Igor Strav Thursday 21 & Sunday 24 September

Thursday 21 & Sunday 24 September Igor Stravinsky in Profile 1882–1971 / profile by Paul Griffiths

LSO SEASON CONCERT hird in a family of four sons, Before that was completed, a ballet based In 1939, soon after the deaths of his wife STRAVINSKY INTRODUCTION from Paul Griffiths he had a comfortable upbringing in on 18th-century music, Pulcinella (1919–20), and mother, he sailed to New York with St Petersburg, where his father opened the door to a whole neoclassical period, Vera, whom he married, and with whom he Stravinsky The Firebird (original ballet) Writing back to a Russian friend in 1912, was a Principal Bass at the Mariinsky Theatre. which was to last three decades and more. settled in Los Angeles. Following his opera Interval – 20 minutes as he worked in Switzerland on The Rite In 1902 he started lessons with Rimsky- He also began spending much of his time The Rake’s Progress (1947–51) he began to Stravinsky Petrushka (1947 version) of Spring, Stravinsky remarked: ‘It is as Korsakov, but he was a slow developer, in Paris and on tour with his mistress Vera interest himself in Schoenberg and Webern, Interval – 20 minutes if twenty and not two years had passed and hardly a safe bet when Diaghilev Sudeikina, while his wife, mother and children and within three years had worked out a Stravinsky The Rite of Spring since The Firebird was composed’. commissioned The Firebird. The success lived elsewhere in France. Up to the end of new serial style. Sacred works became more STRA This evening we have the rare opportunity of that work encouraged him to remain the 1920s, his big works were nearly all for and more important, to end with Requiem Sir Simon Rattle conductor to relive those packed and extraordinary in western Europe, writing scores almost the theatre (including the nine he wrote for Canticles (1965–66), which was performed two years in two hours, following the annually for Diaghilev. The October Diaghilev). By contrast, large-scale abstract at his funeral, in Venice. • LSO Discovery is delighted to be a beneficiary composer as he moves from fairytale in Revolution of 1917 sealed him off from his works began to dominate his output after of this year’s Lord Mayor’s Appeal. Following The Firebird through street theatre in homeland; his response was to create a rural 1930, including three symphonies, of which Sunday’s performance there will be a collection Petrushka to prehistoric sacrifice in Russia of the mind, in such works as the the first, Symphony of Psalms (1930), marks in aid of the appeal – please give generously. Visit thelordmayorsappeal.org to find out more. The Rite of Spring – all within the peasant-wedding ballet Les Noces (1914-23). also his reawakened religious observance. VIN boundaries of Russia, which, even though Thursday 21 September broadcast live on he spent most of his adult life abroad, BBC Radio 3 in spirit he never left. FAMOUS STRAVINSKY QUOTES These are all ballet scores, made for spectacle – the spectacle, in Petrushka, I haven’t understood a bar of music The more constraints one imposes, Sunday 24 September live streamed on the of a puppet brought to life by Vaslav in my life, but I have felt it. the more one frees one. SKY LSO’s YouTube channel and on classicfm.com Nijinsky, the outstanding male dancer of his time (or perhaps any) and the eventual Art is the opposite of chaos. I never understood the need for a choreographer of The Rite. Stravinsky’s Art is organised chaos. ‘live’ audience. My music, because theatre, however, was fundamentally the of its extreme quietude, would be Sunday 24 September generously orchestra, with its instruments and groups Lesser artists borrow, happiest with a dead one. supported by Reignwood responding to one another, its capacity to great artists steal. create whole worlds of rhythm and colour. One has a nose. The nose scents Listen. Hold still. The mind will dance. • Too many pieces of music and it chooses. An artist is simply Thursday’s concert ends approx 9.45pm finish too long after the end. a kind of pig snouting truffles. Sunday’s concert ends approx 8.45pm

