Sunday 11 November 2018 7–8.55pm Barbican Hall

LSO SEASON CONCERT FRANÇOIS-XAVIER ROTH

Ligeti Lontano Bartók Cantata profana NELSON Interval Haydn Nelson Mass

François-Xavier Roth conductor Camilla Tilling soprano Adèle Charvet mezzo-soprano Julien Behr tenor Matthew Rose MASS London Symphony Chorus Simon Halsey chorus director Welcome Latest News On Our Blog

I hope you enjoy the performance and THE DONATELLA FLICK LSO DONATELLA FLICK LSO CONDUCTING that you are able to join us again soon. CONDUCTING COMPETITION COMPETITION: THE SHORTLIST This coming Tuesday we present the first of our short, informal Half Six Fix concerts of This month, 20 emerging conductors from Throughout November we’ll be sharing the the season, as François-Xavier Roth conducts across Europe will take part in the 15th stories of the 20 shortlisted contestants Strauss’ instantly recognisable Also sprach Donatella Flick LSO Conducting Competition. vying for the position of LSO Assistant Zarathustra and Debussy’s Prélude à l’après- Across two days of intense preliminary Conductor in the Donatella Flick LSO midi d’un Faune, introducing each work from rounds they’ll compete for the chance to Conducting Competition. the stage. Then on Wednesday we hear a impress our panel of esteemed judges in part repeat of Tuesday’s concert with the the Grand Final here in Barbican Hall on • lso.co.uk/blog addition of Dvořák’s virtuosic Cello Concerto Thursday 22 November. warm welcome to this evening’s with soloist Jean-Guihen Queyras. THE LIFE OF CHARLES SORLEY concert at the Barbican. Tonight • lso.co.uk/conducting-competition we are joined by Principal Guest Visit the LSO Blog to read extracts from war Conductor François-Xavier Roth for the first LSO EAST LONDON ACADEMY poet Charles Sorley’s letters written between of six concerts this season, which build on 1914 and 1915, revealing an insight into life on our theme of Roots, with explorations of Developed in partnership with ten East the Western Front, and the loss and human musical origins in relation to the changes Kathryn McDowell CBE DL London boroughs, the LSO East London cost of the conflict. of the 19th and 20th centuries. Managing Director Academy is the first step on a path to making the Orchestra truly representative • lso.co.uk/blog Ligeti’s modernist work Lontano opens the of its community in London. Opening at LSO programme, followed by two choral works St Luke’s in spring 2019, it aims to identify THE LSO IN WORLD WAR I with the London Symphony Chorus: Bartók’s and develop the potential of young East Cantata profana and Haydn’s Nelson Mass. Londoners who show exceptional musical In 2014 we began a project to uncover the These latter works see us joined by four talent, irrespective of their background or story of the LSO and its players during exceptional soloists – we welcome back financial circumstance. World War I. Four years later, to mark the Matthew Rose and Camilla Tilling, both centenary of the Armistice, we return to take of whom last sang with the Orchestra in • lso.co.uk/news a look at how the LSO was coping by the end Schumann’s Scenes from Goethe’s Faust of the War and what happened next. in 2016. And we hear the LSO debuts by tenor Julien Behr and mezzo-soprano • lso.co.uk/blog Adèle Charvet.

2 Welcome 11 November 2018 Tonight’s Concert / introduction by Liam Hennebry Coming Up

onight we hear music by three The Nelson Mass is one of six written for the Tuesday 13 November 2018 6.30pm Thursday 22 November 2018 7.30pm central European innovators. Esterházys towards the end of Haydn’s life, Barbican Hall Barbican Hall Joseph Haydn, whose contributions regarded collectively to be the pinnacle of earn him such epithets as ‘inventor of the his liturgical writing. Its original title Missa HALF SIX FIX: ALSO SPRACH ZARATHUSTRA DONATELLA FLICK LSO CONDUCTING symphony’, consistently pioneered new in Angustiis (Mass for Troubled Times), COMPETITION FINAL forms, structures and means of musical refers to a moment of substantial economic Debussy Prélude à l’après-midi d’un Faune development. Bartók and Ligeti too, and political calamity as Napoleon’s armies Strauss Also sprach Zarathustra Wagner through narrative, textural and harmonic threatened to overwhelm not just Haydn’s Introduced on stage by the conductor Prelude: Die Meistersinger von Nürnberg experimentation, pushed both boundaries native Austria, but the whole of Europe. Prokofiev Violin Concerto No 2 and audiences in their own characteristic François-Xavier Roth conductor Kodály Dances of Galánta ways. It’s easy to think that these sons of Mittleuropa would have got along rather well. PROGRAMME NOTE WRITERS Three finalists to be announced Wednesday 14 November 2018 7.30pm Vadim Repin violin Lontano comes from the height of Ligeti’s Paul Griffiths has been a critic for nearly 40 Barbican Hall avant-garde writing of the mid-1960s. years, including for The Times and The New A mysterious and eerily metallic sound- Yorker, and is an authority on 20th- and DVOŘÁK CELLO CONCERTO Thursday 29 November 2018 7.30pm world interweaves the roles of distance 21st-century music. Among his books are Barbican Hall and time while drawing the lush orchestral studies of Boulez, Ligeti and Stravinsky. Debussy Prélude à l’après-midi d’un Faune textures of late Romanticism into wholly He also writes novels and librettos. Dvořák Cello Concerto DIVINE GEOMETRY new harmonic and tonal territory. Strauss Also sprach Zarathustra Andrew Stewart is a freelance music Charles Coleman Drenched Bartók once described the dramatic, journalist and writer. He is the author of The François-Xavier Roth conductor Charles Coleman Bach Inspired secular parable Cantata profana as ‘his LSO at 90, and contributes to a wide variety Jean-Guihen Queyras cello Philip Glass Piano Concerto No 3 most profound credo’. The work deploys of specialist classical music publications. (UK premiere) challenging vocal writing to present a tale Kristjan Järvi Too Hot to Handel which has been variously interpreted as Lindsay Kemp is a senior producer for BBC Steve Reich Music for ensemble and representing intergenerational conflict, Radio 3, including programming Lunchtime orchestra (UK premiere, LSO co-commission) transfiguration in death, and opposition to Concerts from LSO St Luke’s, Artistic LSO Platforms: Guildhall Artists the fascism of the 1930s. It portrays nine sons Director of Baroque at the Edge, and a 6pm Barbican Hall Kristjan Järvi conductor who, knowing nothing of work and possessed regular contributor to Gramophone magazine. Free entry Simone Dinnerstein piano of no skills, spend their days hunting and so become stags of the forest themselves.

