and drawing to a close with a tangible sense on Russian legends of St Fevroniya of of optimism. • Sing your festive favourites with the LSO Wagner Overture and Venusberg Murom and the city of Kitezh, the opera Brass Ensemble and a 300-strong choir. Music from ‘Tannhäuser’ was first premiered in St Petersburg in 1907 Mendelssohn Violin Concerto and has gained a reputation as being one of PROGRAMME NOTE WRITERS Simon Halsey conductor Brahms Symphony No 1 Rimsky-Korsakov’s finest, using a glittering London Symphony Chorus orchestral palette to paint a picture of a David Nice writes, lectures and broadcasts LSO Community Choir Nathalie Stutzmann conductor Russian forest steeped in mystery. on music, notably for BBC Radio 3 and LSO Discovery Choirs Alina Ibragimova violin BBC Music Magazine. His books include LSO Brass Ensemble Bruch’s Violin Concerto No 1 follows, short studies of Richard Strauss, Elgar, 6pm Barbican undoubtedly the most popular of the Tchaikovsky and Stravinsky, and a Prokofiev Thursday 19 December 7.30pm LSO Platforms: Guildhall Artists composer’s three violin concertos and a biography, From Russia to the West 1891–1935. Barbican Free pre-concert recital stalwart of the solo repertoire for violinists. The writing for solo violin is nostalgic Wendy Thompson is Executive Director ELGAR CELLO CONCERTO and melodious, particularly in the Adagio of Classic Arts Productions, a major second movement, dotted with seemingly supplier of independent programmes to Sophya Polevaya Spellbound Tableaux effortless intricate passages. A buoyant BBC Radio 3, including Private Passions (world premiere)* and exhilarating Hungarian dance forms and Classical Collection. Elgar Cello Concerto the final movement, bringing the concerto Bartók The Miraculous Mandarin to a surprisingly joyful end compared to Andrew Stewart is a freelance music its distant and creeping beginning. journalist and writer. He is the author François-Xavier Roth conductor of The LSO at 90, and contributes to Alisa Weilerstein cello Tchaikovsky’s monumental Fifth Symphony a wide variety of specialist classical London Symphony Chorus finishes tonight’s concert. Composed in music publications. Simon Halsey chorus director 1888 and conducted by Tchaikovsky for its November premiere that year, the symphony Andrew Huth is a musician, writer and *Commissioned through the Panufnik Composers makes use of a recurring main ‘Fate translator who writes extensively on French, Scheme, generously supported by Lady Hamlyn theme’ to bring together the work’s four Russian and Eastern European music. and The Helen Hamlyn Trust
Tonight’s Concert 3 Nikolai Rimsky-Korsakov The Legend of the Invisible City of Kitezh – Suite 1905 / note by David Nice
1 Prelude (Forest Scene) even more intense, and in The Legend of mate, who turns out to be Prince Vsevolod • ON APPLE MUSIC 2 Bridal Procession and Tatar Attack – the Invisible City of Kitezh and the Maiden (tenor), son of the ruler of Kitezh. Their 3 Battle of Kerzhenets Fevroniya, to give his penultimate work wedding procession in Act Two is celebrated 4 Apotheosis of Fevroniya; for the stage its full title, he managed to with brilliant orchestral colours (a celebrated Ascent to the Invisible City combine his nature worship with a dash of conductor of a balalaika orchestra reproached Christianity in the character of the saintly Rimsky-Korsakov for not including those imsky-Korsakov’s love of nature heroine and the legend of a city that vanishes instruments in his orchestra, but the and his respect for the pantheism as a defence against its enemy. This was string emulation of them is impressive). of pagan Russia went hand in a powerful symbol of cultural survival in Cheerfulness is short-lived; the drunken hand, and they had their roots in two key the face of domination by a corrupt and scoundrel Grishka gives the signal for Tatars events of the late 1870s. In 1876 he made ineffectual regime. to invade the city, and Vsevolod is killed. his own collection of Russian folk-songs, We move without a break to the highly rejecting the more recent anthologies of After many years of conflict with the effective ostinatos of the battle in Act musical colleagues in favour of specimens Imperial Theatres and compromises with the Three, surely an inspiration to Prokofiev which went back to the ceremonies and second-best efforts of independent Russian in his music for Eisenstein’s filmAlexander games of ancient custom. ‘The pictures companies, the composer was anxious to Nevsky 30 years later. of