Sunday 5 –9.05pm Barbican Hall

LSO SEASON CONCERT BERNSTEIN 100

Bernstein Halil Mahler Adagio from No 10 Interval Bernstein Symphony No 3, ‘Kaddish’

Marin Alsop conductor Adam Walker flute Laura Claycomb soprano Claire Bloom narrator London Symphony Chorus Tiffin Boys’ chorus director

5.45pm Barbican Hall Pre-Concert Talk: Remembering Lenny LSO Chairman Gareth Davies talks to Marin Alsop and members of the LSO about their memories of working with Bernstein.

Part of Bernstein 100 at the Barbican Welcome LSO News / Articles from our Blog

Tonight we hear the final • Read our news online • Read our blog, watch videos and more by both composers – Bernstein’s Third lso.co.uk/news lso.co.uk/blog Symphony and the Adagio from Mahler’s Tenth, alongside Bernstein’s moving Halil. DILLER SCOFIDIO + RENFRO FORM Q&A INTERVIEW It is a pleasure to welcome our soloists: DESIGN TEAM FOR CENTRE FOR MUSIC WITH ADAM WALKER the LSO’s own Principal Flute Adam Walker for Halil and, for ‘Kaddish’, narrator Claire The Barbican, LSO and Guildhall School, Adam Walker, LSO Principal Flute and Bloom, soprano Laura Claycomb, the backed by the City of London Corporation, soloist in tonight’s concert, tells us about London Symphony Chorus and Tiffin Boys’ have announced the team appointed to how he got into music, his life in the Choir, with our Choral Director Simon Halsey. develop a concept design for a new Centre Orchestra, and working with Marin Alsop. for Music in the City of London. This team ‘I have always enjoyed working with Marin, A warm welcome to tonight’s concert, These performances are part of the Barbican’s will be led by internationally acclaimed who I met right at the beginning of my as we celebrate the profound influence of Bernstein 100 series, and form the upbeat to design studio Diller Scofidio + Renfro, orchestral career and have worked with . Bernstein was a unique a wider celebration of Bernstein’s centenary whose New York and London-based team many times since. She always brings a figure in 20th-century music and was year in 2018. For more information visit will work in collaboration with UK-based great energy and rhythmic vitality to music, President of the LSO between 1987 and leonardbernstein.com/at100. architecture firm Sheppard Robson. and she has a wicked sense of humour.’ 1990 – a title reserved for only a few Visit our blog for the full interview. distinguished friends of the Orchestra. I hope you enjoy tonight’s performance and This evening we begin a series of orchestral will join us again as the series continues. 2018 PANUFNIK COMPOSER SCHEME CEVANNE HORROCKS-HOPAYIAN concerts that focus on his three symphonies – Marin Alsop returns on 8 November for APPLICATIONS OPEN UP FOR BRITISH COMPOSER AWARD the lesser-known side of his artistic output. Mahler and Bernstein’s First Symphonies, and we continue the celebrations in Applications for the 2018 Panufnik Composers LSO Soundhub composer Cevanne For the first two performances, it is December as Sir conducts Scheme are now open. Each year a cohort Horrocks-Hopayian has been shortlisted particularly special to welcome conductor Wonderful Town and Symphony No 2, of six composers from a wide range of for a British Composer Awards (BASCA) Marin Alsop, a close friend and protégée of ‘The Age of Anxiety’. musical approaches and backgrounds gain for her work Khadambi’s House. It was Bernstein. After conducting a Family Concert the opportunity to work with the Orchestra composed for a residency with the LSO in the spirit of her mentor’s Young People’s and composition director Colin Matthews, and National Trust at 575 Wandsworth Road, Concerts yesterday, she joins us tonight leading to a full orchestral workshop later in the former home of Kenyan poet and and on 8 November for performances of the year. Applications close on Wednesday author Khadambi Asalache; the scheme is symphonies by Bernstein and a composer 13 December. generously supported by Susie Thomson. he greatly admired, Mahler. Kathryn McDowell CBE DL Managing Director

2 Welcome 5 November 2017 Bernstein and Me / by Marin Alsop

musicians magically turn into four-year-olds with that sparkle of anticipation in their eyes that says, ‘Yes, please tell us that story!’.

In 1986 the LSO presented a festival honouring Bernstein, which included works by others whom Bernstein admired, championed or was influenced by – Mahler, Stravinsky, Ives, Britten, Blitzstein, Shostakovich – along with film screenings, an exhibition and a Royal Gala Performance in the presence of Her Majesty The Queen. As a result of the festival, the LSO and Bernstein became much closer, and he became President of the Orchestra in 1987. It was through Bernstein that I first met BERNSTEIN 100 eonard Bernstein was a thinker, was 31, he took me under his wing and the LSO, at the Pacific Music Festival in WITH THE LSO IN 2017/18 teacher, author, television star, imparted to me the heart and soul of the craft. Japan in 1990, while he was already suffering provocateur, humanitarian – Bernstein’s total engagement with the from the lung disease that would lead to Marin Alsop conducts … and he was my hero. Bernstein taught me music, the orchestra and the audience was his death three months later. In his opening much more than a craft. He showed me – beyond thrilling. I fell in love with him on the remarks, he said that he had decided to Symphony No 1, ‘Jeremiah’ and the world – that classical music is a spot and adored his rebellious embracing devote what time he had left to education, Wednesday 8 November 2017 powerful force that can transform lives as of every genre of music. because mentoring young people was well as inspire and move people, and he the most rewarding way to spend his Sir Simon Rattle conducts … lived by those principles. One of the greatest gifts Bernstein shared remaining time. with me was the significance of story; Symphony No 2, ‘The Age of Anxiety’ Seeing Bernstein conduct when I was that every piece has an inherent story Those of us there on that day understood & Wonderful Town (concert performance) nine years old at a New York Philharmonic and that every composer spends his life the profound gift Bernstein was giving Saturday 16 December 2017 Young People’s Concert convinced me that trying to articulate his own personal story. to each of us. But my gift from Bernstein conducting was the only thing in the world I was always delighted when he would stop started that day so long ago, when I Wonderful Town (concert performance) that I wanted to do. That alone would have a rehearsal and say, ‘Must I tell you the story was just nine years old and first dreamed Thursday 21 December 2017 been enough of a gift – but then, when I of this Haydn Symphony?’, only to have 70 of becoming a conductor. •