74 Composer Profile 75 Thursday 21 & Sunday 24 September Igor Stravinsky in Profile 1882–1971 / profile by Paul Griffiths

74 Composer Profile 75 Igor Stravinsky The Firebird 1909–10 / note by Paul Griffiths

1 Introduction ‘Well,’ said Debussy to the his musical clothes, and moving with a and Tamara Karsavina as the Firebird. or round dance: like the prince, they prove in jubilation, and time slows into a swinging young composer who thus quickened, edgier pulse, is Stravinsky. But Debussy was by no means the only their Russian blood in their music, which is pattern to create the first of the composer’s First Tableau observer to notice, besides the wonder based on traditional dances and folksongs, concluding apotheoses – a musical type 2 The Enchanted Garden of Kashchei burst into Paris and into history, It might, though, never have happened. onstage, the music. Soon it leapt out of very much in the tradition of Rimsky- that would echo through his output and 3 Appearance of the Firebird, pursued by Prince Ivan ‘you have to start somewhere.’ The impresario Serge Diaghilev • had his the theatre pit. Before the year was out Korsakov and Tchaikovsky. still be there 55 years later at the end of 4 Dance of the Firebird own reasons for wanting to present his Stravinsky had created a concert suite, his Requiem Canticles. • 5 Capture of the Firebird by Prince Ivan company under the banner of rebirth: which he was to revise in 1919 and again As dawn comes, with trumpet calls, 6 Supplication of the Firebird – or all its dry wit, the above comment this was his second Ballets Russes • season in 1945. This, however, omits some Ivan enters Kashchei’s palace. But he is DIAGHILEV & THE BALLET RUSSES Appearance of the Thirteen Enchanted Princesses was apropos. Stravinsky was 28 in Paris, and he was determined to have extraordinary passages, besides missing not unnoticed. Magic bells start to sound 7 The Princesses’ Game with the Golden Apples when The Firebird had its first a new work. (His 1909 season had been the grand sweep of the complete score, and Kashchei’s guardian monsters hobble The Ballet Russes 8 Sudden Appearance of Prince Ivan performance, in Paris on 25 June 1910, and of ballets already in the repertory of which unfolds as follows. forward, followed by Kashchei himself, was a ballet 9 Round Dance of the Princesses had written quite a lot of music before, the Mariinsky Theatre in St Petersburg with a brassy outburst that leaves the company originally 10 Daybreak – Prince Ivan Penetrates Kashchei’s Palace but in many respects this was indeed where or adapted from it.) Michel Fokine, his THE MUSIC stillness of unease. Kashchei roars at his conceived by Serge 11 Magic Carillon, Appearance of Kashchei’s Monster Guardians, he began. It was the first of his works to be company choreographer, was the obvious uninvited guest, and silences the princesses, Diaghilev (left) and Capture of Prince Ivan – Arrival of Kashchei the immortal – played outside Russia, and has remained person to create the dance. But who should A short orchestral introduction contrasts who try briefly to intercede, with the charms based in Paris Dialogue of Kashchei and Prince Ivan – Intercession of the Princesses – the earliest in regular performance. Also it write the music? Diaghilev was certainly Russian with exotic harmonic worlds, night of their khorovod. It is time for the Firebird that performed Appearance of the Firebird was – like the imperial realm in which it was aware of Stravinsky, who had contributed with brilliance (featuring string harmonics), to return, and she does