London Symphony Orchestra Living Music

Thursday 8 June 2017 7.30pm Barbican Hall

BRAHMS AND NIELSEN

Brahms Piano Concerto No 2 INTERVAL London’s Symphony Orchestra Nielsen Symphony No 5 Michael Tilson Thomas conductor Yuja Wang piano

Concert finishes approx 9.35pm

Yuja Wang’s appearance with the LSO is generously supported by Reignwood

2 Welcome 8 June 2017

Welcome Living Music Kathryn McDowell In Brief

A warm welcome to tonight’s LSO concert at the NEW OPPORTUNITIES FOR EARLY-CAREER Barbican. This evening we are delighted to be joined COMPOSERS: LSO JERWOOD COMPOSER+ by LSO Conductor Laureate Michael Tilson Thomas, with whom we have enjoyed a long and rewarding The London Symphony Orchestra is launching a new friendship for over 40 years. After he first conducted programme for composers, LSO Jerwood Composer+, the Orchestra in 1970, becoming Principal Conductor with the generous support of the Jerwood Charitable in 1987, Michael Tilson Thomas became Conductor Foundation. LSO Jerwood Composer+ will support Laureate in February 2016, and it is always special composers in programming, planning and delivering to work alongside him. two chamber-scale concerts at LSO St Luke’s, including work of their own developed through the programme. In his final concert with the LSO at the Barbican this The deadline for applications is Friday 28 July. season, he conducts Brahms’ Piano Concerto No 2 alongside Nielsen’s Fifth Symphony, two expansive lso.co.uk/news works written in the composers’ years of maturity.

It is also a great pleasure to welcome pianist Yuja Wang, LSO AT THE VIENNA FILM FESTIVAL 2017 an artist whose career continues to go from strength to strength. Since her debut with the LSO in 2009 A filmed performance of Bruckner’s Symphony No 8 and subsequent Artist Portrait series in 2014, she and Messiaen’s Couleurs de la Cité Céleste with the has worked with the Orchestra on a regular basis, LSO and Sir Simon Rattle, recorded in April 2016, most recently on tour in New York at the beginning has been chosen for transmission at the Vienna of the 2016/17 season. Film Festival on 27 July. This is part of the city’s free summer events, and is held in the Rathausplatz. I would like to take this opportunity to thank the LSO’s Principal Partner, Reignwood, for supporting filmfestival-rathausplatz.at/en Yuja Wang’s appearance with the Orchestra.

I hope you enjoy tonight’s concert and that you can A WARM WELCOME TO TONIGHT’S GROUPS join us again. On Thursday 22 June, we welcome the LSO Community Gamelan Group and LSO On Track Groups of 10+ receive a 20% discount on standard Next Generation, as they perform alongside the tickets to LSO concerts, plus other exclusive benefits. Orchestra in the annual LSO Discovery Showcase. Tonight we are delighted to welcome:

Redbridge & District U3A Tulmare Corporations

lso.co.uk/groups Kathryn McDowell CBE DL Managing Director London Symphony Orchestra Season 2016/17

Summer 2017 with the LSO

Daniel Harding (25 June)

LSO DISCOVERY SHOWCASE: DANIEL HARDING: ANDREW NORMAN: 2016/17 SEASON FINALE: FROM THE EAST 10 YEARS WITH THE LSO A TRIP TO THE MOON SIR SIMON RATTLE

Thu 22 Jun 7.30pm Sun 25 Jun 7pm Sun 9 Jul 7pm Tue 11 & Wed 12 Jul 7.30pm Barbican Hall Barbican Hall Barbican Hall Barbican Hall