Marin Alsop on Bernstein 3 Tonight’s Concert / introduction by David Gutman Leonard Bernstein in Profile 1918–90

s Leonard Bernstein’s complex Mahler had already said his piece. Yet the mould by being the first person to give a personality passes into history, Adagio’s famous ‘layered’ dissonance, public performance with that orchestra even his more challenging pieces a response to his wife Alma’s infidelity wearing a grey lounge suit. His progress are winning new friends. In the works of seared onto the argument rather than as a conductor was rapid, and in 1958 he despair and redemption framing tonight’s growing inevitably through it, also signals was appointed Music Director and Chief programme, Bernstein is grappling with the the dawning of our own fractured times. • Conductor of the New York Philharmonic. biggest issues of all and doing so in an idiom that makes demands on the listener. In the same year he launched a series of PROGRAMME NOTE WRITERS televised children’s concerts. Bernstein ‘Kaddish’ is still the least performed of his was also active as a writer and regular symphonies, in part because it thrillingly David Gutman is a writer of CD and broadcaster, although he managed to find redefines what a symphony might be. programme notes who has provided time to create a large output of works. Halil, a later, softer In Memoriam finds him extensive commentary for the BBC Proms It could be reasonably argued that his work again embracing serial writing at a time when since 1996. His books cover subjects as as a composer, performer and educator has many of his contemporaries had given up wide-ranging as Prokofiev and David had a greater influence on current trends trying to personalise the technique. Bernstein Bowie and he is a regular contributor to in contemporary music than, for example, felt the lure of tonality as strongly as anyone Gramophone and The Stage. the avant-garde compositions of Stockhausen but, in the contemporary world, a genuine or Boulez. Unlike many of his contemporaries, sense of resolution had to be fought for. Stephen Johnson is the author of Bruckner Bernstein kept faith with the aesthetic Remembered (Faber) and Mahler: His Life ideals and artistic concerns of composers Notwithstanding his crucial role in and Music (Naxos). He also contributes ernstein was a gifted scholar, from an earlier age, reaching audiences with the great Mahler revival of the 1960s, regularly to BBC Music Magazine and taking his first piano lessons at powerful, often dramatic scores and crafting Bernstein was a man of his time when it The Guardian, and broadcasts for BBC Radio 3, the age of ten and continuing to memorable, heart-on-sleeve melodies. came to the speculative five-movement Radio 4 and the World Service. study the instrument when he enrolled at performing versions of the unfinished Tenth. Harvard University in 1935. From 1939 to 1941 He posed music that was approachable Only the doleful Adagio made it into he pursued graduate studies at the Curtis without being banal, sentimental without his repertoire. To play more might have WELCOME TO TONIGHT’S GROUPS Institute, emerging as a star pupil in Fritz being mawkish. Above all, he knew how complicated what he saw as the message Reiner’s conducting class. Bernstein made to write a good tune. • encoded in the Ninth, that we: ‘accept our Tonight we are delighted to welcome front-page news on 13 November 1943 when mortality; and yet we persist in our search Gerrards Cross Community Association, he deputised for Bruno Walter as conductor Composer Profile by Andrew Stewart for immortality … for the restoration of life, Adele Friedland & Friends, and of the New York Philharmonic, achieving of tonality, of faith’. For him it was as if Friends of Yeshurun Synagogue PoM. instant critical success and breaking the

4 Concert Introduction & Composer Profile 5 November 2017 Leonard Bernstein Halil 1981 / note by David Gutman

Adam Walker flute and the threats of wars, the overwhelming precipitous cadenza. An agonised climax • YADIN TENENBAUM desire to live and the consolations of art, and the soloist falls silent until just before eonard Bernstein cherished his love, and the hope for peace’. the end of the work, ‘flute’ sound coming Yadin, son of Rivka (Solomon) and Zvi enduring love affair with Israel and only from its ‘hidden’ proxies as if to suggest Tenenbaum, was born and raised in Tzahala. its people – he was there in 1948 Halil (Hebrew for ‘flute’) is another of the pointlessness of Yadin’s death. For a At the age of eleven he began studying flute and 1967 conducting Mahler for troops and his several concerto-like pieces to resist while we are held in suspended animation, with Uri Teplitz. Yadin was a recipient of hospital patients – even if the relationship such categorisation. Not that there is the alone with our own poignant memories. scholarships from the America-Israel Cultural was not always comfortable. Dismayed by slightest hint of virtuosity for its own sake. There’s even a hint of West Side Story’s Foundation and prizes from the Israel the rightward drift of its politics he avoided Instead a muted, crepuscular series of ‘Somewhere’ in the ambiguously diatonic Conservatory of Music. Upon his enlistment, any kind of triumphalism in his elegiac visions, dreams and night terrors are given final curtain. he was offered a position in the IDF tribute to a promising Israeli flautist, killed voice in a Nocturne that is constantly on Orchestra, but chose combat duty instead. in action at the age of 19 during the 1973 the move. The opening is a twelve-note row Halil was largely spared the customary Yom Kippur War. Bernstein had never met soothed almost at once by a lovely, even negative reading of Bernstein’s later On 7 October 1973 Yadin was stationed near Yadin Tenenbaum • but dedicated the sentimental melody derived from the same compositions from commentators in the Suez Canal as a tank gunner. He fell composition, mainly undertaken in the motivic gene pool. The scoring recalls that thrall to varieties of modernism. As critic in action at the age of 19 in battle against winter of 1980/81, ‘To the Spirit of Yadin of the Serenade after Plato’s Symposium, Andrew Porter recognised, ‘Bernstein may Egyptian tanks which crossed the canal. and to his Fallen Brothers’. Bernstein’s violin concerto in all but name wear his heart on his sleeve, but he’s a For his outstanding courage he was decorated composer who does have a heart.’ • posthumously with the Exemplary Conduct — Medal. Yadin, who initially had been ‘In this case I sense that struggle as involving wars announced missing in action, was brought and the threats of wars, the overwhelming desire to live to burial in October 1974.

and the consolations of art, love, and the hope for peace.’ Despite his young age, Yadin left a — considerable musical bequest of recordings, including solo and ensemble performances Halil was premiered by Jean-Pierre Rampal whose orchestral palette is confined to originally compiled in a recording produced by on 27 May 1981, the composer directing the strings and percussion. In this case piccolo Hed Artzi in 1975 and released on CD in 2013. Israel Philharmonic. Bernstein considered it and alto flute are present too though out of Batia Lichansky created the sculpture Flutist ‘formally unlike any other work I have written, sight and contributing from afar. in memory of Yadin and in his image. Yadin’s but it is like much of my music in its struggle memory is also commemorated at the Israel between tonal and non-tonal forces. In this There are livelier episodes and a suggestion Museum and Yad Vashem in Jerusalem, and case I sense that struggle as involving wars of gunshots and mortar fire as we reach a at the Eretz Israel Museum in Tel Aviv.