so, leading Kashchei between 1909 and 12 Dance of Kashchei’s Retinue, enchanted by the Firebird written, and whose richly varied musical two arrangements for Les Sylphides in in a depiction of the enchanted garden and all his retinue into an Infernal Dance, 1929 throughout 13 Infernal Dance of All Kashchei’s Subjects – Lullaby – culture it commemorated – a place to move the first Ballets Russes season. However, of the ogre Kashchei. The Firebird enters, quick and various and weird. Stamping Europe and on tour, though the company Kashchei’s Awakening – Kashchei’s death – profound Darkness on from. Thus, while it certainly marks an he seems to have gone first to Alexander pursued by a prince, Ivan; she performs a rhythms suggest the approach of The Rite of never performed in Russia. arrival, of a composer brilliant and alert, Tcherepnine, then to Anatoly Lyadov, and solo dance, music of shimmering and lustre Spring, which the composer was soon to begin. COSTUME & LÉON BAKST Second Tableau immediately identifiable, it is also an adieu, only towards the end of 1909, with the appropriate to a fantastic and flighty creature. The company is widely regarded as the 14 Disappearance of Kashchei’s Palace and Magical Creations, to the late Romantic Russia in which that opening night little more than six months Ivan gives chase and captures her, and she Having danced themselves into exhaustion, most influential of the 20th century, Léon Bakst (1866–1924) was a Return to Life of the Petrified Knights, General Rejoicing composer had been raised as a pupil of away, to Stravinsky. begs for release in a passionate slow waltz. the forces of evil are caused to sleep by in part because it promoted ground-breaking revolutionary theatre designer who Rimsky-Korsakov (whose later music, the Firebird’s lullaby, again in a distinctly artistic collaborations among young was associated with Diaghilev’s still very recent, was a potent influence). Stravinsky seized his opportunity, producing He lets her go, and they both slip aside as Russian tone. Very soon, though, Kashchei is choreographers, composers, designers, and Ballet Russes. His costumes were The Firebird – or phoenix, born from flames, a 45-minute score of sensational magnificence. 13 princesses come delicately into the garden awake again, and it is the prince’s turn to dancers, all at the forefront of their fields. ornate, intricate and cast in bold a symbol of regeneration – was altogether Fokine – with the help of Léon Bakst •, who and, in a scherzo, toss golden apples to save the day by smashing the magic egg that Diaghilev commissioned music from colours to heighten the effect of this a fitting subject. Rimsky-Korsakov is there designed the Firebird’s vibrant costume – one another. The game comes to a sudden had given him life. Quietly the scene changes. Stravinsky, Debussy and Prokofiev, artwork new choreography. The image above in the fire and the feathers, the highly offered the Parisian public a dazzling stop when Prince Ivan steps forward, his Kashchei’s palace disappears, and the previous from Vasily Kandinsky, Alexandre Benois, is taken from an original design for chromatic harmony and the sumptuous spectacle, featuring himself as Prince Ivan, presence nobly intoned by a horn. But the heroes who had ventured in, all turned to Pablo Picasso and Henri Matisse, and the character of the Firebird. orchestration. But the figure wearing his wife Vera Fokina as the leading princess princesses recover to execute a khorovod, stone, come back to life. Bell sounds ring out costume from Léon Bakst and Coco Chanel.