A celebration of music from the Daniel Harding concludes his Mysterious moon people, LSO Music Director Designate East, with Balinese Gamelan decade-long tenure as Principal bumbling astronomers, and the Sir Simon Rattle celebrates a performed with LSO strings, music Guest Conductor. quest to fix a broken rocket – composer who has always been by Debussy, Ravel and Kodály, and embark on a cosmic adventure close to his heart: Haydn. young musicians from East London Mahler Symphony No 3 in the UK premiere of a specially playing side-by-side with the LSO. written children’s opera, with Wagner Prelude and Liebestod Daniel Harding conductor the LSO performing alongside from ‘Tristan and Isolde’ Elim Chan conductor Anna Larsson alto Guildhall School musicians. Bartók Piano Concerto No 2 Howard Moody conductor Ladies of the Haydn An imaginary orchestral and creative director London Symphony Chorus Andrew Norman journey Andy Channing artistic leader Tiffin Boys’ Choir A Trip to the Moon (UK premiere) LSO On Track Next Generation Simon Halsey chorus director Sibelius Symphony No 2 Sir Simon Rattle conductor LSO Community Gamelan Group Lang Lang piano London Symphony Orchestra Sir Simon Rattle conductor 12 July supported by LSO Music Director Donors Supported by Mizuho and the Hedley Foundation Guildhall School Musicians LSO Discovery Choirs LSO Community Choir Lucy Griffiths, Simon Halsey, Elim Chan and Lang Lang’s appearances with the LSO are generously supported by David Lawrence chorus directors Supported by The Aaron Copland Fund for Music 4 Programme Notes 8 June 2017

Johannes Brahms (1833–97) Piano Concerto No 2 in B-flat major Op 83 (1878–81)

1 ALLEGRO NON TROPPO a Scherzo; that idea was soon dropped, but the 2 ALLEGRO APPASSIONATO material was clearly too good to be discarded, and 3 ANDANTE before long it resurfaced in the Allegro appassionato 4 ALLEGRETTO GRAZIOSO of the Second Piano Concerto.

YUJA WANG PIANO Interestingly, that stormy second movement is closer in style and spirit to Beethoven’s colossal PROGRAMME NOTE WRITER ‘I have written a tiny, tiny piano symphonic scherzos than anything in Brahms’ four STEPHEN JOHNSON is the author concerto with a tiny, tiny wisp numbered symphonies. Brahms once complained of of Bruckner Remembered (Faber). the difficulty of composing in Beethoven’s shadow: He also contributes regularly to BBC of a scherzo’, wrote Brahms to ‘You’ve no idea how hard it is with such a giant Music Magazine and The Guardian, his close confidante, Elisabet von marching behind you!’. So it was crucial for Brahms and broadcasts for BBC Radio 3 Herzogenberg, on 7 July 1881. to find a solution on his own terms – not by simply (Discovering Music), BBC Radio 4 marching ahead of Beethoven, but by extending and the BBC World Service. Von Herzogenberg knew the composer well enough Beethoven’s triumphs into new territory. One to take that kind of remark with several sacks of salt. can perhaps sense something of his pride in that So too did his friend, the surgeon Theodor Billroth, achievement in the dedication of the Second Piano COMPOSER PROFILES to whom Brahms posted the manuscript, with the Concerto: here at last, Brahms had found something PAGE 6 accompanying message: ‘I am sending you a few worthy to offer ‘to his beloved friend and teacher small piano pieces’. Billroth would only have had Eduard Marxsen’. to glance at the score to realise that what Brahms had sent him was in fact unusually ambitious: That said, there are passages in Brahms’ Second a hybrid of concerto and symphony, laid out in four Piano Concerto where the listener is more likely big movements instead of the conventional three – to be reminded of the spirit of chamber music, not all hugely challenging for the soloist, but with the least at the very beginning, where the soloist quietly orchestra as equal protagonist in a sustained, replies to and echoes the theme presented by a solo developing musical drama. horn. But then the piano begins a long forceful solo, building up tension before handing the baton over to The idea of creating a four-movement concerto, with the orchestra for an extended symphonic passage. its roots as firmly in the Beethovenian symphony From this grows a first movement that is not only as in his grander concertos, had haunted Brahms rich in contrast and imagination but compellingly at least since his early 20s. His First Piano Concerto organic. Many composers would have been happy (1854–58) actually began life as a symphony and to go on from that to a meditative, lyrical slow Brahms only gradually gave up the idea of retaining movement. But Brahms intensifies the drama with the original slow Scherzo movement – its themes his stirring scherzo second movement – the dark, were later reprocessed in the movement ‘All flesh impassioned minor-key outer sections framing a is as grass’ from the German Requiem. The Violin blazing major-key trio section. Concerto (1878) was also originally intended to have lso.co.uk Programme Notes 5

