Sunday 15 October 7–9.05pm Thursday 19 October 7.30–9.35pm Barbican Hall

LSO SEASON CONCERT

Thomas Adès Three Studies from Couperin HAITINK Mendelssohn Interval Brahms Symphony No 2

Bernard Haitink conductor Veronika Eberle violin

Sunday 15 October 5.30pm, Barbican Hall LSO Platforms: Guildhall Artists

Songs by Mendelssohn and Brahms Guildhall School Musicians Welcome / Kathryn McDowell CBE DL Tonight’s Concert

The concert on 15 October is preceded by a n these concerts, Bernard Haitink warmth and pastoral charm (although the performance of songs by Mendelssohn and conducts music that spans the composer joked before the premiere that Brahms from postgraduate students at the eras – the Romantic strains of he had ‘never written anything so sad’), Guildhall School. These recitals, which are Mendelssohn’s Violin Concerto; Brahms’ concluding with a joyous burst of energy free to ticket-holders for the LSO concert, Second Symphony; and the sophisticated in the finale. • take place on selected dates throughout Baroque inventions of Couperin, brought the season and provide a platform for the into the present day by Thomas Adès. musicians of the future. François Couperin was one of the most skilled PROGRAMME NOTE WRITERS I hope you enjoy this evening’s performance keyboard composers of his day, and his works and that you will join us again soon. After for harpsichord have influenced composers Paul Griffiths has been a critic for nearly Welcome to the second part of a series of this short series with Bernard Haitink, the through the generations, Thomas Adès 40 years, including for The Times and three LSO concerts, which are conducted by Orchestra returns to the Barbican on 26 among them. In his Three Studies from The New Yorker, and is an authority on 20th- the Orchestra’s long-standing friend and October to play the orchestral score for Couperin, Adès takes three of the Baroque and 21st-century music. Among his books collaborator, Bernard Haitink. Eisenstein’s October: Ten Days That Shook composer’s works as his starting point, are studies of Boulez, Ligeti and Stravinsky. the World alongside a screening of the film. recreating and reconfiguring them for He also writes novels and librettos. The LSO’s performances with Bernard Haitink instrumental ensembles. are always very special occasions for the Alison Bullock is a freelance writer and musicians and audience members alike, and Like many Violin Concertos, Mendelssohn’s music consultant whose interests range we are delighted that these concerts have enduringly popular work in E minor was born from Machaut to Messiaen and beyond. a particular focus on the music of Brahms. out of a friendship between the composer She is a former editor for the New Grove Following a performance of Brahms’ Third Kathryn McDowell CBE DL and its intended soloist, in this case the Dictionary of Music and the LSO. Symphony last week, we look forward to Managing Director violinist Ferdinand David. David played a his interpretation of the Second Symphony significant role in shaping the concerto, Andrew Stewart is a freelance music this evening. resulting in its combination of innovation, journalist and writer. He is the author graceful lyricism and virtuosity. of The LSO at 90, and contributes to We also extend a warm welcome to soloist We are delighted to welcome our a wide variety of specialist classical Veronika Eberle, who joins the LSO on stage group bookers for these concerts: There could not be greater contrast between music publications. following her BBC Radio 3 Artist Spotlight Ely Choral Society Brahms’ Second Symphony and his First, recital at LSO St Luke’s in September. Faversham Music Club which was around 20 years in the making Andrew Huth is a musician, writer and Tonight’s performance will be repeated Marjorie Wilkins & Friends and a dramatic journey from turbulence translator who writes extensively on French, later in the month on a short tour to Madrid. Ann Parrish & Friends to triumph. The Second is filled with light, Russian and Eastern European music.