76 Programme Notes 21 & 24 September 2017 Programme Notes 77 Igor Stravinsky The Firebird 1909–10 / note by Paul Griffiths

76 Programme Notes 21 & 24 September 2017 Programme Notes 77 Igor Stravinsky Petrushka 1910–11, rev 1947 / note by Paul Griffiths

1 The Shrovetide Fair composer was playing him would have to Other dramas here have to do with the The quick tempos, the concertinas and In the third scene she goes to his rival, the 2 In Petrushka’s Cell be a ballet, not some kind of piano concerto. treatment of what, in his later conversations the major keys are all easy to hear; the magnificent Blackamoor. Their love-making 3 In the Blackamoor’s Cell A puppet, did he say? Well then, that was it: with Robert Craft, he called the ‘Russian cabbage soup, the sweat and the boots is witnessed by Petrushka, who rushes in 4 The Shrovetide Fair (Evening) Petrushka, the story from the Russian export style’. The Firebird had been an might need a little bit of imagination. and is promptly ejected. BENOIS’ SHROVETIDE FAIR fairs, about a thing of wood and string unashamed instance, as had most of the The first scene features mechanical nce he had arrived in Paris with that does indeed gain human feelings, other scores Diaghilev had brought to Paris rhythms, sharp cuts from one kind of The last scene returns to the world outside, Set designer Alexandre Benois drew on The Firebird, Stravinsky stayed. with tragic consequences. so far, including Borodin’s Polovtsian Dances music to another, and textures built now to observe individuals and groups, several 19th century paintings of the The success of his first score and Rimsky-Korsakov’s Sheherazade. from accumulations of rotating motifs. each defined by characterful, folksy music. St Petersburg Shrovetide Fair in order to for Diaghilev meant there would have to However unlikely this narrative may be But Petrushka looks at that style with ironic Tunes are spliced together, or placed with Everything comes to a stop when the create his vision for the opening scene be another, and he immediately started work in terms of chronology, it serves to show detachment. The fanfare-like gesture at the accompanying figures that are just spinning puppets burst out. With his scimitar of Petrushka. For example, structures on what would emerge as The Rite of Spring. the weight Stravinsky wanted his ballet start of the second scene is a speeded-up on the spot. Almost anything can happen, the Blackamoor kills Petrushka, but the and elements from this painting by But then, according to his own account, scores to have as self-sufficient music. version of a theme that had been luscious provided it happens on time. Showman reassures everyone that these Konstantin Makovsky, Shrovetide in he got sidetracked: It also shows how the drama on stage in Sheherazade. In the first scene, when are only puppets, and the crowd disperses St Petersburg (right), appear in act one Petrushka and his fellow puppets perform Events in the first scene turn from the in the evening snow. The Showman goes including show booths, and a large — a Russian Dance, the music offers a general to the specific. At first the musical to drag the ‘corpse’ away, stopping in samovar (the large urn to the bottom The great impresario smelt a show in the air: the music his machine-made portrait of national style. activity is that of the excited crowd at the amazement when he sees Petrushka’s left of the painting). Again in the last scene, the different St Petersburg Shrovetide Fair •, with ghost sneering at him. young composer was playing him would have to be a ballet. dances interlock like cogwheels in a piece of instruments (a hurdy-gurdy, two musical — machinery, so that the human spectators boxes) and dancers among the throng. Where Stravinsky had written The Firebird at the fair seem more artificial than the Attention focuses cinematically on as a pupil of Rimsky-Korsakov, now he • Konstantin Yegorovich Makovsky (1839–1915) ‘I wanted to refresh myself by composing was equalled for him, if not surpassed, painted dolls in the Showman’s booth. the Showman and his three puppets: was part of a new entourage, Diaghilev’s, Festivities on Admiraltesky Square an orchestral piece in which the piano by a drama happening within the score – Petrushka, the Ballerina and the Blackamoor. working with colleagues whose talents during Shrovetide, St Petersburg 1869 would play the most important part … the drama of a piano playing tricks on the By the time he was composing this, In a magical passage the Showman charms sharpened his own: Alexandre Benois •, In composing the music, I had in mind orchestra, of figures and instruments in Stravinsky was full of enthusiasm. them into life, and they step down from who created the scenario and the designs, • Alexandre Nikolayevich Benois (1870–1960) a distinct picture of a puppet, suddenly liaison and combat. The puppet-piano in In January 1911, following a Christmas visit their stage as they give their Russian Dance. Michel Fokine, who did the choreography, set design for Petrushka 1911 endowed with life.’ the second scene he saw as ‘exasperating to St Petersburg, he wrote to a friend: and the dancers Vaslav Nijinsky and the patience of the orchestra with diabolical ‘My last visit to Petersburg did me much The second scene conveys Petrushka’s Tamara Karsavina, who were in the Continuing this story, he tells how he was cascades of arpeggios. The orchestra in turn good, and the final scene is shaping up bitterness and despair, which he feels starring roles when the ballet was first visited by Diaghilev – both of them were retaliates with menacing trumpet blasts. excitingly … quick tempos, concertinas, at his dependence on the Showman and presented, in Paris on 13 June 1911. living on the Swiss riviera, around Lake The outcome is a terrific noise which reaches major keys … smells of Russian food – at his unrequited love for the Ballerina. The musical magic, though, is all his own, Geneva – and the great impresario smelt its climax and ends in the sorrowful and shchi [cabbage soup] – and of sweat She visits him, but flees at the violence of made more streamlined in his 1947 revision. • a show in the air: the music his young querulous collapse of the poor puppet’. and glistening leather boots.’ his advances.