Tonight’s Concert 3 György Ligeti Lontano 1967 / note by Paul Griffiths

his is music from afar – da lontano, to use the Italian phrase sometimes found in musical scores. It begins very quietly and ends with a prolonged fade, as if arriving from far away and slowly departing again. And there are other distances. The music’s quietly sustained chords seem remote, its more definite figures nearer at hand. A chime of octaves will sound closer than a more complex chord – though the particular quality of distance or nearness will depend too on loudness, register (very high or very low sounds, both prominent here, will tend to sound recessed), and orchestration.

Completed in May 1967, the piece also that again we experience distance, across temperament. Normally these effects are It is, to quote the lines from Keats that conveys distances in time. There is the the platform). This note becomes fuzzy negligible or irrelevant, but here, where Ligeti cited apropos this piece: echo of a work Ligeti had written six years with the addition of neighbours, and soon processes of change are so decelerated, before for a similar large orchestra without a new focus becomes evident as C starts to they begin to count, and to contribute to — percussion: Atmosphères. And beyond that sound in treble-register octaves throughout the music’s essential impalpability ‘The same that oft-times hath we rehear the orchestral sumptuousness of the orchestra. The highest C remains as a and mystery. What also matters is how the late Romantic era, in the rich octave- harmonic in two violins, joined far below, in ‘harmonic crystals’, as Ligeti called them, Charm’d magic casements, doubled textures (‘like velvet’, Ligeti said) another sensation of distance, by D-flat and dissolve and new ones crystallise out – opening on the foam and in such moments as the soft, warm D in double basses and contrabassoon. So sometimes gradually, sometimes suddenly Of perilous seas, in faery lands forlorn.’ entry of the horns near the end, replaying the music goes on. present and scintillant. a similar point in the slow movement of Excerpt from John Keats’ Ode to a Nightingale Bruckner’s Symphony No 8. Also important are subtleties of tuning. As The work’s rediscovery of harmony is at once — Ligeti pointed out, a violinist’s pitching will wondrous and sad: wondrous in the clarity The start, as in the choral Lux aeterna of the depend on harmonic and melodic context, and beauty with which the crystals come previous year, is with an eerily protracted and a plain fifth will tend to be played by into view, sad in their isolation and their unison initiated by flutes and cellos (so strings in just intonation rather than equal inability to function as they used to.

4 Programme Notes 11 November 2018 György Ligeti in Profile 1923–2006 / profile by Paul Griffiths

aving survived living under the Nazi luminous, characterful – he preferred, prepared for publication, alongside their dictatorship, Ligeti found himself though he also returned to the symphony younger siblings, which included a sequence subject to another. Under Stalin, he orchestra with Lontano (1967) and San of 18 piano études, written at intervals was living again in a world without humane Francisco Polyphony (1973–74), which seem between 1985 and 2001, as well as concertos values, a world cataclysmically shocked, and to provide increasingly detailed maps of for piano, violin and horn, and With Pipes, the experience greatly affected his music. the vast domains of Atmosphères. With his Drums, Fiddles for mezzo-soprano and music’s range by now so rich and various, he percussion quartet (2000). In December 1956, following the Soviet embarked on an opera, the comical-tragical- invasion of the previous month, he left fantastical Le grand macabre (1974–77). Unable to compose in his last years, he with his wife and made his way to the died in Vienna in 2006, his unaccomplished electronic music studio in Cologne, where After this came a hiatus. He felt that the projects including two more string quartets he hoped to realise his vision of ‘glistening avant-garde movement to which he had and a second big stage work, to be based on entanglement’. That vision proved, however, contributed in the 1950s and 60s was Lewis Carroll’s Alice books. • more amenable to entrapment by an over, and that the new postmodern neo- orchestra (Atmosphères, 1961), perhaps Romanticism was a dead end. Minimalism with added choir (Requiem, 1963–5). At had its pleasures (he had enjoyed them in once busy and still, unearthly, these works Monument – Selbstportrait – Bewegung for were used to great effect by Stanley Kubrick two pianos, 1976), but he wanted more. in his film2001: A Space Odyssey (1968), which gained their composer a much wider He made a breakthrough in his Horn Trio audience. Alluring eeriness, however, was (1982), which initiated a late-Ligeti style of only one of Ligeti’s expressive modes; there slantwise classical form, wild polyrhythm was also quick-fire comedy Aventures( for (prompted in part by African and Caribbean three wordless singers and ensemble, 1962) music, and in part by a fascination with and mad machine music (Continuum for digital processing and fractal mathematics) harpsichord, 1968). and estranged harmony, in which unconventional tunings play a part, as All these possibilities and more were they had to a lesser degree before. Central disclosed in his String Quartet No 2 (1968) European folk music began to sound again and Chamber Concerto (1969–70), the in his work, so that there was a link back to latter for a small orchestra of soloists. the choruses, songs and piano pieces of his This became the kind of ensemble – quick, Budapest years. Many of these he belatedly

