London Symphony Orchestra Living Music

Thursday 6 April 2017 7.30pm Barbican Hall

LSO ARTIST PORTRAIT:

Berg Concerto INTERVAL London’s Symphony Orchestra Mahler Symphony No 7

Gianandrea Noseda conductor Janine Jansen violin

Concert finishes approx 9.50pm

2 Welcome 6 April 2017

Welcome Living Music Kathryn McDowell In Brief

A warm welcome to this evening’s LSO concert FAREWELL TO PATRICK HARRILD, at the Barbican. We are delighted to be joined by PRINCIPAL TUBA violinist Janine Jansen for the conclusion of her LSO Artist Portrait series, which explores the ground- After 29 years in the LSO, tonight's concert is breaking musical developments that took place in Principal Tuba Patrick Harrild's last performance the early 20th century. This evening she performs with the Orchestra before his retirement. Patrick Berg’s , which he wrote in 1935 after joined the LSO in 1988, serving as a board member hearing that 18-year-old Manon Gropius, daughter for 13 years, and Chairman for 18 months. He will of Alma and , had died. He famously be very much missed by the Orchestra and audiences, dedicated it 'to the memory of an angel'. and we wish him much fulfilment in the years ahead.

After the interval we hear Mahler's Symphony No 7, which is arguably his most complex and forward- LSO LIVE NEW RELEASE: VERDI REQUIEM looking symphony, hinting at the style that would evolve into the Second Viennese School with which LSO Live’s latest release, available from 7 April, sees Berg was associated. Gianandrea Noseda conduct a searing performance of Verdi’s Requiem, recorded at the opening concert LSO Principal Guest Conductor Gianandrea Noseda of the Orchestra's 2016/17 season. conducts this programme, a further testament to his versatility as a conductor after performances of Verdi lsolive.lso.co.uk and Shostakovich earlier this season.

Thank you to our media partners, Classic FM, who LSO PLATFORMS: GUILDHALL ARTISTS have recommended tonight’s concert to their listeners. I hope you enjoy the programme and that you can Ahead of tonight’s concert, we welcomed students join us again soon. On 23 April François-Xavier Roth from the Guildhall School for a recital of songs by Wolf will conclude his 'After Romanticism' series and Mahler. These performances take place before with a concert of Debussy, Bruckner and Bartók’s certain LSO concerts and are free to attend. The next Concerto, joined by soloist Antoine Tamestit. instalment takes place on Sunday 23 April at 5.30pm.

lso.co.uk/lso-discovery

A WARM WELCOME TO TONIGHT’S GROUPS Kathryn McDowell CBE DL Managing Director Tonight we are delighted to welcome: Zosia Rutkowska & Friends

lso.co.uk/groups London Symphony Orchestra Season 2016/17

The LSO’s Family of Conductors Summer 2017

Michael Tilson Thomas (4 & 8 Jun)

FRANÇOIS-XAVIER ROTH: MICHAEL TILSON THOMAS: DANIEL HARDING: SIR : PRINCIPAL GUEST CONDUCTOR LAUREATE 10 YEARS WITH THE LSO MUSIC DIRECTOR DESIGNATE CONDUCTOR DESIGNATE

François-Xavier Roth presents the Sun 4 Jun 7pm Daniel Harding concludes Sun 9 Jul 7pm finale of his imaginative series, Stravinsky Scènes de ballet his 10-year tenure as Principal Andrew Norman After Romanticism. Prokofiev Violin Concerto No 1 Guest Conductor with Mahler’s A Trip to the Moon (UK premiere) Tchaikovsky Symphony No 6 Third Symphony. Sibelius Symphony No 2 Sun 23 Apr 7pm (‘Pathétique’) Sir Simon Rattle conductor Debussy Prélude à l’après-midi Michael Tilson Thomas Sun 25 Jun 7pm Guildhall School Musicians d’un faune conductor Mahler Symphony No 3 LSO Discovery Choirs Bartók Viola Concerto Lisa Batiashvili violin Daniel Harding conductor LSO Community Choir Bruckner Symphony No 4 Anna Larsson alto Simon Halsey chorus director François-Xavier Roth conductor Thu 8 Jun 7.30pm London Symphony Chorus Supported by The Aaron Copland Fund for Music Antoine Tamestit viola Brahms Piano Concerto No 2 Simon Halsey chorus director Nielsen Symphony No 5 Tue 11 & Wed 12 Jul 7.30pm Michael Tilson Thomas Wagner Prelude and Liebestod conductor from ‘Tristan and Isolde’ Yuja Wang piano Bartók Piano Concerto No 2 Haydn An imaginary orchestral journey Sir Simon Rattle conductor Yuja Wang and Lang Lang’s appearances Lang Lang piano with the LSO are generously supported by 12 July supported by LSO Music Director Donors 4 Programme Notes 6 April 2017

