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Home , Anna Calvi, Clapping Music, Colin Currie Group, Daniel Variations, Different Trains, Grace For Drowning

Symphony Living Music

Sunday 6 November 2016 7pm Barbican Hall

STEVE REICH AT 80

London’s Symphony Orchestra Steve Reich You Are (Variations) INTERVAL Steve Reich

Kristjan Järvi conductor Synergy Vocals

Concert finishes approx 9.35pm

2 Welcome 6 November 2016

Welcome Living Music Kathryn McDowell In Brief

Welcome to tonight’s LSO concert at the Barbican. STEVE REICH ON LSO LIVE We are delighted to be marking the 80th birthday of one of today’s most celebrated composers, Steve Recorded live at LSO St Luke’s last year, the LSO Reich, as part of the Barbican’s wider series, The Percussion Ensemble’s recording of Steve Reich’s Sounds That Changed America. Steve Reich’s music , Music for Pieces of Wood and has exerted a wide influence over the past 50 years, Is available to stream on Apple Music and his relationship with the LSO goes back to 1988, and Spotify, or purchase on SACD Hybrid from when he and his ensemble joined the Orchestra on the LSO Live website: stage during a weekend-long festival devoted to his works. We are glad that he joins us again tonight in lsolive.lso.co.uk the audience, following an LSO Discovery Day earlier today, during which he appeared in conversation. BRITISH COMPOSER AWARDS Our programme consists of three of Reich’s orchestral works. The first and most recent, the The LSO is delighted that eight alumni of its Daniel Variations, is followed by a new composer schemes have been nominated for of the You Are (Variations) for full orchestra. After British Composer Awards. Luke Bedford, Leo the interval we perform The Desert Music, a work Chadburn, Joe Cutler, , Emily Howard, inspired by American poet William Carlos Williams. Oliver Leith, Anna Meredith and Richard Walley are all up for awards, along with Jonathan Dove for Kristjan Järvi, a long-time collaborator with Steve The Monster in the Maze, an LSO co-commisison. Reich, conducts tonight’s programme, and we also The winners will be announced on 6 December. welcome back Synergy Vocals, who last appeared with us during LSO Futures in March. britishcomposerawards.com

I hope you enjoy the concert and can join us again on 10 November, when conductor Pablo Heras-Casado A WARM WELCOME TO OUR GROUPS and violinist Renaud Capuçon present a programme of Ravel, Schumann and Dvorˇák. The LSO offers great benefits for groups of 10+, including 20% discount on standard tickets, a dedicated group booking hotline and, for larger groups, free hot drinks and interval receptions. At this concert we are delighted to welcome Darren Jameson & Friends. Kathryn McDowell CBE DL Managing Director lso.co.uk/groups lso.co.uk Programme Notes 3

Steve Reich (b 1936) An Introduction

PROGRAMME NOTES The three works by Steve Reich to be performed By the time that he came to write You Are (Variations) KEITH POTTER is a Reader in Music this evening span the years of his development in 2004, Reich had long abandoned writing music for at Goldsmiths, University of London, between the early 1980s and the middle of the large symphony orchestra, considering that his kinds and the author of Four Musical first decade of the 21st century. Beginning shortly of highly contrapuntal compositions required the Minimalists: , Terry before this period, he wrote a number of works timbral clarity and focus of, in particular, textures for Riley, Steve Reich, for for orchestra – and, in the case of The Desert smaller groups of string instruments than the 40+ Cambridge University Press. Music (1982–3), chorus and orchestra. Such forces players of a conventional string section in a symphony were, at this time, new to Reich’s mature output. orchestra. Canonic and variation techniques remain (1974–6), still probably his central to his compositional practice; the titles of two best-known composition, had by then attracted of the three works on this programme refer explicitly international attention. This piece’s use of a larger to the latter. line-up – including, for the first time, , and as part of an ensemble, rather than as solo Yet Reich had by now become familiar in larger concert instruments – encouraged commissions, starting in halls worldwide not only for , Music for 18 the late 1970s, from the world of western classical Musicians and other pieces built around percussion music, both in Europe and in the US. The composer instruments, – or, in the case of Clapping now found himself expanding and adapting for the Music (1972), possibly his most frequently performed symphony orchestra an approach that had been piece, for the hands of just two performers – but honed over the previous dozen or so years: initially also for a substantial body of compositions for in music for tape alone, then working up gradually to various kinds of ensembles that had established his the percussion-dominated ensemble that became reputation as an internationally acclaimed composer. famous in Drumming (1970–1). Daniel Variations, dating from 2006, also draws directly, as with several of his works, on a political event. 4 Programme Notes 6 November 2016