2 Welcome 15 & 19 October 2017 Celebrating Bernstein

Family Concert 4 November Symphony No 3, ‘Kaddish’ Pre-Concert Talk with Marin Alsop 5 November Symphony No 1, ‘Jeremiah’ 8 November Wonderful Town Symphony No 2, ‘The Age of Anxiety’ with Sir Simon Rattle 16 December Thomas Adès Three Studies from Couperin 2006 / note by Paul Griffiths

1 Les Amusemens ‘Les Amusemens’ has two matching • FRANÇOIS COUPERIN (1668–1733) was 2 Les Tours de passe-passe segments, in G major and G minor, each a French Baroque composer, harpsichordist 3 L’Âme-en-peine having a rondeau section whose repeats and organist. He was born into a prominent frame two couplets. Adès’ use throughout musical family, and probably began his rançois Couperin • (1668–1733) of muted strings with horns and lowish musical studies at a young age with his filled four big volumes with woodwind (alto and bass flutes, , father – Charles Couperin, organist of Paris’ music to scurry, leap, swoon or ) creates a study in felted sonorities, Church St-Gervais – but his own success tease under the fingers. Adès had a first beautifully answering the syncopation surpassed that of his family, and he became brush with this great encyclopedia of wit, between the hands in the original. The know as ‘Couperin le grand’. passion and intelligence in 1994, when percussionist’s arrival is marked in the he arranged the harpsichord piece Les second couplet of the G major section by As a teenager, Couperin inherited his father’s Barricades mistérieuses, a strange instance strokes on two tuned metal bars, from post, and in 1693 he became one of the four of Baroque minimalism, for instrumental which the player moves to marimba. organists of the royal chapel. This position septet. In 2006 he returned for more, in opened up new, prestigious opportunities response to a commission from the Basel Syncopated imitation features again in the for the composer: he taught harpsichord Chamber Orchestra, and produced this D major centrepiece ‘Les Tours de passe- to the royal children, later became court triptych, in which the keyboard originals are passe’ (Conjuring Tricks) to bring about harpsichordist, and established a reputation reconfigured for dual ensembles of strings gamesome and deceptive textures that Adès as a teacher and performer without rival, with seven woodwind and brass soloists realises with a rare combination of subtlety as well as a highly skilled composer. plus a percussion player. and sense of fun. Here the percussionist is on rototoms and timpani, and uses both to Couperin composed chamber music, The adaptation is extremely subtle. give the ending a wallop. (This piece was including trio sonatas and his Concerts Couperin’s style involves a lot of repetition, also chosen by Richard Strauss as one of the royaux, and a small amount of music for which Adès varies by delicately altering eight he arranged for chamber orchestra as organ, but he is best known for his keyboard the orchestration or by adding shadows his Divertimento of 1940–41). works. He wrote four volumes of harpsichord or haloes to the parts, so imitating and music – over 230 pieces – that would extending the techniques of touch and ‘L’Âme-en-peine’ (The Soul in Torment), in become important influences on composers registration a performer at the harpsichord B minor, a chain of indeed painful cadences, as diverse as JS Bach, Richard Strauss and would use. Similarly, he scrupulously notates uncovers another world of feeling. • Ravel, and it was for the harpsichord that he the kind of languorously drawn rhythm wrote a treatise on playing style that would Couperin might have expected for the become one of the main resources in the last piece here. early music revival of modern times.