Programme Notes 5 in Profile 1860–1911 / by Stephen Johnson

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

6 Composer Profile 5 November 2017 Gustav Mahler Adagio from Symphony No 10 1910 / note by Stephen Johnson

ahler’s death in 1911 sent shock diagnosed in 1907, would soon prove fatal. revealed that Mahler had begun to progress Eventually the movement seems to reach waves around the world. How could These two magnificent works were nothing beyond the confrontation with mortality a kind of stasis, with high first and second this volcanically energetic genius less than his artistic last will and testament. in Das Lied von der Erde and the Ninth violins brooding quietly on the original die at the absurdly early age of 50? He had Symphony. Despite the weakness of viola melody. A colossal full orchestral so much to live for: it was only two years ago Then came the discovery that Mahler his heart, Mahler might well have lived outburst leads to an agonised climax, that he’d thrown himself into his new post had begun another symphony in 1910. to complete the Tenth (and perhaps with a penetrating high-sustained trumpet A as conductor of the New York Philharmonic The composer’s widow, Alma, kept a tight more symphonies) if it hadn’t been for the sounding through massive, piled up Orchestra; then, in 1910, the premiere of hold on the sketches for 13 years. But when emotional thunderbolt that struck him in dissonances. But from this the music – his heaven-storming Eighth Symphony had she finally released them (or, rather, some the summer of 1910 – the discovery that his miraculously – begins to find its way towards finally convinced the German-speaking world of them) in 1924 it became clear that two adored Alma was having an affair with the a new peace. The answer to the climactic that Mahler was as great a composer as he movements – the opening Adagio and handsome young architect Walter Gropius. massive discord is provided by another was a conductor. It was the triumph he’d a short central movement, at one stage slowly piled-up chord, this time soft-toned, longed for all his life, and yet he’d had less subtitled ‘Purgatorio’ – were near enough Even so, the opening Adagio was the on harp and strings, warmly confirming the than a year to enjoy it. to completion to be presented in full score. only one of the Tenth Symphony’s five home key. A final sigh from high strings, — movements that Mahler left in a more- a pizzicato (plucked) chord in the bass, and or-less complete full-orchestral score. the Adagio is over. In the overall scheme of Mahler had seen his own end coming – that he’d realised that his Played by itself, the Adagio stands as a the Tenth Symphony it is only a provisional heart condition, diagnosed in 1907, would soon prove fatal. remarkable statement, even if one knows ending, but it is still a very moving one. • — that for Mahler it was only the first stage of a long, cathartic musical journey. Interval – 20 minutes Not long after Mahler’s death, his last two The ‘Purgatorio’ third movement was, completed works were heard for the first in itself, baffling – context was needed to It begins with a painfully searching, entirely There are bars on all levels of the time: the ‘Song-Symphony’ Das Lied von make sense of it, and the sketches for unaccompanied melodic line for the violas. Concert Hall; ice cream can be bought der Erde (1907–9) and the Symphony No 9 the second, fourth and fifth movements Soon however comes a wonderful contrast: at the stands on Stalls and Circle level. (1909–10). Many were struck by what seemed too confused and disconnected a warmly expressive theme led by violins seemed to be a sustained note of farewell to offer any kind of explanation. with fabulously rich harmonies. These Visit the Barbican Shop on Level -1 and see in these works, both of which ended in two kinds of music alternate throughout our new range of Gifts and Accessories. ecstatic dissolution – the finale ofDas Lied Thanks to the painstaking work of the British the movement, the violas’ original idea von der Erde is actually entitled ‘Abschied’ musicologist Deryck Cooke, it was eventually sometimes desolately still, sometimes Tweet us your thoughts on the (Farewell). Here for many was proof that shown that Mahler was far closer to completing transformed into a wintry dance tune, first half of the performance Mahler had seen his own end coming – his Tenth Symphony than anyone had guessed. with occasional touches of acid, seemingly @londonsymphony that he’d realised that his heart condition, Cooke’s ‘performing version’ of the sketches nihilistic humour.

Programme Notes 7 Leonard Bernstein Symphony No 3, ‘Kaddish’ 1963 / note by David Gutman

1 Invocation – Kaddish I ‘If you’re going to fall off work in earnest during the summer of 1961. of self-destruction through ignorance and 2 Din-Torah – Kaddish II the ladder, fall off a high rung.’ By the time ‘Kaddish’ was finished, Munch bigotry remains ever-present. 3 Scherzo – Kaddish III – had retired, directing the US premiere at his Finale: Fugue-Tutti first guest appearance with the orchestra in ‘Bernstein loved the written word as much hat was the message Stephen February 1964 after Bernstein had unveiled as the musical word’, claims his one-time Claire Bloom narrator Sondheim • took away from the work in Tel Aviv. That something more assistant Marin Alsop but, like Michael Tippett Laura Claycomb soprano working with Bernstein. Fronting momentous had occurred is reflected in the when embarking on the oratorio A Child London Symphony Chorus the New York Philharmonic from 1958 until work’s dedication: ‘To the beloved memory of Our Time, he did not set out with the Simon Halsey chorus director 1969, Bernstein triumphed as conductor and of John F Kennedy’. intention of writing his own script. Bernstein Tiffin Boys’ Choir educator and still managed to complete two hoped to collaborate with Robert Lowell James Day Tiffin Boys’ Choir director major compositions. One was the ingratiating Almost accidentally Bernstein had written and later Frederick Seidel before concluding, Chichester Psalms (1965). The other, ‘Kaddish’, music fitting the sombre mood. His title of in a letter to his sister Shirley, ‘collaboration Texts are on pages 10 to 12 was widely seen as a problem piece – an ‘Kaddish’ (the Aramaic word for sanctification) is impossible on so personal a work.’ utterance neither conventionally symphonic refers to the Jewish prayer for the dead, nor functioning, like Bloch’s Sacred Service, a setting of which figures in each of the Never happy with the results, he made within the orbit of identifiable religious ritual. symphony’s three movements. The difficulty subsequent revisions, recording a would-be — ‘Having a woman being the one who questions God makes the piece even more powerful and multi-layered because, in organised religion, the woman’s role was always subservient.’ —

It was a 1958 performance of Honegger’s lay in the speaker’s over-arching role. final version in 1977. The tweaked text, more Jeanne d’Arc au bûcher (Joan of Arc at the Bernstein produced a subversive one-sided of it now voiced over the notes, could be Stake) featuring his wife, the actress Felicia theatrical dialogue ‘about’ many things: delivered by man or woman, yet abandoning Montealegre, as narrator, that inspired from his own relationship to Judaism, the concept of the ‘eternal feminine’ risked Bernstein to compose in a similar vein. sexuality, his wife and his father, to the turning it into a hectoring lecture to a larger issues facing a floundering mankind. recalcitrant deity. There would be further With a long-unfulfilled commission in his The prospect of atomic annihilation was transmogrifications. Holocaust survivor and pocket to write for Charles Munch and the never more real than in 1962, the year of international lawyer Samuel Pisar obtained Boston Symphony Orchestra, he began the Cuban Missile Crisis, and the possibility approval for a version recast in terms of his