the ancient pagan period and spirit ensure that his deepest operatic myth Gianandrea Noseda Curates: Russian Roots loomed before me, as it then seemed, with should be presented at the highest level. Fevroniya’s prayers have made Kitezh great clarity, luring me on with the charm The Mariinsky Theatre played host to the invisible; only its reflection remains in the You can enjoy our Principal Guest Conductor’s of antiquity’, he later wrote in his candid first performance in February 1907, and lake, and the missing city plays a crucial Russian Roots selection playing on Apple autobiography My Musical Life. among the opera’s many admirers the part in putting the Tatars to flight. Rimsky- Music now. Hear Russian masterpieces and young Sergei Prokofiev went to see the Korsakov produced his most profound music highlights from his own curation of Russian His enthusiasm bore its first fruit four opera four times. It was the last to be as Fevroniya, approaching death, ‘recalls repertoire. Find out more online or tune in years later, when he turned back to the staged in Rimsky-Korsakov’s lifetime. and is solicitous about her implacable to Apple Music’s Classical Radio station to ‘marvellous poetic beauty’ of Nikolai foe and destroyer of Kitezh the Great’. hear his full set of choices. Ostrovsky’s ‘spring fairytale’ The Snow The Suite effectively balances poetry and Her transfiguration is remarkable for the Maiden and decided to set it to music. action. First, we meet Fevroniya deep in translucency of the scoring and the note of • applemusic.com/lso The beauty of the Russian countryside the contemplation of natural beauties. A autumnal poignancy, prefiguring late Strauss. led him to ‘pray to nature’, in the details minor-key homage to the forest murmurs It is only in the final bars, in which the spirits of which ‘I saw something peculiar and and birdsong of Wagner’s Siegfried fringes a of Fevroniya and Vsevolod depart for the supernatural’. Two decades and ten operas proud and beautiful Russian melody. In the paradisical city of Kitezh, that the composer after that, his feelings were, if anything, forest, Fevroniya (soprano) meets her soul- resumes a childlike sense of wonder. •
4 Programme Notes 28 November 2019 Nikolai Rimsky-Korsakov The Legend of the Invisible City of Kitezh – Suite 1905 / note by David Nice Nikolai Rimsky-Korsakov in Profile 1844–1908
After graduating in 1862, Rimsky-Korsakov joined the crew of the clipper Almaz and sailed on a voyage that lasted until the summer of 1865. On his return to St Petersburg, Balakirev encouraged him to BEETHOVEN 250 complete the sketches he had made for his WITH SIR SIMON RATTLE First Symphony. Composition increasingly occupied Rimsky-Korsakov’s time, and in 1871 he became a professor of composition Wednesday 15 January 6.30pm Sunday 19 January 7pm at the St Petersburg Conservatory. & Thursday 13 February 7.30pm HALF SIX FIX He remained on the staff for the rest of Berg Seven Early Songs Berg Violin Concerto his life, with a brief absence in 1905 when Beethoven Symphony No 7 Beethoven Christ on the Mount of Olives he was censured for supporting students involved in the rebellion of that year. Dorothea Röschmann soprano Lisa Batiashvili violin His pupils included Liadov, Glazunov, Tcherepnin, Miaskovsky and Stravinsky. Thursday 16 January 7.30pm Wednesday 12 February 6.30pm
lthough music played an important Exotic melodies and orchestrations Berg Passacaglia; Seven Early Songs; HALF SIX FIX part in the early life of Rimsky- became a hallmark of Rimsky-Korsakov’s Three Pieces for Orchestra Beethoven Symphony No 9, ‘Choral’ Korsakov, he followed family mature compositions, powerfully so Beethoven Symphony No 7 tradition and enrolled as a student at the in works such as the symphonic suite Sunday 16 February 7pm College of Naval Cadets in St Petersburg in Scheherazade, the operas Mlada, Tsar Dorothea Röschmann soprano 1856. He continued to take piano lessons, Saltan and The Golden Cockerel, and the final Berg Lulu – Suite however, and was introduced to the influential version of his symphonic poem Sadko. • Sunday 19 January 10am–5pm Beethoven Symphony No 9, ‘Choral’ composer Balakirev and such outstanding Barbican & LSO St Luke’s young musicians as Cui and Mussorgsky. Profile by Andrew Stewart Iwona Sobotka soprano DISCOVERY DAY: BEETHOVEN Anna Stéphany mezzo-soprano Robert Murray tenor An open rehearsal with Sir Simon Rattle, Florian Boesch baritone followed by a talk and chamber music. London Symphony Chorus