London Symphony Orchestra

Now follows the slow movement. It begins with SUPERSTAR PIANISTS a long, exquisite melody for solo cello, to which the soloist eventually adds their own reflective IN AUTUMN 2017 commentary. Stormier music follows, but the true heart of the movement comes in a slower pianissimo passage just before the return of the cello theme, in which the piano seems to float dreamily through languid, slow-moving clarinet EDUARD MARXSEN (1806–87), and string figures. It is about as far removed the dedicatee of Brahms’ Second from the turbulence of the scherzo as could be Piano Concerto, was a distinguished imagined – a superb dramatic foil. It’s hard to pianist and composer living and imagine conventional concerto triumphalism after a working in Hamburg. Brahms came movement like this, so instead Brahms crowns his from a poor family, and Marxsen symphony-concerto with an unusually light-footed, gave both Johannes and his brother Khatia Buniatishvili playful finale: even in the gypsyish melancholy (29 Oct) Fritz piano lessons without charging of the second theme (woodwind alternating with for his services. Marxsen proved to strings) there are glimpses of an ironic smile. At last be an invaluable mentor figure for the tempo quickens and the concerto ends with a Tue 10 Oct 2017 7.30pm the young Brahms and, after the display of relaxed, witty brilliance that is unique in EMANUEL AX young composer moved away, he Brahms. The ghost of the giant Beethoven has been Beethoven Piano Concerto No 5 (‘Emperor’) continued to look out for the family. faced, exorcised and finally forgotten. with Bernard Haitink conductor

Sun 29 Oct 2017 7pm KHATIA BUNIATISHVILI Prokofiev Piano Concerto No 2

with Gianandrea Noseda conductor

Sun 26 Nov 2017 7pm ALICE SARA OTT Liszt Totentanz

with Sir Antonio Pappano conductor INTERVAL – 20 minutes There are bars on all levels of the Concert Hall; ice cream can be bought at the stands on Stalls and Circle level. On sale now Why not tweet us your thoughts on the first half of the lso.co.uk | 020 7638 8891 performance @londonsymphony? 6 Composer Profiles 8 June 2017

Johannes Brahms Carl Nielsen Composer Profile Composer Profile

Johannes Brahms was born Often described as a ‘nationalist’, in Hamburg, the son of an Nielsen’s role in Denmark’s impecunious musician; his mother rise to musical nationhood is later opened a haberdashery without parallel. Indeed, many business to help lift the family out of the songs Danish school of poverty. Showing early musical children are still taught today promise he became a pupil of were composed by Nielsen. But the distinguished local pianist after World War I Nielsen turned and composer Eduard Marxsen against nationalism, describing it and supplemented his parents’ pungently as a ‘spiritual syphilis’. meagre income by playing in the Having hymned nationhood in bars and brothels of Hamburg’s his Third Symphony (1911) he infamous red-light district. In 1853 portrayed its decline from the Brahms presented himself to ‘high and beautiful’ into Robert Schumann in Düsseldorf, ‘senseless hate’ in the strutting winning unqualified approval from march rhythms of the Fifth (1922). the older composer. Brahms fell in love with Schumann’s wife, Clara, Nielsen’s national consciousness was of a very different kind from supporting her after her husband’s illness and death. The relationship that of most late 19th- and early 20th-century national composers. did not develop as Brahms wished, and he returned to Hamburg; their His family were Danish peasants on the island of Funen (Fyn) and close friendship, however, survived. his father was leader of a village band. Young Carl soon joined as a violinist, and his first compositional efforts were dance tunes. In 1862 Brahms moved to Vienna where he found fame as a conductor, Thus, unlike the majority of nationally inclined composers, Nielsen didn’t pianist and composer. The Leipzig premiere of his German Requiem in have to ‘discover’ his country’s indigenous culture: it was in his blood. 1869 proved a triumph, with subsequent performances establishing Brahms as one of the emerging German nation’s foremost composers. At 14 Nielsen enrolled in the army as a trumpeter, making himself Following the long-delayed completion of his First Symphony in 1876, useful in military bands by learning a wide range of instruments. he composed in quick succession the majestic Violin Concerto, the How and when he first encountered classical music isn’t clear but two piano Rhapsodies Op 79, the First Violin Sonata in G major and the by the age of 19 he had become accomplished enough as performer Second Symphony. His subsequent association with the much-admired and composer to attend the Copenhagen Conservatory. Throughout court orchestra in Meinigen allowed him freedom to experiment and his life Nielsen remained a fascinating mixture of earthy simplicity and de­­v­el­op new ideas, the relationship crowned by the Fourth Symphony intellectual sophistication, reading widely and keeping up-to-date with of 1884. musical innovations. Initially he reacted against Wagner’s modernism, but in later years he was fascinated by what progressive-minded In his final years, Brahms composed a series of profound works for the composers like Bartók, Schoenberg and Hindemith were doing. clarinettist Richard Mühlfeld, and explored matters of life and death in His very last works show him as keen as ever to extend his musical his Four Serious Songs. He died at his modest lodgings in Vienna in 1897, horizons, though without sacrificing the rootedness. receiving a hero’s funeral at the city’s central cemetery three days later.