8 Programme Notes 5 November 2017 own experience. Bernstein’s daughter, only two-thirds of the way through the FOR REFERENCE Jamie added a differently autobiographical piece. But first language itself must slant in a rewrite which finds her arguing emerge and amid the dissonance it with her father about the project. ‘So it’s can be easy to miss how bald motivic a kind of hall of mirrors of fighting with sequences give life to all that follows. your dad, if you will, all the way back to the original creator, the father of us all.’ Bernstein is soon instructing the singers to rise with a foot-stamp and lurch into a Tonight’s conductor, surely the work’s most wild mixed-meter Kaddish I. Perhaps most ardent contemporary champion, has her own memorable is the consoling Kaddish II ideas, rejecting most of the cuts made in that follows the percussive anarchy of the the 1970s and reinstating the first version Din-Torah (Trial by the law of God) section of the text. ‘Having a woman being the of the second movement. Sung by solo one who questions God makes the piece soprano and children’s choir it takes the even more powerful and multi-layered form of an ecstatic lullaby. because, in organised religion, the woman’s role was always subservient.’ The singer The work closes, eventually, in renewed is allocated words traditionally reserved Coplandish consonance, though just before for men in orthodox Jewish communities. the final flourish Alsop reinstates some Stephen Sondheim, Leonard Bernstein and Jerome Robbins (choreographer) discussing West Side Story (1956) Crucially preserved is Bernstein’s central rapidly descending choral clusters which trope in which the speaker calls on God to momentarily recall the earlier disquiet. reciprocate, to believe in mankind, mirroring The Kennedy connection and the • Stephen Sondheim (b 1930, pictured • Atonality is traditionally used to his belief in the enduring value of tonality. unashamed eclecticism would be above) is a Pulitzer Prize-winning composer, refer to music that has no tonal centre amplified in Bernstein’s Mass (1971). • lyricist and writer, whose work in musical (for example a key or mode), although it The music begins with an un-pitched hum theatre began over 50 years ago. In addition can also be used to refer to music that is underpinning the narrator’s Invocation, the to writing the music and lyrics for works neither tonal nor serial (the twelve-tone chorus quietly dramatising the composer’s including Company, Sweeney Todd, system devised by ). musical challenge. How to recover the Into the Woods, Assassins and A Little equilibrium of tonality after atonality • Night Music, among others, he is well- • Aleatoric music involves some and aleatoricism • have come to be known for his collaboration with Leonard element that is not determined by the accepted as the be-all and end-all of Bernstein on West Side Story. composer or is determined by chance. composition? A key signature arrives

Programme Notes 9 Leonard Bernstein Symphony No 3, ‘Kaddish’ – Texts

MOVEMENT 1 – INVOCATION KADDISH I Yit’barach v’yish’tabach v’yit’pa-ar Speaker v’yit’romam v’yit’nasē Amen! Amen! Did You hear that, Father? Speaker Chorus v’yit’hadar v’yit’aleh v’yit’halal Do I have your attention? ‘Sh’lama raba! O, my Father: ancient, hallowed, Yit’gadal v’yit’kadash sh’mē raba, sh’mē d’kud’sha, b’rich Hu, May abundant peace descend on us. Lonely, disappointed Father: amen l’ēla min kol bir’chata Amen.’ Rejected Ruler of the Universe: b’al’ma div’ra chir’utē, v’shirata, tush’b’chata Handsome, jealous Lord and Lover: v’yam’lich mal’chutē v’nechemata, Great God, Angry, wrinkled Old Majesty. b’chayēchon uv’yomēchon da-amiran b’al’ma, Surely you who make peace on high, I want to pray. I want to say Kaddish. uv’chayē d’chol bēt Yis’raēl, v’im’ru: amen. Who manipulate clumsy galaxies, My own Kaddish. Listen, Almighty, ba’agala uviz’man kariv, You who juggle a spaceful of suns, With all your might; there may just be v’im’ru: amen. Translation: Bend light, spin moons … No one to say it after me. Blessed and praised and glorified, Surely You can handily supply Translation: And exalted and extolled and honoured, A touch of order here below, Do I have your attention, majestic Father? Magnified and sanctified be His great name, And magnified and lauded On this one, dazed speck. Is my end a minute away? An hour? Amen Be the name of the Holy One, blessed be He; And let us say again … Is there even time to ask the question? Throughout the world which He hath created Though He be beyond all blessings, Amen. It could be here, while we are singing, According to His will; And hymns, praises and consolations, That we’re to be halted, once for all, And may He establish His kingdom That can be uttered in the world. Chorus Cut off in the act of praising You. During Your life and during Your days, And say ye, Amen. Oseh shalom bim’romav, But while I have breath, however briefly, And during the life of all the house of Israel, Hu ya-aseh shalom alēnu I will sing this final Kaddish for You, Speedily, and at a near time, Y’hē sh’lama raba v’al kol Yis’raēl For me, and for all these I love And say ye, Amen. min sh’maya v’chayim alēnu v’im’ru: amen. Here in this sacred house. v’al kol Yis’raēl Y’hē sh’mē raba m’varach v’im’ru: amen. Translation: I want to pray, and time is short. l’alam ul’al’mē al’maya. He who maketh peace in His high places, Time to begin our gallant Yit’gadal. Translation: May He make peace for us Translation: May there be abundant peace And for all Israel; Magnified … and sanctified … May His great name be blessed, From heaven, and life for us And say ye, Amen. Be the great name … Amen. Forever and to all eternity. And for Israel; And say ye, Amen.

10 Texts 5 November 2017 MOVEMENT 2 – DIN-TORAH Defiant Daughter, your impudent rebel So far away, ruefully eyeing KADDISH II Who could do with a slap. You know who I am. Your two-footed handiwork – frail, foolish, Speaker Mortal. My sorrowful Father, Soprano Solo and Boys’ Choir With Amen on my lips, I approach Aní Havazélet Ha-Sharón, the lily If I could comfort You, hold You against me, Yit’gadal v’yit’kadash sh’mē raba, amen … Your presence, Father. Not with fear, That man has picked and thrown away! Rock You and rock You into sleep. But with a certain respectful fury. And You let this happen, Lord of Hosts? Shall I sing to You? Shall I tell You stories Speaker I have very little time, as you well know. You with Your manna, Your pillar of fire? Of other stars, stars that You love, Sleep, my Father. Rest Your anger. Do You recognise my voice? You ask for faith: where is Your own? That deserve Your love, stars that do not Dream softly. Must I reintroduce myself? Why have You taken away Your rainbow, Disappoint and disgust and disgrace Your love? Let me invent Your dream, dream it Aní Havazélet Ha-Sharón, That pretty bow You tied round Your finger Oh, I hope they exist, for Your sake, Father. For You, as gently as I can. Shoshanát Ha-Amakím To remind You never to forget Your promise? My heart’s pity boils in my throat. And perhaps by dreaming, I can help You Shall I quote You Your own weighty words? I can barely speak. Find Your image again, and love him again. I am the Lily of Sharon, the Rose ‘For lo, I do set my bow in the cloud … Be comforted. Be magnified, I’ll take You to Your favourite star. Of the valleys, Daughter of Zion. And I will look upon it, that I Sanctified … The world most worthy of Your creation. I am that part of Man You made May remember my everlasting covenant …’ We’ll make it a sort of holiday; To suggest his immortality. Your covenant! Your bargain with Man! And hand in hand, like eager children, You surely remember, Father? The part Tin God! Your bargain is tin! We’ll watch in wonder, wide-eyed, That refuses death, that insists on You, It crumples in my hand! The workings of perfectedness. Divines Your voice, guesses Your grace. And where is faith now – Yours or mine? And always You have heard my voice, Always You have saluted me Chorus (Cadenza) With a rainbow, a raven, a plague, something. Amen, Amen, Amen … But now I see nothing. This time You show me Nothing at all. Speaker Forgive me, Father. I was mad with fever. Father, understand what is happening! Chaos is catching, and I succumbed. I am exiled by Man, no longer cherished, Have I hurt You, Father? Forgive me; In fever While he runs free – free to play I forgot You too are vulnerable. With his new-found fire, avid for death, If my faith is shaky, what must Yours be? Voluptuous, total and ultimate death. But Yours was the fatal, first mistake: Lord God of Hosts, I call You to account! Creating Man in Your own image, And don’t shrug me off, as if I were playing Fallible. Dear God, how You must suffer,

