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Home , CBSO Chorus, Daniel Harding, Gilbert Kaplan, Mahler Chamber Orchestra, Radio orchestra, Sarah Connolly

London Symphony Living Music

Sunday 5 June 2016 7pm Barbican Hall London’s Symphony Orchestra ’S ‘RESURRECTION’ SYMPHONY Mahler Symphony No 2 (‘Resurrection’)

Daniel Harding conductor Miah Persson soprano Anna Larsson alto chorus director

Concert finishes approx 8.35pm Please note that there will be no interval 2 Welcome 5 June 2016

Welcome Living Music Kathryn McDowell In Brief

In this evening’s LSO concert we are delighted to be NEW RELEASES ON LSO LIVE performing Mahler’s expansive Symphony No 2 under the direction of LSO Principal Guest Conductor Two new recordings will be available on LSO Live from . 10 June. The first sees the LSO Percussion Ensemble play the music of American pioneer Steve Reich, Joining the LSO tonight will be vocal soloists including his Sextet, Music for Pieces of Wood and Miah Persson and Anna Larsson, and the London Clapping Music. The second features the London Symphony Chorus, led by their Chorus Director Symphony Chorus with their director Simon Halsey Simon Halsey. The Chorus celebrates its highly performing Rachmaninov’s All-Night Vigil (Vespers). successful 50th anniversary season this year. Pre-order your copies on the LSO Live website.

I hope you enjoy the concert and will join us again lsolive.lso.co.uk on Thursday 9 June, when Daniel Harding returns to conduct Dvorˇák’s Othello Overture and Symphony No 8, with Lisa Batiashvili appearing as the soloist in LSO AT THE BBC PROMS 2016 Bartók’s First Concerto. The LSO will be returning to this year’s BBC Proms Festival at the for a performance of Mahler’s Symphony No 3 on 29 July, conducted by Bernard Haitink, who marks 50 years since his first Proms appearance, and featuring mezzo-soprano Kathryn McDowell CBE DL Sarah Connolly. The performance will be broadcast Managing Director live on BBC Four.

.co.uk/proms

A WARM WELCOME TO TONIGHT’S GROUPS

At this concert we are delighted to welcome: Denver Travel SRL Adele Friedland and friends Gerrards Cross Community Association Hayllar Music Tours Carolyn Johnson and friends

lso.co.uk/groups lso.co.uk Composer Profile 3

Mahler the Man by Stephen Johnson

obsession with mortality in Mahler’s music. Few of his major works do not feature a funeral march: in fact Mahler’s first composition (at age ten) was I am … a Funeral March with Polka – exactly the kind of three times homeless extreme juxtaposition one finds in his mature works. a native of Bohemia in Austria For most of his life Mahler supported himself by , but this was no mere means to an end. an Austrian among Germans Indeed his evident talent and energetic, disciplined commitment led to successive appointments a Jew throughout the world. at Prague, Leipzig, Budapest, Hamburg and climactically, in 1897, the Vienna Court Opera. In the midst of this hugely demanding schedule, Mahler composed whenever he could, usually during his summer holidays. The rate at which he composed during these brief periods is astonishing. The workload in no way decreased after his marriage Mahler’s sense of being an outsider, coupled with to the charismatic and highly intelligent Alma Schindler a penetrating, restless intelligence, made him an in 1902. Alma’s infidelity – which almost certainly acutely self-conscious searcher after truth. For Mahler accelerated the final decline in Mahler’s health in the purpose of art was, in Shakespeare’s famous 1910/11 – has earned her black marks from some phrase, to ‘hold the mirror up to nature’ in all its biographers; but it is hard not to feel some sympathy bewildering richness. The symphony, he told Jean for her position as a ‘work widow’. Sibelius, ‘must be like the world. It must embrace everything’. Mahler’s symphonies can seem almost Nevertheless, many today have good cause to over-full with intense emotions and ideas: love and be grateful to Mahler for his single-minded devotion hate, joy in life and terror of death, the beauty of to his art. T S Eliot – another artist caught between nature, innocence and bitter experience. Similar the search for faith and the horror of meaninglessness – themes can also be found in his marvellous songs wrote that ‘humankind cannot bear very much reality’. and song-cycles, though there the intensity is, But Mahler’s music suggests another possibility. With if anything, still more sharply focused. his ability to confront the terrifying possibility of a purposeless universe and the empty finality of death, 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 all the better for it. a presence from early on: six of Mahler’s siblings died in infancy. This no doubt partly explains the 4 Programme Notes 5 June 2016

Gustav Mahler (1860–1911) Symphony No 2 in C minor (‘Resurrection’) (1888–94, ed Stark/Kaplan)

