London Symphony Orchestra Living Music

Sunday 15 February 2015 7.30pm Barbican Hall

MAHLER’S ‘TRAGIC’ SIXTH

Liszt Piano Concerto No 2 London’s Symphony Orchestra INTERVAL Mahler Symphony No 6

Gianandrea Noseda conductor Alice Sara Ott piano

Concert finishes approx 9.50pm 2 Welcome 15 February 2015

Welcome Living Music Kathryn McDowell In Brief

Welcome to this evening’s LSO concert at the LSO 2015/16 SEASON BOOKING NOW OPEN Barbican. It is a pleasure to be joined tonight by Gianandrea Noseda, Musical Director of Teatro The LSO 2015/16 season is now available to browse Regio in Turin, for his second engagement with the and book online. Season themes include Creative Orchestra this season, in which he will conduct Geniuses, a series of concerts curated by Sir Simon works by Liszt and Mahler. Gianandrea Noseda Rattle, The Power of the Voice, a celebration is a regular collaborator with the LSO, last season of the greatest works composed for voice, conducting the Orchestra during its residency at Shakespeare 400, exploring the iconic playwright’s the Aix-en-Provence Festival, in performances of influence on music, and Valery Gergiev: Man of Verdi’s tragic opera Rigoletto. the Theatre. Full details and listings can be found on the LSO website. Tonight’s concert also features German-Japanese pianist Alice Sara Ott, who is rapidly building a lso.co.uk/201516season reputation as a force to be reckoned with in the classical world. She made her LSO debut in 2010 at the age of 22, stepping in for Lang Lang at the BBC MUSIC MAGAZINE AWARD NOMINATION last minute. In this programme, she performs Liszt’s virtuoso tour-de-force, the Piano Concerto No 2. LSO Live CD Mark-Anthony Turnage: Speranza and From the Wreckage, has been nominated for a BBC Please join us again for another LSO concert in Music Magazine Award in the Orchestral Category. the month ahead. On Thursday 19 February, Valery The winner is decided by public vote, so if you enjoyed Gergiev conducts an all-Russian programme the recording and want to support us please vote for featuring works by Balakirev, Glazunov and us! To find out more about this celebrated release, Rachmaninov, with LSO Leader Roman Simovic and for 20% discount visit the LSO Live website. as soloist in the Glazunov concerto which he has recorded with Gergiev. lso.co.uk/lsolive

A WARM WELCOME TO TONIGHT’S GROUPS

The LSO offers great benefits for groups of 10+. Kathryn McDowell CBE DL Tonight we are delighted to welcome: Managing Director Gerrards Cross Community Association & Whiteley Village Music Club

lso.co.uk/groups Something for every mood with the London Symphony Orchestra To roll our online dice, visit: lso.co.uk/findmeaconcert

London Symphony Orchestra London’s Music

lso.co.uk/findmeaconcert 4 Programme Notes 15 February 2015

Franz Liszt (1811–86) Piano Concerto No 2 in A major S125 (1839–61)

1 Adagio sostenuto assai – different moods bound together by a series of 2 Allegro agitato assai – constantly transformed themes. However, while in 3 Allegro moderato – his symphonic poems Liszt often took as his starting- 4 Allegro deciso – point an existing story (literary works, myths or 5 Marziale un poco meno allegro – imagined fantasies), the piano concertos are abstract 6 Allegro animato works, leaving us, the listeners, to create our own stories from the unfolding musical drama. Alice Sara Ott Piano Liszt’s Second Piano Concerto begins with a wind Programme Note WRITER Franz Liszt was in many ways the ultimate Romantic serenade, led by the clarinet in a rather sad tune that Alison Bullock is a freelance composer, combining the urge to express himself does nothing to settle the tonality. A key element writer and music consultant whose technically with a talent for seeing and developing of this opening is a falling semitone heard several interests range from Machaut new compositional techniques. His two surviving, times, including right at the end of the section – this to Messiaen and beyond. complete piano concertos were begun in the 1830s, will reappear throughout the concerto as a kind of though he had written several concertante works leitmotif. When the piano enters it is as accompanist, earlier than this (including some as a teenager). but the technical virtuosity that this work demands Thematic Transformation By 1839 he was travelling far and wide, giving recitals is already quite clear. With this new section comes Liszt was known for developing all over Europe, which may partly explain why it took a hint of impending turbulence, a promise that is new structures and departing him so long to complete these works. But there were fulfilled when the piano has its first real theme, from traditional forms in his music. no doubt other reasons – not least that he lacked one of massive, dramatic chords accompanied by He wrote that ‘music is never real experience in writing for orchestra. Liszt was a heavy, dotted rhythm. As the mood continuously stationary. Successive forms and also an inveterate reviser, which also contributed develops, it is not difficult for us to create our own styles can only be like so many to these two works’ extremely long gestation. imagery or scenarios for the music. The orchestra resting places – like tents pitched embarks on a ‘devil’s ride’, joined by the piano – and taken down again on the road Liszt’s piano concertos before a silent pause heralds the concerto’s first to the Ideal’. The Second Piano were quite revolutionary, moment of calm, as filigree fountains in the piano Concerto uses the technique lead to a lovely duet with the principal cello. of ‘thematic transformation’, merging the usually separate structuring the work around movements of the concerto a theme and its subsequent evolution and development. into one long musical sweep. INTERVAL – 20 minutes Liszt’s piano concertos were quite revolutionary, There are bars on all levels of the Concert Hall; ice cream merging the usually separate movements of the can be bought at the stands on Stalls and Circle level. concerto into one long musical sweep. While the The Barbican shop will also be open. First Concerto was a slightly more traditional structure in four large sections, the Second broke Why not tweet us your thoughts on the first half of the even these boundaries, reverting to a form familiar performance @londonsymphony, or come and talk to from Liszt’s symphonic poems – a succession of LSO staff at the Information Desk on the Circle level? lso.co.uk Composer Profile 5

Franz Liszt Composer Profile

Liszt’s father, Adam, was a cellist in the court orchestra of Haydn’s employer, Prince Nikolaus Piano Works in 2015 Esterházy. Adam Liszt taught his son piano, and was delighted when the boy gave his first public concerts in 1820. The following year the family moved to Vienna, where Franz studied with the great pianist Carl Czerny and composition with Antonio Salieri, Kapellmeister at the Imperial Court. His debut concerts in Vienna were a critical success; Liszt later claimed that Beethoven, who was in the audience for his second appearance in April 1823, had kissed the prodigy’s forehead. Liszt was soon in demand as a recitalist throughout Europe and beyond; aristocrats invited him to perform at their private salons, and audiences were driven wild by his incredible command of the keyboard. COMPOSER PROFILE WRITER ANDREW STEWART He attracted and fell in love with many of his female Yuja Wang fans and piano pupils, including Countess Marie d’Agoult, who left her husband for Liszt and bore Thu 12 Mar 7.30pm ‘Liszt was a devout him three children before they split in 1843. He also Gershwin Piano Concerto in F Major Catholic: he feared formed friendships with leading writers, artists and Colin Matthews Hidden Variables musicians, among them George Sand, Berlioz and Shostakovich Symphony No 5 God, but he loved Wagner, who married his youngest daughter, Cosima. Yuja Wang piano the Devil’. Michael Tilson Thomas conductor In February 1848 Liszt became music director to the court of Weimar. Shortly before accepting this job, Sun 15 Mar 7.30pm he fell in love with Princess Carolyne Sayn Wittgenstein Shostakovich but their wedding plans were thwarted in 1861 when Concerto No 1 for Piano, Trumpet and Strings the annulment of her first marriage was declined. Britten Four Sea Interludes After the death of his eldest daughter, Liszt entered Sibelius Symphony No 2 the oratory of the Madonna del Rosario in Rome and, Yuja Wang piano in 1865, took minor orders in the Roman Catholic Michael Tilson Thomas conductor Church. In his final years, he travelled extensively and composed a series of elegiac, often mystical piano works. According to the pianist Louis Kentner, ‘Liszt was a devout Catholic: he feared God, but 020 7638 8891 he loved the Devil’. lso.co.uk 6 Programme Notes 15 February 2015

Gustav Mahler (1860–1911) Symphony No 6 in A minor (1903–06)

1 Allegro energico, ma non troppo. he was diagnosed as having a potentially fatal lesion Heftig, aber markig [Intense, but pithy] of the heart – the condition that was to kill him four 2 Scherzo: Wuchtig [Powerful] years later, at the age of 50. To the myth-makers it 3 Andante moderato was a gift. 4 Sostenuto – Allegro energico Deep in his prophetic soul Mahler had sensed his When Mahler began work on his Sixth Symphony own fate and spelled it out in music. Some went in 1903, he thought about giving it a title: ‘The even further: Mahler hadn’t just foretold his own Tragic’. But he had already begun to lose faith grim future; he had looked into the abyss of the in titles, programmes and other literary props, coming century and portrayed its horror with and by the time the symphony was finished, two exceptional power. Where else could those violent years later, the name had been dropped for good. march rhythms, those vivid depictions of vanquished Programme Note WRITER But ‘tragic’ remains most commentators’ verdict hopes and crushed innocence have come from? STEPHEN JOHNSON is the author on the emotional content of this work, however of Bruckner Remembered (Faber). much the shading of that interpretation may vary. But there is another possibility. As a young man, He contributes regularly to BBC For the great Mahlerian conductor Bruno Walter, Mahler had been deeply impressed by the writings Music Magazine and The Guardian, the Sixth was ‘bleakly pessimistic … the work of the German philosopher Friedrich Nietzsche. and broadcasts for BBC Radio 3, ends in hopelessness and the dark night of the For a while he thought of calling his Third Symphony Radio 4 and World Service. soul’. But Mahler’s biographer, Michael Kennedy, Die fröhliche Wissenschaft (The Joyful Science) – sees something more positive in the symphony’s the title of one of Nietzsche’s most celebrated message: ‘It is a tragic work, but it is tragedy on a works. The idea of tragedy was central to Nietzsche’s high plane, classical in conception and execution.’ world-view. Nietzsche felt that the tragedies of the Ancient Greeks represented some of the sanest – or ‘The hero, on whom falls three as he put it ‘healthiest’ – achievements of mankind, blows of fate, the last of which created ‘out of the most profound need’. In tragic art, the Greeks had been able to look ‘with bold fells him like a tree.’ eyes into the dreadful destructive turmoil of so- called world history as well as into the cruelty of For Mahler there was clearly a dark saying at the nature’, and thereby create an art that was ‘uniquely heart of the Sixth Symphony, especially in the capable of the tenderest and deepest suffering’. By huge finale. His wife Alma reports him as saying experiencing this through the medium of tragedy, the that this movement tells of ‘the hero, on whom fall spectator could acquire the strength and courage to three blows of fate, the last of which fells him like a face the horror and meaningless cruelty of existence – tree.’ Before long these words were to acquire an or as Nietzsche put it, ‘say “Yes” to life.’ added eerie significance. In 1907, the year after the symphony’s far from successful premiere, ‘three Mahler’s attitude to Nietzsche fluctuated widely in blows of fate’ fell on Mahler himself: he was forced later life. In 1901 he told Alma, on finding that her to resign as conductor of the Vienna Opera; his four- library contained a complete Nietzsche, that the year-old daughter Maria died of scarlet fever; and books ‘should be cast then and there into the fire’. lso.co.uk Programme Notes 7

But according to the conductor Otto Klemperer, First Movement who worked with Mahler from 1905, the composer was ‘an adherent of Nietzsche’. This apparent Detailed analysis of a 90-minute symphony, packed contradiction isn’t really surprising. Mahler was with incident from start to finish, is impossible in subject to violent swings – of belief as well as mood. a short programme note, but a few pointers may But it’s easy to see how Nietzsche’s idea of the tragic be helpful. The first movement follows the outlines would have appealed to an artist who throughout of Classical sonata form. Two main themes – in his life was obsessed with death, suffering and this case an intense, driven march tune and an the apparently arbitrary cruelty of life, and who impassioned major key melody (apparently identified Friedrich nietzsche strove continually to make sense of them. Perhaps with Alma Mahler) are juxtaposed, developed at length, (1844–1900) was a German this ‘tragic’ symphony can be seen as a sustained then brought back in something like their original philosopher, whose works included attempt to do just that in music. form, leading to a triumphant, major key conclusion. texts on art, theatre and music. At the heart of the movement, however, in the A one-time friend (and later critic) In his handling of the huge forces, midst of all the violence and passion, is a passage of Richard Wagner, his writings of magical stillness, with atmospheric contributions influenced a generation of Mahler reveals himself as a brilliant from celesta and cowbells – in Mahler’s words ‘the composers, including Mahler, magician as well as a tragic poet. last terrestrial sounds penetrating into the remote Frederick Delius and Richard Strauss, solitude of mountain peaks’. whose tone poem Also Sprach Zarathustra is based on Nietzsche’s If so, that might account for a paradoxical aspect Second Movement text of the same title. of the Sixth Symphony. However violent, pained or ultimately bleak the emotions it expresses, there More pounding march figures begin the Scherzo, is also – for many listeners – something exciting, the return to the minor mode negating the major exhilarating, even uplifting about much of it. It is as key ‘triumph’ of the first movement’s ending. though Mahler were at the same time exulting in his (Abrupt major-minor juxtapositions occur throughout mastery, his ability to express what Nietzsche called the first, second and fourth movements – a clear ‘the artistic conquest of the terrible’ with such power ‘tragic’ motto.) Now the violence has a grotesque edge. and virtuosity. After all, the Sixth is also one of those Even the seemingly innocent Trio theme (introduced works in which Mahler’s command of the orchestra on the oboe) has a strange, limping four-plus-three is at its most dazzling. In his handling of the huge rhythm. This time the ending is hollow, desolate, forces – including instruments never before used in with fragments of motifs on double basses, a symphony (celeste, cowbells, whip and a hammer contra-bassoon and timpani. to represent the blows of fate), as well as one of the largest woodwind and brass sections in the standard repertory – Mahler reveals himself as a brilliant magician as well as a tragic poet. 8 Programme Notes 15 February 2015

Gustav Mahler Symphony No 6 in A minor (continued)

MAHLER on LSO Live Third Movement Explore Principal Conductor Iconic Symphonies Valery Gergiev’s critically acclaimed The Andante moderato is like a haven of peace: recordings of Mahler’s nine meditative, songful, an exploration out of the Alpine symphonies on LSO Live. solitude glimpsed at the heart of the first movement. Available as downloads, individual But there is bitterness mixed with the sweetness. discs or as a 10-SACD box set. The Finale Available at lso.co.uk/lsolive After this, the finale is like a vast summing up of all in the Barbican that has been heard before, fused into a compelling Shop or online at musical narrative, by turns weird, desolate, heroically iTunes & Amazon determined, joyous and catastrophically thwarted. The first two of Mahler’s ‘three blows of fate’ are underlined by the hammer; but Mahler removed the third hammer blow – whether for superstitious or more practical reasons is hard to guess. In any case the most devastating stroke is left to the end. Daniel Harding (2 Jun) Tuba, trombones and low horns develop a grim threnody, then a full orchestra chord of A minor falls Thu 7 May 7.30pm like an iron curtain, leaving the march rhythms to TCHAIKOVSKY SYMPHONY NO 5 tail off into nothing. Brahms Violin Concerto Isabelle Faust violin Seymon Bychkov conductor

Tue 2 Jun 7.30pm MAHLER SYMPHONY NO 5 Edward Rushton New work Mendelssohn Violin Concerto Janine Jansen violin Daniel Harding conductor

Part of the LSO International Violin Festival generously supported by Jonathan Moulds

020 7638 8891 lso.co.uk lso.co.uk Composer Profile 9

Mahler the Man by Stephen Johnson

a presence from early on: six of Mahler’s siblings died in infancy. This no doubt partly explains the obsession with mortality in Mahler’s music. Few I am … of his major works do not feature a funeral march: in fact Mahler’s first composition (at age ten) was three times homeless a Funeral March with Polka – exactly the kind of a native of Bohemia in Austria extreme juxtaposition one finds in his mature works. an Austrian among Germans For most of his life Mahler supported himself by conducting, but this was no mere means to an end. a Jew throughout the world. Indeed his evident talent and energetic, disciplined commitment led to successive appointments 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 to the charismatic and highly intelligent Alma Schindler an acutely self-conscious searcher after truth. in 1902. Alma’s infidelity – which almost certainly For Mahler the purpose of art was, in Shakespeare’s accelerated the final decline in Mahler’s health in famous phrase, to ‘hold the mirror up to nature’ 1910/11 – has earned her black marks from some in all its bewildering richness. The symphony, biographers; but it is hard not to feel some sympathy he told Jean Sibelius, ‘must be like the world. for her position as a ‘work widow’. It must embrace everything’. Mahler’s symphonies can seem almost over-full with intense emotions Nevertheless, many today have good cause to and ideas: love and hate, joy in life and terror be grateful to Mahler for his single-minded devotion of death, the beauty of nature, innocence to his art. T S Eliot – another artist caught between and bitter experience. Similar themes can the search for faith and the horror of meaninglessness – also be found in his marvellous songs and wrote that ‘humankind cannot bear very much reality’. song-cycles, though there the intensity is, if But Mahler’s music suggests another possibility. With anything, still more sharply focused. his ability to confront the terrifying possibility of a purposeless universe and the empty finality of death, Gustav Mahler was born the second of 14 children. Mahler can help us confront and endure stark reality. His parents were apparently ill-matched (Mahler He can take us to the edge of the abyss, then sing remembered violent scenes), and young Gustav us the sweetest songs of consolation. If we allow grew dreamy and introspective, seeking comfort ourselves to make this journey with him, we may in nature rather than human company. Death was find that we too are the better for it. 10 Artist Biographies 15 February 2015

Gianandrea Noseda ‘Noseda … zeroed in on the darkness, Conductor and the LSO played demonically well.’ The Times

Gianandrea Noseda is among the most sought- Gianandrea Noseda’s privileged relationship with after conductors of our time. He has propelled the Metropolitan Opera dates back to 2002. the Teatro Regio Torino into the ranks of the leading He has conducted five Verdi operas and garnered opera houses in the world since becoming its considerable attention this season with a new Music Director in 2007. His leadership has transformed production of Borodin’s Prince Igor directed by the Teatro Regio Torino into a global theatre and Dmitri Tcherniakov and a revival of Giordano’s artistic ambassador for Italy. Gianandrea Noseda Andrea Chénier. The first part of 2014 not only is also Chief Guest Conductor of the Israel included the two productions at the Met but guest Philharmonic, Victor De Sabata Guest Conductor conducting weeks with the Philadelphia Orchestra of the Pittsburgh Symphony and Conductor Laureate and Pittsburgh Symphony as well as a seven-city of the BBC Philharmonic. He was the first foreign tour with the Israel Philharmonic. Principal Guest Conductor of the Mariinsky Theatre from 1997–2007. An exclusive Chandos artist since 2002, Gianandrea Noseda’s discography includes over 35 recordings Gianandrea Noseda’s work has altered the featuring among others Prokofiev, Karłowicz, Dvorˇák, international profile of the Teatro Regio Torino and Smetana, Shostakovich, Liszt’s symphonic works, Music Director resulted in recording projects and international Rachmaninov (the operas and the symphonies), Teatro Regio in Turin tours and residencies in Asia (Japan and China) and Mahler and Bartók. He recently began to champion Europe, including annual residencies at the Théâtre both known and lesser-known Italian composers Chief Guest Conductor des Champs-Elysées in Paris and company debuts of the 20th century such as Alfredo Casella, Luigi Israel Philharmonic Orchestra at the Dresden Music Festival and at the Wiener Dallapiccola, Goffredo Petrassi and Ermanno Konzerthaus in 2013. In December 2014 he lead the Wolf-Ferrari through the project Musica Italiana, Guest Conductor company on a historic tour of North America for unanimously acclaimed by the critics all over the Pittsburgh Symphony Orchestra four concert performances of Rossini’s William Tell world. For DG he has recorded solo albums with including the company’s debut at Carnegie Hall. celebrated singers such as like Anna Netrebko, Principal Conductor Rolando Villazón and Ildebrando d’Arcangelo. Orquesta de Cadaqués Gianandrea Noseda regularly conducts the most celebrated orchestras in the world, such as the Born in Milan, Gianandrea Noseda is one of the Artistic Director Philadelphia Orchestra, Los Angeles Philharmonic highest profile Italian cultural figures. He is very Stresa Festival and Cleveland Orchestra in the US, the Orchestre involved with the next generation of musicians National de France, Orchestre de Paris, Wiener and regularly conducts youth orchestras such Symphoniker, Filarmonica della Scala in Europe and as the Orchestra Giovanile Italiana, the Orchestra the NHK Symphony Orchestra in Japan. In May 2015 of the Guildhall School and the European Union he will make his debut with the Berlin Philharmonic. Youth Orchestra. He is also Artistic Director of Highlights of his special relationship with the LSO the Stresa Festival, one of Italy’s legendary music include performances of Britten’s War Requiem in festivals. He holds the Honor of Cavaliere Ufficiale London and New York in 2011, and his debut al Merito della Repubblica Italiana and last December at the Aix-en-Provence Festival with the LSO in a he was announced as Musical America’s Conductor new production of Verdi’s Rigoletto in summer 2013. of the Year 2015. lso.co.uk Artist Biographies 11

Alice Sara Ott ‘The heft of her playing contrasts with Piano the elegance of her platform manner.’ The Guardian

German-Japanese pianist Alice Sara Ott has gained Following a series of successful duo recital tours critical acclaim for her performances at major with fellow pianist Francesco Tristano in Japan, concert halls worldwide and has established herself South Korea and Australia, in the autumn they as one of the most exciting musical talents of today. begin a tour of Europe which includes performances The Guardian commented on her 2010 performance in the Festspielhaus Baden-Baden, Stuttgart’s with the London Symphony Orchestra that Liederhalle, Philharmonie Luxembourg and she ‘gave the kind of gawp-inducing bravura London’s Queen Elizabeth Hall. To coincide with performance of which legends are made’. the tour, Alice and Tristano release their first CD together, Scandale, a duo programme recorded Recently Alice has performed with the by Deutsche Grammophon. Philharmonia Orchestra (Vladimir Ashkenazy), Washington’s National Symphony Orchestra Alice has recorded exclusively for DG since 2008. (Neeme Järvi) and Chamber Orchestra of Europe Her highly successful debut recording of Liszt’s (Thomas Dausgaard). She has also toured with the Twelve Transcendental Etudes was quickly followed Finnish Radio Symphony Orchestra (Hannu Lintu), by an album of Chopin’s complete waltzes, which Oslo Philharmonic Orchestra (Vasily Petrenko) entered the German and US Classical iTunes charts Alice Sara Ott and Orchestre Philharmonique de Radio France at No 1, and won Alice the ECHO Klassik Young In the 2015/16 season (Myung-Whun Chung). Artist of the Year Award.

Thu 29 Oct 2015 1pm, Highlights of the 2014/15 season include debut Alice’s debut concerto album – works by Tchaikovsky LSO St Luke’s appearances with the Indianapolis Symphony and Liszt with the Münchner Philharmoniker and BBC Radio 3 Orchestra (Krzysztof Urban´ski), Chicago Symphony Thomas Hengelbrock – was named Editor’s Choice in Lunchtime concert Orchestra (Pablo Heras-Casado), Toronto Symphony both International Piano and Classic FM magazines. Programme to include works Orchestra (Cristian Macelaru) and the Orchestre January 2013 saw the release of a live recording by Bartók & Liszt National du Capitole de Toulouse (Thomas Søndergård). of her recital at St Petersburg’s Mariinsky Theatre She also returns to the Symphonieorchester des from the 2012 White Nights Festival, which included Sun 31 Jan 2016 7.30pm, Bayerischen Rundfunks (Esa-Pekka Salonen) and Mussorgsky’s Pictures at an Exhibition. In spring Barbican tours with NHK Symphony Orchestra (John Storgårds). 2013 she joined up with violinist Lisa Batiashvili Rachmaninov to record a CD of works by Clara Schumann. Rhapsody on a Theme of Paganini Previously Alice has appeared with the Royal Sir Antonio Pappano conductor Stockholm Philharmonic Orchestra (Sakari Oramo), San Francisco Symphony (Pablo Heras-Casado), Danish National Symphony Orchestra (Robin Ticciati), hr-Sinfonieorchester (Paavo Järvi) and Munich Philharmonic (Lorin Maazel). 12 The Orchestra 15 February 2015

London Symphony Orchestra Your views On stage Inbox

FIRST VIOLINS VIOLAS FLUTES HORNS TIMPANI Luce Zurita Roman Simovic Leader Paul Silverthorne Gareth Davies Timothy Jones Nigel Thomas ‘C’est l’heure exquise’ with @MezzoGraham Carmine Lauri Gillianne Haddow Alex Jakeman Angela Barnes Antoine Bedewi Lennox Mackenzie Malcolm Johnston Julian Sperry Jonathan Barrett What diction...Every word is a gem Clare Duckworth Regina Beukes Patricia Moynihan Jonathan Lipton PERCUSSION and truly speaks to the heart, merci Neil Percy Ginette Decuyper German Clavijo Jonathan Durrant @londonsymphony #nuitsdété Gerald Gregory Anna Green PICCOLO Katy Woolley David Jackson Jörg Hammann Julia O’Riordan Sharon Williams Andrew Sutton Sam Walton on the LSO with SIr Mark Elder (5 Feb) Maxine Kwok-Adams Robert Turner Brendan Thomas Andrew Barclay OBOES Elizabeth Pigram Heather Wallington Michael Thompson Benedict Hoffnung Timothy Rundle Claire Parfitt Jonathan Welch Glyn Matthews Paul Davies Katie Bennington Laurent Quenelle Elizabeth Butler TRUMPETS Oliver Yates Daniel Finney I nearly found myself weeping at the Harriet Rayfield Richard Holttum Philip Cobb Gerald Ruddock HARPS beauty of the 2nd Movement of the Colin Renwick COR-ANGLAIS CELLOS Paul Mayes Bryn Lewis Ian Rhodes Maxwell Spiers Ravel – Simon Trpcˇ eski’s playing was Rebecca Gilliver Robin Totterdell Nuala Herbert Sylvain Vasseur Sarah Harper so moving (PS: loved the encores!) Alastair Blayden Niall Keatley Rhys Watkins CELESTE Jennifer Brown Simon Cox on the LSO with Robin Ticciati (25 Jan) David Worswick CLARINETS John Alley Noel Bradshaw Andrew Marriner Andrew Crowley SECOND VIOLINS Eve-Marie Caravassilis Chi-Yu Mo TROMBONES David Smurthwaite Thomas Norris Daniel Gardner Thomas Lessels Peter Moore Sarah Quinn Hilary Jones Sarah Thurlow Thank you for a marvellous evening James Maynard Miya Väisänen Amanda Truelove of Berlioz and Tchaikovsky. The Pathetique David Ballesteros Morwenna Del Mar BASS CLARINET BASS TROMBONES Richard Blayden Judith Herbert Duncan Gould was one of the very finest performances Paul Milner Matthew Gardner I have heard in over 60 years of E-FLAT CLARINET Christian Jones Julian Gil Rodriguez DOUBLE BASSES Colin Paris Chi-Yu Mo concert going. Naoko Keatley TUBA Nicholas Worters on the LSO with Sir Mark Elder (5 Feb) Belinda McFarlane BASSOONS Patrick Harrild Patrick Laurence William Melvin Rachel Gough Matthew Gibson Iwona Muszynska Dominic Tyler Thomas Goodman Andrew Pollock Helen Simons Joe Melvin Paul Robson Nina Ashton Jani Pensola Paul Sherman CONTRA BASSOON Dominic Morgan

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 Garrick Charitable Trust Silk Street [email protected] work experience by playing in rehearsals The Lefever Award London and concerts with the LSO. The scheme The Polonsky Foundation EC2Y 8DS Photography auditions students from the London music Igor Emmerich, Kevin Leighton, conservatoires, and 15 students per year Taking part in the rehearsals for this concert Registered charity in England No 232391 Bill Robinson, Alberto Venzago are selected to participate. The musicians were: Alix Lagasse*, Kyeong Jin Lee Details in this publication were correct Print Cantate 020 3651 1690 are treated as professional ’extra’ players *Also performing in the concert 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.