Composer profiles © Andrew Stewart BBC Radio 3 Lunchtime Concerts at LSO St Luke’s

ARTIST SPOTLIGHTS DEBUSSY & PIZZETTI Ingrid Fliter, Veronika Eberle, Cédric Tiberghien & Olena Tokar & Esther Yoo The BBC Singers

SHOSTAKOVICH PLUS MICHAEL COLLINS & FRIENDS Carducci Quartet, Truls Mørk, Håvard Gimse, Trio Wanderer, ACADEMY OF ANCIENT MUSIC Meta4 String Quartet, Alasdair Beatson

Fridays, September 2017 to June 2018 LSO St Luke’s, 161 Old Street, London EC1V 9NG lso.co.uk/lunchtimeconcerts

R3 LTCs Ad (mono).indd 1 02/06/2017 12:15 8 Programme Notes 8 June 2017

Carl Nielsen (1865–1931) Symphony No 5 Op 50 (1920–22)

1 TEMPO GIUSTO – ADAGIO the music.’ This anarchic invasion of the orchestral 2 ALLEGRO – PRESTO – ANDANTE POCO TRANQUILLO – texture is all the more shocking as it comes after ALLEGRO music of almost Brahmsian melodic warmth and radiance – an invasion of ‘senseless hate’ in the PROGRAMME NOTE WRITER Nielsen’s best-known symphony, ‘The Inextinguishable’ midst of ‘something high and beautiful’. STEPHEN JOHNSON (No 4), is in its composer’s own words a depiction of how ‘life was, is, and always will be in struggle, At first, Nielsen considered summing up the Fifth conflict, procreation and destruction; and everything Symphony’s innovatory two-movement structure returns.’ Given that it was written at the height of with a title, ‘Dreams and Deeds’. Interesting – World War I there was clearly an element of defiance though it’s probably just as well he dropped it: the here, embodied thrillingly in the symphony’s closing romantic-sounding ‘Dreams and Deeds’ doesn’t give pages, as the first movement’s long-breathed ‘big much indication of the Fifth Symphony’s disturbing, tune’ reasserts itself through onslaughts from two exhilarating power. Even the seeming calm of the sets of timpani. opening conveys a sense of something held at bay. Violas play a quietly oscillating minor third, against But by the time Nielsen came to write his Symphony which bassoons, horns, flutes, then first violins No 5, his faith in life’s indestructibility had been unfold long, wandering phrases, as though trying to ANNE MARIE BRODERSEN profoundly shaken. ‘It’s as though the whole define a theme. Before long the calm is shattered: a (1863–1945) and Carl Nielsen met in world is in dissolution’, he confessed. ‘The feeling pattering side-drum march rhythm sounds a note of Paris in 1890, and married in Florence of nationhood which hitherto was considered warning, then the mood changes abruptly. Above a on 10 May 1891. A successful artist something high and beautiful, has become like a goose-stepping two-note bass figure (timpani, and and sculptor, Anne Marie influenced spiritual syphilis which devours the brains and grins cellos and basses pizzicato), we hear anguished the composer’s focus on movement, out through the empty eye-sockets in senseless violin phrases and wailing, shrieking figures from clarity and human nature. In the hate.’ It is also true that the rift in his relationship clarinet and flute. 1900s Anne Marie would frequently with his wife, the sculptress Anne Marie Brodersen, spend time away from home pursuing had left him feeling rootless and deeply depressed. Gradually stillness descends; then the tempo drops her work, and during this time Nielsen to Adagio and the violas begin a long aspiring became frustrated, having affairs with But conductor Sir Simon Rattle is surely right in melody – as warm and grounded as the previous other women and suggesting divorce describing the Fifth as a ‘War Symphony’. Nielsen music was restless and inhuman. Then the mood in 1905. The couple reconciled, but himself stressed that the theme of resistance to darkens and the side-drum begins its crazed assault. when news of more of Nielsen’s evil was central. As in No 4 there was a marked The orchestra struggles to keep singing the Adagio affairs surfaced in 1914 (Nielsen had ‘division of dark and light, the battle between evil melody (led by blasting horns) till at last order and five children, two of whom were and good’. Here though, the musical depiction of melody seem to prevail over anarchy. A solo clarinet illegitimate), the couple separated evil is still more unsettling. For the first time in a delivers an elegiac cadenza; but the side-drum’s for eight years. After Nielsen died in symphony, Nielsen used a battery of unpitched rhythms, now in the distance, continue to disturb 1931, Anne Marie was commissioned percussion, centred on an unmistakably militaristic the stillness – a memory, or more likely a reminder, to build a sculpture in his memory. side-drum. At the climax of the first movement the that ‘everything returns’. She was buried alongside him in side-drummer is instructed to improvise ‘in his own Copenhagen Cathedral. tempo, as though determined at all costs to obstruct lso.co.uk Programme Notes 9