Part of Beethoven 250 at the Barbican lso.co.uk/btvn250 Composer Profile 5 Max Bruch Violin Concerto No 1 in G minor Op 26 1869 / note by Wendy Thompson
1 Vorspiel – Allegro moderato The opening movement of the Bruch must Finally, in response to the orchestra’s his violin concerto nearly a decade later, he 2 Adagio have posed problems for contemporary insistent demands, the soloist makes a also recognised the virtue of a simple, lyrical 3 Finale – Allegro energico listeners. Traditionally, a 19th-century positive statement – a serene, full-blown central movement, eventually settling on concerto begins with an expansive first melody in dialogue with the orchestra. the song-like Canzonetta. Janine Jansen violin movement, usually incorporating a virtuosic But the underlying orchestral restlessness cadenza, giving the soloist a chance to settle returns to haunt the movement, with the But it is the exhilarating, gypsy-style rondo he first – and by far the best- into a prolonged and satisfying battle with the soloist desperately trying to control the Finale – a clear homage to its dedicatee’s known – of Max Bruch’s three orchestra and to emerge with flying colours. situation with a sequence of ever-blossoming Hungarian origins – which finally allows the violin concertos was written for the and more agitated embellishment. soloist joyous, uninhibited rein. Brahms Hungarian virtuoso Joseph Joachim, whose coveted this style so much that when, ten charismatic playing inspired similar works — years later, he came to write the finale of from Schumann and Brahms. In 1868 Joachim Subtly supported by the orchestra, the violin simply unfolds one of his own violin concerto for Joachim, he became director of the newly-formed Music borrowed the same effect, so admirably Academy in Berlin, where Bruch was a the most glorious sustained melodies ever written. suited to the instrument. And though professor, and the next year Bruch wrote the — Brahms’ colossal masterpiece has tended G minor Concerto for his famous colleague. to overshadow the more modest, but The first movement of Bruch’s concerto But resolution proves unattainable, and perhaps more innovative work by Bruch, Although Bruch’s concerto has largely affords the soloist no such opportunity. towards the end the material of the opening a spate of recordings by major violinists sustained his posthumous reputation, it It opens not with a bold flourish, but with a recitative returns. The anguished question has happily restored this underrated gem suffered for a long time from the musical fearful, pianissimo tremolo on the timpani of the orchestra remains unanswered, to its rightful place in the repertory. • snobbery which declared it ‘too easy to be and a plaintive, questioning statement and instead sinks gently down through great’. Some of the greatest concertos – on wind instruments, to which the soloist a transitional passage onto a despairing particularly the Brahms and the Tchaikovsky replies with an unaccompanied passage sustained B-flat, which magically melts – were initially damned as hopelessly of recitative, earnest and eloquent, but into the E-flat radiance of the Adagio. unviolinistic (usually because their dedicatees far from consolatory. The orchestra’s found they couldn’t play them), and only next question coaxes a similar response, Here questions and answers are redundant. later hailed as masterpieces. The two whereupon the question is asked a third Subtly supported by the orchestra, the exceptions were the Mendelssohn and the time. This time a more forceful and violin simply unfolds one of the most Interval – 20 minutes Bruch G minor. Both lie brilliantly under the expansive – but still inconclusive – glorious sustained melodies ever written, There are bars on all levels. fingers, so that technical difficulties such as response is forthcoming, stated over a exploiting its most luscious timbres to the Visit the Barbican Shop to see our rapid passage-work or double-stopping can muted, restless orchestral background. full. Mendelssohn’s concerto was an obvious range of Gifts and Accessories. be accomplished with relative ease. model, and when Tchaikovsky came to write
6 Programme Notes 28 November 2019 Max Bruch in Profile 1838–1920 / profile by Andrew Stewart
Rache, was produced in Cologne in 1858 VIOLINSTRING & CELLO CONCERTOS and for the next three years he worked IN THE 2019/20 SEASON there as a music teacher. After moving to Mannheim in 1862 he met the poet Geibel FLING and collaborated with him on the three-act opera, Die Lorelei.
