London Symphony Orchestra Living Music

Sunday 29 May 2016 7pm Barbican Hall

BEETHOVEN VIOLIN CONCERTO

Beethoven Violin Concerto London’s Symphony Orchestra INTERVAL Elgar Symphony No 2

Sir Antonio Pappano conductor Nikolaj Znaider violin

Concert finishes approx 9.20pm

2 Welcome 29 May 2016

Welcome Living Music Kathryn McDowell In Brief

A very warm welcome to this evening’s LSO ELGAR UP CLOSE ON BBC iPLAYER concert at the Barbican. Tonight’s performance is the last in a number of programmes this season, During April and May, a series of four BBC Radio 3 both at the Barbican and LSO St Luke’s, which have Lunchtime Concerts at LSO St Luke’s was dedicated explored the music of Elgar, not only one of to Elgar’s moving chamber music for strings, with Britain’s greatest composers, but also a former performances by violinist Jennifer Pike, the LSO Principal Conductor of the Orchestra. String Ensemble directed by Roman Simovic, and the Elias String Quartet. All four concerts are now We are delighted to be joined once more by available to listen back to on BBC iPlayer Radio. Sir Antonio Pappano and Nikolaj Znaider, who toured with the LSO earlier this week to Eastern Europe. bbc.co.uk/radio3 Following his appearance as conductor back in lso.co.uk/lunchtimeconcerts November, it is a great pleasure to be joined by Nikolaj Znaider as soloist, playing the Beethoven Violin Concerto. We also greatly look forward to 2016/17 SEASON ON SALE NOW Sir Antonio Pappano’s reading of Elgar’s Second Symphony, following his memorable performance Next season Gianandrea Noseda gives his first concerts of Symphony No 1 with the LSO in 2012. as LSO Principal Guest Conductor, Janine Jansen is the focus of our LSO Artist Portait, and we welcome Sincere thanks to our media partner Classic FM, back Sir John Eliot Gardiner, Bernard Haitink, who have recommended tonight’s concert to and Lang Lang. Tickets are available now. their listeners. lso.co.uk/201617season I hope you enjoy the performance, and that you can join us at the Barbican again soon. On 5 June, LSO Principal Guest Conductor, Daniel Harding, A WARM WELCOME TO TONIGHT’S GROUPS conducts Mahler’s Second Symphony. Looking ahead to the 2016/17 season, we welcome back both The LSO offers great benefits for groups of ten Nikolaj Znaider and Sir Antonio Pappano for several or more, including 20% discount on standard tickets. concerts. More information can be found at lso.co.uk. Tonight, we are delighted to welcome:

Adele Friedland & Friends Gerrards Cross Community Association Denver Travel Carolyn Johnson & Friends Kathryn McDowell CBE DL Managing Director lso.co.uk/groups London Symphony Orchestra Living Music

Nikolaj Znaider in 2016/17

SIBELIUS MOZART AND TCHAIKOVSKY MOZART AND TCHAIKOVSKY VIOLIN CONCERTO SERIES LAUNCH CONCERT II

The violinist and conductor Sun 25 Sep 2016 7pm Sun 18 Dec 2016 7pm Sun 14 May 2017 7pm returns to the LSO in 2016/17 Sibelius Violin Concerto Mozart Violin Concerto No 1 Mozart Violin Concerto No 5 Mahler Symphony No 4 Mozart Violin Concerto No 4 Tchaikovsky Symphony No 5 to launch a new series, Tchaikovsky Symphony No 4 exploring Mozart’s Violin Daniel Harding conductor Nikolaj Znaider conductor/violin Concertos side-by-side with Nikolaj Znaider violin Nikolaj Znaider conductor/violin Tchaikovsky’s Symphonies. Christiane Karg soprano

lso.co.uk 020 7638 8891 4 Programme Notes 29 May 2016

Ludwig van Beethoven (1770–1827) Violin Concerto in D major Op 61 (1806)

1 ALLEGRO MA NON TROPPO It was not until one of the 19th century’s greatest 2 LARGHETTO violinists, Joseph Joachim, performed it in London 3 RONDO (ALLEGRO) in 1844 under Mendelssohn’s baton that the work came to be recognised as the sublime masterpiece NIKOLAJ ZNAIDER VIOLIN that it is. Joachim was only twelve years old at the time, but later descriptions of his playing, which In tonight’s performance, Nikolaj Znaider talked of artistic perfection with bravura as a plays the cadenza by Fritz Kreisler in the secondary consideration, perhaps explain how Violin Concerto’s first movement. it was that he was the first one to be able to put the concerto across; these qualities, after all, PROGRAMME NOTE WRITER For Beethoven, the concerto was not a form to apply equally well to the work itself. LINDSAY KEMP is a senior be taken lightly. Like Mozart, the first great master producer for BBC Radio 3, of the Classical concerto, he composed concertos ‘All its most famous strokes of including programming lunchtime principally for his own instrument, the piano; concerts from LSO St Luke’s. whereas Mozart’s output of piano concertos ran genius are not only mysteriously He is also Artistic Director of to nearly 30, Beethoven completed only five, each quiet, but mysterious in the London Festival of Baroque of them a dynamic and virtuosic conflict between Music, and a regular contributor soloist and orchestra. It is not hard to picture him radiantly happy surroundings.’ to Gramophone magazine. at the keyboard, challenging the orchestra to battle Donald Tovey on Beethoven’s Violin Concerto in the gigantic flourishes of the first movement of the ’Emperor’ Concerto, running it ragged THE ‘EMPEROR’ CONCERTO in the fleet-footed games of the finale of the First, The circumstances of the first performance in was Beethoven’s fifth and final or coaxing it patiently into submission in the Vienna in December 1806 sound somewhat less piano concerto composed in 1809. slow movement of the Fourth. promising. Beethoven had rushed to complete the The work is the most symphonic piece in time and the soloist, Franz Clement, was of his piano concertos, and was Compared to these dramas, his only completed apparently forced to sight-read much of the music dedicated to the composer’s violin concerto is a very different animal, a work at the concert. This sounds hard to believe, but it friend and royal benefactor, the of unprecedented warmth and serenity that its is surely significant that the autograph contains Archduke Rudolph, although the first audiences evidently found rather puzzling. many alterations to the solo part, perhaps made work’s majestic title was only ’The opinion of connoisseurs admits that it contains at Clement’s suggestion, after what one can conceived at a later date by an beautiful passages but confesses that the context only imagine was a somewhat hairy premiere. early publisher. often seems broken and that the endless repetition If Beethoven made things hard for his soloist, of unimportant passages produces a tiring effect’, however, Clement did not show the concerto to ran one account of its first performance. its best advantage by playing the second and third Clearly, a little more action was expected. movements at opposite ends of the concert from the first, and inserting some virtuoso showpieces in between (including one played with the violin upside down). lso.co.uk Programme Notes 5

BEETHOVEN on LSO LIVE Although Beethoven knew how to play the violin, new tune, which is then alternated with the main it was not really his instrument, so we should not theme before a peaceful coda, a fanfare-like Symphonies be too surprised that his concerto does not adopt outburst from the strings and a short cadenza Nos 1–9 the confrontational and virtuoso tone of the piano lead straight into the finale. concertos. And unlike the piano, the violin cannot Bernard Haitink accompany itself, with the result that the orchestra FINALE conductor has to play along almost all of the time. Beethoven Here again, the form is simple – a rondo whose does not fight against this. Instead he turns it to uncomplicated treatment may owe much to ‘A towering achievement.’ an advantage by writing a supremely conciliatory Beethoven’s haste to complete the concerto, but The Times concerto in which the violin and orchestra are in whose recurring theme is irresistible nevertheless. agreement throughout. As Donald Tovey has said, And there is real originality in the way in which the Benchmark Beethoven Cycle ’all its most famous strokes of genius are not only movement opens with the theme given out by the BBC Music Magazine mysteriously quiet, but mysterious in radiantly soloist over a bare, prompting accompaniment from happy surroundings’. the cellos and basses, and in the way that, just when Classical Recordings of the Year you feel Beethoven has proved that he could carry New York Times FIRST MOVEMENT on for ever, he wittily brings the concerto to an end. This is certainly true of the work’s unusual opening, Nominated for Best Classical Album where five gentle drum beats introduce the sublime 49th Annual Grammy Awards first theme, and then proceed to dominate and unify the whole movement through repeating and lsolive.lso.co.uk recycling their insistent rhythm in different contexts. There is no menace in this (as well there might be), and when the solo violin first enters it is not to contradict the orchestra, or even to contribute any new themes of its own, but to enrich the music with soaring embellishments and eloquent refinements of the movement’s glorious melodic material.

SECOND MOVEMENT This non-aggressive attitude is even more noticeable in the placid slow movement, which seems to start out as a straightforward set of variations on the INTERVAL – 20 minutes theme introduced right at the beginning on muted There are bars on all levels of the Concert Hall; ice cream strings – so straightforward, indeed, that the music can be bought at the stands on Stalls and Circle level. never leaves the key of G major and the solo violin The Barbican shop will also be open. at first offers no more than gentle accompanimental arabesques. After the third variation, however, Why not tweet us your thoughts on the first half of the (a loud restatement of the theme by the orchestra performance @londonsymphony, or come and talk to alone), the soloist introduces a brief but sonorous LSO staff at the Information Desk on the Circle level? 6 Composer Profiles 29 May 2016

Ludwig van Beethoven Edward Elgar Composer Profile Composer Profile

Beethoven showed early musical Elgar’s father, a trained piano- promise, yet reacted against his tuner, ran a music shop in father’s attempts to train him as Worcester in the 1860s. Young a child prodigy. The boy pianist Edward, the fourth of seven attracted the support of the Prince- children, showed musical talent Archbishop, who supported his but was largely self-taught as studies with leading musicians at a player and composer. During the Bonn court. By the early 1780s his early freelance career, which Beethoven had completed his first included work conducting the compositions, all of which were staff band at the County Lunatic for keyboard. With the decline Asylum in Powick, he suffered of his alcoholic father, Ludwig many setbacks. He was forced to became the family bread-winner continue teaching long after the as a musician at court. desire to compose full-time had taken hold. A picture emerges Encouraged by his employer, of a frustrated, pessimistic man, the Prince-Archbishop Maximilian Franz, Beethoven travelled to whose creative impulses were restrained by his circumstances and Vienna to study with Joseph Haydn. The younger composer fell out apparent lack of progress. The cantata Caractacus, commissioned with his renowned mentor when the latter discovered he was secretly by the Leeds Festival and premiered in 1898, brought the composer taking lessons from several other teachers. Although Maximilian Franz recognition beyond his native city. withdrew payments for Beethoven’s Viennese education, the talented musician had already attracted support from some of the city’s At the end of March 1891 the Elgars were invited to travel to Bayreuth wealthiest arts patrons. His public performances in 1795 were well for that summer’s festival of Wagner’s operas, a prospect that inspired received, and he shrewdly negotiated a contract with Artaria & Co, Edward immediately to compose three movements for string orchestra, the largest music publisher in Vienna. the Serenade. The Variations on an Original Theme ‘Enigma’ (1898-99) and his oratorio The Dream of Gerontius (1900) cemented his position He was soon able to devote his time to composition or the as England’s finest composer, crowned by two further oratorios, performance of his own works. In 1800 Beethoven began to complain a series of ceremonial works, two symphonies and concertos for bitterly of deafness, but despite suffering the distress and pain of violin and cello. Elgar, who was knighted in 1904, became the LSO’s tinnitus, chronic stomach ailments, liver problems and an embittered Principal Conductor in 1911 and premiered many of his works with legal case for the guardianship of his nephew, Beethoven created a the Orchestra. Shortly before the end of World War I, he entered an series of remarkable new works, including the Missa solemnis and his almost cathartic period of chamber-music composition, completing the late symphonies and piano sonatas. It is thought that around 10,000 peaceful slow movement of his String Quartet soon after Armistice Day. people followed his funeral procession on 29 March 1827. Certainly, his The Piano Quintet was finished in February 1919 and reveals the posthumous reputation developed to influence successive generations composer’s deep nostalgia for times past. In his final years he of composers and other artists inspired by the heroic aspects of recorded many of his works with the LSO and, despite illness, Beethoven’s character and the profound humanity of his music. managed to sketch movements of a Third Symphony.

Composer Profiles © Andrew Stewart London Symphony Orchestra Living Music

Gianandrea Noseda opens the season with the Verdi Requiem, his first concerts as LSO Principal Guest Conductor

Sir John Eliot Gardiner concludes his Mendelssohn symphonies cycle

Two new commissions from Mark-Anthony Turnage receive their world and UK premieres

Janine Jansen performs in three concerts as part of her LSO Artist Portrait

François-Xavier Roth continues his After Romanticism series

Bernard Haitink conducts Bruckner, Mahler and Beethoven with Mitsuko Uchida

Lang Lang returns to close the season with Bartók’s Piano Concerto No 2

See the full listings, now on sale, at lso.co.uk/201617season 8 Programme Notes 29 May 2016

Edward Elgar (1857–1934) Symphony No 2 in E-flat major Op 63 (1911)

1 ALLEGRO VIVACE E NOBILMENTE Here, perhaps, lies part of the problem. Elgar’s 2 LARGHETTO Symphony No 1 is a magnificently sustained and 3 RONDO: PRESTO integrated work. Worlds of turmoil and doubt 4 MODERATO E MAESTOSO are opened up, but at the end is a triumphant restatement of the confident, noble theme with PROGRAMME NOTE WRITER The premiere of Elgar’s Symphony No 1, in December which it began – a clear declaration of what Elgar STEPHEN JOHNSON is the author 1908, was a sensation; there were ovations for the himself called ‘massive hope’. The Violin Concerto of Bruckner Remembered (Faber). composer, ecstatic reviews, and nearly a hundred may be more reflective, but it too ends in blazing He also contributes regularly to the performances in the following year. Two years affirmation. But the Second Symphony is emotionally BBC Music Magazine and later there was rapturous applause for the Violin more complex, its ending ambiguous. And although The Guardian, and broadcasts for Concerto. Such success had given the self-doubting the four movements are rich in thematic cross BBC Radio 3, Radio 4 and World Elgar an added boost of confidence. He returned references, the symphony is full of surprising, even Service. to sketches for a symphony he had made around unsettling, changes in mood and character. Even 1903–4 and began forging them into something the words from Shelley with which Elgar chose new. By the end of February 1911, after just two to head the score can be read in different ways: months of sustained effort, the Symphony No 2 ‘Rarely, rarely comest thou, Spirit of Delight!’. Was was complete. ‘I have worked at fever heat’, the symphony intended as a portrait of one of those Elgar told his confidante Alice Stuart Wortley, moments when delight reigns; or is it an expression ‘and the thing is tremendous in energy’. of regret that delight comes so rarely? The more one gets to know Symphony No 2, the more likely If Elgar was expecting another triumph, he was cruelly one is to side with the latter interpretation. But even disappointed. Surprisingly the hall was not quite full, that doesn’t make sense of all of its mysteries and and at the end, Elgar noted, the audience ‘sat there seeming contradictions. like a lot of stuffed pigs’. One anonymous critic even accused Symphony No 2 of ‘pessimism and rebellion’. FIRST MOVEMENT There were more enthusiastic reactions in years to At first, matters seem clear enough. The first come, but the symphony never really established movement begins with a magnificent musical itself in Elgar’s lifetime. It was only in the later decades springboard: repeated notes on strings suddenly THE MUSIC MAKERS (1912) is a of the 20th century that it gradually came to be seen surge upwards into a confidently arching theme, secular choral work, conceived by as one of his most important and personal statements. ‘tremendous energy’ embodied in music. Elgar as early as 1902. The piece is Elgar was aware of its significance from the start. a setting of Arthur O’Shaughnessy’s In another letter to Alice Stuart Wortley he grouped The gentler second theme (violins) is more shadowy 1874 poem, Ode, a work that his Symphony No 2 with the Violin Concerto and the and uncertain, but the energy from the opening depicts the artist set apart from choral ode The Music Makers: ‘I have written out returns with added force, building to a superb the world, yet shaping its destiny. my soul in the concerto, Symphony No 2 and the climax. Then comes something unexpected. In a wish to identify with this ideal Ode and you know it … in these three works I have Eight quiet harp chimes introduce a weirdly sensual of the omnipresent artist, Elgar shewn myself’. central section, with cellos singing out a long and uses quotations from his earlier peculiarly sinister melody above pulsating basses, works throughout. timpani and bass drum. ‘I have written the most lso.co.uk Programme Notes 9

extraordinary passage’, Elgar wrote, ‘a sort of malign from Tennyson’s poem Maud, the words of a dead influence wandering thro’ the summer night in the man cast into a shallow grave beneath a roadway: garden’. Energetic life reasserts itself in a relatively straightforward recapitulation of the earlier music. ‘And the hoofs of the horses Still, that ‘malign influence’ leaves an uncomfortable aftertaste – and we haven’t heard the last of it yet. beat, beat, The hoofs of the horses beat, SECOND MOVEMENT The second movement is a noble, deeply felt Beat into my scalp and my brain’. symphonic elegy, beginning with what is unmistakably a funeral march. Given the symphony’s dedication ‘to FINALE the Memory of His late Majesty King Edward VII’, According to Elgar, ‘the whole of the sorrow is many presumed that this movement was an smoothed out and ennobled in the last movement’. expression of lament for the King, who died while Some Elgarians have had their doubts about this. the symphony was being written. In fact Elgar had The gently wandering, rhythmically repetitive first already noted down ideas for this movement in 1904, theme does suggest an attempt at ‘smoothing out’; when he had been shocked to learn of the death of the noble second theme even seems to bring back ALFRED RODEWALD (1862–1903) his friend Alfred Rodewald. echoes of the First Symphony’s ‘massive hope’. was an amateur conductor and But then comes the coda: quieter, slower, with the musician based in Liverpool. When the funeral march theme returns after a grand, symphony’s opening theme now gliding gracefully Rodewald was a close friend of impassioned climax, Elgar does something strikingly through fabulously rich orchestral textures. Elgar’s, and the composer dedicated original: the first oboe plays a quasi-improvisatory A celebration of Shelley’s ‘Spirit of Delight’? There the Pomp and Circumstance Military counterpoint to the tune, as though it were following is something poignant about the way the splendour March No 1 in D (1901) to Rodewald a different, freer beat; it is almost as though a fades. One may be left repeating the first two ‘and the members of the Liverpool camera had suddenly homed in on one grief-stricken words of the Shelley quotation: ‘Rarely, rarely …’. Orchestral Society’. The Rodewald face amid the crowds of mourners. Concert Society, which still promotes ELGAR ON LSO LIVE classical music in Liverpool to this day, THIRD MOVEMENT was created in 1911 in his memory. After this, the Rondo is alert and intensely active, a Symphonies No 1 & 2 refreshing contrast to the funereal ‘Larghetto’ – or Symphony No 3 so it seems at first. But darker, more demonic forces Sir Colin Davis conductor are at work here; in fact many listeners find this movement more devilish than the famous Demons’ Chorus in Elgar’s The Dream of Gerontius. Enigma Variations Eventually throbbing, pounding drums, quiet at first Introduction & Allegro but building steadily, announce the return of the Sir Colin Davis conductor ‘malign influence’ theme from the first movement: first on strings, then thundered out by heavy brass. lsolive.lso.co.uk Elgar compared this nightmare vision to some words 10 Artist Biographies 29 May 2016

Sir Antonio Pappano Conductor

One of today’s most sought-after conductors, Pappano has appeared as a guest conductor with acclaimed for his charismatic leadership and many of the world’s most prestigious orchestras, inspirational performances in both symphonic including the Berlin, Vienna, New York and Munich and operatic repertoire, Sir Antonio Pappano has Philharmonic Orchestras, the Royal Concertgebouw been Music Director of the Royal Opera House Orchestra, the Chicago and Boston Symphonies, Covent Garden since 2002, and Music Director of the Philadelphia and Cleveland Orchestras, and the Orchestra dell’Accademia Nazionale di Santa the Orchestre de Paris. Recent highlights include Cecilia in Rome since 2007. Nurtured as a pianist, his debut with the London Philharmonic at the repetiteur and assistant conductor at many of the Aldeburgh Festival, and performances at the BBC most important opera houses of Europe and North Proms and Bucharest Festival with the Accademia America, including at the Lyric Opera of Chicago Nazionale di Santa Cecilia. Future appearances and several seasons at the Bayreuth Festival as include his debuts with the Chamber Orchestra musical assistant to Daniel Barenboim, Pappano of Europe, the Verbier Festival Orchestra and was appointed Music Director of Oslo’s Den Norske the Staatskapelle Dresden, return visits to the Opera in 1990, and from 1992–2002 served as Cleveland Orchestra, Berlin Philharmonic, Royal Music Director of the Théâtre Royal de la Monnaie Concertgebouw Orchestra and Staatskapelle Berlin, Music Director in Brussels. From 1997–99 he was Principal Guest and tours of Europe, Asia and South America with Royal Opera House Conductor of the Israel Philharmonic Orchestra. the Accademia Nazionale di Santa Cecilia.

Music Director Pappano made his debut at the Vienna Staatsoper Antonio Pappano was born in London to Italian Accademia Nazionale di Santa Cecilia in 1993, replacing Christoph von Dohnànyi at the last parents, and moved with his family to the United minute in a new production of Wagner’s Siegfried, States at the age of 13. His awards and honours SIR ANTONIO PAPPANO IN his debut at the Metropolitan Opera New York in include Gramophone’s ‘Artist of the Year’ in 2000, 2016/17: ON SALE NOW 1997 with a new production of Tchaikovsky’s Eugene the 2003 Olivier Award for Outstanding Achievement Onegin, and in 1999 he conducted a new production in Opera, the 2004 Royal Philharmonic Society Thu 24 Nov 2016 7.30pm of Wagner’s Lohengrin at the Bayreuth Festival. Music Award, and the Bruno Walter prize from Rossini Overture: William Tell Highlights of recent seasons include his operatic the Académie du Disque Lyrique in Paris. In 2012 Bruch Violin Concerto debut at the Salzburg Festival (Verdi’s Don Carlo) and he was named a Cavaliere di Gran Croce of the Strauss Alpine Symphony the Teatro alla Scala (Berlioz’s The Trojans). At the Republic of Italy, and a Knight of the British Empire with Roman Simovic violin Royal Opera the 2014/15 season saw him leading for his services to music, and in 2015 he was the new productions of Rossini’s William Tell, Giordano’s 100th recipient of the Royal Philharmonic Society’s Sun 5 Feb 2017 7pm Andrea Chénier and Szymanowski’s Król Roger, and Gold Medal, the body’s highest honour. He has Sibelius The Oceanides productions in the 2015/16 season and beyond also developed a notable career as a speaker Bernstein Serenade include new stagings of Mussorgsky’s Boris Godunov, and presenter, and has fronted several critically Nielsen Symphony No 4 Mascagni’s Cavalleria Rusticana, Leoncavallo’s acclaimed BBC Television documentaries including (‘The Inextinguishable’) I Pagliacci and Bellini’s Norma, and revivals of Opera Italia, Pappano’s Essential Ring Cycle and with Janine Jansen violin Massenet’s Werther, Puccini’s Manon Lescaut, Pappano’s Classical Voices. and Wagner’s Der Ring des Nibelungen and Die lso.co.uk/201617season Meistersinger von Nürnberg. lso.co.uk Artist Biographies 11

Nikolaj Znaider Violin

Nikolaj Znaider is renowned as a brilliantly versatile Recording highlights of recent years are the Nielsen musician, performing both as a virtuoso violin Violin Concerto with Alan Gilbert and the New soloist and as a conductor with the world’s York Philharmonic, Elgar Violin Concerto in B minor pre-eminent orchestras. He was appointed with the late Sir Colin Davis and the Staatskapelle Principal Guest Conductor of the Mariinsky Orchestra Dresden, award-winning recordings of the Brahms St Petersburg in 2010, and was previously Principal and Korngold Violin Concertos with Gergiev and Guest Conductor of the Swedish Chamber Orchestra. the Vienna Philharmonic, the Beethoven and Znaider enjoys a close relationship with the Mendelssohn Violin Concertos with Mehta and Filarmonica del Teatro Comunale di Bologna and will the Israel Philharmonic, and the Prokofiev Violin return to conduct the orchestra in June 2016. Concerto No 2 together with the Glazunov Concerto with Mariss Jansons and the Bavarian Radio Conducting highlights of the 2015/16 season include Symphony. Znaider has also recorded the complete appearances as guest conductor with the Danish works of Johannes Brahms for violin and piano Radio Symphony, Konzerthausorchester Berlin, with Yefim Bronfman. Orchestre National de France, Montreal Symphony, Detroit Symphony, Stockholm Philharmonic, Znaider is passionate about supporting the next Principal Guest Conductor Munich Philharmonic, and National Arts Centre generation of musical talent and spent ten years Mariinsky Orchestra Orchestra Ottawa. Znaider also returns to both as Founder and Artistic Director of the annual the Hallé Orchestra and the London Symphony Nordic Music Academy summer school. He is Orchestra, both of which he conducts next season. also chair of the jury of the Tenth Carl Nielsen An increasing number of orchestras now feature International Violin Competition. Znaider as both soloist and conductor, and he spent two weeks with the Washington National Symphony Nikolaj Znaider plays the ‘Kreisler’ Guarnerius ‘del Orchestra in April 2016. Gesu’ 1741 on extended loan to him by The Royal Danish Theatre through the generosity of the VELUX As a soloist, Znaider continues to perform regularly Foundation and the Knud Højgaard Foundation. with the world’s leading orchestras. Highlights of the coming season include performances with the San Francisco Symphony Orchestra under the baton of Stéphane Denève, and Staatskapelle Dresden with Christian Thielemann. In recital and chamber performance, Znaider has appeared at all the major concert halls worldwide. This season sees him perform around Europe in cities including Brussels, Bilbao, Dublin, Copenhagen, and London. 12 The Orchestra 29 May 2016

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FIRST VIOLINS VIOLAS FLUTES HORNS THU 19 MAY: SIR ANTONIO PAPPANO & VIKTORIA MULLOVA Roman Simovic Leader Edward Vanderspar Gareth Davies Timothy Jones Carmine Lauri Gillianne Haddow Adam Walker Angela Barnes Lennox Mackenzie Malcolm Johnston Alex Jakeman Alexander Edmundson Paul Arbuthnot Epic #Mahler6 @BarbicanCentre with Clare Duckworth Anna Bastow Jonathan Lipton @londonsymphony & amazing Shostakovich Violin Concerto PICCOLO Nigel Broadbent German Clavijo Jocelyn Lightfoot No 1 with @ViktoriaMullova. Great evening! Ginette Decuyper Lander Echevarria Sharon Williams Gerald Gregory Julia O’Riordan TRUMPETS OBOES Jörg Hammann Robert Turner Philip Cobb Olivier Stankiewicz Chris Terry @ViktoriaMullova @BBCRadio3 Maxine Kwok-Adams Jonathan Welch Michael Møller Rosie Jenkins Claire Parfitt Elizabeth Butler Gerald Ruddock @londonsymphony utterly incredible performance. Christopher Deacon Elizabeth Pigram Richard Holttum COR ANGLAIS Laurent Quenelle Caroline O’Neill Christine Pendrill TROMBONES Jane Ennis Many thanks to @londonsymphony Harriet Rayfield Dudley Bright Colin Renwick CELLOS CLARINETS @BarbicanCentre for wonderful Shostakovich and Peter Moore Ian Rhodes Tim Hugh Andrew Marriner James Maynard Mahler tonight. Sylvain Vasseur Alastair Blayden Chris Richards Jennifer Brown Chi-Yu Mo BASS TROMBONE SECOND VIOLINS Noel Bradshaw Paul Milner David Alberman Eve-Marie Caravassilis E-FLAT CLARINET SUN 22 MAY: BMW LSO OPEN AIR CLASSICS WITH VALERY GERGIEV Thomas Norris Daniel Gardner Chi-Yu Mo TUBA Sarah Quinn Hilary Jones Patrick Harrild BASS CLARINET Miya Väisänen Amanda Truelove Duncan Gould Leah Bae Had an amazing experience at #BMWLSOopenair. David Ballesteros Victoria Harrild TIMPANI Nigel Thomas Thanks @londonsymphony and @BMW for using music to Matthew Gardner Steffan Morris BASSOONS Julian Gil Rodriguez make London feel like such a special place. Daniel Jemison PERCUSSION Naoko Keatley DOUBLE BASSES Joost Bosdijk Neil Percy Belinda McFarlane Colin Paris David Jackson William Melvin Patrick Laurence CONTRA BASSOON Jacob C What an extraordinary performance. Thank you, Paul Stoneman Iwona Muszynska Matthew Gibson Dominic Morgan Karen Hutt such a joy! #BMWLSOopenair Philip Nolte Joe Melvin Jani Pensola Paul Robson HARPS Edward Francis-Smith Hazel Mulligan Bryn Lewis Sarah Owens Absolutely loved tonight’s Tchaikovsky Simo Väisänen Ruth Holden Nicholas Worters at #BMWLSOopenair! Quality #classicalmusic @londonsymphony

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 Help Musicians UK Barbican Edward Appleyard start of their professional careers to gain The Polonsky Foundation Silk Street [email protected] work experience by playing in rehearsals The Barbara Whatmore Charitable Trust London and concerts with the LSO. The scheme The Idlewild Trust EC2Y 8DS Photography auditions students from the London music The Lefever Award Lars Gunderson, Musacchio & Ianniello, conservatoires, and 15 students per year Registered charity in England No 232391 Ranald Mackechnie are selected to participate. The musicians Details in this publication were correct Print Cantate 020 3651 1690 are treated as professional ’extra’ players at time of going to press. (additional to LSO members) and receive fees Advertising Cabbell Ltd 020 3603 7937 for their work in line with LSO section players.