Steve Reich (b 1936) Daniel Variations (2006)

1 I saw a dream. Images upon my bed and visions in my head frightened me Daniel 4:2 2 My Name is (I’m a Jewish-American from Encino, California)

3 Let the dream fall back on the dreaded Daniel 4:16 4 I sure hope Gabriel likes my music, when the day is done

Daniel Pearl was an American-Jewish reporter for The third movement sets the biblical Daniel’s The Wall Street Journal who was kidnapped and response to Nebuchadnezzar: ‘Let the dream fall murdered by Islamic fundamentalists in Pakistan back on the dreaded’. In the fourth, and final, in 2002. Reich had been approached by the reporter’s movement, Pearl’s words, ‘I sure hope Gabriel likes father, Judea Pearl, to write a piece in memory my music, when the day is done’, were uttered in the of Daniel, a collection of whose journalism the context of talking about the reporter’s uncertainty composer was given to read. The result was the four- about the afterlife, as expressed to his friend Tom movement Daniel Variations for four singers, two Jennings. This sentence is evidently a reference to clarinets, percussion, four pianos and . the enthusiasm that Pearl, himself an amateur and bluegrass fiddle player, had for the jazz violinist, DANIEL PEARL (1963–2002) Words by Pearl himself are used in the work’s Stuff Smith. Smith had once recorded a track whose worked as a reporter for local second and fourth movements; the first and third title is almost identical to the words set here, though papers in Massachusetts and the movements set texts taken from the fourth chapter no lyrics or music from Smith’s song are used by Reich. Business Times before of the biblical Book of Daniel. The two sentences of joining the staff of The Wall Street the opening movement quote King Nebuchadnezzar, In its half-hour span, Daniel Variations takes Reich’s Journal in 1990. During his time there speaking to the biblical Daniel, asking him to harmonic language to yet newer regions of lyrical he worked in the Atlanta, Washington interpret his dream: ‘I saw a dream. Images upon intensity and rich darkness for the biblical settings DC, London and bureaus, before my bed and visions in my head frightened me’. The of the first and third movements, both in shifting taking up his final post as Southeast composer has suggested that ‘Right now, throughout minor keys; and to more affirmative regions for Asia Bureau Chief, based in Mumbai. the world, it is unfortunately possible to feel a chill the major-key settings of Pearl in the second and He was kidnapped during a trip to of identification with these words’. The second fourth movements. Karachi in Pakistan to investigate the movement introduces Pearl himself, taking words effects of the US’s War on Terrorism. from the videotape of him made by his captors: ‘My name is Daniel Pearl. (I’m a Jewish-American from Encino, California)’. lso.co.uk Programme Notes 5

Steve Reich You Are (Variations) (2004)