Texts 11 Leonard Bernstein Symphony No 3, ‘Kaddish’ – Texts continued

MOVEMENT 3 – SCHERZO Dazzling miracles! … KADDISH III FINALE Look, a Burning Bush! Speaker Look, a Fiery Wheel! Boys’ Choir Speaker So, this is the Kingdom of Heaven, Father, A Ram! A Rock! Shall I smite it? There! Yit’gadal v’yit’kadash sh’mē raba, amen. The dawn is chilly, but the dawn has come. Just as You planned it. It gushes! It gushes! And I did it! Father, we’ve won another day. We have Every immortal cliché in place. I am creating this dream! Now Speaker dreamed our Kaddish, and wakened alive. Lambs frisk. Wheat ripples. Will You believe? Don’t waken yet! However great Your pain, Good morning, Father. We can still be immortal, Sunbeams dance. Something is wrong. I will help You suffer it. You and I, bound by my rainbow. The light: flat. The air: sterile. You can’t escape yet. You can no longer afford my death, Do You know what is wrong? I have You, Father, locked in my dream, O God, believe. Believe in me For if I die, You die with me. There is nothing to dream. And You must remain till the final scene … And You shall see the Kingdom of Heaven But as long as I sing, I shall live. Nowhere to go. Nothing to know. Now! Look up! High! What do You see? on earth, And as long as I live I shall continue And these creatures of Your Kingdom, A rainbow, which I have created for You! Just as You planned. To create You, Father, and You me. These smiling painless people – My promise, in permanent, sun-fast colours! Lambs will frisk. Wheat will ripple, That is our pact; and to honour it Are they created in Your image, also? Look at it, Father: Believe! Believe! Believe, believe … Is our honour. It’s not quite what You are serenity, but rage Look at my rainbow and say after me: We bargained for, so long ago, As well. I know. I have borne it! MAGNIFIED … AND SANCTIFIED … Sunbeams will dance. Seraphim hover. At the time of that other, First Rainbow. You are hope, but also regret. BE THE GREAT NAME OF MAN! See how my rainbow lights the scene. But then I was only Your helpless infant, I know. You have regretted me. Cherubim call from corner to corner Arms hard around You, dead without You. But not these, these perfect ones; The colours of my rainbow are blinding, Father, Chanting Your praises. We have both grown older, You and I. They are beyond regret, or hope. And they hurt Your eyes, I know. And I am not sad, don’t You be either. They don’t exist, Father, not even But don’t close them now. Don’t turn away. Boys’ Choir Unfurrow Your brow, look tenderly again In the light-years of our dream. Look. Do You see how simple and peaceful B’al’ma div’ra chirutē … At me, at us, at all these growing It all becomes, once You believe? Children Of God here in this sacred house. Come back with me, to the Star of Regret, Speaker And we shall look tenderly back to You. Come back, Father, where dreaming is real, Believe! The rainbow is fading. The dream is over. O my Father, Lord and Lover: Beloved Majesty: And pain is possible – so possible We must wake up now, and the dawn is chilly. my Image, my Self! We are one after all, You will have to believe it. And in pain Believe! You and I. Together we suffer, together exist, You will recognise Your image at last. And forever will recreate each other.

Now I will show You a dream to remember! Soprano Solo, Boys’ Choir & Chorus Real-life marvels! Genuine wonders! Y’hē sh’mē raba m’varach …

12 Texts 5 November 2017 Marin Alsop conductor

arin Alsop is an inspiring and Marin Alsop conducts the world’s major recent performances of Brahms, Schumann powerful voice in the international orchestras, with recent and forthcoming and Verdi on period instruments. In 2013, music scene, a Music Director who European highlights including appearances Marin Alsop made history as the first female passionately believes that ‘music has the with the Gewandhausorchester Leipzig, conductor of the BBC’s Last Night of , power to change lives’. She is recognised Royal Concertgebouw Orchestra, Filarmonica which she returned to conduct in 2015. across the world for her innovative della Scala, Orchestre National de France, approach to programming and for her London Philharmonic Orchestra (LPO) and Her extensive discography has led to Grammy deep commitment to education and to the Royal Philharmonic Orchestra. In the US, and Gramophone awards, and includes highly development of audiences of all ages. Alsop regularly conducts the Philadelphia, praised Naxos cycles of Brahms with the Cleveland and Chicago Symphony Orchestras, LPO and MDR Leipzig, Dvořák with the BSO, Alsop’s outstanding success as Music including at their summer residencies at Prokofiev with OSESP, and further recordings Director of the Baltimore Symphony Saratoga, Blossom and Ravinia. Further for Decca Classics, Harmonia Mundi and Orchestra (BSO) since 2007 has been highlights of the 2017/18 season include Sony Classical. She is dedicated to new music, recognised by two extensions in her tenure, the Budapest Festival Orchestra, Orchestre born out in her 25-year tenure as Music now confirmed until 2021. As part of her de la Suisse Romande, Danish National Director of California’s Cabrillo Festival of artistic leadership in Baltimore, Alsop has Symphony Orchestra, and a second residency Contemporary Music. created several bold initiatives: OrchKids, at Aldeburgh’s Snape Maltings with the for the city’s most deprived young people, Britten-Pears Orchestra. Marin Alsop is the only conductor to receive and the BSO Academy and Rusty Musicians the prestigious MacArthur Fellowship, is an for adult amateur musicians. She became As one of Leonard Bernstein’s best known Honorary Member of the Royal Academy Principal Conductor and Music Director of pupils, Alsop is central to his 100th of Music and Royal Philharmonic Society, the São Paulo Symphony Orchestra (OSESP) anniversary global celebrations in 2018: and was recently appointed Director of in 2012, with her contract now extended in addition to opening the LSO’s tribute, Graduate Conducting at the John Hopkins to the end of 2019, where she continues to she conducts performances of Bernstein’s Peabody Institute. She attended the steer their highly creative programming and Mass at the Ravinia Festival, where she Juilliard School and Yale University, who outreach activities. Alsop led the orchestra has been appointed Musical Curator for awarded her an Honorary Doctorate in 2017. on European tours in 2012, 2013 and 2016, 2018 and 2019, and at Southbank Centre, Her conducting career was launched in with critically acclaimed performances at where she is Artist-in-Residence. Also at 1989, when she won the Leopold Stokowski the BBC Proms, the Edinburgh International Southbank Centre she conducts a Beethoven International Conducting Competition and Lucerne festivals, the Concertgebouw programme with the Orchestra of the Age of and was the first woman to be awarded Amsterdam and further concerts in Berlin, Enlightenment (OAE), as part of a UK tour. the Koussevitzky Conducting Prize from Paris, Salzburg and Vienna. She conducts the OAE most seasons, with the Tanglewood Music Center. •