Bruch’s First (and best-known) Violin ELGAR CELLO CONCERTO LIGETI VIOLIN CONCERTO Concerto received its premiere in the German with Alisa Weilerstein with Patricia Kopatchinskaja city of Koblenz in 1866, where he served 19 December 2019 26 April 2020 from 1865 to 1867 as Music Director. During one of his journeys to Britain, the composer MENDELSSOHN VIOLIN CONCERTO BEETHOVEN VIOLIN CONCERTO discovered a copy of James Johnson and with Alina Ibragimova with Anne-Sophie Mutter Robert Burns’ folk anthology The Scots 9 January 2020 28 May 2020 Musical Museum. Its tunes offered Bruch a wealth of ideas that he filtered into his own DVOŘÁK VIOLIN CONCERTO Plus Mozart, Stravinsky & more musical language. After a period as freelance with Gil Shaham lso.co.uk/201920 composer in Berlin, Bruch succeeded Julius 12 March 2020 Benedict as conductor of the Liverpool oung Max Bruch was introduced Philharmonic Society (1880–83) and BRITTEN VIOLIN CONCERTO to the rudiments of music by his thereafter became conductor of the Breslau with Vilde Frang mother, a professional soprano Orchesterverein until 1890. He accepted 15 March 2020 and music teacher. His early lessons were a professorship at the Berlin Academy in supplemented by studies in music theory 1890 and taught composition there until he ELGAR VIOLIN CONCERTO with a respected teacher in Bonn, which retired in 1910. with Nikolaj Szeps-Znaider enabled the eleven-year-old Bruch to 29 March 2020 compose an orchestral overture and chamber Bruch’s secular choral works, such as works. In 1852 he received a scholarship Frithjof, the epic Odysseus and Das Lied from the Mozart Foundation in Frankfurt to von der Glocke, enjoyed considerable support studies in composition and theory popularity during his lifetime, although with Ferdinand Hiller and piano lessons in today he is best known as a composer of Cologne. His first opera,Scherz, List und works for violin and orchestra. •
Composer Profile 7 Pyotr Ilyich Tchaikovsky Symphony No 5 in E minor Op 64 1888 / note by Andrew Huth
1 Andante – Allegro con anima dedicated his next symphony. On his return The concert was also a success. Best of ominous, perhaps an expression of the 2 Andantino cantabile, con alcuna licenza to Russia he sketched it in May and June of all – I have stopped disliking the symphony. composer’s own thwarted search for love. 3 Valse: Allegro moderato 1888, completing the score in October. I love it again.’ Unfortunately, we don’t know 4 Finale: Andante maestoso – Allegro vivace the dedicatee’s opinion: old Avé-Lallemant THIRD MOVEMENT The Fifth Symphony has everything that was too ill to come to the concert. The third movement is a waltz, subtly en years separate Tchaikovsky’s listeners to his music value: clarity of referring back to a passage in the first Fourth and Fifth Symphonies, so ideas, a sensuous feeling for colour, and a FIRST MOVEMENT movement and reminding us that it is hardly surprising that they powerful directness of effect. There is little The overall mood of each of Tchaikovsky’s Tchaikovsky’s next major work would be are very different in character. By the end of of the traditional German fondness for close symphonies is established immediately his ballet The Sleeping Beauty, with its the decade 1878–88, Tchaikovsky’s personal motivic relationships, but the melancholy at the beginning. Here the low clarinet inexhaustible wealth of dance movements. life had become far more stable and his and nostalgia that is so much a part of and strings present a motto theme that public career had expanded into Western Tchaikovsky’s character is set within a firm recurs throughout the symphony. Among FINALE Europe. He responded enthusiastically to Classical structure that balances inward Tchaikovsky’s sketches there is a scribbled The first three movements all open quietly; new impressions, at the same time thinking doubt against outward strength. note that gives some idea of what was in his the waltz is the first to end loudly, after a deeply about his own approach to balancing mind: ‘Introduction. Complete submission subdued appearance of the motto theme. Russian and Western styles. Tchaikovsky conducted the first performance before Fate – or (what is the same thing) the This theme, now firm and confident in the on 17 November 1888 in St Petersburg, then inscrutable design of Providence. Allegro: 1 major mode, provides the long introduction In 1887 he found himself in Hamburg, after giving further performances in Russia Murmurs, doubts, laments … 2 Shall I cast to the finale. The main body of the where he was approached by an elderly he introduced it to Germany in Hamburg. myself into the embrace of faith?’ The music movement is a vigorous, at times hectic musician called Theodor Avé-Lallemant. He found the next room in his hotel was tells us that Tchaikovsky’s idea of Fate is not Russian dance full of rough high spirits. As Tchaikovsky recounted with a mixture occupied by Johannes Brahms, who had the grim power that dominates the Fourth of affection and amusement, the old prolonged his stay to hear the rehearsal Symphony but something less hostile, The motto theme is eventually absorbed into man frankly confessed that he didn’t like and who ‘was very kind. We had lunch holding the possibility also of happiness. its course and dominates the coda, where it Tchaikovsky’s music, and ‘exhorted me together after the rehearsal, and quite a becomes exultant – or rather, shows a desire almost tearfully to leave Russia and settle few drinks. He is very sympathetic and I like SECOND MOVEMENT to be exultant, which is not quite the same permanently in Germany, where Classical his honesty and open-mindedness. Neither The central movements both relate to the thing, for there is something fragile even in traditions … would free me from my he nor the players liked the Finale, which I varying moods of the first. The horn theme Tchaikovsky’s most positive statements. • shortcomings’. Such a move would have been also think rather horrible.’ A few days later, of the slow movement, after the sombre unthinkable. Tchaikovsky always felt himself though, Tchaikovsky wrote to his brother, introductory string chords, is obviously a intensely Russian and was usually homesick ‘The players by degrees came to appreciate love song, and highlights Tchaikovsky’s when abroad; but it was, surprisingly, to the the symphony more and more, and at outstanding sense of orchestral colour. obscure and ancient Avé-Lallemant that he the last rehearsal gave me an ovation. The appearances of the motto theme are
8 Programme Notes 28 November 2019 Pyotr Ilyich Tchaikovsky in Profile 1840–93 / profile by Andrew Huth LATEST RELEASES ON LSO LIVE
chaikovsky was born in Kamsko- Tchaikovsky’s hasty decision to marry an Votkinsk in the Vyatka province of almost unknown admirer in 1877 proved Russia on 7 May 1840; his father a disaster, his homosexuality combining was a mining engineer and his mother was strongly with his sense of entrapment. of French extraction. In 1848 the family By now he had completed his Fourth moved to the imperial capital, St Petersburg, Symphony, was about to finish his opera where Pyotr was enrolled at the School of Eugene Onegin, and had attracted the Jurisprudence. After his mother’s death in considerable financial and moral support 1854, he overcame his grief by composing of Nadezhda von Meck, an affluent widow. and performing, and music remained a She helped him through his personal crisis diversion from his job – as a clerk at the and in 1878 he returned to composition with Ministry of Justice – until he enrolled as the Violin Concerto. Tchaikovsky claimed that a full-time student at the St Petersburg his Sixth Symphony represented his best Conservatory in 1863. work. The mood of crushing despair heard in all but the work’s third movement Tchaikovsky’s First Symphony was warmly reflected the composer’s troubled state received at its St Petersburg premiere in of mind. He died nine days after its 1868. Swan Lake, the first of his three premiere on 6 November 1893. • great ballet scores, was written in 1876 for Moscow’s Bolshoi Theatre. Between 1869 and the year of his death, he composed over 100 songs, cast mainly in the impassioned Romance style and textually preoccupied with the frustration and despair associated with love, conditions that characterised his personal relationships. Gianandrea Noseda conductor
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Composer Profile 9 Gianandrea Noseda conductor
ianandrea Noseda is one of Noseda also serves as Principal Guest Noseda has an extensive discography of over the world’s most sought-after Conductor of the London Symphony 60 recordings for Chandos and Deutsche conductors, equally recognised Orchestra and Israel Philharmonic Orchestra, Grammophon, among others. for his artistry in the concert hall and Principal Conductor of the Orquestra de opera house. He was named the National Cadaqués, and Artistic Director of the Stresa He is closely involved with the next Symphony Orchestra’s seventh Music Festival in Italy. In the 2021/22 season, generation of musicians through his work Director in January 2016, beginning his Noseda will become General Music Director as Music Director of the Tsinandali Festival four-year