4 Programme Notes 15 & 19 October 2017 Thomas Adès in Profile b 1971 / by Paul Griffiths

Two years later he wrote his first symphonic LISTEN ON LSO LIVE piece – , on a theme of havens, dark and benign – for Sir Simon Rattle and the City of Birmingham Symphony Orchestra; it has since been played by major orchestras throughout the world, and was performed as part of Rattle's first concert as the LSO's Music Director in September 2017. Then came the startling America: A Prophecy (1999), for the New York Philharmonic, and the beginning of a decade as artistic director of the Aldeburgh Festival. By now travelling widely, he also formed an association with the and became a regular visitor to Australia, introducing ntricacy can be direct, the new an Born in London in 1971, Adès studied his Piano Quintet (2000) with the Arditti echo, and bewilderment enticing. piano and composition with Erika Fox Quartet at the Melbourne Festival. Asyla; ; Thomas Adès’ music glides and Robert Saxton at the Guildhall School Thomas Adès conductor effortlessly through boundaries, and links from the age of twelve, and wrote his first His second opera, , had its world £12.99 what might have been thought irreconcilable acknowledged piece when he was 18. He premiere at Covent Garden in 2004, since opposites. It moves in a far modernist orbit went on to Cambridge, where he was a pupil when he concentrated again on instrumental ‘These are technically challenging scores (Ligeti, Kurtág and Nancarrow are among of Alexander Goehr and Robin Holloway, and pieces, including a Violin Concerto (2005), that take an orchestra to its limits. With this composer’s adopted grandparents) in January 1993 made his London debut as the symphonic Tevot (2005–6), the piano Adès conducting, the London Symphony while still feeling the pull – and the light – both pianist and composer. The result was concerto (2008) and a second Orchestra reaches for the stars.’ of traditional consonance. Its references immediate acclaim. He gained a publisher, string quartet, The Four Quarters (2010). The Financial Times range from the clavecinists of Louis XIV’s commissions for the London Sinfonietta His third opera, The Exterminating Angel, court to ska and beyond, and yet everything (), the Birmingham Contemporary received its world premiere performance at Buy online at lsolive.lso.co.uk is fastidiously reassembled within the same Music Group and the Endellion Quartet the Salzburg Festival in 2016, and has been Download on iTunes perspective. Harmonic sophistication and (), and an appointment as performed at the Royal Opera House. • Stream on Apple Music and Spotify musical allusion together create a wide composer-in-residence with the Hallé. sphere of operation, all through which His first opera, (1995), there is an Adès sound. made his reputation global.

Composer Profile 5 Felix Mendelssohn Violin Concerto in E minor Op 64 1838–44 / note by Alison Bullock

1 Allegro Molto Appassionato after barely a bar of introduction, playing headlong into a movement whose technical FOR REFERENCE 2 Andante an ardent, insistent melody. The orchestra wizardry is peppered with flashes of fun 3 Allegretto non Troppo – is allowed to introduce the wistful second and wit. Throughout this wonderful, delicate • Ferdinand David (1810–73) first met Allegro molto Vivace theme before the soloist takes it over; flight of fancy, Mendelssohn introduces Mendelssohn while working as a violinist in however, the gentler mood disappears several new ideas and melodies. But it is Königstadt in 1825. Their relationship was Veronika Eberle violin as suddenly as it came. The central the graceful, effervescent opening melody cemented in 1836 when David took up the development section opens dramatically, that holds the movement just about under post of Leader for the Gewandhausorchester n 1825, the 16-year-old Felix later dissolving into virtuosic solo figurations control, eventually bringing this most Leipzig, where Mendelssohn was the Mendelssohn met the 15-year-old that turn out to be the cadenza (written inventive yet approachable concerto to Kappellmeister. They enjoyed a close violinist Ferdinand David •; the by David), whose dancing arpeggios melt its dancing conclusion. • musical partnership through the orchestra, two prodigies would become both great away over the orchestra’s reprise of the as collaborators on this Violin Concerto and friends and musical partners. Thirteen main theme. Interval – 20 minutes in chamber settings, with Mendelssohn years later, in one of his many letters to the joining David on the piano for public and violinist, Mendelssohn mentioned that he Mendelssohn, it is said, disliked applause private performances. wanted to write a violin concerto for him; between movements, and therefore decided however, it was not until 1843 that he was to link the first two movements by way of a able to give the work his full attention, single bassoon note that hangs in the air. and the work was not completed until After a brief prologue, the solo violin plays late 1844. Mendelssohn referred often to the movement’s sweet, singing main David for advice on matters both technical melody. The orchestra initiates the more and artistic; the violinist made numerous agitated central section, but the mood here changes to the concerto, and was in fact is one of passion rather than disruption, and responsible for its unusual combination of the atmosphere soon returns to the quiet technical feasibility and virtuosic gloss. reverence of the opening.

