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Home , Arthur Rubinstein, Brighton Festival Chorus, Choral symphony, Kirill Gerstein

Sunday 14 April 2019 7–8.45pm Barbican

LSO SEASON CONCERT IVES NO 2

Beethoven No 3 Interval SIR MARK Ives Symphony No 2 Sir conductor ELDER Kirill Gerstein piano Welcome Latest News On Our Blog

This performance of Beethoven’s Third Piano THE LSO IN SOUTH AMERICA ’ HARMONIELEHRE Concerto comes as we look ahead to the composer’s 250th anniversary year in 2020. This May, the LSO tours to South America In the age of synth pop, Live Aid and At its premiere in 1803, this work was heard for the first time in the ’s history. Madonna’s Material Girl, how was a composer in the same concert as Beethoven’s With concerts in Bogotá, Medellín, Lima, to write large-scale orchestral music for the Christ on the Mount of Olives, a feature of Buenos Aires, Montevideo and Santiago, Sir concert hall? Composed in 1985, John Adams’ the LSO’s forthcoming 2019/20 season. leads the way in performances Harmonielehre is one of the most significant of Mahler’s Fifth Symphony and Berlioz’s examples of a composer grappling with the I hope that you enjoy the concert and that . Later in 2019, the idea of a symphony in the 20th century. you will join us again soon. In June, Conductor Orchestra tours to Ireland, California, Central Laureate returns to Europe and Asia. Follow us on social media ARTIST PORTRAIT: DANIIL TRIFONOV elcome to this evening’s LSO conduct Ives’ later ‘New England Holidays’ for behind-the-scenes updates. concert at the Barbican. Tonight Symphony, alongside Beethoven’s ‘Emperor’ Piano superstar Daniil tells us about his we welcome Sir Mark Elder, who Concerto with pianist Daniil Trifonov, who facebook.com/londonsymphonyorchestra life away from the concert stage, and the last conducted the Orchestra in February continues his LSO Artist Portrait series. instagram.com/londonsymphonyorchestra experiences that made him love music – 2018, for a programme featuring Charles twitter.com/londonsymphony from rock and jazz to the films of Andrei Ives’ Second Symphony, which continues the Tarkovsky and Scriabin’s ‘Poem of Ecstasy’. LSO’s 2018/19 season theme of ‘Roots and Origins’. Ives looked to the musical cultures WELCOME TO TONIGHT’S GROUPS Read these articles and more at of his homeland to compose the symphony, lso.uk/blog forging a unique symphonic style and putting Kathryn McDowell CBE DL We are delighted to welcome American on the world stage. Managing Director Gerrards Cross Community Association, who are attending tonight’s concert. I am delighted that Kirill Gerstein will join the Orchestra as soloist in Beethoven’s Please ensure all phones are switched off. Piano Concerto No 3, which forms the first Photography and audio/video recording half of the programme. This is his first are not permitted during the performance appearance with the Orchestra since his LSO debut in in 2017, when he stepped in at short notice as the soloist in an acclaimed performance of Bernstein’s Second Symphony, ‘The Age of Anxiety’.