Alban Berg (1885–1935) Violin Concerto (1935)

1 ANDANTE – ALLEGRETTO The first part of the Concerto, the linked Andante 2 ALLEGRO – ADAGIO and Allegretto, shows her in the prime of life, her carefree high spirits, her love of dancing; the second, JANINE JANSEN VIOLIN an Allegro and Adagio, again linked, portrays the catastrophe of her painful illness, her death and PROGRAMME NOTE WRITER When he died on Christmas Eve, 1935, Berg left two spiritual configuration, portrayed in the use of the GAVIN PLUMLEY specialises in the works to be performed posthumously. His second Bach Chorale ‘Es ist genug’ as the subject of a set music and culture of Central Europe opera, , was incomplete, with its third act still of variations. The four movements also outline a and has written for The Independent to be fleshed out and orchestrated; that was not to symphonic shape, though a symphony of a singular on Sunday and The Guardian. He be heard in its entirety until 1979, when Friedrich kind, with both its first and last movements slow. appears frequently on BBC Radio 3 Cerha’s faithful completion was finally performed. Mahler’s Ninth seems a possible model and the and Radio 4, and commissions and But the Violin Concerto was finished by the time of Concerto shares the same valedictory mood, the edits the English-language programme Berg’s death; it had been written in just four months, same acceptance of death in its final pages. notes for the Salzburg Festival. an incredibly short period for a major work from this composer. The first performance took place in Barcelona in March 1937; the soloist was the violinist THE PREMIERE of Berg’s Violin who commissioned it, Louis Krasner. Concerto was originally intended to be conducted by his close friend and The Concerto carries a subtitle, ‘To the memory of an associate Anton Webern. Webern angel’, and in that lies one clue to its rapid genesis was a notorious and meticulous and profoundly elegiac character. Berg had already perfectionist, not least when trusted accepted Krasner’s commission and was pondering to perform the premiere of a work by the shape his concerto should take when, in April someone he cared about (Webern was 1935, he heard the news of the death, from polio, also known for his intense emotional of the 18-year-old Manon Gropius, daughter of feelings) and so, on the day before by her second marriage to the architect the premiere, he withdrew from the Walter Gropius. Berg was stunned by the loss of performance. The job fell to Hermann a close family friend and immediately set about Scherchen, who saw the score for composing a work in her memory. The Violin Concerto the first time at 11pm on the eve became that memorial, a ‘Requiem for Manon’. of its premiere, and had only a single 30-minute rehearsal to prepare with Throughout his career, Berg had required his music the orchestra. to carry, if not a specific programme, then at least INTERVAL – 20 minutes some extra-musical significance. By conceiving the There are bars on all levels of the Concert Hall; ice cream Violin Concerto as a musical biography of Manon, can be bought at the stands on Stalls and Circle level. in which the solo violin represents the young girl, he was able to give the motivation and the musical Tweet us your thoughts on the first half of the purpose to stir his powers of invention. performance @londonsymphony. lso.co.uk Composer Profile 5