NIELSEN AND CONFLICT In contrast to the first movement, the finale begins THE COMPLETE NIELSEN SYMPHONIES Denmark remained neutral during the with an explosion of racing energy (Allegro). But ON LSO LIVE Great War of 1914–18. After moving eventually disintegration sets in – could this be a several times Nielsen was living in return to the first movement’s eerie initial calm? Symphonies Nos 1 & 6 Copenhagen, appointed Director of Quite the opposite: there follows what the Nielsen £7.99 the Musikforeningen Orchestra in expert David Fanning calls a ‘fugue from Hell’ 1914, before taking a teaching post at (Presto), punctuated by the shrieking clarinet from Sir Colin Davis conductor the Royal Danish Academy of Music the first movement. The fury finally exhausts itself, in 1916. But this era was a time of and a much slower, quieter version of the fugue creative crisis for the composer, who (Andante poco tranquillo) takes a more meditative was still profoundly affected by the course. At its height, the opening Allegro music events happening around him as well erupts again, now building a long, riveting crescendo Symphonies Nos 2 & 3 as his own personal troubles. Ironically with whooping octaves from horns and trumpets £7.99 it was World War II and the rise of and pounding timpani, as woodwind struggle to keep nationalism after the composer’s singing the Allegro’s lyrical second theme. ‘Our work Sir Colin Davis conductor death that would solidify Nielsen’s is a continual protest against the thought of death legacy in his home country, as Danes and an appeal to and cry for life’, Nielsen wrote. turned to his often folk-inspired music Rarely has that poignant animal ‘cry for life’ found during the German occupation. such direct expression as in the closing pages of Nielsen’s Fifth Symphony. Symphonies Nos 4 & 5 £7.99