2 Welcome 14 April 2019 Tonight’s Concert In Brief Coming Up

onight’s concert begins with Ives’ success in crafting a distinctive Thursday 25 April 7.30–9.20pm Sunday 5 May 7–9.05pm Beethoven’s Piano Concerto American style paved the way for composers Barbican Barbican No 3. Written in 1800, the piece like Copland and Bernstein, who admired dates from the start of Beethoven’s heroic Ives’ work. The five-movement symphony BOLÉRO BERLIOZ 150: SYMPHONIE FANTASTIQUE middle period. It is Beethoven’s only piano pivots on a beautiful central Adagio concerto written in a minor key, and C minor cantabile, and culminates with a brass-led Ravel Rapsodie espagnole John Adams Harmonielehre in particular is associated with some of climax and an unprecedented ending. Ravel Boléro Berlioz Symphonie fantastique his stormiest music, including the earlier Ravel L’heure espagnole ‘Pathétique’ Piano Sonata and the Fifth PROGRAMME CONTRIBUTORS Sir Simon Rattle conductor Symphony, which would arrive in 1808. François-Xavier Roth conductor Based on Mozart’s three-movement model, Lindsay Kemp is a senior producer for BBC Isabelle Druet Conception Streamed live on YouTube two anguished outer movements bookend Radio 3, including programming lunchtime Jean-Paul Fouchécourt Torquemade a heartfelt Largo, which combines elegant concerts at and LSO St Lukes. Thomas Dolié Ramiro Thursday 30 May 7.30–9.40pm Classical lyricism with Romantic intensity, He is also Artistic Advisor to York Early Music Edgaras Montvidas Gonzalves Barbican stillness and long-breathed musical arcs. Festival, Artistic Director of Baroque at the Nicolas Cavallier Gomez Edge Festival and a regular contributor to CONCERTO FOR ORCHESTRA The second half of the concert features Gramophone magazine. Wednesday 1 May 7.30–9.20pm Charles Ives’ Second Symphony, composed at Barbican Cage the start of the 20th century and completed Andrew Stewart is a freelance music Beethoven Violin Concerto around the same time as Mahler’s Fifth journalist and writer. He is the author of The JOHN ADAMS & HARRISON BIRTWISTLE Bartók Concerto for Orchestra Symphony. Ives’ use of the orchestra is lush LSO at 90, and contributes to a wide variety and his vision is progressive. The symphony of specialist classical music publications. Stravinsky of Wind Instruments Michael Tilson Thomas conductor gets its unique flavour from a blend of Harrison Birtwistle Shadow of Night Julia Fischer violin the European classical tradition, Ives’ Wendy Thompson studied at the John Adams Harmonielehre innate eccentricity, and a rich invocation of Royal College of Music before taking an 6pm Barbican Hall American musical cultures and traditions, MMus in musicology at King’s College, Sir Simon Rattle conductor LSO Platforms: Guildhall Artists with martial elements reflecting the Civil London. In addition to writing about free pre-concert recital War of the 1860s and folk such as music she is Executive Director of Classic ‘Columbia, the Gem of the Ocean’. Arts Productions, a major supplier of independent programmes to BBC Radio.

Tonight’s Concert 3 Piano Concerto No 3 in C minor Op 37 1800, rev 1804 / note by Lindsay Kemp

1 Allegro con brio Yet even those familiar with the work’s Mozart’s concerto, a work Beethoven is BEETHOVEN THREE WAYS 2 Largo predecessors would surely have noticed known to have admired, also appears to 3 Rondo: Allegro that Beethoven’s pride in it was justified. have provided some formal pointers. • To summarise Beethoven’s career, This is a more sophisticated, original and historians have divided his music into three Kirill Gerstein piano weighty piece than the first two concertos, That model is acknowledged in the opening categories; simple to conceptualise but one that reflects the changes that were bars, where, as in the Mozart, a quiet trickier to define in practice. y the time his first two piano occurring in the composer’s style as he theme is stated by the strings in unison. concertos were published in their moved from early-period promise and This is the start of what turns out to be an Beethoven’s early works are signalled by final forms in 1801, Beethoven brilliance to middle-period mastery • and unusually long orchestral exposition, but their pace, brilliance and Classicism, while had long been at work on their successor, increasing individuality. after an assertive entry it is the soloist who middle-period works are thought of as a piece which, he claimed, was at ‘a new more progressive, with large-scale forms, and higher level’. Indeed, his intention had — often tempestuous or bestowed with heroic been to perform it at a benefit concert at Almost from the beginning of his career, Beethoven had turned to C minor narratives. Vienna’s Burgtheater in April 1800, but in the event it was not ready and one of the to express some of his strongest sentiments. Beethoven’s late period encompasses works earlier concertos was substituted. It was — written after the composer lost his hearing. not until 5 April 1803 that the Third was They can be contemplative, esoteric or finally premiered, at a concert in the Theater Beethoven’s musical personality is stamped delineates the movement’s formal scheme, eccentric, sometimes hearkening back to an der Wien which also included the first all over the Third Piano Concerto, most as climactic trills and precipitous downward earlier styles or broken up by disruptions. performances of the Symphony No 2 and the unmistakably in its choice of key. Almost scales noisily signal the respective arrivals The final works are often called the most oratorio Christ on the Mount of Olives. Even from the beginning of his career, Beethoven of the central development section challenging that Beethoven wrote, and then the piano part had not been written had turned to C minor to express some of (characterised by flowing piano octaves the greatest. down: a fellow composer who turned pages his strongest sentiments, and by the time and a deliciously exotic G minor statement for Beethoven found that they consisted of this concerto he had already written of the opening theme), the vital return to of ‘almost nothing but empty leaves; at several powerful works in that key, including the opening theme in the home key, and the most on one page or the other a few the famous ‘Pathétique’ Piano Sonata. the tumultuous preparation for the solo Egyptian hieroglyphs, wholly unintelligible Ironically, the inspiration for this most cadenza. Normally in a concerto of this date, to me, scribbled down to serve as clues for recognisable of Beethovenian emotional the soloist would not play after the cadenza, Interval – 20 minutes him’. The concert was a moderate success. colourings was probably Mozart, whose leaving it to the orchestra to wrap up the There are bars on all levels. Critics had little to say about the new work C minor Fantasy and Sonata for solo piano first movement; Beethoven, taking his lead Visit the Barbican Shop to see our other than that Beethoven’s playing was and Piano Concerto No 24 provide clear again from Mozart, brings the piano back to range of Gifts and Accessories. rather disappointing. anticipations of Beethoven’s C minor mood. prompt an atmospheric coda. •