78 Programme Notes 21 & 24 September 2017 Programme Notes 79 Igor Stravinsky Petrushka 1910–11, rev 1947 / note by Paul Griffiths

78 Programme Notes 21 & 24 September 2017 Programme Notes 79 Igor Stravinsky The Rite of Spring 1913 / note by Paul Griffiths

Part One: travinsky’s third project for summer. However, Michel Fokine, were many – the performance was are principally rhythmic. A musical work Stravinsky realised that The Rite was of ‘The Augurs of Spring: Dances of the An ‘Introduction’ also opens the second part, The Adoration of the Earth Diaghilev loomed even before the Diaghilev’s choreographer, was fully accompanied by shouts, catcalls, derisory could not only sound like a machine but unrepeatable. However, the work’s most Young Girls’. With no change to its insistent ‘The Sacrifice’, this time with wafting 1 Introduction first, The Firebird, was finished: occupied with preparing Daphnis et Chloé, comments, angered ripostes and even be one, rotating on cogwheels of rhythm, essential and radical qualities – pulsing pulse, this section accumulates layers of harmonies from different groups, altogether 2 Auguries of Spring it was to be an enactment on the modern to Ravel’s music, so Stravinsky’s new score fistfights. But then, how should people have chopping up lengths of time. rhythm, repetition, the use of rhythmic tune and repeated figure, then breaks into suggesting a forest of colour. Trumpets 3 Game of Capture stage of the spring rituals of the ancestral would have to remain silent another year. sat calmly while the world was changing? shape as theme, the creation of continuity a racing speed for the ‘Ritual of Abduction’, sound a warning note, and horns announce 4 Round-Dances of Spring peoples of north east Europe. The guiding The Rite of Spring is machine-like, through breaks, the evocation of antiquity with excited horn calls and fizzing strings. the folksong-like theme of the ‘Mystic 5 Games of the Rival Tribes spirit was Nicolas Roerich, a Russian artist- — too, in its form, being made of bits by modern means – stayed with him right Calm is restored by a melody for clarinets Circles of the Young Girls’, a theme taken 6 Procession of the Sage archaeologist-ethnologist-seer then in his The performance was accompanied by shouts, catcalls, and pieces, with abrupt cuts from one through the half century and more of his linked together two octaves apart, against up by strings and passed around the 7 The Sage mid-thirties, who planned the scenario thing to another. To that extent it is one composing life to come. More than that, trills from flutes. This opens ‘Spring Rounds’, orchestra. But the peaceful atmosphere 8 Dance of the Earth and, in due course, designed the sets and derisory comments, angered ripostes and even fistfights. of the first pieces of music made like they are with us still, for composers in every a dance continuing at a heavy rhythm and is interrupted again by brass warnings, costumes for what was finally called, But then, how should people have sat calmly while the world was changing? a film. There are no developing themes; generation have gone on living in the long soon moving to a threatening climax, from and a steady barrage of drumming leads Part Two: in Russian, Vesna svyashchennaya — instead sections are related at the most summer this spring ushered in. which the music bursts off again rapidly, into the quick slicing movements and The Sacrifice (Holy Spring), and entered history as fundamental levels of their musical scale rushes of ‘Glorification of the Chosen One’. 