Sir Colin Davis conductor

Buy now | lsolive.lso.co.uk 10 Artist Biographies 8 June 2017

Michael Tilson Thomas Conductor

Michael Tilson Thomas is Music Director of the San New World Symphony graduates have gone on to Francisco Symphony, Founder and Artistic Director of major positions in orchestras worldwide. the New World Symphony and Conductor Laureate of the London Symphony Orchestra. As a Carnegie Hall Perspectives Artist from 2003 to 2005, he had an evening devoted to his own Born in Los Angeles, Tilson Thomas began his compositions which included Island Music for four formal studies at the University of Southern marimbas and percussion, Notturno for solo flute and California, where he studied piano with John Crown strings, and a new setting of poems by Rainer Maria and conducting and composition with Ingolf Dahl. Rilke. Other compositions include Street Song for brass At age 19 he was named Music Director of the instruments and Agnegram, an overture for orchestra. Young Musicians Foundation Debut Orchestra, and worked with Stravinsky, Boulez, Stockhausen As Principal Conductor of the London Symphony and Copland on premieres of their compositions Orchestra from 1988 to 1995, Tilson Thomas led the at Los Angeles’ Monday Evening Concerts. Orchestra on regular tours in Europe, the United States and Japan, and at the Salzburg Festival. In London In 1969, after winning the Koussevitzky Prize at he and the Orchestra have mounted major festivals Conductor Laureate Tanglewood, he was appointed Assistant Conductor focusing on the music of Steve Reich, Gershwin, London Symphony Orchestra of the Boston Symphony Orchestra, and was later Brahms, Debussy and Mahler. As Conductor Laureate appointed Principal Guest Conductor until 1974. of the LSO, he continues to lead the orchestra in Music Director He was Music Director of the Buffalo Philharmonic concerts in London and on tour. San Francisco Symphony from 1971 to 1979 and a Principal Guest Conductor of the Los Angeles Philharmonic from 1981 to 1985. During his tenure as Music Director of the San Founder & Artistic Director Francisco Symphony he has presented eight New World Symphony His recorded repertoire of more than 120 discs includes summer festivals, including ones devoted to the works by composers such as Bach, Beethoven, Mahler, music of Mahler, Stravinsky, Wagner and American Prokofiev and Stravinsky, as well as his pioneering Mavericks. With the San Francisco Symphony he work with the music of Charles Ives, Carl Ruggles, has made numerous tours of Europe, United States Steve Reich, John Cage, Ingolf Dahl, Morton Feldman, and the Far East. George Gershwin, John McLaughlin and Elvis Costello. He recently finished recording the complete orchestral Michael Tilson Thomas is a Chevalier dans l’ordre works of Mahler with the San Francisco Symphony. des Arts et des Lettres of France, was Musical America’s Musician of the Year and Conductor of In February 1988 he inaugurated the New World the Year, and Gramophone’s Artist of the Year. He Symphony, an orchestral academy for graduates of has won eleven Grammy Awards for his recordings. prestigious music programmes. In addition to their In 2008 he received the Peabody Award for his regular season in Miami Beach, they have toured in radio series for SFS Media, The MTT Files. In 2010, Austria, France, Great Britain, South America, Japan, President Obama awarded him with the National Israel, Holland, Italy and the United States. Medal of Arts, the highest award given to artists by the United States Government. lso.co.uk Artist Biographies 11

Yuja Wang Piano

Yuja Wang has secured a place of distinction among Morningside Music summer programme at Calgary’s the world’s finest performers due to her rare blend Mount Royal College and thereafter enrolled as the of technical refinement, musical insight and youngest ever student at Mount Royal Conservatory. emotional sensitivity. She was recently described In 2001 she was appointed as a Steinway Artist, by the New York Times as ‘one of the best young and the following year was offered a place at pianists around’ and hailed by the Sydney Morning Philadelphia’s prestigious Curtis Institute of Music Herald for her ‘blistering technique’. where she studied with Gary Graffman.

Highlights of Yuja’s 2016/17 season include a run of Yuja made her debut with the National Arts recitals, chamber concerts and concerto performances Center Orchestra in Ottawa in 2005, and attracted at the Salzburg, Wolftrap, Tanglewood, Verbier and widespread international attention in March 2007 Baltic Sea festivals, including collaborations with when she replaced Martha Argerich at short notice Matthias Goerne, Leonidas Kavakos, Lionel Bringuier, with the Boston Symphony Orchestra. Over the past Gustavo Gimeno and the Boston Symphony ten years of her career she has worked with such Orchestra. This season the Beijing-born pianist has pre-eminent Maestros as Claudio Abbado, Daniel also been an Artist-in-Residence at China’s National Barenboim, Valery Gergiev, Michael Tilson Thomas, Centre for the Performing Arts, returning to her Sir Antonio Pappano, Charles Dutoit and Zubin Mehta. home city for six specially curated concerts. In January 2009 Yuja Wang became an exclusive Other highlights of Yuja Wang’s 2016/17 season have Deutsche Grammophon recording artist. Her debut included a nine-concert Asian tour with the San album, Sonatas & Etudes, prompted Gramophone Francisco Symphony Orchestra and Michael Tilson to name her as its 2009 Young Artist of the Year. Thomas; performances of Ravel’s Piano Concerto in Her 2011 release of Rachmaninov’s Second Piano G Major with the London Symphony Orchestra and Concerto and Paganini Rhapsody with the Mahler Gianandrea Noseda at New York’s Lincoln Center Chamber Orchestra and Claudio Abbado was and the New Jersey Performing Arts Center; and an nominated for a Grammy Award in the Best extensive spring tour of Europe with the Orchestra Classical Instrumental Solo category. dell’Accademia Nazionale di Santa Cecilia and Sir Antonio Pappano. She also undertook a major As part of its commitment to the arts, Rolex selected solo European recital tour in March and April 2017, Yuja Wang as one of its cultural ambassadors. Her complete with concerts in Amsterdam, Berlin, love for fashion was recently recognised by her Paris, Vienna and London, and many other cities. induction into Giorgio Armani’s Sì Women’s Circle.