1 You are wherever your thoughts are Rebbe Nachman of Breslov

2 Shiviti Hashem L’negdi (I place the Eternal before me) Psalm 16

3 Explanations come to an end somewhere Ludwig Wittgenstein

4 Ehmor m’aht, v’ahsay harbay (Say little and do much) Rabbi Shammai

You Are (Variations) uses a larger ensemble than The 14th-century song ‘L’homme armé’ is quoted in Daniel Variations, with the vocal line-up now expanded variation three; some splendid chordal writing for to six, and 13 string players. The ‘You Are’ of this four pianos brings a new nervous energy that goes composition refers to the ‘aspects of existence’ into overdrive in variation five; and the composer explored in the four movements’ epigrammatic says that James Brown is an influence on variation six. texts; the first of these, translated from 18th-century Hasidic mysticism, reads, ‘You are wherever your The other three movements of this 25-minute work thoughts are’. The words taken from Psalm 16 in the are shorter, but their terse texts are, as seen above, second movement are set in the original Hebrew; no less redolent with meaning. The music of them all, a translation of this would be ‘I place the Eternal as with the first movement, constantly brings fresh before me’. The third movement sets an English angles to the composer’s trademark rhythmic energy LUDWIG WITTGENSTEIN translation of Wittgenstein: ‘Explanations come and contrapuntal complexity, illuminated by what (1889–1951) was an Austrian to an end somewhere’. In the fourth and final Reich calls ‘the bright ray of D major’ that unites the philosopher who dealt primarily with movement, Reich returns to a Hebrew original: work as a whole. the philosophy of language and the words from the Talmud that could be rendered implications of using language as in English as ‘Say little and do much’. the basis for constructing an idea of INTERVAL – 25 minutes our understanding of the world. Exploring the possible meanings behind the text There are bars on all levels of the Concert Hall; ice cream Steve Reich wrote his undergraduate causes the composer to vary and deepen the can be bought at the stands on Stalls and Circle level. thesis on Wittgenstein, and used harmonic scheme of the opening movement: for another text by the philosopher in instance, by stacking conflicting harmonies on top Why not tweet us your thoughts on the first half of the his piece (1995). of one another. The harmonies are already darker, performance @londonsymphony, or come and talk to as noted also in the later Daniel Variations. LSO staff at the information point on the Circle level? 6 Programme Notes 6 November 2016

Steve Reich The Desert Music (1982–3)

1 FAST 2 MODERATE 3 SLOW – MODERATE – SLOW 4 MODERATE 5 FAST

The version of The Desert Music being heard this In the early 1980s, setting texts in English in the evening is the original one for chorus and large conventional sense of ‘setting words to music’ orchestra; one for reduced forces also exists, was new in Reich’s mature output; It’s Gonna arranged by the composer in 1984. The work takes Rain and , the composer’s pioneering its title from a book of collected poems, The Desert 1960s tape pieces, are derived entirely from their WILLIAM CARLOS WILLIAMS Music and Other Poems, by William Carlos Williams, spoken, Afro-American sources in the unique and (1883–1963) was an American poet. published in 1954. Parts of two poems are used experimental way that gave the composer the He spent almost his entire life in for the first four sections of Reich’s continuous basic technique for his subsequent instrumental Rutherford, New Jersey, working for five-movement structure: from ‘Theocritus: Idyl I – works using the process of phasing. Both the the latter half as a medical doctor A version from the Greek’ for the first movement, way in which Reich draws fully on the expressive and paediatrician. His poetry was and from ‘The Orchestra’ for movements two, three meaning of Williams’ poetry and his dramatic fiercely modernist in its outlook, and and four. The words for the final movement are taken approach to harmony make The Desert Music a yet sensitive to the demands of his from Williams’ poem ‘Asphodel, That Greeny Flower’, landmark composition in Reich’s development. own environment. That is, he was actually not part of his own Desert Music sequence. committed to harnessing ‘language modified by our environment, the These texts as a whole suggest a combination of American environment’ and not messages to a modern society at odds with itself attempting to imitate the European and a commentary on the nature of music. The five style favoured by his peers. movements of Reich’s work form an A – B – C – B – A arch lasting 45 minutes. The first and last movements are fast and use the same harmonic material. The second and fourth are at a moderate tempo and set the same text; and, again, they share harmonies. The central third movement is the longest and itself forms an arch: the outer sections share a slow tempo and the same text; the middle one, to a text about musical repetition, is at the same speed as movements two and four. lso.co.uk Text 7

Steve Reich The Desert Music: Text

1 FAST 3C SLOW Begin, my friend Say to them: for you cannot, Man has survived hitherto because he you may be sure, was too ignorant to know how to realize take your song, his wishes. Not that he can realize them, which drives all things out of mind, he must either change them or perish. with you to the other world. from The Orchestra from Theocritus: Idyll I – A version from the Greek 4 MODERATE