Composer Profile 5 Béla Bartók Cantata profana 1930 / note by Paul Griffiths

1 Molto Moderato – Nine brothers, taught by their father to the altered version of major, with raised • BARTÓK ON LSO LIVE 2 Andante – be hunters, go off one day into the forest, fourth and lowered seventh, that Bartók 3 Moderato where, in passing over a bridge, they are adopted from Romanian folk music and transformed into stags. Their father follows, often used for movements of clarity and Julien Behr tenor crosses the bridge himself (but is not vigour. In between, the second movement Matthew Rose bass changed), and finds them. He takes aim, but has a symmetry of its own, presenting London Symphony Chorus the leader of the herd, previously his dearest the confrontation between son (tenor) Simon Halsey chorus director son, warns him not to fire: were he to do so, and father (baritone) in arias set within they would be bound to crush him to death. choral narrative, though it ends with a or a composer who owed so Recognising but not understanding what duet of parting that is outside the scheme. much to singers (of folk music) has happened, the father begs his sons to All through, but especially in this second Bartók wrote remarkably little come home, to food and a grieving mother. movement, Bartók pays homage to Bach music to sing. Now and then, though, he But, the lead stag answers, that cannot be. in canons and other contrapuntal designs, would be seized by a text, as he was by the With their antlers they could not enter the involving a chorus in eight parts. Romanian ballad he adapted for this, his house: they must roam the forest and drink most imposing vocal work after his opera from its springs. That aspect of the work, coupled with Bluebeard’s Castle. the difficulty especially of the solo tenor Bluebeard’s Castle Bartók wrote the score in the summer of part, has kept performances infrequent. What he liked in his source was partly its 1930, soon after a set of choral folksong Bartók wrote the score with no prospect of Bartók’s only opera is an intense drama, breath of antiquity, going back to pre- arrangements that may have been a performance, and had to wait nearly four involving only two characters and Christian times. Revering Bach as he did, limbering-up exercise, and immediately years to hear it, until the BBC presented it in underpinned by a rich orchestral score. he probably thought of the cantata as a before his Second Piano Concerto. As in London in May 1934. Still now it is a rarity. • fundamentally religious form. He, however, many works of this period, he created a Valery Gergiev conductor would write a cantata that belonged to no kind of form in which the ending both Elena Zhidkova mezzo-soprano church – a profane, not a sacred, cantata, echoes and radically alters the beginning. Sir Willard White bass one that would affirm a sense of human Where the first of the three movements is Interval – 20 minutes dignity and worth without invoking a god: in three sections (family – hunt – magical Recorded live at the Barbican Centre, There are bars on all levels of the an outdoor cantata, a cantata of raw nature. transformation) setting out from D, the January 2009 Concert Hall; ice cream can be bought The work is a parable of growing up, and on third, which recapitulates the story, is in at the stands on Stalls and Circle level. one level it concerns humanity’s new and three short segments that end in the same Available to purchase in the Barbican Shop, Visit the Barbican Shop on Level -1 to difficult adulthood, living a life of freedom place. However, what was dark in the first at lsolive.co.uk, on iTunes and Amazon, or to see our range of Gifts and Accessories. and responsibility beyond church or temple. movement is now bright, the mode being stream on Spotify and Apple Music

6 Programme Notes 11 November 2018 Béla Bartók Cantata profana Texts / translation by Robert Shaw

First Movement Second Movement Volt egy öreg apo˙, Once there was an old man Az ö édes apjok At last the father Volt néki, volt néki Whose treasure of treasures Várással nem gyözte, Wearied of waiting, Kilenc szép szál fia, Was nine fair and stalwart sons, Fogta a puskáját, Taking up his rifle, Testéböl sarjadzott Seed of his own body fashioned. Elindult keresni He set forth to find them, Kilenc szép szál fia, Nine fair sturdy brothers. Kilenc szép szál fiát. Find his nine, fine children. Nem nevelte öket Naught of work he taught them, Reátalált a szép hídra, Thus he reached the hidden bridge, Semmi mesterségre, Naught of skills to earn a living, Hídnál csodaszarvasnyomra; There his was the phantom hoof-prints; Szántásra-vetésre, Neither trade nor farming, Szarvasnyom után elindult, Swiftly then their trail he followed, Ménesterelésre, Ploughing, sowing, reaping, El is jutott hüs forráshoz, Reach’d at last a cooling wellspring Csordaterelésre: Horse and cattle breeding. Hüs forrásnál szarvasokhoz. Where nine splendid stags were grazing. Hanem csak nevelte Only this he taught them: Féltérdre ereszkedett, Hastily down on one knee, silent Hegyet-völgyet járni, Forest trails to follow, Hej, egyre rá is célzott. The man, he raised his rifle. Szarvasra vadászni. Hunting the noble stag. De a legnagyobbik szarvas, But the leader up boldly Az erdöket járta, O’er mountain and valley, – Jaj, a legkedvesebb fiú – – Of all the sons dearest – És vadra vadászott, They wandered a’hunting, Szo˙val imigy felfelele: Gravely spoke to his father: Kilenc szép szál fiu. Nine fair and stalwart sons, ‘Kedves édes apánk, ‘Oh my dearest father, A vadra vadásztak; Farther still they wandered hunting; Ránk te sose célozz! Do not raise your rifle on your loving children! Annyit barangoltak, So long did they wander, Mert téged mi tüzünk For then our strong antlers will gore you, És addig vadásztak, Wander and hunt the deer, A szarvunk hegyére, Will seize you and pierce you Addig-addig, mignem So far, so long, until, És u˙ gy hajigálunk And slash you and hurl you – Szép hídra találtak, Lo! on a hidden bridge Téged rétröl rétre, Crashing mountain to mountain Csodaszarvasnyomra. Phantom hoof-prints beckon’d. Téged köröl köre, And forest to forest Addig nyomozgattak, Heedless on they followed Téged hegyröl-hegyre, And boulder to boulder Utat tévesztettek, Nor knew where they wander’d S téged hozzávágunk We will fling you, flay you, slay you Erdö sürüjében And the splendid hunters Éles kösziklához: Crushing life to matter, Szarvasokká lettek; Thus became stags Izzé-porra˙ zúzódsz Flesh to paste and bones to powder Karcsu szarvasokká váltak Slender stags, enchanted, Kedves édes apánk!’ Dearest, loving father! Erdö sürüjében. Roving the deep enshadowed forest.

Texts 7 Béla Bartók Cantata profana Texts (continued) / translation by Robert Shaw