term in the 2017/18 season. of the Zurich Opera House, where he will and Pan-Caucasian Youth Orchestra, which In September 2018, his contract was lead his first Ring Cycle. From 2007 to 2018, just concluded its inaugural season, as well extended for four more years through Noseda served as Music Director of the as with other youth orchestras, including the to the 2024/25 season. In May 2019, Teatro Regio Torino, where his leadership European Union Youth Orchestra. Noseda and the NSO earned rave reviews and his initiatives propelled the company’s for their first concert together at Carnegie global reputation. A native of Milan, Noseda is Commendatore al Hall in New York. The 2019/20 season sees Merito della Repubblica Italiana, marking his their partnership continue to flourish with During the 2019/20 season Noseda contribution to the artistic life of Italy. In 2015, 12 weeks of concerts at the Kennedy Center – will guest conduct the Bavarian Radio he was Musical America’s Conductor of the including performances of Beethoven’s nine Symphony Orchestra, Danish National Year, and was named the 2016 International symphonies – their first appearance together Symphony Orchestra, Filarmonica della Opera Awards Conductor of the Year. • at Lincoln Center in November 2019, and Scala, Orchestre National de France, their first overseas tour together to Japan Orchestra dell’Accademia Nazionale di and China in March 2020. Santa Cecilia, Philharmonia Zurich, Rotterdam Philharmonic, Tonhalle Orchestra and the Vienna Symphony Orchestra.
10 Artist Biographies 28 November 2019 Janine Jansen violin
iolinist Janine Jansen works culminated in performances with the LSO Janine has won numerous prizes, including regularly with the world’s most under Sir Simon Rattle. the Vermeer Prize 2018 awarded by eminent orchestras and conductors the Dutch government, four Edison and has been described by the New York Times A devoted chamber musician, she embarks Klassiek Awards, Der Preis der Deutschen as being as ‘riveting in silence as in sound’. on a duo recital tour together with pianist Schallplattenkritik, NDR Musikpreis for Denis Kozhukhin to destinations including Outstanding Artistic Achievement and This season she makes her debut at the Japan, Korea, Taiwan and China. She also the Concertgebouw Prize. She has been Salzburger Osterfestspiele performing with returns to her roots to be Guest Artistic given the VSCD Klassieke Muziekprijs for the Dresden Staatskapelle under Christian Director 2019 at the International Chamber individual achievement and the Royal Thielemann. She also undertakes major tours Music Festival Utrecht in December 2019. Philharmonic Society Instrumentalist Award with the Vienna Philharmonic/Zubin Mehta, for performances in the UK. In September Munich Philharmonic/Valery Gergiev, London Janine records exclusively for Decca Classics, 2015 she was awarded the Bremen Symphony Orchestra/Gianandrea Noseda and since recording Vivaldi’s Four Seasons MusikFest Award. Janine studied with and the Orchestra dell’Accademia Nazionale back in 2003 she has been extremely successful Coosje Wijzenbeek, Philipp Hirshhorn and di Santa Cecilia with Sir Antonio Pappano. in the digital music charts. Her discography Boris Belkin. includes performances of Bartók’s Violin Other orchestral highlights include returns to Concerto No 1 with the LSO and Brahms’ Janine plays the 1707 ‘Rivaz – Baron Gutmann’ the Berlin Philharmonic and NHK Symphony Violin Concerto with the Orchestra Stradivarius violin, kindly on loan from Orchestra under Paavo Järvi, New York dell’Accademia Nazionale di Santa Cecilia Dextra Musica. • Philharmonic with Jaap van Zweden, as well conducted by Sir Antonio Pappano. Other as the Oslo and Rotterdam Philharmonic and highlights include a recording of Prokofiev’s Norrköping Symphony Orchestras. Violin Concerto No 2 with the London Philharmonic Orchestra and Vladimir Jurowski, Janine was chosen as Portrait Artist 2019 Beethoven and Britten with Paavo Järvi, at the Schleswig-Holstein Music Festival Mendelssohn and Bruch with Riccardo where she presented a range of chamber Chailly, Tchaikovsky with Daniel Harding, as music programmes from Bach sonatas to well as an album of Bach Concertos with her large chamber music formations such as own ensemble. Janine has also released a Mendelssohn’s Octet. Her involvement in number of chamber music discs, including the festival included the opening concerts Schubert’s String Quintet and Schoenberg’s together with NDR Elbphilharmonie Verklärte Nacht and sonatas by Debussy, Orchestra/Krzysztof Urbański and Ravel and Prokofiev with pianist Itamar Golan.