2 MODERATE Well, shall we think or listen? Is there a sound addressed Well, shall we not wholly to the ear? think or listen? Is there a sound addressed We half close not wholly to the ear? our eyes. We do not We half close hear it through our eyes. our eyes. We do not It is not hear it through our eyes. a note either, it is the relation It is not of a flute note a flute note either, it is the relation to a drum. I am wide of a flute note awake. The mind to a drum. I am wide is listening. awake. The mind is listening. from The Orchestra

from The Orchestra 5 FAST

3A SLOW Inseparable from the fire its light Say to them: takes precedence over it. Man has survived hitherto because he Who most shall advance the light – was too ignorant to know how to realize call it what you may! his wishes. Not that he can realize them,

he must either change them or perish. from Asphodel, That Greeny Flower

3B MODERATE it is a principle of music to repeat the theme. Repeat and repeat again, as the pace mounts. The theme is difficult but no more difficult The Desert Music, and Other Poems than the facts to be by William Carlos Williams resolved. © Copyright 1954 Random House 8 Timeline 6 November 2016

Steve Reich A Timeline

COMPILED BY LAUREN MARLOW

1957 Graduates from Cornell University with a degree in Philosophy, focusing on the work of Ludwig Wittgenstein whose texts he would set in Proverb (1995) and You Are 1961 Enrols at Mills College in Oakland, (Variations) (2004). Begins formal California to study with Darius Milhaud and music studies at the Juilliard School (pictured with Reich in 1994). the following year. 1936

3 October Stephen 1976 Completes Music for 18 Musicians. Michael Reich is born in 1960s 1970s Other works from this period include New York, but spends his Music for Pieces of Wood (1973), childhood travelling back Music for Mallet Instruments, Voices and forth to California 1965 Completes his first and Organ (1973), (1973) by train. Making the acknowledged piece, and Clapping Music (1972). connection between these It’s Gonna Rain, for tape journeys and the train loops. This marks his first journeys of Holocaust use of phasing, where 1970 Studies in Ghana with Gideon victims in at the two streams of identical Alorwoyie, a master drummer, and composes same time, he composed musical material gradually Drumming (1970–1) upon his return for his in 1988. fall out of sync as a result own ensemble, Steve Reich and Musicians. of manipulating their speeds. lso.co.uk Timeline 9

1981 After reconnecting with his religious heritage during the 1970s, Reich composes his first 2016 Worldwide major work on Jewish themes, celebrations to mark . The title is from the Reich’s 80th birthday, Hebrew word for . including the premiere of a new work, Pulse for winds, strings, 1993 First collaboration with the video artist Beryl Korot, and electric bass. . Described as a video , it tells the story of The Cave of the Patriarchs, where Abraham is buried. Reich and Korot collaborated again in 2002 on the multimedia opera, , which was a finalist for the Pulitzer Prize. 1990s 2000s

1990 First Grammy Award 2016

1980s 2009 Awarded the Pulitzer Prize for Double for a recording of Different Sextet (2007). Other major awards include Trains by the . Japan’s Praemium Imperiale in the category Reich would go on to win a of Music (2006), ’s Polar Music Prize second Grammy Award for (2007), the BBVA Foundation Frontiers of the recording of Music for 18 Knowledge Award in Contemporary Music Musicians by Steve Reich (2013) and the Leone d’Oro for Lifetime and Musicians. Achievement in Music from the Biennale (2014).

2012 Reich produces , taking two songs from the British rock band Radiohead – ‘Everything in its Right Place’ and ‘Jigsaw Falling Into Place’ – 1988 First performance of Reich’s music by and reworking them in his own idiom. the LSO with then-Principal Conductor Michael He first encountered the band’s music Tilson Thomas at the Royal Festival Hall. They after seeing their guitarist, Jonny performed Tehillim, The Desert Music, Eight Greenwood, perform one of Reich’s Lines, Three Movements and earlier works, (1987). alongside Steve Reich and Musicians. 10 A Birthday Message 6 November 2016

Neil Percy, LSO Principal Percussion Happy 80th, Steve!

Reich, Glass, Adams: The Sounds that

What a pleasure it is to celebrate Steve’s birthday in this, his 80th year. It was at this point that I started to notice the beads of sweat trickling Changed America It seems entirely appropriate given the LSO’s involvement with Steve down Steve’s forehead … and we still had half the piece to go! By the and his music during my time at the LSO, stretching back to our recording time we reached the end, we were both perspiring quite heavily and Celebrating three composers of Three Movements with Michael Tilson Thomas in the early 1990s. glad to have completed the piece at the same tempo we began. Steve took a deep breath, looked at me, winked, and said ‘Gee, I hope I make who transformed how we Since then, we have celebrated Steve’s birthday on a number of it to my 61st!’ hear the world occasions, the first being in 1996 for his 60th. Steve and I were to share the stage to open the concert with Clapping Music, a piece we have Needless to say, the tempo was a little more restrained for the concert. subsequently performed together on numerous occasions. But I have to admit that this first rehearsal with Steve was the best Read the interactive article at performance of Clapping Music I’ve ever been involved with. barbican.org.uk/reichglassadams However, I have to confess that I was a little apprehensive ahead of our first rehearsal at the prospect of playing this well-loved piece Since then, there have been so many concerts where I’ve been with the composer. Perhaps this contributed to me choosing a tempo fortunate enough to get to play with Steve and play so much of his that was on the ‘bright’ side to say the least. We began, and for a first fantastic music, including the recent LSO Live release of the LSO run-through, it really grooved, and I was enjoying myself tremendously Percussion Ensemble playing, amongst others, his Sextet, my personal thinking this tempo was really on it. favourite Reich composition. With the prospect of an LSO/Reich commission coming our way in the not too distant future, it seems Steve is heading into his 81st year as energetic and creative as ever.

Reich Glass Adams lso 200x200.indd 1 25/10/2016 11:57 Reich, Glass, Adams: The Sounds that Changed America Celebrating three composers who transformed how we hear the world Read the interactive article at barbican.org.uk/reichglassadams

Reich Glass Adams lso 200x200.indd 1 25/10/2016 11:57 12 Kristjan Järvi 6 November 2016

Kristjan Järvi On Steve Reich

For me he is a complete inspiration

ON STEVE REICH ON TONIGHT’S PROGRAMME

Steve Reich is not only a composer but a creator, All these pieces have to do with various instances of an inventor, a person who is constantly trying to humanity’s existence, its ambivalence, its conscious make social commentary, using relevant styles. or unconscious understanding of being, how it has We need to see this as a comment on our modern so many mean and cruel sides but still that we live society and you can see it in all of the music that in hope of an ideal and of a greater brotherhood. he has written, from the 60s up until now, that is relevant to every era that he writes a certain piece, The Desert Music is actually about the possible because that is what concerns him and should annihilation of mankind as we know it, so we are concern us as a society. living in a world of paradoxes as he tries always to look on the brighter side of things. For me, he is a complete inspiration, creating a message that will hopefully resonate with the listener and performer alike to create meaningful understanding and change, and maybe take on a Quotes originally appeared in Classical Music more beautiful and peaceful approach to things Magazine. Reproduced here with kind and find a simpler way to create harmony. permission from Rhinegold Publishing. lso.co.uk Artist Biographies 13

Kristjan Järvi Conductor

Kristjan Järvi is renowned for his innovative classical by his unmistakable approach of taking a fresh look programming, curating and conducting his original, at the old, with concepts and presentation that genre-fusing projects with an individual approach transcend the borders of classical music. His newest and style. He realises his pioneering ideas with releases are Wagner: The Ring and Steve Reich Duet, his four ensembles. As Music Director of the MDR both released by Sony in September 2016. Järvi Leipzig Radio Symphony Orchestra and the Gstaad continues to work with some of today’s brightest Festival Orchestra, Founder-Conductor of his New creative minds, from film directors Tom Tykwer and York-based classical-hip-hop-jazz group Absolute the Wachowskis, to composers and artists Arvo Pärt, Ensemble, and Founder and Music Director of the Steve Reich, Tan Dun, Hauschka, Dhafer Youssef, Baltic Sea Philharmonic, he now leads both the Anoushka Shankar and Esa-Pekka Salonen, with oldest radio orchestra in Europe and the newest whom he started his career as Assistant Conductor orchestra of young musicians. An entrepreneur by at the Philharmonic. nature and a passionate producer, Kristjan Järvi runs his own production company, Sunbeam Productions, In 2016, Kristjan became an official member of the creating events that offer new experiences Estonian Olympic Committee, marking the first combining music, visual art, light design, technology time this position was not filled by a sportsperson Music Director and innovative concepts, taking the audience on a or government official. Kristjan’s initiative, Sound MDR Leipzig Radio Symphony unique journey. Estonia, aims to promote the connection between and importance of a healthy body and mind. Music Director As a recording artist Järvi has more than 60 Gstaad Festival Orchestra to his credit, from Hollywood soundtracks such as Born in Estonia, Kristjan Järvi emigrated to the United Cloud Atlas, Hologram for the King, Sense 8 and States as a child and grew up in . Founder & Conductor award-winning albums on Sony and Chandos, to his He is an accomplished pianist and graduated from Absolute Ensemble eponymous series: the Kristjan Järvi Sound Project. Manhattan School of Music followed by conducting Launched in 2014, the series features projects studies at the University of Michigan. Founder & Music Director across all of Järvi’s ensembles and is characterised Baltic Sea Philharmonic 14 Artist Biographies 6 November 2016

Synergy Vocals

Synergy Vocals started out as a quartet of female works for voices. Micaela Haslam also coaches singers who performed Tehillim for Steve Reich’s ensembles for Steve Reich in the preparation of his 60th birthday concert in London in 1996. Twenty Music for 18 Musicians. years later, the group comprises a substantial pool of singers able to deliver a broad repertoire in a 2016 has been a very busy year for Synergy Vocals, variety of styles. The group specialises in close- with concerts all over the world in celebration of microphone singing and is often associated Steve Reich’s 80th birthday – in Europe, America, with the music of Steve Reich, , China and Australia. In February, Synergy performed Steven Mackey and Luciano Berio, performing the UK premiere of Louis Andriessen’s La Commedia regularly with , Ictus, Ensemble at the Barbican with the BBC Symphony Orchestra InterContemporain, and the conducted by Martyn Brabbins. They performed . Music for 18 Musicians in Singapore with Steve Reich at the piano, gave several performances of The Desert Synergy has given concerts all over the world with Music with David Robertson in and Sydney, and ensembles including the , and hugely enjoyed providing backing vocals for , St Louis, New World and San Francisco Anna Calvi at the Festival of Voice in Cardiff. ON STAGE symphony orchestras, the Los Angeles, Brooklyn and They have been involved in many performances New York Philharmonic orchestras, Remix, Nexus, of ‘Rain Live’ (Music for 18 Musicians choreographed Sopranos Steve Reich & Musicians, Shanghai Symphony by Anne Teresa de Keersmaeker) with Ictus and the Micaela Haslam Director Orchestra, Sydney Symphony Orchestra, Percussion dancers of Rosas this year, in Bruges, and Caroline Jaya-Ratnam Claviers de Lyon, the Tempo Reale Ensemble, Antwerp, with further performances planned for Suzanne Wilson Asko|Schönberg, the Hebrides Ensemble, the London 2017 in Lille and London. The group has just returned Symphony Orchestra and all five of the BBC orchestras. from performing Reich’s Three Tales in Carnegie Altos They have also collaborated with dance companies Hall, and is looking forward to five performances of Heather Cairncross including the Royal Ballet (London), Rosas (Brussels), The Cave in Germany this December with Ensemble Claire Underwood and Opéra de Paris. Modern and Brad Lubman. Rachel Weston The group’s world premieres include Steve Reich’s Commercial recordings of the group include the Tenors Three Tales and Daniel Variations, Steven Mackey’s 2011 Grammy winning Dreamhouse by Steven Andrew Busher Dreamhouse, Louis Andriessen’s video opera Mackey, Since it was the day of Preparation … Philip Conway Brown La Commedia, David Lang’s writing on water and by Sir James MacMillan, De Staat by Louis Andriessen Sir James MacMillan’s Since it was the day of (with London Sinfonietta), Three Tales by Steve Basses Preparation …, as well as the UK premiere of Nono’s Reich (with Steve Reich & Musicians), La Commedia Michael Dore monumental Prometeo at the . by Louis Andriessen (with Asko|Schönberg), Andrew Fellowes Kompendium’s Beneath the Waves, These New As well as live concerts and recordings, the group Puritans’ Field of Reeds, Rob Reed’s Sanctuary, and has undertaken educational and outreach projects in ’s Grace for Drowning. The group’s the UK, the , the US and South America, most recent release is Berio’s Sinfonia with the coaching vocal ensembles and workshopping new BBC Symphony Orchestra conducted by Josep Pons. lso.co.uk The Orchestra 15