1 ALLEGRO MAESTOSO: MIT DURCHAUS ERNSTEM UND But the question remains: how are we to make FEIERLICHEN AUSDRUCK [WITH A SERIOUS AND SOLEMN sense of a work like the ‘Resurrection’ Symphony? EXPRESSION THROUGHOUT] Obviously this is not ‘music about music’. The last 2 ANDANTE MODERATO: SEHR GEMÄCHLICH! NIE EILEN! two movements have texts dealing with matters [VERY MODERATE. NEVER RUSHING] of faith and doubt, and how belief in a God of Love 3 IN RUHIG FLIESSENDER BEWEGUNG [CALMLY FLOWING] can be reconciled with human suffering. Even when 4 ‘URLICHT’: SEHR FEIERLICH, ABER SCHLICHT (CHORALMÄSSIG) there are no words, there are pointers: the first [VERY SOLEMN BUT SIMPLE, LIKE A CHORALE] movement, for instance, is unmistakably a gigantic 5 IM TEMPO DES SCHERZOS: WILD HERAUSFAHREND funeral march. So the Second Symphony as a whole [SCHERZO TEMPO: IN A WILD OUTBURST] marks a huge progression from darkness to light, from death to life – ‘Resurrection’. Mahler may have PROGRAMME NOTE WRITER DANIEL HARDING CONDUCTOR had his doubts about a benign, omnipotent personal STEPHEN JOHNSON is the author MIAH PERSSON SOPRANO ‘God’, but he never really doubted the redeeming of Bruckner Remembered (Faber). ANNA LARSSON ALTO power of love. It is also possible to find a humanist He contributes regularly to BBC LONDON SYMPHONY CHORUS meaning: resurrection as a rising from the dead Music Magazine and The Guardian, SIMON HALSEY CHORUS DIRECTOR into the fullness of life here and now. As in Henrik and broadcasts for BBC Radio 3 Ibsen’s almost exactly contemporary play When We (BBC Legends and Discovering A young admirer once asked Mahler for a key to Dead Awaken, the challenge is to rise above fear of Music), Radio 4 and World Service. the ‘meaning’ of Symphony No 2 (1888–94). Mahler mortality. In the words of Klopstock’s Resurrection refused: ‘I would regard my work as having failed Ode, with which Mahler closes the finale: ‘Cease completely if I found it necessary to give people from trembling! Prepare yourself to live!’ like yourself even an indication as to its mood- sequence. In my conception of the work I was in FIRST MOVEMENT FRIEDRICH GOTTLIEB no way concerned with the detailed setting forth After the grimly arresting beginning (growls from KLOPSTOCK (1724–1803) was a of an event, but much rather of a feeling’. and basses through nervous string tremolos) German poet whose work marked a the long first movement settles into a steady transition away from the objective One can understand Mahler’s frustration. At first he’d march tempo. Mahler revealed that he imagined a rationalism of the Enlightenment and provided explanatory programme notes, but the public spectator watching a hero being carried to his grave, towards the subjective individualism kept getting the wrong end of the stick. Mahler’s wife and asking, ‘Why did you live? Why did you suffer? of Romanticism. Much of his legacy Alma remembered how, after a performance of this Is it all nothing but a huge, dreadful joke?’ A gentler rests on the epic poem Der Messias Symphony, an old Russian lady approached the second theme in the major key () briefly holds (The Messiah), which at 19,458 lines composer, ‘telling him that she felt her death to be out the promise of an answer, but it soon fades long, entirely in free-verse, caused near, and would he enlighten her about the other back into the funeral march – faster now, and more an outrage in German literary circles. world, as he had said so much about it in his Second urgent. The alternation of the two themes, one They were not ready to abandon Symphony? Alas, he was not so well informed about dark and despairing, the other light and hopeful formal strictness, though the freedom it as she supposed, and when he took his leave continues, but ultimately the funeral tread returns allowed a new generation of writers, he was made to feel very distinctly that she was darker than ever, until the movement is extinguished including Schiller and Goethe, to displeased with him’. Mahler’s final verdict on this with a furious final gesture – like Macbeth’s develop their styles. issue was succinct: ‘Perish all programmes!’ despairing ‘Out, out, brief candle!’ lso.co.uk Programme Notes 5