Az ö édes apjok Then the loving father called unto his children, A legnagyobb szarvas, Yet again the leader Hozzájuk így szo˙ lott, And grieving answered, – Legkedvesebb fiú – – Dearest of the offspring – És hiva hivta, And pleading called unto them Szo˙ val felfelelvén Gravely spoke again És öket hivo˙ szo˙ val hívta: With sweet words begging them back: Hozzá imigy szo˙ la: And answer’d his father: ‘Édes szeretteim, ‘Oh, my dearest loved ones, ‘Kedves édesapánk, ‘Dearest, loving father, Kedves gyermekeim, Oh, my sons, my treasured children, Te csak eredj haza Go home from the forest, Gyertek, gyertek haza, Come oh come, and follow home now, A mi édes jó anyánkhoz! Home to our dear lonely grieving mother – Gyertek vélem haza, Come back from the forest, De mi nem megyünk! But we cannot go! Jo˙ anyátok vár már! Your sweet mother waits! De mi nem megyünk! But we cannot go! Jöjjetek ti vélem Come with me, come with me, Mert a mi szarvunk Because our antlers Jó anyátokhoz, Come back to your mother! Ajtón be nem térhet, Are wider than the doorway, A ti jó anyátok Eagerly, your mother Csak betér az völgyekbe; They must roam only the Forest groves; Várva vár magához. Waits for you, cries for you. A mi karcsu testünk Our limber limbs A fáklyák már égnek, All is ready for you, Gúnyában nem járhat, Can ne’er be bound in clothing, Az asztal is készen, The lanterns are lit, the table is set, Csak járhat az lombok közt; Only wear the wind and sun; A serlegek töltve ... Ready for your welcome. Karcsu lábunk nem lép And our tender hooves would Az asztalon serleg, The goblets are brimmed with wine Tüzhely hamujába, Splinter on the hearth stone, overflowing, Csak puha avarba; They tread but the leafy forest floor; Anyátok kesereg, – So too are your mother’s eyes, – A mi szájunk többé And our mouths no longer drink Serleg teli borral, Goblets full of wine but Nem iszik pohárbo˙ l, From your crystal goblets, Jó anyátok gonddal. Grief has filled her household. Csak hűvös forrásbo˙ l .’ But only cold mountain springs.’ A fáklyák már égnek, All is ready for you, Az asztal is készen, The lanterns are lit, the table is set, A serlegek töltve.’ Ready for your welcome.’

8 Texts 11 November 2018 Béla Bartók in profile / profile by Andrew Stewart

Third Movement by the works of Debussy, to which he was Volt egy öreg apo˙ , Once there was an old man, introduced by Kodály in 1907, the year in Volt néki, volt néki Whose treasure of treasures which he became Professor of Piano at the Kilenc szép szál fia, was nine fair and stalwart sons. Budapest Conservatory. Nem nevelte öket Naught of work he taught them, Semmi mesterségre, Naught of skills to earn a living, Bartók established his mature style with Csak erdöket járni, Neither trade nor farming, such scores as the ballets The Wooden Csak vadat vadászni, Only to wander, Prince (1914–16, completed 1917) and És addig-addig Farther and farther. The Miraculous Mandarin (1918–19, Vadászgattak, addig: Nine fair sons: completed 1926–31), and his opera Szarvassá változtak Chang’d into stags Bluebeard’s Castle (1911, completed 1918). Ott a nagy erdöben. In the forest shadows. He revived his career as a concert pianist És az ö szarvuk And so their antlers in 1927 when he gave the premiere of his Ajto˙ n be nem térhet, Are wider than doorways, First Piano Concerto in Mannheim. Csak betér az völgyekbe; Only roam but forest groves. éla Bartók’s family boasted how the A karcsu testük Their nimble limbs boy was able to recognise different Bartók detested the rise of fascism and in Gunyában nem járhat, Can never be bound in clothing, dance rhythms before he could October 1940 he quit Budapest and travelled Csak járhat az lombok közt; Only wear wind and sun. speak. Born in 1881 in Nagyszentmiklós, to the US. At first he concentrated on A lábuk nem lép Their tender hooves that would Hungary (now Sinnicolau Mare, Romania), ethnomusicology but eventually returned to Tüzhely hamujába, Splinter on hearth stone, he began piano lessons with his mother composition and created a significant group Csak a puha avarba; Tread but the forest floor. at the age of five. From 1899 to 1903 he of ‘American’ works, including the Concerto A szájuk többé And their mouths no longer drink studied piano and composition at the for Orchestra and his Third Piano Concerto. Nem iszik pohárbol, From crystal goblets, Royal Academy of Music in Budapest, where Csak tiszta forrásbo˙ l. But only cold mountain springs. he created a number of works that echoed His character was distinguished by a firm, the style of Brahms and Richard Strauss. almost stubborn refusal to compromise Béla Bartók ‘Cantata Profana’ Translation © Copyright 1953 or be diverted from his musical instincts © Copyright 1934 by Universal Edition by Boosey & Hawkes, Inc. After graduating, he discovered Austro- by money or position. Throughout his life, A.G., Wien Reproduced by permission of Hungarian and Slavic folk music, travelling Bartók collected, transcribed and annotated Boosey & Hawkes Music Publishers Ltd extensively with his friend Zoltán Kodály the folk songs of many countries, work that and recording countless ethnic songs and brought little financial return or recognition dances which began to influence his own but which he regarded as his most important compositions. His music was also influenced contribution to music. •

Composer Profile 9 Joseph Haydn Nelson Mass 1798 / note by Lindsay Kemp

1 Kyrie been forgiven if, in his final years, he had and strings, and most in evidence in the soothing Largo movement at ‘Et incarnatus 2 Gloria contented himself with composing a few powerful Kyrie and the startlingly menacing est’; and an Agnus Dei that sees no problem 3 Qui tollis trifles, happy to live off the reputation he trumpet fanfares that interrupt the restless in ending the work by following a serious 4 Quoniam had made for himself in an astonishingly course of the Benedictus. One of the work’s and substantial slow introduction with fugal 5 Credo vast and varied corpus of works. most striking features, it cannot have failed music of unashamed gaiety. 6 Et incarnatus to turn its first listeners’ minds to thoughts 7 Et resurrexit Yet, in his late 60s, Haydn was still full of war. Yet, if it did, there is also music here Haydn’s late Masses have sometimes been 8 Sanctus of adventure. In London he had heard of a cheerfulness and celebratory optimism criticised for alleged frivolity, yet in the 9 Benedictus Handel’s oratorios performed on a giant that must have struck just as resonant wide-ranging contrasts of the Nelson Mass 10 Osanna scale in Westminster Abbey, and had drawn a chord within them. For only a few days there could be no truer demonstration not 11 Agnus Dei from them the inspiration to compose before the first performance, the news only of this unassuming sexagenarian’s deep 12 Dona nobis pacem two rich and uplifting oratorios of his own, had reached Vienna of Admiral Nelson’s and abiding faith, but also of his grateful and The Seasons. And in his unexpected and audacious destruction of awareness of his own talents. • Camilla Tilling soprano principal remaining duty for the Esterházys – the French fleet at Aboukir. When Nelson Adèle Charvet mezzo-soprano the unpromising one of composing a Mass visited the Esterházys at Eisenstadt two Texts on pages 12 to 13 Julien Behr tenor to mark the nameday each September of years later (swapping a watch for one of Matthew Rose bass the Prince’s wife – he found a new vehicle Haydn’s old pens), this Mass was performed London Symphony Chorus for his boundless creative energy and, especially for him, thereby acquiring its now Simon Halsey chorus director between 1796 and 1802, produced six sacred more familiar nickname of the ‘Nelson’ Mass. masterpieces of truly symphonic breadth. n the last years of the 18th century, Above all, however, this is a work that Haydn was basking in the esteem The Nelson Mass is the third of these six achieves greatness on its own terms, and recognition he enjoyed as Masses, composed just after The Creation in showing the kind of compositional skill and Europe’s most famous and venerable the summer of 1798. Haydn’s own Latin title lively effusiveness that only Haydn could composer. His duties as Kapellmeister Missa in Angustiis means ‘Mass in difficult have managed in the period between the (Music Director) to the latest of the princely circumstances’, and no doubt refers to the death of Mozart and the rise of Beethoven. Esterházys, Prince Nikolaus II, were light; war-gripped condition in which Austria then Among its delights are a stupendous fugue he was a relatively wealthy man thanks to found itself, with many of its territories at the end of the Gloria on the words ‘in his two recent, highly successful visits to occupied by the armies of Napoleon. The gloria Dei Patris’, quickly followed at the London; and he had taken a town-house dark-hued, at times even fearfully sombre start of the Credo by a 78-bar canon, with in Vienna for the first time since the aspect is created partly by the unusual the sopranos and tenors faithfully following 1750s. In the light of all this, he could have scoring of trumpets, drums, solo organ the altos and basses; a ravishingly warm and