9 Introduction Le Sacre du printemps, or The Rite of Spring. By the time rehearsals began in January Though set in prehistory, The Rite was (often one of the old scales of eastern — The end is being prepared. Almost all the 10 Mysterious Circles of the Young Girls 1913, Diaghilev had given the task of the first music of the machine age, European folksong), rhythmic unit and The Rite of Spring is machine-like, too, in its form, being made of wind instruments lift their voices together 11 Glorification of the Chosen One Roerich and Stravinsky started work in choreographing ancient rites – and modern and its energy and din have resounded on. tempo. The climax in each of the two in ‘Evocation of the Ancestors’, followed 12 Evocation of the Ancestors the spring (fittingly) of 1910, but by autumn rhythms – to Nijinsky, who had made his This insistent, repetitive noise was meant parts comes when pulsation becomes bits and pieces, with abrupt cuts from one thing to another. by ‘Ritual Action of the Ancestors’, which 13 Ritual Action of the Ancestors the composer had set aside his sketches to debut as a dance inventor with L’après-midi to be provocative. Stravinsky had passed rampant, in the ‘Dance of the Earth’ and To that extent it is one of the first pieces of music made like a film. begins ominously and develops immense 14 Sacrificial Dance concentrate on Petrushka, and he did not d’un faune, to Debussy’s Prélude, the year through a belated musical adolescence; the ‘Sacrificial Dance’. Ritual is recreated — power. Its energy is left swilling around a few return to the project until the summer of before. In March Pierre Monteux, who he was ready both to kick over his Russian as arithmetic. We know that spring is low woodwind instruments, then slips away 1911, after Petrushka had reached the stage was to conduct, began rehearsals in Paris, traces (no more exotic colour and folklore brought about not by human sacrifice The first of the ballet’s two parts, only to lead to a return of the calm episode, into the ‘Sacrificial Dance’. Unprecedented, as the star item of Diaghilev’s third Paris and wrote to the composer, in Switzerland: à la Rimsky-Korsakov and Borodin) but by the rotation of our planet – ‘Adoration of the Earth’, begins with a slightly differently scored. Now the outcome even within this score, for its rhythmic season. By the end of September – writing and to prove himself to his new Parisian by, indeed, the ‘dance of the earth’, slow and supple ‘Introduction’ scored largely is the exuberant ‘Ritual of the Rival Tribes’, savagery, driven by a pulse that refuses from his home in Clarens, on Lake Geneva, ‘What a pity that you could not … friends, who included Debussy and Ravel. a dance of force and distance and angle. for woodwind instruments. A lone bassoon with hurtling gestures and stand-offs. to stay still, here the music ends – indeed, where most of the composition was done – be present for the explosion of The Rite.’ For three centuries music had been based But spring’s creation of new life does calls out over the sleeping orchestra and An awesome, menacing march is started by forcibly ends itself. • he was able to report good progress to on the regular rhythmic patterns of civilised indeed entail death, the death of what is eventually answered by a cor anglais; trombones, who keep going amid the throng, Roerich, and to remark how ‘the music is But Stravinsky was certainly there two dance. The Rite of Spring changed all that. was. So it is here, as musical ideas then other groups stir themselves, already and introduce ‘The Procession of the Sage’. coming out very fresh and new’. In the spring months later, for the premiere on 29 May 1913, The unit now was not the orderly bar but are beaten to death in these great in conflicting metres. Activity stops. There is a pause. Four quiet bars – ‘The of the following year he played through what when the explosion of the music from the the eruptive beat. Bar lengths could alter culminations of sound, and as the The bassoon’s call is heard again, and this Sage’ – suggest a moment of anticipation he had composed, which included the whole pit of the Théâtre des Champs-Elysées from moment to moment, creating a late Romantic orchestra, the orchestra time elicits a pounding rhythm of massed and a crucial act, to a chord for string of the first part, to Diaghilev and Nijinsky. was answered by an outburst from the turmoil of syncopations. Beats could be of Mahler and Richard Strauss, discovers strings mimicking drums with heavy soloists playing harmonics. This unleashes All seemed set for a premiere the coming auditorium. By all accounts – and there grouped to create themes whose identities unsuspected powers. offbeat accents from horns – the music the mighty ‘Dance of the Earth’.

80 Programme Notes 21 & 24 September 2017 Programme Notes 81 Igor Stravinsky The Rite of Spring 1913 / note by Paul Griffiths

80 Programme Notes 21 & 24 September 2017 Programme Notes 81 London Symphony Orchestra on stage 21 & 24 September

Leader Second Violins Cellos Flutes Bassoons Trombones Roman Simovic David Alberman Tim Hugh Gareth Davies Rachel Gough Peter Moore Thomas Norris Alastair Blayden Alex Jakeman Daniel Jemison James Maynard First Violins Sarah Quinn Jennifer Brown Julian Sperry Joost Bosdijk Carmine Lauri Miya Väisänen Noel Bradshaw Bass Trombone Lennox Mackenzie David Ballesteros Eve-Marie Caravassilis Piccolos Contra Bassoons Paul Milner Clare Duckworth Matthew Gardner Daniel Gardner Sharon Williams Dominic Morgan The Times The Arts Desk Nigel Broadbent Julian Gil Rodriguez Hilary Jones Patricia Moynihan Martin Field Tubas Ginette Decuyper Naoko Keatley Amanda Truelove Ross Knight Gerald Gregory Belinda McFarlane Victoria Simonsen Oboes Horns Patrick Harrild The Telegraph The Guardian Maxine Kwok-Adams Iwona Muszynska Morwenna del Mar Olivier Stankiewicz Timothy Jones Claire Parfitt Paul Robson Rosie Jenkins Laurence Davies Timpani Sir Simon Rattle’s highly anticipated Laurent Quenelle Louise Shackelton Double Basses Maxwell Spiers Angela Barnes Nigel Thomas recording of Debussy’s evocative opera, Harriet Rayfield Helena Smart Colin Paris Ruth Contractor Alexander Edmundson featuring Christian Gerhaher, Magdalena Kožená, Colin Renwick Hazel Mulligan Patrick Laurence Jonathan Lipton Percussion Gerald Finley and Bernarda Fink. Sylvain Vasseur Matthew Gibson Cor Anglais Michael Kidd Neil Percy Visit applemusic.com/thisisrattle to discover William Melvin Violas Thomas Goodman Christine Pendrill Brendan Thomas David Jackson an exclusive online preview with insights from Shlomy Dobrinsky Edward Vanderspar Joe Melvin Sarah Willis Sam Walton the artists, or purchase the SACD + Pure Audio Eleanor Fagg Gillianne Haddow Jani Pensola Clarinets Tim Ball Tom Edwards Blu-ray set from the Barbican Shop now to experience Malcolm Johnston Nicholas Worters Andrew Marriner Jeremy Cornes in high-resolution stereo and surround sound. Anna Bastow Benjamin Griffiths Chris Richards Trumpets Jacob Brown Regina Beukes Philip Cobb Lander Echevarria E-flat Clarinet David Elton Harps Julia O’Riordan Chi-Yu Mo Gerald Ruddock Bryn Lewis Robert Turner Niall Keatley Nuala Herbert Heather Wallington Bass Clarinets Robin Totterdell Imogen Barford Jonathan Welch Katy Ayling Paul Mayes Samuel Burstin Duncan Gould Christian Barraclough Piano / Celeste Stephen Doman Philip Moore Available October Bass Trumpet Simon Crawford-Philips Digital | SACD + Pure Audio Philip Goodwin lsolive.co.uk 82 On Stage 21 & 24 September 2017

Pelléas Ad.indd 1 05/09/2017 12:05 London Symphony Orchestra on stage 21 & 24 September

Pelléas Ad.indd 1 05/09/2017 12:05