4 Programme Notes 14 April 2019 Ludwig van Beethoven in Profile 1770–1827 Beethoven in 2020

he was secretly taking lessons from several SIR SIMON RATTLE CONDUCTS THE LSO AT THE BARBICAN other teachers. Although Maximilian Franz withdrew payments for Beethoven’s Wednesday 15 January 2020 6.30pm Viennese education, the talented musician had already attracted support from some of HALF SIX FIX: SEVENTH SYMPHONY the city’s wealthiest arts patrons. His public and Berg Seven Early Songs performances in 1795 were well received, with Sir Simon Rattle conductor and he shrewdly negotiated a contract with Dorothea Röschmann Artaria & Co, the largest music publisher in Vienna. He was soon able to devote his time Thursday 16 January 2020 7.30pm to composition or the performance of his own works. SYMPHONY NO 7 and music by Berg Sunday 16 February 2020 7pm In 1800 he began to complain of deafness, with Sir Simon Rattle conductor but despite suffering the distress and pain Dorothea Röschmann soprano SYMPHONY NO 9 eethoven showed early musical of tinnitus, chronic stomach ailments and an promise, yet reacted against his embittered legal case for the guardianship Sunday 19 January 2020 7pm & Berg Lulu – Suite father’s attempts to train him as a of his nephew, he created a series of Thursday 13 February 2020 7.30pm Beethoven Symphony No 9, ‘Choral’ child prodigy. The boy pianist attracted the remarkable new works, including the Missa support of the Prince-Archbishop, enabling Solemnis and his late symphonies and piano CHRIST ON THE MOUNT OF OLIVES Sir Simon Rattle conductor his studies with musicians at court, and by sonatas. It is thought that around 10,000 and Berg Violin Concerto Iwona Sobotka soprano the early 1780s Beethoven had completed people followed his funeral procession on with Sir Simon Rattle conductor Anna Stéphany mezzo-soprano his first compositions, all of which were for 29 March 1827. His posthumous reputation Lisa Batiashvili violin Robert Murray keyboard. With the decline of his alcoholic developed to influence successive Florian Boesch baritone father, Beethoven became the family bread- generations of composers and other Wednesday 12 February 2020 6.30pm London Symphony Chorus winner as a musician at court. artists inspired by the heroic aspects of Simon Halsey chorus director Beethoven’s character and the profound HALF SIX FIX: London Symphony Orchestra Encouraged by his employer, the Prince- humanity of his music. • ‘CHORAL’ SYMPHONY Archbishop Maximilian Franz, Beethoven with Sir Simon Rattle conductor travelled to Vienna to study with Haydn. Composer Profile by Andrew Stewart The younger composer fell out with his Part of Beethoven 250 at the Barbican lso.co.uk/201920season renowned mentor when the latter discovered barbican.org.uk/beethoven250 Charles Ives Symphony No 2 1902 / note by Wendy Thompson

1 Andante moderato sometimes putting these themes or songs The opening movement, featuring the warm constant use of musical quotations, but 2 Allegro together in two or three differently-keyed timbre of a predominantly string-based nevertheless recognised that the results 3 Adagio cantabile … and sometimes two ensemble, was based on an organ sonata were ‘an extraordinary musical achievement’. 4 Lento (maestoso) or three different kinds of time or key.’ and an overture (both lost), but echoes describes Ives as an 5 Allegro molto vivace His peculiar ‘pick ‘n’ mix’ approach to and fragments of a startling range of other ‘authentic primitive’, and says that his composition produced some startlingly composers’ works can be detected, ranging taste for ‘tossing bits of Americana into the n 22 February 1951, a retired modern results, employing collage, from Wagner’s Tristan, Brahms’ First and European soup-pot’ has ‘all the freshness of insurance salesman sat listening atonality, polytonality, dissonance and other Third Symphonies, the motto theme of a naïve American wandering in Europe, like to the radio in his neighbour’s devices which later composers developed in Beethoven’s Fifth Symphony and the Mark Twain’s innocent abroad’. The second house in West Redding, Connecticut. The a more structured way. sinfonia from Bach’s three-part Invention movement (Allegro), introduced by an oboe programme was an orchestral concert solo, is a startling cornucopia of allusions relayed from , New York, — to Civil War, college and Gospel songs, by the Orchestra ‘If the Yankee can reflect the fervency with which his gospels were sung … and was based on a lost set of overtures, conducted by Leonard Bernstein. At the In these United States. end, the audience burst into applause and he may find there a local colour that will do all the world good.’ cheers. Everyone in the Connecticut living — Ives’ patriotic feeling, however, was universal room looked expectantly towards the elderly rather than chauvinistic. According to him, listener, who got up, spat in the fireplace, The Second Symphony, which he regarded in F minor, to American songs, hymns and ‘If the Yankee can reflect the fervency with and walked into the kitchen without saying as one of his ‘softer’, more accessible pieces, spirituals such as ‘Columbia, the Gem of which his gospels were sung … he may a word. That was Charles Ives’ reaction to was composed between 1900 and 1902, the Ocean’ (the patriotic precursor to ‘The find there a local colour that will do all the the premiere of his own Second Symphony, while he and a group of university friends Star-Spangled Banner’), ‘Massa’s in de cold world good. If his music can but catch that composed half a century earlier. He had were living in lodgings they called ‘Poverty ground’, and ‘Pig Town Fling’. spirit by being a part with itself, it will come declined to attend the concert, although Flat’ in Central Park West, New York •. somewhere near this idea – and it will be his wife, Harmony, had gone in his place. The Symphony was revised around the time The composer Elliott Carter, who was American too.’ of his marriage in 1908, and Ives claimed influenced by Ives in his younger days, Ives was ahead of his time. Much of his that the bulk of its material was derived was of the opinion that Ives’ nostalgic The central pivot of the symphony is a highly unorthodox music sprang from the from earlier compositions, mostly overtures, mind-set ‘belonged to the 1890–1920 beautiful Adagio cantabile. Ives originally odd timbres of the municipal bands and now mostly lost; and stylistically the work period with a strong retrospective view incorporated it into his First Symphony, theatre he heard during his clearly owes a great deal to Romantic of the Transcendental-Civil War period’. composed while he was studying at Yale Connecticut small-town childhood. He European composers such as Dvořák, Carter confessed himself ‘perplexed at with Horatio Parker, but then removed became a musical magpie, experimenting Tchaikovsky and Brahms. times by the disturbing lack of musical it at Parker’s insistence. The fourth and with combining ‘college songs, hymns etc – and stylistic continuity’ caused by Ives’ fifth movements form a pair, both based

6 Programme Notes 14 April 2019 Charles Ives in Profile 1874–1954 on lost overtures. In the finale, the tune orn in Danbury, Connecticut, man who ran a successful agency in New of ‘Columbia, Gem of the Ocean’ returns Charles Ives spent his youth as York. In fact, the bouts of composition that triumphantly on trombones, before the an organist and player in the produced this rich and diverse corpus of symphony ends with a bugle-like Reveille local marching bands, where he enjoyed a more than 350 pieces took place in the scant call and the pile-up of a dissonant tone- thorough but eccentric course of instruction hours left free from his business duties. This cluster. The lasting impression of this from his father. A typical exercise might dual existence placed heavy demands on symphony, as Bernstein says, is ‘original, have had young Charles singing hymns in Ives’ already fragile psyche, and eventually eccentric, naïve, as full of charm as an old one key while accompanying himself in took its toll when, in 1927, with tears in lace-trimmed Christmas card – but one that another, but he went on to receive a more his eyes, he suddenly announced to his might explode in your hands’. • orthodox education as a music student at wife Harmony that nothing sounded right Yale University. anymore and he never wrote another note.