London Symphony Orchestra AT 70 On stage

FIRST Roman Simovic Leader Judith Busbridge Gareth Davies Phil Cobb Dragan Sredojevic Gillianne Haddow Alex Jakeman Gerald Ruddock Lennox Mackenzie German Clavijo Patricia Moynihan Daniel Newell Clare Duckworth Robert Turner Paul Mayes Nigel Broadbent Jonathan Welch PICCOLO Ginette Decuyper Elizabeth Butler Sharon Williams Gerald Gregory Philip Hall Dudley Bright Jörg Hammann Felicity Matthews James Maynard Juan Pechuan Ramirez Claire Parfitt Caroline O’Neill Peter Moore Rosie Jenkins Sylvain Vasseur Matthew Draper BASS Eleanor Fagg Rebecca Gilliver Paul Milner Helena Smart Alastair Blayden Sun 4 Dec 7pm Thu 8 Dec 7.30pm Maxwell Spiers SECOND VIOLINS Noel Bradshaw Patrick Harrild Saskia Otto Eve-Marie Caravassilis CLARINETS John Adams El Niño Bartók Hungarian Sketches Thomas Norris Daniel Gardner Chris Richards Sarah Quinn Hilary Jones Chi-Yu Mo Antoine Bedewi Stravinsky Orpheus Miya Väisänen Nicholas Cooper Thomas Lessels George Barton John Adams conductor John Adams Scheherazade.2 Matthew Gardner Steffan Morris Jack McNeil Joelle Harvey soprano Naoko Keatley Miwa Rosso PERCUSSION Belinda McFarlane Neil Percy Jennifer Johnson Cano John Adams conductor DOUBLE BASSES Andrew Pollock Rachel Gough David Jackson mezzo-soprano Leila Josefowicz violin Iwona Muszynska Colin Paris Joost Bosdijk Sam Walton Paul Robson Patrick Laurence Daniel Jemison Tom Edwards Daniel Bubeck, Brian Louise Shackelton Matthew Gibson Andrew Barclay Cummings, Nathan Medley CONTRA Hazel Mulligan Thomas Goodman Alexander Neal Jani Pensola Dominic Morgan Henry Baldwin counter-tenors Simo Väisänen Paul Stoneman Davone Tines bass HORNS Bertrand Chatenet PIANOS London Symphony Chorus Angela Barnes Elizabeth Burley Simon Halsey chorus director Alexander Edmundson Catherine Edwards Jonathan Lipton Philip Moore Book now Nick Hougham Clive Williamson lso.co.uk

LSO STRING EXPERIENCE SCHEME

Established in 1992, the LSO String Experience The Scheme is supported by London Symphony Orchestra Editor Scheme enables young string players at the Barbara Whatmore Charitable Trust Barbican Edward Appleyard start of their professional careers to gain Help Musicians UK Silk Street [email protected] work experience by playing in rehearsals Fidelio Charitable Trust London and concerts with the LSO. The scheme N Smith Charitable Settlement EC2Y 8DS Cover Photography auditions students from the London music Lord and Lady Lurgan Trust Ranald Mackechnie, featuring LSO conservatoires, and 15 students per year LSO Patrons Registered charity in England No 232391 Members with 20+ years’ service. are selected to participate. The musicians Polonsky Foundation Visit lso.co.uk/1617photos for a full list. Details in this publication were correct are treated as professional ’extra’ players at time of going to press. Photography (additional to LSO members) and receive fees Peter Adarnik, Alice Arnold, Wonge Bergmann, for their work in line with LSO section players. Print Cantate 020 3651 1690 Franck Ferville, Marcel Fugère, Jeffrey Herman, Gary Kvistad, Kevin Leighton, Advertising Cabbell Ltd 020 3603 7937 Ranald Mackechnie London Symphony Orchestra

Ligeti’s Sat 14 & Sun 15 Jan 2017 Barbican Hall

Sir conductor Peter Sellars director London Symphony Chorus Simon Halsey chorus director

A SEMI-STAGED PERFORMANCE produced by the LSO and Barbican Part of LSO 2016/17 Season and Barbican Presents

Death walks into an opera, a fat prince falls off his horse and the end of the world is passed over in a drunken haze