SECOND MOVEMENT Dies irae – Day of Wrath. Then an apocalyptic march The shorter second movement, according to Mahler’s section (with offstage bands) builds to an awe- instructions in the score, should follow a five-minute inspiring climax as Mahler paints a quasi-Medieval pause after the first movement, although this is not picture of the dead arising on the day of judgement. always observed in performance. Mahler’s original This culminates in another ‘cry of disgust’, now The LÄNDLER was a late-18th programme describes the movement as ‘a memory amplified with fanfares from the enlarged brass century folk dance from Austria, – a shaft of sunlight from out of the life of this hero’. section. Another moment of stillness, then more popular also in southern Germany, The music is steeped in the kind of Austrian country offstage fanfares are heard, enriched with sweet Switzerland and Slovenia. It was a dance tunes (especially the Ländler, country cousin woodwind birdsong. A different view of resurrection dance for couples, in triple meter, of the sophisticated urban Waltz) with which Mahler now follows as the chorus enters: ‘Rise again, yes, featuring hopping, stamping and had a lifelong love-hate relationship. you shall rise again’. Soprano and mezzo-soprano sometimes even yodelling. Four soloists recall and develop the Urlicht music. Finally of Mahler’s symphonies feature THIRD MOVEMENT chorus, full orchestra and organ lead to a thrilling this form. After this, the sinister, sarcastic humour of the third apotheosis on the final lines of Klopstock’s hymn: movement (a Scherzo in all but name) comes as ‘What you have struggled for shall carry you to God’. A NOTE ON THE EDITION a shock. ‘It can easily happen,’ Mahler wrote, ‘that The symphony culminates in massive brass calls This version of Mahler’s existence becomes horrible to you, like the swaying and the triumphal clangour of gongs and bells. Symphony No 2 was prepared of dancing figures in a brightly lit ballroom, into by Austrian musicologist Renate which you peer from the dark night outside … from Stark-Voit and American publisher which you perhaps start away with a cry of disgust.’ Gilbert Kaplan, and restores many The terrifying full orchestral ‘cry of disgust’ near the MORE MAHLER IN 2016/17 details that appeared in Mahler’s end is unmistakable. original manuscript but have Sun 25 Sep 2016 SYMPHONY NO 4 with Daniel Harding been lost through subsequent FOURTH MOVEMENT editing. The idea to create a Again we have complete contrast. The tiny fourth Thu 19 Jan 2017 critical edition of the score was movement opens with the mezzo-soprano singing SYMPHONY NO 6 with Sir the result of Mr Kaplan’s life-long the first line of the anonymous folk poem Urlicht Thu 30 Mar 2017 obsession with the piece, which (Primal Light). An anguished central section reaches SYMPHONY NO 1 with François-Xavier Roth he also conducted regularly its climax at the words ‘I am from God and will with many of the world’s top return to God’. At this, peace is resumed, and the Thu 6 Apr 2017 (including the LSO, movement ends with a beautiful final sigh on the SYMPHONY NO 7 with whose recording of the work with word Leben – ‘Life’. Tue 23 May 2017 Kaplan is the best-selling Mahler SYMPHONY NO 9 with Bernard Haitink recording in history). In fact it was FINALE the only piece in the repertoire Then the finale erupts with the ‘cry of disgust’ that Sun 25 Jun 2017 of this self-proclaimed ‘amateur’, ended the third movement. But gradually a new SYMPHONY NO 3 with Daniel Harding who would conduct the piece stillness comes over the music, with distant horn- from memory because of his lack calls and stirrings of life from woodwind and strings. Now on sale of ability in reading music. A woodwind chant recalls the Medieval chant lso.co.uk 6 Text 5 June 2016

Gustav Mahler Symphony No 2: Text

4 ‘URLICHT’

Alto Alto O Röschen roth! O tiny rose so red! Der Mensch liegt in grösster Noth! Mankind is in greatest distress! Der Mensch liegt in grösster Pein! Mankind is in greatest agony! Je lieber möcht’ ich im Himmel sein! How much better it would be to be in Heaven Da kam ich auf einem breiten Weg; As I came to a broad highway, Da kam ein Engelein und wollt’ mich abweisen. An Angel came and tried to turn me away. Ach nein! Ich liess mich nicht abweisen! But no! I would not be turned away: Ich bin von Gott und will wieder zu Gott! From God I come and shall return to God! Der liebe Gott wird mir ein Lichtchen geben, Dear God will give to me a little light, Wird leuchten mir bis in das ewig selig Leben! To light my way to eternal, blessed life!

5 IM TEMPO DES SCHERZOS

Chorus and Soprano Chorus and Soprano Aufersteh’n, ja aufersteh’n wirst du, Rise again, yea, rise again shalt thou, Mein Staub, nach kurzer Ruh! My mortal dust, after brief repose! Unsterblich Leben! Unsterblich Leben! Eternal life! Eternal life! