Tuesday 10 October 7.30–9.35pm Barbican Hall

LSO SEASON CONCERT

Brahms Symphony No 3 Interval HAITINK Beethoven Piano Concerto No 5, 'Emperor'

Bernard Haitink conductor Emanuel Ax piano Welcome / Kathryn McDowell CBE DL Tonight’s Concert / introduction by Lindsay Kemp

Concerto. The pair will be repeating tonight’s wo heavyweight works of the powerfully extrovert gestures of the outer performance on a short tour to Madrid in a repertoire fill this programme, movements provide its most immediately fortnight’s time. each with its own special character. striking moments, the hushed, awe- It took Brahms until he was into his 40s inspiring serenity of the central slow If you have the opportunity to explore more to present a symphony to the world, so movement is no less memorable. at the Barbican this evening, there are two daunted was he by the task of following in foyer exhibitions that were commissioned Beethoven’s footsteps. Having climbed the PROGRAMME NOTE WRITERS by the Barbican with the LSO for the launch mountain once, however, he clearly found of our 2017/18 season. Interlock: Friends the altitude no problem, for within ten years Lindsay Kemp is a senior producer for Pictured Within is a modern-day artistic he had written another three symphonies. BBC Radio 3, including programming response to the theme of friendship, with lunchtime concerts at Wigmore Hall Welcome to the first of three LSO concerts over 150 participants from across East The Third shows the vigorous, warm lyricism and LSO St Luke’s, Artistic Advisor to conducted by the Orchestra’s long-standing London, and Less Than Thirteen takes the of a composer in complete command of his York Early Music Festival, and a regular friend and collaborator, Bernard Haitink. motion of the conductor and distils it to a resources, and if its mood is perhaps not contributor to Gramophone magazine. beautifully simple form. Both exhibitions as easy to pin down as that of the ‘tragic’ The LSO’s performances with Bernard Haitink can be seen on Level G. First or the ‘pastoral’ Second, its apparent Andrew Stewart is a freelance music are always very special occasions for the references to happy former times – hinted journalist and writer. He is the author musicians and audience members alike. I hope you enjoy this evening’s performance at in musical mottos relating to his earlier of The LSO at 90, and contributes to We are delighted that he will focus particularly and that you will join us again soon. After life and friendship with Robert Schumann a wide variety of specialist classical on the music of Brahms in this series and this short series with Bernard Haitink, the but presented without mawkish nostalgia music publications. look forward to his interpretations of two Orchestra returns to the Barbican on 26 or sense of regret – perhaps suggest that at of the composer’s symphonies – the Third, October to play the orchestral score for the age of 50 Brahms was looking back on Andrew Huth is a musician, writer and which is performed this evening, and the Eisenstein’s October: Ten Days That Shook his life and finding himself robustly content. translator who writes extensively on French, Second on 15 and 19 October. His 2003/04 the World alongside a screening of the film. Russian and Eastern European music. cycle of Brahms’ symphonies on LSO Live Beethoven’s Fifth Piano Concerto was his last. has long been held in high regard and it is His increasing deafness had made public We are delighted to welcome tonight’s groups: a pleasure to revisit these works with him. performance with other musicians impossible, Adele Friedland & Friends, Farnham U3A and this was the first piano concerto that he Concert Club, Isis Arts, King’s College School, A warm welcome also to pianist Emanuel Ax, did not premiere himself. The Concerto marked Guildford U3A, Gerrards Cross Community who is a regular performer alongside Bernard Kathryn McDowell CBE DL the end of his own career as a concert pianist Association, Redbridge & District U3A, Haitink and the LSO. He joins us tonight Managing Director and the achievement of a new level of heroic University of North Carolina, Arber Shirley as the soloist in Beethoven’s ‘Emperor’ grandeur for the concerto form. Yet if the & Friends, Ken Chaproniere & Friends

2 Welcome 10 October 2017 Celebrating Bernstein

Family Concert 4 November Symphony No 3, ‘Kaddish’ Pre-Concert Talk with Marin Alsop 5 November Symphony No 1, ‘Jeremiah’ 8 November Wonderful Town Symphony No 2, ‘The Age of Anxiety’ with Sir Simon Rattle 16 December Symphony No 3 in F major Op 90 1883 / note by Andrew Huth

1 Allegro con brio thing Brahms had ever composed. Just as sonata composed jointly by Brahms, composed two moderately paced lyrical 2 Andante Hans von Bülow, in 1876, had famously Robert Schumann and Albert Dietrich movements of the sort that he called 3 Poco allegretto dubbed the First Symphony ‘Beethoven’s in 1853 as a greeting to Joachim. ‘Intermezzo’ in his piano music (another 4 Allegro Tenth’, Richter now called the Third term harking back to Schumann). Brahms ‘Brahms’ Eroica’, equally embarrassing to The surging main theme that follows on had just turned 50 when he composed this rahms took something like 20 years the composer and equally misleading, for the violins bears a strong resemblance to Symphony, and it is in every sense what over the composition of his First Brahms’ and Beethoven’s Third really have that of Schumann’s Third Symphony, the one would call a ‘middle-period’ work. Symphony, but once he had broken very little in common. But it was perhaps ‘Rhenish’, and indeed Brahms’ Third was But just as middle age seemed to have through the psychological barrier that his an understandable reaction to the new composed in a studio in Wiesbaden that come upon Brahms at the age of 43, with awe of Beethoven had erected in his mind, symphony’s emotional range and power. overlooked the Rhine. But these are private the appearance of the First Symphony the Second followed in just over a year. and the heavy beard, now he seemed to The Third came six years after that, crowning — be hovering on the threshold of that last, a period that had seen the composition of the ‘Frei aber froh’ autumnal phase of his life that would be Violin Concerto, the Second Piano Concerto, characterised by the melancholy of the the First Violin Sonata, the C major Piano ‘Free but happy’, Brahms’ musical motto, spelled out using the notes F–A–F late piano music and the chamber works Trio and F major String Quintet – all works of — featuring the clarinet. This is certainly the composer’s fullest maturity, displaying part of the impression conveyed by these complete mastery and confidence. As was his custom, Brahms never revealed matters, of importance to the composer central movements, which also display an what lay behind the music, and neither his himself perhaps, but hardly the sort of thing orchestral sensitivity that Brahms rarely The Third Symphony may have been ripening letters nor his reported conversations give that will strike the symphony’s listeners. receives enough credit for. In fact he took in Brahms’ mind for some time before he us any help in discovering what personal Far more significant than these oblique considerable trouble over the Symphony’s committed anything to paper, but there significance the symphony might have held references to Brahms’ relations with Robert orchestration and continued making subtle is no evidence of any actual work on the for him. There are a few clues, however. and Clara Schumann is the immediate adjustments to balance and texture for composition until 1883, when the whole The stark wind chords at the opening outline impact of this main theme, and the way in some time after the first performance. Symphony appears to have been written a melodic pattern of a rising third and a which it acquires great expressive flexibility down during the summer months. The first sixth: the notes F–A–F •, which in Brahms’ through the movement, mainly by a subtle The finale breaks the spell of reflective, performance took place soon after its private world stood for the words ‘Frei aber blending together of major and minor modes. pastoral Romanticism cast by the central completion, under Hans Richter in Vienna froh’ (free but happy), a motto he adopted intermezzo movements, returning to the on 2 December. Several other performances as a reply to the one used by his friend The dramatic action of the Symphony is high dramatic style of the first movement. soon followed throughout Europe, all of the violinist Joseph Joachim •, ‘Frei aber contained in the outer movements. Instead Its overall design leads from the suppressed them acclaimed by audiences and critics, einsam’ (free but lonely), whose cyphered of either a true slow movement or a fast excitement of the opening bars, through who generally agreed that it was the finest notes F–A–E had been used in a violin scherzo in second and third place, Brahms some of the most vigorous music Brahms

4 Programme Notes 10 October 2017 ever composed, to a surprisingly resigned FOR REFERENCE and calm ending. • Brahms wasn't the only composer to There is always a high degree of motivic incorporate a musical motto or cryptogram integration in Brahms’ music, but it into his works. The device, which involves is often to be found just beneath the encoding names and other messages in surface, as though intended to be heard music, often using the association between only subliminally. The Third Symphony is musical notes and letters, can be traced back exceptional in its overt references between to the Renaissance: the French composer movements, culminating in the closing Josquin des Prez based the foundation of his bars, where the first movement’s theme Missa Hercules dux Ferrariae on the name of slowly comes to rest in a mellow, serene the Duke of Ferrara, the work's dedicatee. glow. Unusually, and significantly, all four movements end quietly – perhaps a unique JS Bach's musical signature was later picked case among 19th-century symphonies. • up by composers as diverse as Schumann and Schoenberg, in homage to the earlier Interval – 20 minutes figure, while Shostakovich also famously encoded his own motto (D–S–C–H) into his works, particularly those with an autobiographical relevance.

• Joseph Joachim (1831–1907) was a Hungarian violinist, conductor, composer and teacher. He is noted for reviving interest in the Violin Sonatas and Partitas of J S Bach, as well as Beethoven’s Violin Concerto, both now key pieces in the repertoire. Joachim’s close collaboration with Brahms produced the Violin Concerto in D major, and several other major violin works were written for him, including Schumann’s Concerto in D major and Dvořák’s Concerto in A minor.

Programme Notes 5 Johannes Brahms in Profile 1833–97 / by Andrew Stewart

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

6 Composer Profile 10 October 2017 Fri 24 Nov Bavarian Radio Symphony Orchestra Jansons

War and peace: Mariss Jansons conducts a powerful programme of Prokofiev’s Symphony No 5 alongside Beethoven’s Piano Concerto No 4 with pianist par excellence, Yefim Bronfman

Book now at barbican.org.uk/classical

Image: Mariss Jansons © Peter Meisel

Bavarian Radio Symphony Orchestra 245x168 programme ad.indd 1 04/10/2017 10:41 Piano Concerto No 5 Op 73, ‘Emperor’ 1809 / note by Lindsay Kemp

1 Allegro The concerto is certainly not reticent about It was a trend that many later composers, The concerto’s nickname was not chosen by 2 Adagio un poco mosso – declaring itself. The first movement opens glad of the extra control, would follow. Beethoven, and, given the composer’s angry 3 Rondo: Allegro with extravagant flourishes from the piano reaction to Napoleon’s self-appointment punctuated with stoic orchestral chords, The second and third movements together as Emperor • in 1804, it may seem Emanuel Ax piano leading us with unerring sense of direction take less time to play than the first. The inappropriate. Yet there is an appositeness to towards the sturdy first theme. This march- Adagio, in the distant key of B major, opens it if we take the music’s grandly heroic stance ne has to wonder whether the like tune presents two important thematic with a serene, hymn-like tune from the as a picture of what, perhaps, an emperor organisers of the concert at which reference-points in the shape of a melodic strings, which the piano answers with a ought to be. Beethoven once remarked that Beethoven’s Fifth Piano Concerto turn and a tiny figure of just two notes theme of its own before itself taking up if he had understood the arts of war as well received its Viennese premiere in February (a long and a short) which Beethoven the opening one in ornamented form. This as he had those of music, he could have 1812 – the actual premiere having taken place refers to constantly in the course of in turn leads to an orchestral reprise of the defeated Napoleon. Who, listening to this in Leipzig the previous November – provided the movement. The latter ushers in the same theme, now with greater participation concerto, could doubt that? • the ideal audience. A contemporary report chromatic scale with which the piano re- from the winds and with piano decoration. of the combined concert and art exhibition enters, and the same sequence of events At the end the music dissolves, then eerily mounted by the Society of Noble Ladies for later serves to introduce the development drops down a semitone as the piano toys Charity tells us that ‘the pictures offer a section. Here the turn dominates, dreamily idly with some quiet, thickly scored chords. glorious treat; a new pianoforte concerto by passed around the woodwind, but the In a flash, these are then transformed and Beethoven failed’. And it is true that, while it two-note figure emerges ever more strongly, revealed to be the main theme of the bouncy was later to become as familiar a concerto as eventually firing off a stormy tirade of piano Rondo finale, which has followed without a any, in its early years the ‘Emperor’ struggled octaves. The air quickly clears, however, and break. Physical joins between movements for popularity. Perhaps its leonine strength reappearances of the turn lead back to a were a trend in Beethoven’s music at this and symphonic sweep were simply too much recapitulation of the opening material. time, but so too were thematic ones. for everyone, not just the Noble Ladies. Towards the end of the movement At one point in this finale, with the main Cast in the same key as the ‘heroic’ Beethoven makes his most radical formal theme firmly established, the strings gently Symphony No 3, it breathes much the move. In the early 19th century it was still put forward the ‘experimental’ version same majestically confident air, though in a customary at this point in a concerto for from the end of the slow movement, as if manner one could describe as more macho. the soloist to improvise a solo passage mocking the piano’s earlier tentativeness. Composed in the first few months of 1809, (or cadenza); Beethoven did this in his first The movement approaches its close, with war brewing between Austria and four concertos, but in the Fifth, for the first however, with piano and timpani in stealthy France, this is Beethoven in what must have time, he includes one that is not only fully cahoots before, with a final flurry, the end seemed an overbearingly optimistic mood. written out, but involves the orchestra as well. is upon us.

8 Programme Notes 10 October 2017 Ludwig van Beethoven in Profile 1770–1827 / by Andrew Stewart

with his renowned mentor when the latter • BEETHOVEN & NAPOLEON MORE BEETHOVEN IN 2017/18 discovered he was secretly taking lessons from several other teachers. Although Napoleon Bonaparte (1769–1821), born in Sunday 20 May 2018 7pm, Barbican Maximilian Franz withdrew payments Corsica, came to prominence during the LSO SEASON CONCERT for Beethoven’s Viennese education, the French Revolution of 1789–99, rising through MISSA SOLEMNIS talented musician had already attracted the ranks of the French army to become a support from some of the city’s wealthiest general. After successful campaigns during Beethoven Missa Solemnis arts patrons. His public performances in the Revolution, Napoleon staged a coup 1795 were well received, and he shrewdly d’état in 1799, taking power as the First conductor negotiated a contract with Artaria & Co, the Consul of France, before crowning himself Sasha Cooke mezzo-soprano largest music publisher in Vienna. He was ‘Emperor of the French’ in 1804. This title Toby Spence tenor soon able to devote his time to composition was an attempt to emphasise the abolition Luca Pisaroni bass-baritone and the performance of his own works. of monarchy, showing Napoleon as a ruler of London Symphony Chorus the people, and not of the Republic. However Simon Halsey chorus director In 1800 Beethoven began to complain Napoleon’s self-coronation, his founding eethoven showed early musical bitterly of deafness, but despite suffering of the House of Bonaparte, his residence in Tickets £15 to £55 (£10 wildcard) promise, yet reacted against his the distress and pain of tinnitus, chronic the Tuileries Palace (the historical residence plus booking fee father’s attempts to train him as stomach ailments, liver problems and an of kings) and his relentless building of a a child prodigy. The boy pianist attracted embittered legal case for the guardianship new French Empire suggested otherwise. lso.co.uk | 020 7638 8891 the support of the Prince-Archbishop, of his nephew, Beethoven created a series of Throughout the Revolution, Beethoven who supported his studies with leading remarkable new works, including the Missa admired Napoleon as a figurehead of anti- musicians at the Bonn court. By the early Solemnis and his late symphonies and piano monarchism and a defender of the rights of 1780s Beethoven had completed his first sonatas. It is thought that around 10,000 man, initially dedicating his Third Symphony compositions, all of which were for keyboard. people followed his funeral procession on to the then-First Consul. Upon learning of With the decline of his alcoholic father, 29 March 1827. his self-coronation, Beethoven is reported Ludwig became the family breadwinner to have thrown the symphony to the floor, as a musician at court. Certainly, his posthumous reputation crying in a rage, ‘so he is no more than a developed to influence successive common mortal! Now, too, he will tread Encouraged by his employer, the Prince- generations of composers and other under foot all the rights of man, indulge Archbishop Maximilian Franz, Beethoven artists inspired by the heroic aspects of only his ambition; now he will think himself travelled to Vienna to study with Joseph Beethoven’s character and the profound superior to all men, become a tyrant!’. Haydn. The younger composer fell out humanity of his music. •

Composer Profile 9 Bernard Haitink conductor

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

10 Artist Biographies 10 October 2017 Emanuel Ax piano

orn in Lvov, Poland, Emanuel Ax Orchestra and their Music Director Beethoven and Brahms sonatas for cello moved to Winnipeg, Canada, with Iván Fischer, with performances in and piano with Yo-Yo Ma. Recent releases his family when he was a young Amsterdam, Paris and Budapest. feature Mendelssohn’s trios with Yo-Yo boy. His studies at the Juilliard School were Ma and Itzhak Perlman, Strauss' Enoch supported by the sponsorship of the Epstein In recent years, Emanuel has turned his Arden narrated by Patrick Stewart, and Scholarship Program of the Boys Clubs of attention toward the music of 20th- discs of music for two pianos by Brahms America, and he subsequently won the century composers, premiering works and Rachmaninov with Yefim Bronfman. Young Concert Artists Award. Additionally, by John Adams, Christopher Rouse, His other recordings include the concertos he attended Columbia University, where he Krzysztof Penderecki, Bright Sheng and of Liszt and Schoenberg, Chopin, and the majored in French. Emanuel Ax captured Melinda Wagner. In 2017 Emanuel gave premiere recording of John Adams' Century public attention in 1974 when he won the the world and European premieres of HK Rolls with the Cleveland Orchestra (for first Arthur Rubinstein International Piano Gruber’s Piano Concerto with the New York Nonesuch), as well as three solo Brahms Competition in Tel Aviv and in 1979 he won Philharmonic and Berlin Philharmonic. In albums and an album of tangos by Astor the coveted Avery Fisher Prize in New York. spring 2018 Emanuel will revisit this work Piazzolla. In 2013, his recording Variations with the Orchestre Philharmonique de Radio received the Echo Klassik Award for Solo Following his debut with the Vienna France, Tonhalle Zurich, Royal Stockholm Recording of the Year, in the 19th-Century Philharmonic at the BBC Proms and Lucerne Philharmonic and Vienna Symphony. Music/Piano category. Festival in summer 2017, Emanuel began the 2017/18 season in partnership with his This season Emanuel will also tour across Emanuel lives in New York with his wife, frequent collaborator David Robertson, the US with colleagues Leonidas Kavakos the pianist Yoko Nozaki, and they have two performing six Mozart concertos over two and Yo-Yo Ma during the winter in support children, Joseph and Sarah. He is a Fellow of weeks in St Louis, and will be repeating the of the recent release of their disc of Brahms the American Academy of Arts and Sciences project in Sydney in February. Following Trios for Sony. Emanuel is devoted to and holds honorary doctorates of music from the gala opening of the Philadelphia chamber music, and has worked with such Yale and Columbia Universities. • Orchestra’s season with Yannick Nézet- artists as Young Uck Kim, Cho-Liang Lin, Séguin he returns to the orchestras in Edgar Meyer, Peter Serkin, Jaime Laredo Cleveland, New York, San Francisco, Boston, and the late . Houston, Ottawa, Toronto, Indianapolis and Pittsburgh, and to Carnegie Hall for a Emanuel has been an exclusive Sony recital to conclude the season. European Classical artist since 1987 and his notable appearances this autumn include an recordings include Grammy Award-winning extensive tour with the Budapest Festival albums of Haydn piano sonatas, and

Artist Biographies 11 London Symphony Orchestra on stage tonight

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

12 The Orchestra 10 October 2017