Alban Berg

Composer Profile London Symphony Orchestra Living Music

Although piano lessons formed part of Berg’s general education, the boy showed few signs of exceptional talent for music. He struggled to pass LSO ARTIST PORTRAIT his final exams at the Gymnasium, preferring to learn directly of new trends in art, literature, music and architecture from friends such as Janine Jansen Oskar Kokoschka, Gustav Klimt and Adolf Loos. In partnership with Wigmore Hall On graduating from school, Berg accepted a post as a local government official, but in October 1904 was inspired by a newspaper advertisement to study composition with . He studied for AT WIGMORE HALL six years with Schoenberg, who remained his close friend and mentor. During this time Schoenberg Fri 2 Jun 7.30pm evolved a new approach to composing, gradually Music by Messiaen moving away from the norms of tonal harmony. and Schubert COMPOSER PROFILE ANDREW STEWART In 1910 Berg completed his String Quartet, Op 3, in which he revealed an independent creative flair. Berg’s self-confidence grew with the composition of several miniature works and, in 1914, the large- scale Three Pieces for Orchestra. Service with the Austrian Imperial Army during World War I did not completely halt Berg’s output; indeed, he began his first opera, Wozzeck, in the summer of 1917. The work was premiered at the State Opera in December 1925 and, despite hostile early criticism, has since entered the international repertoire. As an innovative composer, Berg successfully married atonality – and, later, a harmonic and melodic language based on the use of all twelve tones of the chromatic scale – with forms from the past. Traces of popular music also surface in his works, notably so in his opera Lulu (1929–35), a powerful tale of immorality, completed from the composer’s sketches only after the death of his widow in 1976. Berg himself died of septicaemia, almost certainly caused by complications following an insect bite. wigmore-hall.org.uk 6 Programme Notes 6 April 2017

Gustav Mahler (1860–1911) Symphony No 7 in E minor (1904–5)

1 LANGSAM (ADAGIO) – ALLEGRO CON FUOCO ‘In the summer before [1905], I had planned to finish 2 NACHTMUSIK I: ALLEGRO MODERATO the Seventh, of which the two Andante [Nachtmusik] 3 SCHERZO: SCHATTENHAFT movements were already completed. Two weeks 4 NACHTMUSIK II: ANDANTE AMOROSO long I tortured myself to distraction, as you’ll well 5 RONDO-FINALE: ALLEGRO ORDINARIO – ALLEGRO remember – until I ran away to the Dolomites! MODERATO MA ENERGICO There the same struggle, until finally I gave up and went home convinced that the summer had been PROGRAMME NOTE WRITER For decades, Mahler’s Seventh has been his wasted. At Krumpendorf I climbed into the boat to STEPHEN JOHNSON is the author ‘problem symphony’ – the Cinderella of the cycle. be rowed across the lake. At the first stroke of the of Bruckner Remembered (Faber). It has had its supporters too. When Schoenberg oars I found the theme (or rather the rhythm and He also contributes regularly to BBC heard the Symphony in 1909 (the year after the character) of the introduction to the first movement Music Magazine and The Guardian, first performance), he wrote enthusiastically of its … and in four weeks’ time the first, third and fifth and broadcasts for BBC Radio 3, ‘perfect repose based on perfect harmony’. But few movements were complete!' Radio 4 and the World Service. others have used phrases like ‘perfect repose’ to describe the Seventh Symphony – and even some of Mahler’s most passionate admirers have found ‘An extraordinarily great the structure anything but harmonious. The middle treat … perfect repose IN BRIEF three movements, it is said, seem to belong to a The Seventh Symphony was world of their own – nocturnal, fantastic, sometimes based on perfect harmony.’ written during one of the sinister – a world to which the outer movements, happier periods of Mahler’s impressive as they are, emphatically do not belong. Schoenberg on the Seventh life, when he was beginning to enjoy international recognition There are other ways in which the Seventh seems as a composer and his second to be strangely divided. The first two movements But the story a work of art tells of itself is often very daughter had recently been glance backwards to the tragic Sixth Symphony. different from the story of its creation. Many of the born. However, the three years The energetic leading theme of the Allegro con fuoco finest works in the symphonic repertoire have had that passed between the work’s first movement (after the long slow introduction) difficult births. Sibelius’ magnificent Fifth Symphony completion and its premiere recalls the ominous march-tune which opens the took nearly seven years – and two radical revisions – marked a turn for the worse: Sixth; the cowbells and ‘fateful’ major–minor chord to arrive at its familiar form; and yet the music is so the musical community in progression in the first Nachtmusik (Night-music) organic that it’s hard to believe it wasn’t conceived Vienna turned against him and movement also echo No 6. The finale, on the in a single flash of inspiration. Mahler’s Seventh may he resigned his conductorship of other hand, often seems to be straining towards be enigmatic, far from self-explanatory, but performed the Vienna State Opera, his first the confident expression of mass feeling of the with conviction it can also be uniquely fascinating and daughter died of scarlet fever, Eighth Symphony – the so-called ‘Symphony of a unsettling sometimes, but far more compelling than and he was diagnosed with an Thousand’. According to some writers, the problem many a more conventionally ‘perfect’ symphony. incurable heart condition. This of the Seventh Symphony is at least partly explained perhaps explains his revisions by a letter Mahler wrote to his wife Alma in 1910, which seem to soften the in which he tells her how it all came into being: symphony’s optimism. lso.co.uk Programme Notes 7