The E minor Concerto’s enduring popularity Once again, Mendelssohn denies the is due in no small part to its ease on the ear, audience the chance to shuffle in their and so it is easy to forget that it is also full seats between the Andante and the finale, of innovations. The immediacy of its first creating a bridge passage that refers to the theme is one example: instead of the usual concerto’s opening theme. An unexpected full orchestral opening, Mendelssohn has brass fanfare heralds carefree arpeggios the soloist open the door on the concerto in the violin – and suddenly we are carried

6 Programme Notes 15 & 19 October 2017 Felix Mendelssohn in Profile 1809–47 / by Andrew Stewart

elix Mendelssohn was the grandson Goethe and while in Rome started his so- LISTEN ON LSO LIVE of the Enlightenment philosopher called ‘Scottish’ and ‘Italian’ symphonies. Moses Mendelssohn and son of an influential German banker. Born into a In 1835 he was appointed conductor of the privileged, upper middle-class family, as a Leipzig Gewandhaus, expanding its repertoire boy he was encouraged to study the piano, with early music and works of his own, taught to draw by his mother and became an including the E minor Violin Concerto. Two accomplished linguist and classical scholar. years later he married Cecile Jeanrenaud and In 1819 he began composition studies with in 1843 he founded the Leipzig Conservatory. Karl Friedrich Zelter. His magnificent biblical oratorio, Elijah, commissioned for and first performed at His family’s wealth allowed their home in the 1846 Birmingham Musical Festival, soon Berlin to become a refuge for scholars, artists, gained a place alongside Handel’s Messiah in writers and musicians. The philosopher Hegel the affections of British choral societies and and scientist Humboldt were among regular their audiences. He died in Leipzig in 1847. • visitors, and members of the Court Orchestra and eminent soloists were available to From 2014 to 2016, Sir John Eliot Gardiner and perform the latest works by Felix or his older the LSO came together to explore the genius sister Fanny. Young Mendelssohn’s twelve of Mendelssohn's symphonic music for LSO string symphonies were first heard in the Live. Listen to the latest instalment, the intimate setting of his father’s salon. composer's heavenly ‘Lobgesang’ Symphony.

Mendelssohn’s maturity as a composer Mendelssohn Symphony No 2, ‘Lobgesang’ was marked by his Octet (1825) and concert Sir John Eliot Gardiner conductor overture to Shakespeare’s A Midsummer £12.99 Night’s Dream (1826). In 1829 Mendelssohn revived Bach’s St Matthew Passion Buy online at lsolive.lso.co.uk exactly one hundred years after its first Download on iTunes performance. Soon after, a trip to London Stream on Apple Music and Spotify and the Scottish highlands and islands inspired the overture The Hebrides. In 1830 he travelled to Italy at the suggestion of

Composer Profile 7 Symphony No 2 in D major Op 73 1877 / note by Andrew Huth

1 Allegro non troppo It was premiered on 30 December 1877 soul’. Brahms therefore saw the Symphony’s The Symphony’s point of greatest relaxation 2 Adagio non troppo under Hans Richter, who the previous radiance as something conditional, precarious. comes with the Allegretto third movement, 3 Allegretto grazioso (quasi andantino) – year had conducted the first complete played by a reduced orchestra without Presto ma non assai performance of Wagner’s Ring cycle at What is not in doubt is the strong intellectual , , or timpani. 4 Allegro con spirito Bayreuth. With the revelation of the control that binds together the different The twice-recurring opening, led by the Ring and of the two Brahms symphonies, aspects of the Symphony. Much of this is due woodwind accompanied by pizzicato cellos, rahms struggled with his First these composers were now the undisputed to the close motivic relationship between recalls the simplicity of a rustic serenade. Symphony for something like masters of German music. themes, and particularly the pervasive use of The two contrasting trio sections – actually 20 years. His Second followed the opening three notes (a falling and rising variations – are in a quicker tempo. Their within a year, and the contrast between the The Symphony begins in an unusually semitone D – C-sharp – D) played by cellos and staccato string and woodwind writing two could hardly be greater. The First is a relaxed manner with soft horn calls basses. This tiny figure is heard in a number suggest that perhaps Brahms wanted to tormented darkness-to-light work, while all suggesting a world of pastoral innocence. of different forms throughout the Symphony, provide his own version of the delicate four movements of the Second are in major After a few bars, though, there comes a sometimes on the surface of the music, but scherzo style pioneered by Mendelssohn. keys. It begins and ends in light, although soft drum roll followed by an uneasy phrase more frequently in a subliminal way. in between there are many shadows. As a in the lower brass (this is Brahms’ only The finale openssotto voce with a whole, the Second displays the combination orchestral work to include a tuba; normally The two central movements of the First suppressed energy that cannot be long of lyricism and energy that were to continue he preferred the contra-bassoon as his Symphony were relatively short in proportion contained: the very loud outburst that soon into the Violin Concerto and G major Violin lowest wind instrument). Brahms loathed to the massive first movement and finale. arrives unleashes all the power Brahms was Sonata, all works that seem to have been uncritical praise, but when the conductor In the Second, the opening movement capable of. Every phrase in this movement composed quickly and with masterly ease. Vincenz Lachner made some unusually ends quietly and modestly in preparation bears his unmistakable fingerprint, yet intelligent comments on the intrusion of for the B major Adagio, which is not only the overall effect is the closest he came After completing the Second Symphony such dark moments in the Symphony he Brahms’ first extended symphonic slow to the wild energy of a Beethoven finale, in the summer of 1877 Brahms amused took the trouble to write a revealing defence, movement, but by any standards one of invigorating and joyful. • himself, in his usual rather heavy-handed explaining: ‘I would have to admit, moreover, the most ardent statements by a composer manner, by advertising it to his friends that I am a deeply melancholy person, who in both his life and his music had a as an abysmally gloomy work in F minor. that black wings constantly rustle over us, tendency to suppress his deeper passions. ‘Musicians here [in Vienna] play my latest that in my works – possibly not entirely The movement opens with a double theme, one with black crepe armbands because it without intent – this symphony is followed for the rising line played by the sounds so mournful’, he wrote to his friend by a small essay on the great Why?’. This is almost as important as the wonderful Elizabeth von Herzogenberg the day before refers to the first of his Two Motets Op 74, melody on the cellos. The scoring is full and the premiere. ‘It will also be printed with a setting of the text, ‘Why is light given to rich throughout, but with a delicacy that a black border’. him who suffers, and light to the bitter in Brahms is still not given enough credit for.

8 Programme Notes 15 & 19 October 2017 Johannes Brahms in Profile 1833–97 / by Andrew Stewart

ohannes Brahms was born piano Rhapsodies Op 79, the First Violin LISTEN ON LSO LIVE in Hamburg, the son of an Sonata and the Second Symphony. impecunious musician; his mother His subsequent association with the later opened a haberdashery business much-admired court orchestra in Meiningen to help lift the family out of poverty. allowed him freedom to experiment Showing early musical promise he became and develop new ideas, the relationship a pupil of the distinguished local pianist crowned by the Fourth Symphony of 1884. and composer Eduard Marxsen and supplemented his parents’ meagre income In his final years, Brahms composed a by playing in the bars and brothels of series of profound works for the clarinettist Hamburg’s infamous red-light district. Richard Mühlfeld, and explored matters of life and death in his Four Serious Songs. In 1853 Brahms presented himself He died at his modest lodgings in Vienna to Robert Schumann in Düsseldorf, in 1897, receiving a hero’s funeral at the winning unqualified approval from the city’s central cemetery three days later. • older composer. Brahms fell in love with Schumann’s wife, Clara, supporting her Symphonies Nos 1–4; Tragic Overture; after her husband’s illness and death. Double Concerto; Serenade No 2 The relationship did not develop as Brahms Bernard Haitink conductor wished, and he returned to Hamburg; Gordan Nikolitch violin their close friendship, however, survived. Tim Hugh cello £17.99 In 1862 Brahms moved to Vienna where he found fame as a conductor, pianist and German Requiem composer. The Leipzig premiere of his Valery Gergiev conductor German Requiem in 1869 was a triumph, £8.99 with subsequent performances establishing Brahms as one of the emerging German Buy online at lsolive.lso.co.uk nation’s foremost composers. Following Download on iTunes the long-delayed completion of his First Stream on Apple Music and Spotify Symphony in 1876, he composed in quick succession the Violin Concerto, the two

Composer Profile 9 Bernard Haitink conductor

ernard Haitink’s conducting career He is committed to the development of began 63 years ago with the Radio young musical talent, and gives an annual Philharmonic Orchestra in his conducting masterclass at the Lucerne native Holland, of which he is now Patron. Easter Festival. This season he also gives He went on to be Chief Conductor of the classes at the Zurich Hochschule der Kunst Concertgebouw Orchestra for 27 years, where and the Juilliard School, New York, and he currently holds the title of Honorary conducts concerts with the orchestra of Conductor, as well as Music Director of the . Glyndebourne Festival Opera and the Royal Opera, Covent Garden, and Principal Bernard Haitink has received many awards Conductor of the London Philharmonic, and honours in recognition of his services to Staatskapelle Dresden and Chicago Symphony music, including the Gramophone Lifetime Orchestra. He is Conductor Emeritus of the Achievement Award in 2015 for his extensive Boston Symphony, as well as an honorary and critically acclaimed discography. He was member of both the Berlin Philharmonic made an honorary Companion of Honour in and the Chamber Orchestra of Europe. the United Kingdom, and in February 2017 was made a Commander of the Order of the The 2017/18 season includes engagements Netherlands Lion following a concert marking with the London Symphony, Boston his 60-year relationship with the Royal Symphony and Bavarian Radio Symphony Concertgebouw Orchestra in Amsterdam. • Orchestras, the Berlin Philharmonic and the Royal Concertgebouw. Bernard Haitink will conduct the Chamber Orchestra of Europe in Amsterdam, Luxembourg and at the HAITINK ON LSO LIVE Lucerne Festival, and the Orchestra Mozart in Bologna and Lugano. Visit the LSO Blog for an introduction to Haitink's recordings on LSO Live. lso.co.uk/blog

10 Artist Biographies 15 & 19 October 2017 Veronika Eberle violin

eronika Eberle’s exceptional talent In 2017/18, Veronika will appear with the Audience Awards by the patrons of the and the poise and maturity of her Orchestre National de Lille, RTÉ National Schleswig-Holstein and Mecklenburg- musicianship have been recognised Symphony Orchestra of Ireland, Orchestre Vorpommern Festivals. She was a BBC by many of the world’s finest orchestras, Philharmonique de Strasbourg and the Radio 3 New Generation Artist 2011–13 and venues and festivals, as well as by some Hamburg Philharmonic. Highlights will was a Dortmund Konzerthaus ‘Junge Wilde’ of the most eminent conductors. Born in include debut concerts with the Chamber artist 2010–12. Donauwörth, southern Germany, she started Orchestra of Europe with Yannick Nézet- violin lessons at the age of six, and four Séguin, tours of Australia and Japan, and Veronika Eberle plays the ‘Dragonetti’ years later became a junior student at the concerts with the Hamburg Opera for the Stradivarius (1700), on generous loan from Richard Strauss Konservatorium in Munich revival of Alban Berg’s Lulu. the Nippon Music Foundation. • with Olga Voitova. After studying privately, she joined the Hochschule in Munich from Veronika Eberle is a dedicated chamber 2001 to 2012. musician, with regular partners including Shai Wosner, Lars Vogt, Renaud Capuçon At the 2006 Salzburg Easter Festival, and Antoine Tamestit. Recent recital Sir Simon Rattle introduced Veronika to a highlights include London (Wigmore Hall packed Salzburg Festpielhaus in a performance Master Series), New York (Carnegie Hall of the Beethoven Violin Concerto with debut series), Salzburg (Mozarteum), the Berlin Philharmonic, bringing her to Amsterdam (Concertgebouw), Paris international attention at the age of just (Theatre de la Ville), Zurich (Tonhalle) 16. Key orchestra collaborations since and the Lucerne Festival. then have included performances with the LSO, Concertgebouw Orchestra, New York Veronika has benefited from the support Philharmonic, Montreal Symphony, Munich of a number of prestigious organisations, Q&A INTERVIEW Philharmonic, Gewandhaus Orchestra, including the Nippon Foundation, the Rundfunk Sinfonieorchester Berlin, Borletti-Buitoni Trust (Fellowship in 2008), Find out how Veronika Eberle prepares for a Hessischer Rundfunk Sinfonieorchester, the Orpheum Stiftung zur Förderung Junger concert, her memories of working with the Bamberger Symphoniker, Tonhalle Solisten (Zürich), the Deutsche Stiftung LSO and her one piece of advice for aspiring Orchester Zurich, NHK Symphony and Musikleben (Hamburg) and the Jürgen-Ponto young performers on the LSO Blog. Rotterdam Philharmonic. Stiftung (Frankfurt). She won the first prize at the 2003 Yfrah Neaman International lso.co.uk/blog Competition in Mainz, and was awarded

Artist Biographies 11 London Symphony Orchestra on stage tonight

Leader Violas Flutes Horns LSO String Experience Scheme Gordan Nikolitch Edward Vanderspar Adam Walker Timothy Jones Since 1992, the LSO String Experience Gillianne Haddow Sharon Williams Angela Barnes Scheme has enabled young string players First Violins Malcolm Johnston Alexander Edmundson from the London music conservatoires at Carmine Lauri Anna Bastow Jonathan Lipton the start of their professional careers to gain Lennox Mackenzie Regina Beukes Olivier Stankiewicz Tim Ball work experience by playing in rehearsals Nigel Broadbent Lander Echevarria Rosie Jenkins and concerts with the LSO. The musicians Ginette Decuyper Julia O’Riordan Trumpets are treated as professional ‘extra’ players Gerald Gregory Robert Turner Philip Cobb (additional to LSO members) and receive Maxine Kwok-Adams Heather Wallington Andrew Marriner Gerald Ruddock fees for their work in line with LSO section Claire Parfitt Jonathan Welch Chris Richards Niall Keatley players. The Scheme is supported by Help Harriet Rayfield Thomas Lessels Musicians UK, The Polonsky Foundation, Colin Renwick Cellos Trombones Fidelio Charitable Trust, N Smith Charitable Sylvain Vasseur Rebecca Gilliver Bassoons Dudley Bright Settlement, Lord and Lady Lurgan Trust, Rhys Watkins Minat Lyons Rachel Gough James Maynard Barbara Whatmore Charitable Trust and William Melvin Alastair Blayden Daniel Jemison LSO Patrons. Helena Smart Jennifer Brown Joost Bosdijk Bass Noel Bradshaw Paul Milner Second Violins Eve-Marie Caravassilis David Alberman Daniel Gardner Tuba Thomas Norris Hilary Jones Leslie Neish Sarah Quinn Amanda Truelove Editor Miya Väisänen Timpani Edward Appleyard | [email protected] David Ballesteros Double Basses Nigel Thomas Fiona Dinsdale | [email protected] Matthew Gardner Colin Paris Editorial Photography Belinda McFarlane Patrick Laurence Percussion Ranald Mackechnie, Chris Wahlberg, Brian Voce, Iwona Muszynska Matthew Gibson Neil Percy Marie Mazzucco, Clive Barda, Felix Broede Andrew Pollock Thomas Goodman Print Cantate 020 3651 1690 Paul Robson Joe Melvin Advertising Cabbells Ltd 020 3603 7937 Adriana Iacovache-Pana Jani Pensola Daniele D’Andria Details in this publication were correct at time of going to press.

12 The Orchestra 15 & 19 October 2017