10 Programme Notes 11 November 2018 Joseph Haydn in Profile 1732–1809 / note by Andrew Stewart

ost general histories of music Castle. The death of Prince Nikolaus emphasise Joseph Haydn’s prompted unexpected and rapid changes CHORAL HIGHLIGHTS IN 2018/19 achievements as a composer of in Haydn’s circumstances. instrumental works, a pioneer of the string Sunday 2 December 2018 7pm quartet genre and the so-called ‘father of His son and heir, Prince Anton, cared the symphony’. In short, he was one of the little for what he regarded as the lavish A CHORAL CHRISTMAS most versatile and influential composers and extravagant indulgence of music. He of his age. After early training as a choirboy dismissed all but a few instrumentalists Simon Halsey conductor at Vienna’s St Stephen’s Cathedral and and retained the nominal services of Haydn, LSO Community Choir a period as a freelance musician, Haydn who became a free agent again and returned LSO Discovery Choirs became Kapellmeister to Count Morzin in to Vienna. Haydn was enticed to England Powerhouse Gospel Choir Vienna and subsequently to the music- by the impresario Johann Peter Salomon, LSO Brass, Percussion and Piano loving and wealthy Esterházy family at attracting considerable newspaper coverage their magnificent but isolated estate at and enthusiastic audiences to hear his new Saturday 8 December 2018 3pm Eszterháza, the ‘Hungarian Versailles’. works for London. Back in Vienna, Haydn, Sunday 9 December 2018 7pm Here he wrote a vast number of solo the son of a master wheelwright, was feted instrumental and chamber pieces, masses, by society and honoured by the imperial BERNSTEIN’S CANDIDE motets, concertos and symphonies, besides city’s musical institutions. • (concert version) at least two dozen stage works. Marin Alsop conductor In old age Haydn fashioned several of London Symphony Chorus his greatest works, the oratorios The Creation and The Seasons, his six Op 76 Sunday 3 March 2019 7pm String Quartets and his so-called ‘London Symphonies’ prominent among them. ‘I PUCCINI’S MESSA DI GLORIA am forced to remain at home … It is indeed sad always to be a slave, but Providence Sir conductor wills it thus,’ he wrote in June 1790. Haydn London Symphony Chorus was by now tired of the routine of being a musician in service. He envied his young friend Mozart’s apparent freedom in Vienna, Find out more at lso.co.uk but was resigned to remaining at Eszterháza

Composer Profile 11 Joseph Haydn Nelson Mass Texts

1 Kyrie 4 Quoniam Kyrie eleison! Lord, have mercy! Quoniam tu solus Sanctus, For thou only art holy, Christe eleison! Christ, have mercy! tu solus Dominus, thou only art the Lord, Kyrie eleison! Lord, have mercy! tu solus Altissimus, Jesu Christe. thou only art most high, Jesus Christ. Cum Sancto Spiritu With the Holy Ghost, 2 Gloria in gloria Dei Patris. in the glory of God the Father. Gloria in excelsis Deo. Glory be to God on high. Et in terra pax And in earth peace, 5 Credo hominibus bonae voluntatis. goodwill towards men. Credo in unum Deum; I believe in one God; Patrem omnipotentem, the Father almighty, Laudamus te, benedicimus te; We praise Thee, we bless Thee, factorem coeli et terrae, maker of heaven and earth, adoramus te, glorificamus te. we worship Thee, we glorify Thee. visibilium omnium et invisibilium. and of all things visible and invisible. Gratias agimus tibi We give thanks to Thee, propter magnam gloriam tuam. for Thy great glory. Credo in unum Dominum Jesum Christum, And in one Lord Jesus Christ, Filium Dei unigenitum, the only begotten Son of God, Domine Deus, Rex coelestis, O Lord God, heavenly King, Et ex Patre natum ante omnia saecula. begotten of the Father before all worlds; Deus Pater omnipotens. God the Father Almighty. Deum de Deo, lumen de lumine, God of God, light of light, Domine Fili unigenite Jesu Christe. O Lord, the only-begotten Son, Jesus Christ. Deum verum de Deo vero, true God of true God, Domine Deus, Agnus Dei, O Lord God, Lamb of God, Genitum non factum, begotten not made, Filius Patris. Son of the Father. consubstantialem Patri: being of one substance with the Father: per quem omnia facta sunt. by Whom all things were made. 3 Qui tollis Qui propter nos homines, Who for us men, Qui tollis peccata mundi, Thou that takest away the sins of the world, et propter nostram salutem and for our salvation miserere nobis. have mercy upon us. descendit de coelis. descended from heaven. Qui tollis peccata mundi, Thou that takest away the sins of the world, suscipe deprecationem nostram. receive our prayer. 6 Et incarnatus Qui sedes ad dextram Patris, Thou that sittest at the right hand of God Et incarnatus est de Spiritu Sancto And was incarnate by the Holy Ghost, O miserere nobis. the Father, have mercy upon us. ex Maria Virgine: et homo factus est. of the Virgin Mary, and was made man.