And in no other work of Mahler’s is the orchestral NACHTMUSIK I & II AND SCHERZO imagination so highly charged. It isn’t simply that The first Nachtmusik is a slow nocturnal march, the scoring includes instruments rarely seen in haunted by distant fanfares and weird bird-calls, the symphony orchestra – tenor horn (a relative swinging from ghostly processional to cosy, old- of the euphonium), mandolin, guitar, cowbells and world songs and back again. The Scherzo passes deep-pitched bells; even the familiar instruments are through rather more disturbing territory. This is a made to produce surprising new colours: the clarinet grotesque dance of death, with Viennese waltz-figures shrieks and and bass ‘snap’ pizzicatos (the bizarrely or horrifically distorted. At first the second strings plucked so hard that they spring back and hit Nachtmusik oozes charm, the sound of mandolin the fingerboard) in the Scherzo; the dense chorus of and guitar suggesting a romantically moonlit woodwind trills near the start of the first Nachtmusik; Mediterranean serenade; but there are hints of ALMA MAHLER (1879–1964) the deep harp tones in the second; the headlong malice lurking behind the smiling mask. Alma Mahler (née Schindler) was timpani flourishes that set the finale in motion. The a composer herself and a socialite orchestral writing is as brilliant as it is challenging to FINALE of famous beauty. Noted for her play. If any of Mahler’s symphonies deserves to be The Finale attempts to banish the shadows, the full association with prominent artists, described as ‘Concerto for Orchestra’, it’s the Seventh. glare of day after the disquieting dreams of the night. she married the architect Walter But this is perhaps the most divided movement in Gropius and later the novelist Franz FIRST MOVEMENT the whole symphony. One moment it seems bent on Werfel after Mahler’s death, and The symphony opens with one of Mahler’s most wild rejoicing, the next the dance tunes are parodied, was also romantically linked to artist unforgettable sound-pictures: a slow, dragging affectionately or viciously? It isn’t always easy to tell. Gustav Klimt, theatre director Max rhythm (the ‘stroke of the oars’ in the above quoted Eventually the first movement’s Allegro con fuoco Burckhard and composer Alexander letter) for low strings, wind and bass drum, then the striding march-theme is fused with the finale’s von Zemlinsky, among others. shout of the tenor horn: ‘Nature roars!’, was Mahler’s opening theme on full brass, with chiming bells. description. This music builds steadily in intensity, The mood seems riotously triumphant, but the eventually accelerating into the Allegro con fuoco, very ending – a sudden diminuendo followed by a with its energetically striding first theme. There are C major chord slammed home by the full orchestra – numerous contrasting ideas: the impassioned, slower leaves a question-mark hanging in the air. second theme for (echoing the ‘Alma’ theme associated with his wife, from the Sixth Symphony), or the magical, still section at the heart of the movement. But the ultimate impression is of fierce, driving energy, culminating in an explosive coda. 8 Composer Profile 6 April 2017