We now consider him a seminal composer, Ives spent his remaining years fighting for • IVES IN NEW YORK a maverick and a radical, who developed a recognition and organising performances rich vocabulary of complex polyrhythms, for his long dormant works, like the Third After graduating from Yale, Ives moved quartal harmonies and tone clusters to Symphony, which won him the Pulitzer Prize to New York with friends. He took a job FIND OUT MORE manipulate the rules of music towards in 1947 in the year after its premiere but with the Mutual Insurance Company and his own expressive ends. His formal almost 40 after it was completed. Sadly, like continued to compose at night and during Sunday 2 June 2019 10am–5pm innovations, where layers upon layers of so little else in this unusual and remarkable weekends. He was successful in his work, Barbican & LSO St Luke’s sounds written in different keys, styles career, this lag was typical for Ives. • but he shared his music rarely and didn’t or even tempos, could be woven together socialise with professional musicians. LSO DISCOVERY DAY: CHARLES IVES into a heterogeneous musical whole Composer Profile by Mark Parker However, he did play the organ at Central put him decades ahead of his European Presbyterian Church, where his musical Attend a morning rehearsal with Michael counterparts. And the extensive quotations eccentricity was noted by flatmate Ned Park: Tilson Thomas, then head to LSO St Luke’s from the vernacular sounds of his youth for the afternoon for a talk about Charles gave his music the unmistakable stamp of ‘Various members of the congregation were Ives, given by Ives scholar Dr William Brooks his home country, leaving Ives to be regarded in a state of continual quandary whether of the University of York and illustrated by as the first truly American composer. Charlie was committing sacrilegious sins performances. by introducing popular and perhaps ribald And yet, to almost all of his contemporaries, melodies into the offertory. I am sure that lso.co.uk/discoverydays and for the entirety of his creative career, he was under grave suspicion.’ Charles Ives was just a full-time insurance

Composer Profile 7 Sir Mark Elder conductor

ir Mark Elder has been Music Director Sir Mark has made recordings with Washington, London Philharmonic Orchestra, of the Hallé since September 2000. orchestras including the Hallé, London Russian National Orchestra, Rotterdam He was previously Music Director of Philharmonic, City of Birmingham Symphony Philharmonic, Budapest Festival Orchestra, English National (1979–93), Principal Orchestra and the OAE, in repertoire Gothenburg Symphony, Tonhalle-Orchester Guest Conductor of the City of Birmingham ranging from Verdi, Strauss and Wagner Zurich, Orchestre de la Suisse Romande, Symphony Orchestra (1992–95) and Music to contemporary music. Releases on the Vienna Symphony and the OAE. Operatic Director of Rochester Philharmonic Orchestra, Hallé’s own CD label have met with universal engagements include a complete performance US (1989–94), and he has held the position acclaim, culminating in Gramophone of Wagner’s Parsifal at the BBC Proms of Principal Guest Conductor of the Awards for Elgar’s with the Hallé, Puccini’s La bohème at the BBC Symphony Orchestra and the in 2009 and Wagner’s Götterdämmerung Opéra National de Paris, Berlioz’s Benvenuto London Mozart Players. in 2010. Other Wagner releases include Cellini for Netherlands Opera, Britten’s Hallé recordings of Das Rheingold and Die Billy Budd, Verdi’s Falstaff and La Traviata He has worked with many of the world’s Walküre, and a live recording of Lohengrin for Glyndebourne, leading symphony orchestras, including with the Royal Concertgebouw Orchestra. productions of Berg’s Wozzeck, Beethoven’s the Philharmonic, Orchestre de Paris, Fidelio, Rossini’s Il Barbiere di Siviglia, and a Chicago Symphony, Boston Symphony, TV appearances include a two-part film on the new production of Samson et Dalila to open Royal Concertgebouw, Budapest Festival life and music of Verdi for BBC TV in 1994 the Metropolitan Opera’s 2018/19 season. Orchestra and London Philharmonic. He is and a similar project on Donizetti for German a Principal Artist of the Orchestra of the television. In November 2011 he co-presented Sir Mark Elder was appointed a Companion Age of Enlightenment and works regularly the BBC’s four-part series Symphony, and in of Honour in the 2017 Queen’s Birthday with the LSO. He has appeared annually 2012 fronted BBC2’s Maestro at the Opera. In Honours, was knighted in 2008 and awarded at the BBC Proms for many years, including April 2011, he took up the position of Artistic the CBE in 1989. He won an Olivier Award in SIR MARK ELDER IN 2019/20 at the Last Night in 1987 and 2006. Director of Opera Rara, for whom recording 1991 for his outstanding work at ENO and in projects have included Donizetti’s Dom May 2006 he was named Conductor of the Sunday 29 March 2020 7pm, Barbican He works regularly in the most prominent Sebastien, Imelda de' Lambertazzi, Linda Year by the Royal Philharmonic Society. He Elgar Violin Concerto international opera houses, including the di Chamounix, Maria di Rohan, an award- was awarded Honorary Membership of the Sibelius Symphony No 4 Royal Opera House, Metropolitan Opera New winning release of Les Martyrs and, most Royal Philharmonic Society in 2011. • York, Opéra National de Paris, Lyric Opera recently, Rossini’s Semiramide. Sir Mark Elder conductor Chicago and Glyndebourne Festival Opera. Nikolaj Szeps-Znaider violin Other guest engagements have taken him to Recent and forthcoming concert engagements the Bayreuth Festival, Munich, Amsterdam, include Boston Symphony, Chicago Tickets on sale now at lso.co.uk/201920 Zürich, Berlin, and the Bregenz Festival. Symphony, National Symphony Orchestra