Artist Biographies 13 Adam Walker flute

n 2009 at the age of 21, Adam Walker In 2017 Adam was selected as an artist Concerto highlights of the 2017/18 period was appointed Principal Flute of for the Chamber Music Society of Lincoln include Bach with the Royal Northern the London Symphony Orchestra Center’s prestigious CMS Two programme Sinfonia, and a return to the US to perform and was awarded the Outstanding Young for the 2018 to 2020 seasons. Other Nielsen and Griffes at the Grant Park Artist Award at MIDEM Classique in Cannes. recent recital highlights have included Festival under Carlos Kalmar. The following year he was shortlisted for performances at LSO St Luke’s, De Singel, the Royal Philharmonic Society Outstanding City of London Festival, Newbury Spring As a recitalist and chamber Musician, Young Artist Award and received a Borletti- Festival, Musée du Louvre, Mecklenburg- Adam continues to expand his range Buitoni Trust Fellowship Award. Vorpommern Festspiele and the Utrecht, of partners and repertoire with new West Cork, Delft and Moritzburg Chamber and exciting collaborations, including a As a soloist Adam regularly performs Music Festivals. duo partnership with Cédric Tiberghien, with the major UK orchestras including the with whom he returns to Wigmore Hall. BBC Philharmonic, BBC Scottish Symphony Adam has given world premieres of Another new project sees him explore Orchestra, BBC National Orchestra of Wales, Brett Dean’s The Siduri Dances with the repertoire for winds, in collaboration Royal Philharmonic Orchestra, Academy of BBC National Orchestra of Wales (2011), with oboist Nicholas Daniel, bassoonist St Martin in the Fields, Hallé, Bournemouth Kevin Puts’ Flute Concerto at the invitation Amy Harman, clarinetist Matthew Hunt, Symphony, City of Birmingham Symphony of Marin Alsop at the Cabrillo Festival (2013), and horn player Alec Frank Gemmill. and is a regular visitor to the BBC National and Huw Watkins’ Flute Concerto with the Orchestra of Wales. Further afield he has LSO under , commissioned Born in 1987, Adam Walker studied at performed with the Baltimore Symphony jointly by the LSO and BBT for Adam (2014). Chetham’s School of Music with Gitte Orchestra, Seattle Symphony, Seoul Sorensen and the Royal Academy of Philharmonic, Auckland Philharmonia, In 2013 he released his debut CD Vocalise Music with Michael Cox, graduating with Malaysian Philharmonic, Malmö Symphony on the Royal Opera House’s Opus Arte Label, distinction in 2009 and winning the Orchestra, Vienna Chamber Orchestra, in which he was praised by Gramophone HRH Princess Alice Prize for exemplary Solistes Européens, Luxembourg and as ‘a superb player [with] much delicacy studentship. In 2004 he was a Concerto the RTÉ National Symphony Orchestra. of nuance in his phrasing [and] stunning Finalist in the BBC Young Musicians virtuosity’. Adam also recorded the Kevin Competition and in 2007 was selected for Adam appears regularly at Wigmore Hall Puts’ Flute Concerto with Marin Alsop representation by Young Classical Artists where he has recently worked with Brett and the Peabody Institute for Naxos in Trust. Adam is Professor of Flute at the Dean, pianists Angela Hewitt and James 2016 and will shortly be releasing his Royal College of Music in London. • Baillieu, guitarist Morgan Szymanski and recording of Huw Watkins’ Concerto with singers Ailish Tynan and Karina Gauvin. the Hallé and Ryan Wigglesworth.

14 Artist Biographies 5 November 2017 Laura Claycomb soprano

rammy Award winning soprano Giovanni. In German Romantic repertoire, the Center. She Laura Claycomb has firmly she sings Zerbinetta in won the Operetta Prize at the Belvedere established herself as one of the and Sophie in , both by Competition (Vienna), the Silver Medal at finest operatic coloratura sopranos of her , Adele in Johann Strauss’ the International Tchaikovsky Competition generation, best known for her ethereal Die Fledermaus, and Gretel in Humperdinck’s (Moscow), the Pegasus Prize at the Spoleto high notes, impeccable musicianship and Hansel and Gretel. She has interpreted Festival (Italy), and the Award dramatic stage presence. Her international Gilda in Verdi’s in Paris, Houston, at Opera. Laura’s discography includes breakthrough as Giuletta in Bellini’s I Capuleti Lausanne, Tel Aviv, Toronto, Bilbao, Mahler’s Fourth Symphony with the San e i Montecchi in Geneva started her career in Pittsburgh and Santiago di Chile. In addition, Francisco Symphony Orchestra/Michael many renowned opera houses, such as San she has enjoyed much success singing Tilson Thomas and LSO/; Francisco Opera, , Los Baroque repertoire, including Cleopatra in Berlioz’s Benvenuto Cellini with SWDR/ Angeles Opera, Grand Théâtre de Genève, , Romilda in Serse and Ginevra Sir and the LSO/Sir Colin Théâtre de Brussels, La Scala in , all by Handel, as well as roles in Davis; under Esa-Pekka Milan, , Paris Opera modern compositions such as Anne Trulove Salonen; numerous discs with ; Garnier and Bastille, and the Bolshoi Theatre in Stravinsky’s The Rake’s Progress, Ange in Handel’s Arcadian Duets with Le Concert Moscow, as well as at the Salzburg, Lucerne, Messiaen’s Saint François d’Assise, Queen D’Astrée/Emmanuelle Haïm; a DVD of a Glyndebourne and Bregenz festivals. Wealtheow in Elliot Goldenthal’s Grendel, production of The Rake’s Nightingale in Stravinsky’s , Progress; and her latest solo album with Throughout her career, she has assembled and Amanda in Ligeti’s Le grand macabre. guitarist Marc Teicholz, Open Your Heart. • a formidable operatic repertoire of over 40 titles. As a bel canto singer she sings, Besides her operatic career, Laura is an amongst others, the title roles of Bellini’s active concert singer, working with the La Sonnambula, Donizetti’s Lucia di , Philadelphia Orchestra, Lammermoor and La fille du régiment, as Orchestra di Santa Cecilia, Swedish Radio well as the French bel canto roles of the Orchestra, the RAI Orchestra in Turin, and four heroines in Offenbach’s The Tales of the Los Angeles, Rotterdam, Moscow and Hoffmann, Ophelie in Thomas’ , and New York Philharmonics. She maintains a Comtesse Adele in Rossini’s Le comte Ory. unique relationship with the San Francisco In Mozart, she performs the role of the Symphony Orchestra. Queen of the Night in , Konstanze in Die Entführung aus dem Serail, Laura studied at Southern Methodist Ilia in and Donna Anna in Don University and was an Adler Fellow at

Artist Biographies 15 Claire Bloom narrator Wed 28 Feb Leonard Bernstein at 100

laire Bloom was born in North London, and has divided her time Jazz at Lincoln between the and the United States. Her narrations with Center Orchestra & music have included appearances with many renowned orchestras and conductors, Wynton Marsalis including the Los Angeres Philharmonic The finest big band on the planet under André Previn; Boston Symphony pays tribute to Lenny, with music with Seiji Ozawa and ; from and West Side Story Baltimore Symphony with Marin Alsop; alongside rarely heard gems Philadelphia Orchestra with Charles Dutoit; and the Bach and Handel Society with Christopher Hogwood. Claire has devoted her career more largely to stage, film, and television. Her film highlights include Limelight, opposite Charles Chaplin, Richard III with Laurence Olivier, The Spy Who Came in from the Cold and Look Back in Anger, both with Richard Burton. Her most recent film performance of note was as Queen Mary in The King’s Speech. In the theatre she has appeared as Juliet in Romeo and Juliet, Ophelia in Hamlet, Blanche DuBois in A Streetcar Named Desire, Nora in A Doll’s House, Clytemnestra in Electra, and Mary Tyrone in Long Day’s Journey Into Night, among many other roles. Television has also brought her many awards, most notably for her portrayals of Lady Marchmain in Brideshead Revisited and Joy Davidson in Shadowlands. •

16 Artist Biographies 5 November 2017 Simon Halsey chorus director

imon Halsey holds positions across three honorary doctorates from universities Born in London, Simon Halsey sang in the the UK and Europe as Choral Director in the UK, and in 2011 Schott Music published of New College, Oxford, and of King’s of the London Symphony Orchestra his book and DVD on choral conducting, College, Cambridge, and studied conducting and Chorus; Chorus Director of the City of Chorleitung: Vom Konzept zum Konzert. at the Royal College of Music in London. In Birmingham Symphony Orchestra Chorus; 1987, he founded the City of Birmingham Artistic Director of Orfeó Català Choirs Halsey has worked on nearly 80 recording Touring Opera with Graham Vick. He was and Artistic Adviser of Palau de la Música, projects, many of which have won major Chief Conductor of the Netherlands Radio Barcelona; Artistic Director of Berliner awards, including the Gramophone Award, Choir from 1997 to 2008 and Principal Philharmoniker Youth Choral Programme; Diapason d’Or, Echo Klassik, and three Conductor of the Northern Sinfonia’s Choral Director of the BBC Proms Youth Choir; Artistic Grammy Awards with the Rundfunkchor Programme from 2004 to 2012. From 2001 Advisor of Schleswig-Holstein Musik Festival Berlin. He was made Commander of the to 2015 he led the Rundfunkchor Berlin (of Choir; Conductor Laureate of Rundfunkchor British Empire in 2015, was awarded The which he is now Conductor Laureate); under Berlin; and Professor and Director of Choral Queen’s Medal for Music in 2014, and his leadership the chorus gained a reputation Activities at the University of Birmingham. received the Officer’s Cross of the Order of internationally as one of the finest professional Merit of the Federal Republic of Germany choral ensembles. Halsey also initiated Simon Halsey occupies a unique position in 2011 in recognition of his outstanding innovative projects in unconventional in classical music. He is the trusted advisor contribution to choral music in Germany. venues and interdisciplinary formats. • on choral singing to the world’s greatest conductors, orchestras and choruses, Since becoming Choral Director of and also an inspirational teacher and the London Symphony Orchestra and ambassador for choral singing to amateurs Chorus in 2012, Halsey has been credited of every age, ability and background. Making with bringing about a ‘spectacular singing a central part of the world-class transformation’ (Evening Standard) of the institutions with which he is associated, he LSC. Highlights with the LSO in 2017/18 has been instrumental in changing the level include Schoenberg’s Gurrelieder at the BBC of symphonic singing across Europe. Proms with Sir Simon Rattle and Halsey’s CBSO and Orfeó Català choruses; Liszt’s He is also a highly respected teacher and ‘Faust’ Symphony with Sir ; academic, nurturing the next generation of Mahler’s Symphony No 2 with Semyon choral conductors on his post-graduate course Bychkov; and performances of Berlioz and in Birmingham and through masterclasses Bernstein with Rattle in his inaugural year at Princeton, Yale and elsewhere. He holds as Music Director of the LSO.

Artist Biographies 17 London Symphony Chorus on stage

President Sir Mark Elder won a Gramophone award and Sir Simon Rattle om cbe the recording of the Grande Messe des Morts by Berlioz with the LSO conducted by Sir Colin President Emeritus Davis won an International Music Award in André Previn kbe the Choral Works category. In June 2015 the recording of Sir Peter Maxwell Davies’ Tenth Vice President Symphony, commissioned by the LSO and recorded by the LSO and the LSC with Sir Antonio Pappano, won a prestigious South Patrons Bank Sky Arts award in the Classical category. cbe Howard Goodall cbe The 2016/17 season included performances of Verdi’s with Gianandrea Noseda Chorus Director he London Symphony Chorus was Youth Orchestra of Great Britain and in the Barbican and at the Lincoln Center in Simon Halsey cbe formed in 1966 to complement the European Union Youth Orchestra. New York, a semi-staging of Ligeti’s Le grand the work of the London Symphony The Chorus has toured extensively throughout macabre with Sir Simon Rattle and Peter Associate Director Orchestra and in 2016 celebrated its 50th Europe and has also visited North America, Sellars, and Brahms’ Requiem with Fabio Luisi. Matthew Hamilton anniversary. The partnership between the Israel, Australia and South East Asia. The LSC also collaborated with the CBSO LSC and LSO has continued to develop and was and Orfeó Català choruses for Schoenberg’s Chorus Accompanist strengthened in 2012 with the appointment Much of the LSC repertoire has been captured Gurrelieder at the BBC Proms with the Benjamin Frost of Simon Halsey as joint Chorus Director in its large catalogue of recordings featuring London Symphony Orchestra and Sir Simon of the LSC and Choral Director for the LSO. renowned conductors and soloists, which Rattle in August. Highlights of 2017/18 Chairman It now plays a major role in furthering the have won nine awards, including five Grammys. include Liszt’s ‘Faust’ Symphony with Owen Hanmer vision of the LSO Sing initiative. Recent releases include Britten’s Sir Antonio Pappano and Mahler’s with Gianandrea Noseda and Mahler’s Symphony No 2 with Semyon Bychkov. Concert Manager The LSC has also partnered many other Symphonies Nos 2, 3 and 8 with Valery Gergiev. Robert Garbolinski major orchestras and has performed The Seasons by Haydn, Belshazzar’s Feast by The LSC is always interested in recruiting nationally and internationally with the Walton, Otello by Verdi, and the world premiere new members, welcoming applications LSO Choral Projects Manager Berlin and Vienna Philharmonic Orchestras, of the St John Passion by James MacMillan from singers of all backgrounds. Interested Andra East and the Leipzig Gewandhaus Orchestra. were all under the baton of the late singers are welcome to attend rehearsals Championing the musicians of tomorrow, Sir . The recent recording of before arranging an audition. For further it has also worked with both the National Götterdämmerung with the Hallé under information, visit lsc.org.uk. •

18 On Stage 5 November 2017 Tiffin Boys’ Choiron stage tonight

Sopranos Alison Ryan Jane Muir Basses ince its foundation in 1957, the Director Amadeus Lang Faith Baxter Anneke Schulz Caroline Mustill Gavin Buchan Tiffin Boys’ Choirhas been one James Day Georgiy Lesyuk Evaleen Brinton Giulia Steidl Dorothy Nesbit Andy Chan of the few state school choirs to Oscar Luck Carol Capper • Sarah Talbot Lucy Reay Matthew Clarke have been continually at the forefront of the Prabhas Aenugu Avan Majumdar Laura Catala-Ubassy Winnie Tse Lis Smith Giles Clayton choral music scene in Britain. The Choir George Ashley Daniel McCarthy Anjali Christopher Natalia Vargas Margaret Stephen Edward Cottell has worked with all the London orchestras Abiel Belay Shirav Medepalli Alana Clark Rachel Wilson Linda Thomas Damian Day and performs regularly with the Royal Opera. Dylan Bevan Erel Morris Eve Commander Alice Young Claire Trocme Thomas Fea Recent engagements have included Mahler Daniel Blaze Joe Murphy Lucy Feldman Zoe Williams Robert Garbolinski • Symphony No 3 (LSO/Haitink at the BBC Proms, Alistair Brendon Vinayak Nangia Kara Florish Altos Josué Garcia LSO/Harding, Philharmonia/Hruša, LA Phil/ Sam Campbell-Barr Hamza Rasool Maureen Hall Liz Boyden Tenors Owen Hanmer • Dudamel), Springtime in Funen (BBC SO/Litton) Kam Shing Cheon Kavin Ravishankar Hidemi Hatada June Brawner Jorge Aguilar J-C Higgins • at the BBC Proms, Mahler Symphony No 8 Ben Church Henry Studholme Jenna Hawkins Gina Broderick Paul Allatt • Anthony Howick (Philharmonia/Salonen, London Philharmonic/ Josh Dennis Conor Tidswell Emily Hoffnung Jo Buchan • Erik Azzopardi Peter Kellett Jurowski), Boris Godunov (Mariinsky/Gergiev), Joe Desmond Dylan Warchus Kuan Hon Lizzy Campbell Raymond Brien Alex Kidney Perséphone (Philharmonia/Salonen), the UK Bulcsu Diossi Jamie Whelan-Blake Claire Hussey • Liz Cole Oliver Burrows Hugh McLeod premiere of Unsuk Chin’s Alice in Wonderland, Alan Erdelyi Ricky You Debbie Jones Janik Dale John Farrington Ron Packowitz the soundtrack for The Hobbit at George Foster Ruth Knowles-Clark Maggie Donnelly Matthew Fernando Alan Rochford Studios, appearing on set in the filmPhilomena , Vicente Gonzalez Mimi Kroll Linda Evans Matthew Flood Rod Stevens and Titanic Live! with James Horner. Arganaraz Debbie Lee Amanda Freshwater Andrew Fuller • Richard Tannenbaum Francis Gorniak Marylyn Lewin Tina Gibbs Simon Goldman Gordon Thomson The Choir has made recordings of most of the Robbie Hancock Meg Makower Joanna Gill Euchar Gravina Evan Troendle orchestral repertoire that includes boys’ choir Isaac Hardy Meg McClure Yoko Harada Anthony Madonna Liam Velez and has recently been broadcast on the BBC, Nikolai Harin Jane Morley Kate Harrison Alastair Mathews Tyler Wert Classic FM and ITV. Releases have included Marco Hilmy Emily Norton Ella Jackson • Davide Prezzi Anthony Wilder Mahler’s Symphony No 8 (EMI/Tennstedt), Barney Howard Gill O’Neill Kristi Jagodin Chris Riley which was nominated for a Grammy Award; Noah Huntley Maggie Owen Jill Jones Peter Sedgwick • denotes LSC Puccini’s Il Trittico, Massenet’s Werther and Sion Hwang Andra Patterson Vanessa Knapp Malcolm Taylor council member Puccini’s Tosca (EMI/Pappano); Britten’s Robin Jiang Emma Phillips Gilly Lawson Simon Wales (Chandos/Hickox), Mahler’s Jaiveer Johal Carole Radford Belinda Liao • James Warbis Symphony No 3 (Signum Classics/Maazel, Colin Kang Liz Reeve Anne Loveluck Robert Ward • LSO Live/Gergiev, Telarc/Zander), and Asher Kapinos Mikiko Ridd Liz McCaw Paul Williams-Burton Britten’s War Requiem (LPO Live/Masur). • Aayush Kumar

On Stage 19 London Symphony Orchestra on stage tonight

Leader Second Violins Cellos Flutes Bassoons Timpani LSO String Experience Scheme Roman Simovic David Alberman Tim Hugh Gareth Davies Daniel Jemison Nigel Thomas Since 1992, the LSO String Experience Thomas Norris Jennifer Brown Alex Jakeman Cerys Ambrose-Evans Scheme has enabled young string players First Violins Sarah Quinn Noel Bradshaw Patricia Moynihan Percussion from the London music conservatoires at Vesselin Gellev Miya Väisänen Eve-Marie Caravassilis Contra-Bassoon Neil Percy the start of their professional careers to gain Lennox Mackenzie Matthew Gardner Daniel Gardner Piccolo Martin Field David Jackson work experience by playing in rehearsals Clare Duckworth Belinda McFarlane Hilary Jones Sharon Williams Sam Walton and concerts with the LSO. The musicians Nigel Broadbent Andrew Pollock Victoria Simonsen Horns Paul Stoneman are treated as professional ‘extra’ players Ginette Decuyper Paul Robson Deborah Tolksdorf Oboes Timothy Jones Glyn Matthews (additional to LSO members) and receive Gerald Gregory Esther Kim Peteris Sokolovskis Timothy Rundle Angela Barnes Henry Baldwin fees for their work in line with LSO section Maxine Kwok-Adams Hazel Mulligan Rosie Jenkins Alexander Edmundson players. The Scheme is supported by The Harriet Rayfield Richard Blayden Double Basses Jonathan Lipton Harps Polonsky Foundation, Lord and Lady Lurgan Sylvain Vasseur Ingrid Button Colin Paris Cor Anglais Paul Gardham Bryn Lewis Trust, Barbara Whatmore Charitable Trust Rhys Watkins Siobhan Doyle Patrick Laurence Christine Pendrill and The Thistle Trust. Eleanor Fagg Laura Balboa Matthew Gibson Trumpets Pianos Morane Cohen- Thomas Goodman Clarinets Michael Møller Catherine Edwards Lamberger Violas Joe Melvin Chris Richards Gerald Ruddock Hilary Jane Parker Edward Vanderspar Jani Pensola Chi-Yu Mo Robin Totterdell Celeste Grace Lee Gillianne Haddow Nicholas Worters Emma Canavan Paul Mayes Philip Moore Takane Funatsu Anna Bastow Hugh Sparrow Lander Echevarria Bass Clarinet Trombones Robert Turner Francois Lemoine Peter Moore Editor Heather Wallington James Maynard Edward Appleyard | [email protected] Jonathan Welch E-Flat Clarinet Fiona Dinsdale | [email protected] Felicity Matthews Chi-Yu Mo Bass Trombone Editorial Photography Cynthia Perrin Paul Milner Ranald Mackechnie, Adriane White, Katrin Burger Saxophone Sergio Valente, Alfred Eisenstaedt / Getty Carol Ella Simon Haram Tuba Print Cantate 020 3651 1690 Richard Holttum Jean Xhonneux Advertising Cabbells Ltd 020 3603 7937

Details in this publication were correct at time of going to press.

20 The Orchestra 5 November 2017