Mahler the Man by Stephen Johnson

obsession with mortality in Mahler’s music. Few of his major works do not feature a funeral march: in fact Mahler’s first composition (at age ten) was I am … a Funeral March with Polka – exactly the kind of three times homeless extreme juxtaposition one finds in his mature works. a native of Bohemia in Austria For most of his life Mahler supported himself by conducting, but this was no mere means to an end. an Austrian among Germans Indeed his evident talent and energetic, disciplined commitment led to successive appointments a Jew throughout the world. at Prague, Leipzig, Budapest, Hamburg and climactically, in 1897, the Vienna Court Opera. In the midst of this hugely demanding schedule, Mahler composed whenever he could, usually during his summer holidays. The rate at which he composed during these brief periods is astonishing. Mahler’s sense of being an outsider, coupled with The workload in no way decreased after his marriage a penetrating, restless intelligence, made him an to the charismatic and highly intelligent Alma Schindler acutely self-conscious searcher after truth. For Mahler in 1902. Alma’s infidelity – which almost certainly the purpose of art was, in Shakespeare’s famous accelerated the final decline in Mahler’s health in phrase, to ‘hold the mirror up to nature’ in all its 1910/11 – has earned her black marks from some bewildering richness. The symphony, he told Jean biographers; but it is hard not to feel some sympathy Sibelius, ‘must be like the world. It must embrace for her position as a ‘work widow’. everything’. Mahler’s symphonies can seem almost over-full with intense emotions and ideas: love and Nevertheless, many today have good cause to hate, joy in life and terror of death, the beauty of be grateful to Mahler for his single-minded devotion nature, innocence and bitter experience. Similar to his art. T S Eliot – another artist caught between themes can also be found in his marvellous songs the search for faith and the horror of meaninglessness – and song-cycles, though there the intensity is, wrote that ‘humankind cannot bear very much reality’. if anything, still more sharply focused. But Mahler’s music suggests another possibility. With his ability to confront the terrifying possibility of a was born the second of 14 children. purposeless universe and the empty finality of death, His parents were apparently ill-matched (Mahler Mahler can help us confront and endure stark reality. remembered violent scenes), and young Gustav He can take us to the edge of the abyss, then sing grew dreamy and introspective, seeking comfort us the sweetest songs of consolation. If we allow in nature rather than human company. Death was ourselves to make this journey with him, we may a presence from early on: six of Mahler’s siblings find that we too are the better for it. died in infancy. This no doubt partly explains the 29 & 30 Apr Sound Unbound 2017 The Barbican Classical Weekender

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Sound Unbound LSO programme ad v3.indd 1 30/03/2017 16:53 10 Artist Biographies 6 April 2017

Gianandrea Noseda Conductor

Widely recognised as one of the leading conductors Gianandrea Noseda has a long-standing relationship of his generation, Gianandrea Noseda is the 2016 with the Metropolitan Opera, New York, which International Opera Awards Conductor of the dates back to 2002. He has conducted many new Year and Musical America’s Conductor of the Year productions and the two most recent were widely 2015. He was recently appointed Principal Guest praised operas not seen at the Met in a century: Conductor of the London Symphony Orchestra, Borodin’s Prince Igor (available on Deutsche and from the 2017/18 season will become Music Grammophon), and Bizet’s The Pearl Fishers Director of the National Symphony Orchestra at (soon available on Warner Classics, both DVDs). the Kennedy Center in Washington DC. Highlights of the 2016/17 season include concerts Music Director of the Teatro Regio Torino since 2007, with the Israel Philharmonic, the National Symphony his initiatives have propelled the Teatro Regio Torino Orchestra and the , in addition onto the global stage, where it has become one to his return to the Verbier Festival. He will also of Italy’s most important cultural ambassadors. return to the Met with a new production of Romeo Under his leadership it has recorded with leading and Juliet by Gounod and conduct for the first time singers and embarked on tours to Austria, China, at the Operhaus Zurich for a new production of Principal Guest Conductor France, Germany, Japan, Russia and the United The Fiery Angel staged by Calixto Bieito. London Symphony Orchestra States, including a recent visit to the Hong Kong and Savonlinna Festivals. Gianandrea Noseda’s discography includes over Music Director 50 CDs, many of which have been celebrated by Teatro Regio Torino Gianandrea Noseda is also Principal Guest critics and received awards. His Musica Italiana Conductor of the Israel Philharmonic Orchestra, project, which he initiated over ten years ago, has Principal Guest Conductor Principal Conductor of the Orquestra de Cadaqués chronicled under-appreciated Italian repertoire of the Israel Philharmonic Orchestra and Artistic Director of the Stresa Festival (Italy). 20th century. Conducting the Vienna Philharmonic He was at the helm of the BBC Philharmonic from Orchestra and the Orchestra Teatro Regio Torino he Principal Conductor 2002 to 2011, and in 1997 he was appointed the first has recorded albums with Ildebrando d’Arcangelo, Orquestra de Cadaqués foreign Principal Guest Conductor of the Mariinsky Diana Damrau, Anna Netrebko and Rolando Villazón. Theatre, a position he held for a decade. His recordings are also available on LSO Live, Helicon Artistic Director Classics and Foné. Stresa Festival He works regularly with the world’s leading orchestras such as the NHK Symphony in Japan, A native of Milan, Gianandrea Noseda is Cavaliere Music Director Designate the Pittsburgh, Cleveland and Philadelphia Ufficiale al Merito della Repubblica Italiana, marking National Symphony Orchestra Orchestras in North America, and the Orchestre his contribution to the artistic life of Italy. de Paris, Orchestra of Santa Cecilia, Filarmonica della Scala and Vienna Radio Symphony Orchestra in Europe. In May 2015 he made his debut with the . lso.co.uk Artist Biographies 11