Yuja Wang was born in Beijing and encouraged at a young age to make music by her dancer mother and percussionist father. Yuja began piano lessons at the age of six and her progress was accelerated by studies at Beijing’s Central Conservatory of Music. In 1999 she moved to Canada to participate in the 12 The Orchestra 8 June 2017

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FIRST VIOLINS VIOLAS FLUTES HORNS THU 1 JUN – BERNARD HAITINK & MITSUKO UCHIDA Roman Simovic Leader Edward Vanderspar Gareth Davies Christopher Parkes Lennox Mackenzie Malcolm Johnston Adam Walker Angela Barnes Clare Duckworth Anna Bastow Alex Jakeman Alexander Edmundson Ga Kitada An earth-shattering Bruckner 9 from Haitink & Nigel Broadbent Lander Echevarria Jonathan Lipton @londonsymphony. Gobsmacked by its power Ginette Decuyper Julia O’Riordan PICCOLO Stephen Craigen Gerald Gregory Robert Turner Sharon Williams Jörg Hammann Jonathan Welch TRUMPETS Victoria Wilson Flawless performance of Beethoven OBOES Maxine Kwok-Adams Stephen Doman Philip Cobb Olivier Stankiewicz PC 3 by Mitsuko Uchida & the LSO with Bernard Haitink Claire Parfitt Philip Hall Michael Møller Ruth Contractor Laurent Quenelle Nancy Johnson Gerald Ruddock conducting. Absolutely magnificent @londonsymphony Andrew Mitchell Harriet Rayfield Claire Newton CLARINETS Colin Renwick Caroline O’Neill Andrew Marriner TROMBONES Karen McLernon That was pure Beethoven heaven with Sylvain Vasseur Chris Richards Dudley Bright Rhys Watkins CELLOS Mitsuko Uchida, Haitink and @londonsymphony Chi-Yu Mo James Maynard Shlomy Dobrinsky Tim Hugh Alastair Blayden Alain Petitclerc BASSOONS BASS TROMBONE Jennifer Brown SAT 3 JUN – LSO DISCOVERY FAMILY CONCERT: THE FIREBIRD Rachel Gough Paul Milner SECOND VIOLINS Noel Bradshaw Daniel Jemison David Alberman Eve-Marie Caravassilis Joost Bosdijk TUBA James Flattery Whole family enjoyed the @londonsymphony Sarah Quinn Daniel Gardner Alberto Azzolini Miya Väisänen Hilary Jones family concert of The Firebird. Very engaging for both kids Matthew Gardner Judit Berendschot TIMPANI and adults. #powerofmusic Julian Gil Rodriguez Miwa Rosso Nigel Thomas Naoko Keatley Deborah Tolksdorf PERCUSSION Belinda McFarlane Peut-Être Theatre @londonsymphony The Firebird Neil Percy Iwona Muszynska DOUBLE BASSES David Jackson @BarbicanCentre was a fantastic day out for the whole Paul Robson Colin Paris Sam Walton Ingrid Button Patrick Laurence family! #stravinsky #londonkids Antoine Bedewi Caroline Frenkel Matthew Gibson Gordon MacKay Joe Melvin Violeta Vancica Jani Pensola Robert Yeomans Josie Ellis Jeremy Watt Nicholas Worters

LSO STRING EXPERIENCE SCHEME

Established in 1992, the LSO String Experience The Scheme is supported by London Symphony Orchestra Cover photography Scheme enables young string players at the Help Musicians UK Barbican Ranald Mackechnie, featuring Members start of their professional careers to gain The Polonsky Foundation Silk Street who began their LSO careers through work experience by playing in rehearsals Fidelio Charitable Trust London LSO Discovery. Visit lso.co.uk/1617photos and concerts with the LSO. The scheme N Smith Charitable Settlement EC2Y 8DS for a full list. auditions students from the London music Lord and Lady Lurgan Trust conservatoires, and 15 students per year Barbara Whatmore Charitable Trust Registered charity in England No 232391 Photography are selected to participate. The musicians LSO Patrons Ranald Mackechnie, Chris Wahlberg, Details in this publication were correct are treated as professional ’extra’ players Norbert Kniat, Esther Haase at time of going to press. (additional to LSO members) and receive fees Print Cantate 020 3651 1690 for their work in line with LSO section players. Editor Edward Appleyard [email protected] Advertising Cabbell Ltd 020 3603 7937