8 Artist Biographies 14 April 2019 Kirill Gerstein piano

irill Gerstein’s natural versatility Philharmonic, Cleveland Orchestra, Kirill Gerstein was brought up in the former has led him to explore styles and Cincinnati Symphony, and the Orquestra Soviet Union studying both classical and repertoire ranging from Bach to Sinfônica de São Paolo. He plays recitals jazz piano, and at the age of 14 he moved Adès, and his playing is distinguished by in London, Stuttgart, Lisbon, Singapore, to the US where he was the youngest intelligence, virtuosity and clarity, which he Melbourne and Copenhagen, as well as student to attend Boston’s Berklee College combines with an energetic and imaginative chamber performances with the Hagen of Music. He subsequently shifted his focus musical presence. Quartet, and Veronika Eberle and to the classical repertoire and studied with Clemens Hagen in Lucerne. Solomon Mikowsky in New York, Dmitri Earlier this spring Gerstein gave the world Bashkirov in Madrid and Ferenc Rados premiere performances of Thomas Adès’ In February this year, Gerstein released in Budapest. new Piano Concerto with the Boston Busoni’s Piano Concerto with the Boston Symphony Orchestra conducted by the Symphony and on Myrios In 2001, Gerstein won First Prize at the tenth composer, written especially for him, and Classics. In autumn 2018, he appeared Arthur Rubinstein Competition, the first of conducted by the composer in Boston and on LAWO Classics’ recording of Scriabin’s a series of prestigious accolades. In 2002, he New York. Gerstein and Adès will also give Prometheus: The Poem of Fire with the won a Gilmore Young Artist Award, and in the European premiere of the new piece Oslo Philharmonic and . 2010 both an Avery Fisher Career Grant and with the Leipzig Gewandhaus Orchestra, Future releases include Tchaikovsky’s the Gilmore Artist Award, which funded the and they collaborate for performances of Piano Concertos Nos 1–3, part of Semyon commission of works by Timothy Andres, In Seven Days in London with the London Bychkov’s Tchaikovsky Project, recorded for , Alexander Goehr, Philharmonic and in Los Angeles with the LA Decca with the Czech Philharmonic. Recent and Brad Mehldau. Philharmonic, as well as in recitals in New recordings for Myrios Classics include York and Boston. The Gershwin Moment, released in February A committed teacher and pedagogue, KIRILL GERSTEIN IN 2019/20 2018; Liszt’s Transcendental Études, picked Gerstein taught at the Stuttgart Musik Elsewhere this season, Gerstein appears by The New Yorker as one of 2016’s notable Hochschule from 2007 to 2017. He now Saturday 6 June 2020 7.30pm, Barbican with the Czech Philharmonic and Semyon recordings; and Tchaikovsky’s First Piano teaches as part of Kronberg Academy’s newly Gershwin ed Watson Piano Concerto in F major Bychkov, and performs in China with the Concerto in the composer’s own final version announced Sir András Schiff Performance and music by Ives, Roy Harris and Bernstein Shanghai and Guangzhou Symphony from 1879. He also released Imaginary Programme for Young Artists. • Orchestras, with the Rotterdam Pictures, pairing Mussorgsky’s Pictures at an Sir Simon Rattle conductor Philharmonic, Orchestre Philharmonique Exhibition with Schumann’s Carnaval, two Kirill Gerstein piano de Radio France, NDR Elbphilharmonie discs with Tabea Zimmerman of sonatas for Orchestra, Dresden Staatskapelle, Danish viola and piano, and a recital disc of works by Tickets on sale now at lso.co.uk/201920 National Symphony Orchestra, Helsinki Schumann, Liszt and Knussen.