Janine Jansen Violin

With an enviable international reputation, violinist Janine records exclusively for Decca Classics and, Janine Jansen works regularly with the world’s most since recording Vivaldi’s Four Seasons back in 2003, eminent orchestras and conductors. This season has been extremely successful in the digital music she is the subject of the LSO’s 2016/17 Artist charts. Her latest release, conducted by Sir Antonio Portrait (with conductors Sir Antonio Pappano and Pappano, features Bartók’s Violin Concerto No 1 Gianandrea Noseda), complemented by a residency with the LSO and Brahms’ Violin Concerto with the at Wigmore Hall. She is also the Artist-in-Residence Orchestra of the National Academy of Santa Cecilia. at the Philharmonie Luxembourg, where she will Other highlights of her discography include a give both concerto and chamber performances. recording of Prokofiev’s Violin Concerto No 2 with the London Philharmonic Orchestra and Vladimir This season, Janine performs with the Vienna Jurowski, Beethoven and Britten concertos with Philharmonic (with Sakari Oramo), Orchestra of the Paavo Järvi, Mendelssohn and Bruch’s concertos National Academy of Santa Cecilia (with Sir Antonio with , Tchaikovsky’s Violin Concerto Pappano) and the National Orchestra of Belgium with Daniel Harding, and an album of Bach concertos (with Andrey Boreyko), which includes a memorial with her own ensemble. Janine has also released a concert for Philippe Hirschhorn. She will tour Europe number of discs, including Schubert’s JANINE JANSEN IN 2017/18: with the NHK Symphony Orchestra (with Paavo Järvi), String Quintet and Schoenberg’s Verklärte Nacht, and ON SALE NOW as well as visit Asia with the Royal sonatas by Debussy, Ravel and Prokofiev with pianist Orchestra (with ). . Thu 5 Oct 2017 7.30pm Britten Violin Concerto A devoted chamber musician, Janine will perform a Janine has won numerous prizes, including four with Semyon Bychkov number of recitals throughout Europe with pianist Edison Klassiek Awards, four ECHO Klassik awards, Alexander Gavrylyuk. She will also perform various the Preis der Deutschen Schallplattenkritik, NDR Thu 17 May 2018 7.30pm chamber music programmes together with Lucas Musikpreis for outstanding artistic achievement Sibelius Violin Concerto Debargue, Torleif Thedéen, Martin Fröst and Boris and the Concertgebouw Prize. She has been given with Michael Tilson Thomas Brovtsyn. As part of the Crescendo Programme the VSCD Klassieke Muziekprijs for individual in Norway she will collaborate with a number of achievement and the Royal Philharmonic Society alwaysmoving.lso.co.uk talented young musicians at Bergen Festival. Instrumentalist Award for performances in the UK. In September 2015 she was awarded the Bremen Thirteen years after establishing the hugely MusikFest Award. successful International Chamber Music Festival in , Janine stepped down from her position Janine studied with Coosje Wijzenbeek, Philippe as Artistic Director in June 2016 and named cellist Hirschhorn and . Harriet Krijgh as her successor. She plays the 1707 Stradivarius ‘Rivaz – Baron Gutmann’ violin, kindly on loan from Dextra Musica. 12 The Orchestra 6 April 2017

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FIRST VIOLINS FLUTES HORNS TIMPANI THU 23 MAR George Tudorache Rachel Roberts Gareth Davies Bertrand Chatenet Antoine Bedewi ALAIN ALTINOGLU AND GAUTIER CAPUÇON Leader Gillianne Haddow Alex Jakeman Angela Barnes Lennox Mackenzie Anna Bastow Julian Sperry Alexander Edmundson PERCUSSION Clare Duckworth Julia O’Riordan Patricia Moynihan Beth Randell Neil Percy Nicholas Nebout Exceptional Alain Sam Walton Nigel Broadbent Robert Turner Jocelyn Lightfoot Altinoglu. Exceptional @londonsymphony Ginette Decuyper Heather Wallington PICCOLO Paul Stoneman Jörg Hammann Jonathan Welch Sharon Williams TRUMPETS Tom Edwards & @LSChorus. Exceptional Ravel. Claire Parfitt Michelle Bruil Philip Cobb Karen Hutt OBOES Literally speechless #thatsafirst Laurent Quenelle Stephanie Edmundson Gerald Ruddock Glyn Matthews Emily Ross Harriet Rayfield Carol Ella Robin Totterdell Jacob Brown Rosie Jenkins Colin Renwick Philip Hall Christian Barraclough Maxwell Spiers HARPS Mark Pullinger It's only March, but have Sylvain Vasseur Caroline O’Neill TROMBONES Bryn Lewis just basked in the Mediterranean glow of Rhys Watkins COR ANGLAIS Dudley Bright Anneke Hodnett Shlomy Dobrinsky Christine Pendrill @londonsymphony's Daphnis et Chloé. Rebecca Gilliver James Maynard Alain Petitclerc GUITAR Scorching! Jennifer Brown Peter Moore Benjamin Roskams CLARINETS Forbes Henderson Noel Bradshaw Hazel Mulligan Chris Richards BASS TROMBONE Eve-Marie Caravassilis Thomas Lessels Paul Milner MANDOLIN Sandrina Carrosso @londonsymphony SECOND VIOLINS Daniel Gardner Andrew Harper James Ellis Fantastic Daphnis et Chloé – Powerful. Saskia Otto Hilary Jones TUBA Thomas Norris Victoria Harrild BASS CLARINET Patrick Harrild @LSChorus Brilliant chorus. Sarah Quinn Alexandra Mackenzie Katy Ayling Miya Väisänen Kim Mackrell E-FLAT CLARINET David Ballesteros Sue Sutherley Jernej Albreht Matthew Gardner DOUBLE BASSES Julian Gil Rodriguez SAXOPHONE Colin Paris Naoko Keatley Simon Haram Belinda McFarlane Patrick Laurence William Melvin Matthew Gibson BASSOONS Iwona Muszynska Thomas Goodman Rachel Gough Andrew Pollock Joe Melvin Joost Bosdijk Paul Robson Paul Sherman Lois Au Lucy Jeal Simo Väisänen Andrew Vickers CONTRA BASSOON Dominic Morgan

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, The Polonsky Foundation, Barbican Ranald Mackechnie, featuring Members start of their professional careers to gain Fidelio Charitable Trust, N Smith Charitable Silk Street who began their LSO careers through work experience by playing in rehearsals Settlement, Lord and Lady Lurgan Trust, London LSO Discovery. Visit lso.co.uk/1617photos and concerts with the LSO. The scheme Barbara Whatmore Charitable Trust and EC2Y 8DS for a full list. auditions students from the London music LSO Patrons. conservatoires, and 15 students per year Registered charity in England No 232391 Photography are selected to participate. The musicians Performing in tonight’s concert are: Ranald Mackechnie, Chris Wahlberg, Details in this publication were correct are treated as professional ’extra’ players Naoka Aoki (First Violin) Harald Hoffmann, Marco Borggreve at time of going to press. (additional to LSO members) and receive fees Salvador Morera Ortels (Double Bass) Print Cantate 020 3651 1690 for their work in line with LSO section players. Editor Edward Appleyard Advertising Cabbell Ltd 020 3603 7937 [email protected]