Crucifixus etiam pro nobis He was crucified also for us, sub Pontio Pilato, suffered under Pontius Pilate, passus et sepultus est. and was buried.

12 Texts 11 November 2018 7 Et resurrexit 9 Benedictus Et resurrexit tertia die And on the third day He rose again Benedictus qui venit Blessed is He that cometh secundum Scripturas. according to the Scriptures. in nomine Domini. in the name of the Lord. Et ascendit in coelum: And ascended into heaven: sedet ad dexteram Patris. he sitteth at the right hand of the Father. 10 Osanna Et iterum venturus est cum gloria, And He shall come again with glory, Osanna in excelsis! Hosanna in the highest! judicare vivos et mortuos: to judge the living and the dead: cujus regni non erit finis. and His kingdom shall have no end. 11 Agnus Dei Agnus Dei, Lamb of God, Credo in Spiritum Sanctum, I believe in the Holy Ghost, qui tollis peccata mundi, Who takest away the sins of the world, Dominum, et vivificantem: the Lord and giver of life: miserere nobis. have mercy upon us. qui ex Patre Filioque procedit. Who proceedeth from the Father and the Son. Agnus Dei. Dona nobis pacem. Lamb of God. Grant us peace. Qui cum Patre et Filio simul Who with the Father and the Son together adoratur et conglorificatur: is worshipped and glorified: 12 Dona nobis qui locutus est per Prophetas. as it was told by the Prophets. Dona nobis pacem! Grant us peace!

Credo in unam sanctam And I believe in one holy catholicam et apostolicam Ecclesiam. catholic and apostolic Church.

Confiteor unum baptisma, I acknowledge one baptism, in remissionem peccatorum. for the remission of sins. Et expecto resurrectionem mortuorum And I await the resurrection of the dead et vitam venturi saeculi. and the life of the world to come.

8 Sanctus Sanctus, Sanctus, Sanctus, Holy, Holy, Holy, Dominus Deus Sabaoth. Lord God of Hosts. Pleni sunt coeli et terra gloria tua. Heaven and earth are full of Thy glory. Osanna in excelsis. Hosanna in the highest.

Texts 13 François-Xavier Roth conductor

rançois-Xavier Roth is one of today’s companies in London, Paris, Frankfurt, He recorded the complete tone poems of most charismatic and enterprising Beijing, Nanjing, Shanghai and Tokyo. Richard Strauss while Principal Conductor conductors. He has been General of the SWR Sinfonieorchester Baden- Music Director of the City of Cologne since Les Siècles was nominated for Gramophone Baden & Freiburg (2011–16). His recordings 2015, leading both the Gürzenich Orchestra Magazine’s first Orchestra of the Year of the Stravinsky ballets The Firebird, and the Opera, and is the first-ever Associate Award in 2018. After the success of their Petrushka and The Rite of Spring with Les Artist of the Philharmonie de Paris. He was explorations of Post-Romanticism and Siècles have also been widely acclaimed, the winner of the 2000 Donatella Flick LSO Debussy in his centenary year, concerts the latter being awarded a German Record Conducting Competition, becoming Principal with the London Symphony Orchestra in Critics’ Prize. They are currently recording a Guest Conductor of the LSO in 2017. November and March feature a typically complete Ravel cycle for Harmonia Mundi. wide range of works, from Haydn through The first release, Daphnis and Chloé, was With a reputation for inventive programming, Strauss, Bartók and Scriabin and, in the Gramophone Editor’s Choice and CD of the his incisive approach and inspiring leadership latest of his LSO Futures series, to the month in Rondo Magazine. Mirages, a vocal are valued around the world. He works with current sound world of Philippe Manoury, recital with Sabine Devieilhe for Erato, won a leading orchestras including the Royal with the UK premiere of Ring. Victoires de la Musique Classique Recording , Staatskapelle Berlin, Boston of the Year award, and was Gramophone Symphony, Munich Philharmonic and Zurich In his fourth Cologne opera season, he Editor’s Choice. Tonhalle. In 2018/19, he returns to the Berlin leads new productions of Strauss’ Salome Philharmonic and appears with the Cleveland and Offenbach’s La Grande-Duchesse de A tireless champion of contemporary music, Orchestra, , Bavarian Gérolstein, which marks the bicentenary of and music education, he has been conductor Radio Symphony and Montreal Symphony. the composer’s birth in Cologne. With the of the ground-breaking LSO Panufnik Gürzenich Orchestra, he will feature the Composers Scheme since its outset in 2005. In 2003, he founded Les Siècles, an Rhenish composer Schumann, and explore Roth has premiered works by Yann Robin, FRANÇOIS-XAVIER ROTH IN 2018/19 innovative orchestra performing contrasting works which disrupt traditional orchestral Georg-Friedrich Haas, Hèctor Parra and and colourful programmes on modern and forms and think them anew. He continues Simon Steen-Anderson and collaborated with Saturday 24 March 2019 period instruments, often within the same a focus on the composer Philippe Manoury, composers like , Wolfgang Rihm, Lang, Manoury, Shin & Scriabin concert. With Les Siècles, he has given with the premiere of Lab.Oratorium, the Jörg Widmann and Helmut Lachenmann. concerts throughout Europe and toured to third of the trilogy of works commissioned Thursday 25 April 2019 China and Japan. They recreated the original by the Orchestra, which will also be played For his achievements as musician, Ravel Triple Bill sound of Stravinsky’s The Rite of Spring in in Hamburg and Paris. He will take the conductor, music director and teacher, its centenary year and, subsequently, with Orchestra on tour to Turin, Zürich and Vienna, François-Xavier Roth was made a Chevalier the Pina Bausch and Dominique Brun dance performing Mahler’s Symphony No 5. of the Légion d’honneur. •