Artist Biographies 11 London Symphony Orchestra on stage tonight
Leader Second Violins Cellos Flutes Horns Timpani LSO String Experience Scheme Carmine Lauri Julian Gil Rodriguez Rebecca Gilliver Gareth Davies Diego Incertis Nigel Thomas Since 1992, the LSO String Experience Thomas Norris Alastair Blayden Sarah Bennett Timothy Jones Scheme has enabled young string players First Violins Sarah Quinn Jennifer Brown Angela Barnes Percussion from the London music conservatoires at Clare Duckworth Miya Väisänen Noel Bradshaw Piccolo Alexander Edmundson Neil Percy the start of their professional careers to gain Ginette Decuyper David Ballesteros Eve-Marie Caravassilis Patricia Moynihan Michael Kidd David Jackson work experience by playing in rehearsals Laura Dixon Matthew Gardner Daniel Gardner Sam Walton and concerts with the LSO. The musicians Gerald Gregory Naoko Keatley Hilary Jones Oboes Trumpets Tom Edwards are treated as professional ‘extra’ players Maxine Kwok-Adams Csilla Pogany Amanda Truelove Olivier Stankiewicz Philip Cobb Helen Edordu (additional to LSO members) and receive fees William Melvin Iwona Muszynska Laure Le Dantec Rosie Jenkins Robin Totterdell for their work in line with LSO section players. Elizabeth Pigram Andrew Pollock Francois Thirault Paul Mayes Harps Laurent Quenelle Paul Robson Cor Anglais Bryn Lewis The Scheme is supported by: Harriet Rayfield Camille Joubert Double Basses Christine Pendrill Trombones Helen Tunstall The Polonsky Foundation Colin Renwick Erzsebet Racz David Desimppelaere Mark Templeton Derek Hill Foundation Sylvain Vasseur Helena Smart Colin Paris Clarinets Dudley Bright Piano Barbara Whatmore Charitable Trust Rhys Watkins Patrick Laurence Chris Richards James Maynard Elizabeth Burley Thistle Trust Mariam Nahapetyan Violas Matthew Gibson Chi-Yu Mo Richard Blayden Rebecca Jones Jani Pensola Bass Trombone Marciana Buta Malcolm Johnston José Moreira Bass Clarinet Paul Milner German Clavijo Benjamin Griffiths Katy Ayling Stephen Doman Adam Wynter Tuba Julia O’Riordan Bassoons Ben Thomson Carol Ella Rachel Gough Robert Turner Daniel Jemison Editorial Photography Heather Wallington Joost Bosdijk Ranald Mackechnie, Chris Wahlberg, Michelle Bruil Harald Hoffmann, Marco Borggreve, Ilona Bondar Contra Basson Stefano Pasqualetti, Harald Hoffmann Luca Casciato Dominic Morgan Print Cantate 020 3651 1690 Stephanie Edmundson Advertising Cabbells Ltd 020 3603 7937
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12 The Orchestra 28 November 2019