Artist Biographies 9 London Symphony Orchestra on stage tonight

Leader Second Violins Cellos Flutes Trumpets LSO String Experience Scheme Tomo Keller Julián Gil Rodríguez Rebecca Gilliver Daniel Pailthorpe Niall Keatley Since 1992, the LSO String Experience Miya Väisänen Alastair Blayden Julian Sperry David Geoghegan Scheme has enabled young string players First Violins Matthew Gardner Jennifer Brown from the London music conservatoires at Carmine Lauri Belinda McFarlane Noel Bradshaw Piccolo Trombones the start of their professional careers to gain Clare Duckworth Iwona Muszynska Eve-Marie Sharon Williams Peter Moore work experience by playing in rehearsals Laura Dixon Csilla Pogany Caravassilis Jonathan Hollick and concerts with the LSO. The musicians Maxine Kwok-Adams Andrew Pollock Daniel Gardner Oboes are treated as professional ‘extra’ players Laurent Quénelle Paul Robson Hilary Jones Juliana Koch Bass Trombone (additional to LSO members) and receive fees Harriet Rayfield Siobhan Doyle Amanda Truelove Rosie Jenkins Paul Milner for their work in line with LSO section players. Colin Renwick Dmitry Khakhamov Minat Lyons Sylvain Vasseur Esther Kim Ella Rundle Clarinets Tuba The Scheme is supported by: Rhys Watkins Gordon MacKay Andrew Marriner Adrian Miotti The Polonsky Foundation Emmanuel Bach Alain Petitclerc Double Basses Chi-Yu Mo Barbara Whatmore Charitable Trust Rebecca Dinning Robert Yeomans Enno Senft Timpani Derek Hill Foundation Lulu Fuller Colin Paris Bassoons Nigel Thomas Lord and Lady Lurgan Trust Doriane Gable Violas Patrick Laurence Daniel Jemison Angus Allnatt Charitable Foundation Dániel Mészöly Edward Vanderspar Matthew Gibson Joost Bosdijk Percussion Rod Stafford Elizaveta Tyun Rosalind Ventris Jani Pensola Sam Walton German Clavijo Josie Ellis Contra Bassoon David Jackson Cellist Agnieszka Zyniewicz is Stephen Doman Siret Lust Dominic Morgan performing tonight. Carol Ella GyuNam Kim Julia O’Riordan Horns Editor Robert Turner Katerina Janurkova Fiona Dinsdale | [email protected] Catherine Bradshaw Angela Barnes Editorial Photography Michelle Bruil Alexander Ranald Mackechnie, Chris Wahlberg, Luca Casciato Edmundson Harald Hoffmann, Marco Borggreve May Dolan Jonathan Lipton Print Cantate 020 3651 1690 Cynthia Perrin Advertising Cabbells Ltd 020 3603 7937

Details in this publication were correct at time of going to press.

10 The Orchestra 14 April 2019 @Bundesarchiv, Bild 146-1988-078-08 / CC-BY-SA https://bit.ly/1GZ3S7R 3.0, Chineke! Works by Copland, Gershwin, Ibert and Weill A Child of our Time

Copland Music for the Theatre Brighton Festival Chorus Gweneth Ann Rand Ibert Divertissement soprano Ronnita Miller mezzo Gershwin Rhapsody in Blue (jazz band version) Noah Stewart tenor Weill Suite from The Threepenny Opera Jonathan Lemalu bass Copland Old American Songs Gershwin Songs from Porgy and Bess Beethoven Piano Concerto for Violin, Cello and Piano in C major Op. w56 Tippett A Child of Our Time

Thu 23 May Sun 26 May Brighton Dome Concert Hall brightonfestival.org Brighton Dome Concert Hall presents

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JESS GILLAM LAUREN FAGAN SEAN SHIBE Part of LOVE Tuesday 30 April Performing works by Rachmaninov, CLASSICAL Dvořák, Rodrigo, Nyman and Mussorgsky