14 Artist Biographies 11 November 2018 Camilla Tilling soprano Adèle Charvet mezzo-soprano

with the Orchestre de Paris and Il Pirata in at the Opéra National de Thomas Hengelbrock. Bordeaux, and made her debut at House in Bizet’s , playing A successful debut at the Royal Opera Mercédès. In August 2017, she sang at the House, Covent Garden as Sophie in Strauss’ Berlioz Festival of La Côte-Saint-André was the start of a under the baton of Nicolas Chalvin with the relationship which has seen her return to Orchestre des Pays de Savoie London as Pamina in Mozart’s , Dorinda in Handel’s , Oscar in Passionate about the song and Lieder Verdi’s and most repertoire which she studied with David Selig recently as Susanna in Mozart’s The Marriage and Anne le Bozec, she formed a duo with of Figaro – a role she has also performed pianist Florian Caroubi in 2015 and the pair for San Francisco Opera, Festival d’Aix- won the Mélodie Prize at the International en-Provence, Bayerische Staatsoper and Lied and Song Competition Nadia and Opéra National de Paris. Camilla Tilling has Lili Boulanger in Paris. They have since wedish soprano Camilla Tilling appeared at The as dèle Charvet studied at the Paris played at the Concertgebouw in Amsterdam, has enjoyed a top-flight career both Zerlina in Mozart’s and National Conservatory with at the Petit Palais in Paris, and soon at spanning more than two decades. Nannetta in Verdi’s , at the Opéra Professor Elène Golgevit. Her very deSingel in Antwerpen. Current season concert highlights include National de Paris and Teatro alla Scala as first musical experience on stage was in tonight’s performance with the London Ilia in Mozart’s . She has also the opera Brundibár by Hans Krása in which Last season, Adèle Charvet had the chance Symphony Orchestra and François-Xavier performed the role of Sophie at the Lyric she sang the leading role Pepíček. From to study in both the Lied and Opera Academy Roth, Peter Sellars’ staging of Bach’s St John Opera of Chicago, Moscow’s Bolshoi Theatre, that enriching experience, she developed an of the Verbier Festival, where she sang the Passion with the and La Monnaie and at the Munich Opera Festival. irrepressible passion for opera. She made role of Filypievna in Eugene Oneguin by Sir , Brahms’ Ein deutsches her debut at the Dutch National Opera Tchaikovsky. There, she sang in masterclasses Requiem with Orchestre National de Among Camilla Tilling’s recordings are three singing the Polovtsian Maiden in Borodin’s with Thomas Hampson, Thomas Quastoff, Lyon and David Zinman, and Beethoven’s recital discs with Paul Rivinius and an Prince Igor, staged by Dmitri Tcherniakov Sir Thomas Allen and Anna Tomowa-Sintow. Symphony No 9 with the Royal Stockholm acclaimed collection of Gluck and Mozart and conducted by Stanislav Kochanovski. In She was awarded the Yves Paternot prize Philharmonic Orchestra and Sakari Oramo Arias with Musica Saeculorum and Philipp August 2017, she sang at the Berlioz Festival for the most outstanding musician of the in Tokyo. Other recent highlights include von Steinaecker, all on the BIS label. She of La Côte-Saint-André under the baton of Academy, and will be invited to perform as a Dutilleux’s Correspondances with the Los also appears in Hadyn’s The Creation with Nicolas Chalvin with the Orchestre des Pays soloist at the Festival. After Verbier, Thomas Angeles Philharmonic under Esa-Pekka Symphonieorchester des Bayerischen de Savoie. She has also sung the role of Hampson invited her to join his forthcoming Salonen, and Mahler’s Symphony No 4 Rundfunks under Bernard Haitink. • Adele in a concert performance of Bellini’s Lied Academy in Heidelberg. •

Artist Biographies 15 Julien Behr tenor Matthew Rose bass

Rouen, Bordeaux, at the Opéra de Paris and Opera and the Grande Inquisitore in Verdi’s at the Minnesota Opera for his US debut. Don Carlo at the Deutsche Oper Berlin. He has performed at La Fenice in Venice, appearing as Acis in Handel’s Acis and He has performed with the LSO under Sir Galatea, at the Théâtre des Champs-Elysées , and Michael as Don Ottavio in Mozart’s Don Giovanni, Tilson Thomas, with the Los Angeles and at the Opéra Comique as Antonin in Philharmonic with Gustavo Dudamel, and Hahn’s Ciboulette. with the Dresden Staatskapelle under . He has also appeared His plans for 2018/19 include appearances with the BBC Symphony Orchestra and Sir at the Opéra de Paris in the world premiere , Jiří Bělohlávek and Marc of Berenice by Michael Jarrell and Tamino Minkowski, and the Philadelphia Orchestra in a revival of Mozart’s The Magic Flute. He with Yannick Nézet-Séguin, the Boston will also visit the Opéra Comique as Laertes Symphony Orchestra with Charles Dutoit, in Thomas’ and make his debut the Accademia Nazionale di Santa Cecilia ulien Behr was born in Lyon and at the Opéra de Nice as Tom Rakewell in ritish bass Matthew Rose studied with Sir Antonio Pappano, and the Deutsches entered the Boys’ Choir of the Stravinsky’s The Rake’s Progress. at the Curtis Institute of Music Symphonie-Orchester Berlin and Kent Nagano. Lyon Cathedral when he was six. before becoming a member of the He graduated from Lyon University with In concert, he has collaborated with Young Artists Programme at the Royal Opera Highlights of the 2018/19 season include a master’s degree in business law but orchestras such as Les Siècles, Ensemble House, Covent Garden. a return to the Metropolitan Opera in La abandoned plans to become a lawyer in Matheus, Orchestre National de Lyon, bohème and in Puccini’s La Fanciulla del order to devote himself completely to music. Orchestre National de Lille, the Orchestre In 2006 he made an acclaimed debut at West, as well as appearances as Pimen in In 2010, he graduated from his vocal studies National des Pays de la Loire, BBC Symphony Glyndebourne Festival as Bottom in A Mussorgsky’s Boris Godunov at the Royal at the Conservatoire National Supérieur de Orchestra, Mozarteum Orchestra in Salzburg Midsummer Night’s Dream – for which Opera House and Bottom in Britten’s A Musique in Lyon. and Akademie für Alte Musik in Berlin. He he received the John Christie Award – and Midsummer Night’s Dream for Philadelphia has worked with conductors including Alain has since sung the role at , the Opera. Forthcoming concert appearances His passion for the theatre led him to opera. Altinoglu, Jean-Claude Casadesus, Charles , Opéra National de include Mozart’s Requiem with Manfred 2009 saw his debut at the Festival d’Aix-en- Dutoit, Laurence Equilbey, Asher Fisch, René Lyon, Houston Grand Opera and at the Honeck and the New York Philharmonic, Provence in Offenbach’s Orphée aux Enfers. Jacobs, Samuel Jean and Fayçal Karoui. His Metropolitan Opera in New York. Recent Berlioz’s L’Enfance du Christ with Edward He soon played Tamino in Mozart’s The first solo album, Confidence, recorded with opera engagements include the roles Gardner and the BBC Symphony Orchestra, Magic Flute, the central role of his repertoire. the Orchestre de l’Opéra de Lyon, has just of Oroveso in Bellini’s Norma, Colline in a recital at and a European He has performed the role in St Gallen, Bern, been released on Alpha Classics. • Puccini’s La bohème at The Metropolitan concert tour with the Monteverdi Choir. •

16 Artist Biographies 11 November 2018 Simon Halsey choral director

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

Artist Biographies 17 London Symphony Chorus on stage

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

18 The Orchestra 11 November 2018 Sopranos Liz Reeve Altos Tenors Basses Daniel Thomson Assistant Chorus Directors Carol Capper * Deborah Staunton ** Elizabeth Boyden Jorge Aguilar Simon Backhouse * Robin Thurston David Lawrence Laura Catala-Ubassy Giulia Steidl June Brawner Paul Allatt * Ed Beesley Evan Troendle Nia Llewellyn Jones Jessica Collins Sarah Talbot Gina Broderick Erik Azzopardi Roger Blitz Jack Apperley Eve Commander Jessica Villiers Matthieu Brosset Joaquim Badia Chris Bourne Imogen Coutts Gabrielle Walton-Green Jo Buchan * Paul Beecham Gavin Buchan Vocal Coaches Barbara de Matos Rachel Wilson Liz Cole Philipp Boeing Iarlaith Carter Norbert Meyn Lucy Feldman Janik Dale Oliver Burrows Andy Chan Anita Morrison Elisa Franzinetti Maggie Donnelly Michael Delany Steve Chevis Rebecca Outram Joanna Gueritz Linda Evans Ethem Demir Matthew Clarke Robert Rice Isobel Hammond Amanda Freshwater Colin Dunn Damian Day Rebecca Hincke Tina Gibbs Matthew Fernando Henri Egle Sorotos * Denotes LSC council member Emily Hoffnung Yoko Harada Matthew Flood Roc Fargas ** Denotes solo in the Nelson Mass (Kyrie) Denise Hoilette Kate Harrison Simon Goldman Thomas Fea Kuan Hon Elisabeth Iles Euchar Gravina Ian Fletcher Claire Hussey * Ella Jackson * Michael Harman Robert Garbolinski * Alice Jones Jill Jones Jude Lenier John Graham Debbie Jones Vanessa Knapp John Marks Bryan Hammersley Ruth Knowles-Clark Anne Loveluck Alastair Mathews Owen Hanmer * Luca Kocsmarszky Liz McCaw Matthew McCabe J-C Higgins * Mimi Kroll Jane Muir Daniel Owers Elan Higueras Calvo Marylyn Lewin Caroline Mustill Davide Prezzi Rocky Hirst Christina Long Helen Palmer Chris Riley Nathan Homan Louisa Martin Susannah Priede Michael Scharff Anthony Howick Rebecca Montgomery Lucy Reay Peter Sedgwick Peter Kellett Jane Morley Lis Smith Richard Street * Alex Kidney Emily Norton Margaret Stephen Malcolm Taylor George Marshall Gill O’Neill Linda Thomas James Warbis Hugh Mcleod Maggie Owen Claire Trocmé Simon Wales Geoff Newman Andra Patterson Zoe Williams Robert Ward * Alan Rochford Louisa Prentice Hannah Wisher Rod Stevens Carole Radford Richard Tannenbaum

The Orchestra 19 London Symphony Orchestra on stage tonight

Leader Second Violins Violas Double Basses Contrabass Clarinet Timpani LSO String Experience Scheme Roman Simovic David Alberman Gillianne Haddow Colin Paris David Fuest Nigel Thomas Since 1992, the LSO String Experience Thomas Norris Malcolm Johnston Patrick Laurence Scheme has enabled young string players First Violins Sarah Quinn German Clavijo Thomas Goodman Bassoons Percussion from the London music conservatoires at Emily Nebel Naoko Keatley Stephen Doman Joe Melvin Daniel Jemison Neil Percy the start of their professional careers to gain Clare Duckworth Belinda McFarlane Carol Ella Jani Pensola Joost Bosdijk David Jackson work experience by playing in rehearsals Ginette Decuyper William Melvin Robert Turner Nicholas Franco Lawrence O’Donnell and concerts with the LSO. The musicians Maxine Kwok-Adams Iwona Muszynska Michelle Bruil Simo Väisänen Harp are treated as professional ‘extra’ players Harriet Rayfield Andrew Pollock Stephanie Edmundson Contra Bassoon Bryn Lewis (additional to LSO members) and receive fees Colin Renwick Paul Robson Rachel Robson Flutes Dominic Morgan for their work in line with LSO section players. Sylvain Vasseur Siobhan Doyle Alistair Scahill Gareth Davies Organ The Scheme is supported by: Shlomy Dobrinsky Alix Lagasse David Vainsot Camilla Marchant Horns Bernard Robertson The Polonsky Foundation Jan Regulski Hazel Mulligan Anna Dorothea Vogel Julian Sperry Jose Asensi Barbara Whatmore Charitable Trust Morane Cohen- Philip Nolte Angela Barnes Derek Hill Foundation Lamberger Erzsebet Racz Cellos Piccolo Alexander Edmundson Angus Allnatt Charitable Foundation Eleanor Fagg Timothy Walden Patricia Moynihan Jonathan Lipton Lulu Fuller Alastair Blayden Stephen Craigen Takane Funatsu Jennifer Brown Oboes Dániel Mészöly Noel Bradshaw Bobby Cheng Trumpets André Gaio Pereira Eve-Marie Caravassilis Maxwell Spiers Phil Cobb Hilary Jones Ruth Contractor Robin Totterdell Amanda Truelove Catherine Knight Salvador Bolon Cor Anglais Editor Laure Le Dantec Christine Pendrill Trombones Fiona Dinsdale | [email protected] Deborah Tolksdorf Rebecca Smith Editorial Photography Clarinets James Maynard Ranald Mackechnie, Lena Kern Andrew Marriner Maria Ostlin, Holger Talinski Elizabeth Drew Bass Trombone Print Cantate 020 3651 1690 Paul Milner Advertising Cabbells Ltd 020 3603 7937 Bass Clarinet Tom Lessels Tuba Details in this publication were correct Peter Smith at time of going to press.

20 The Orchestra 11 November 2018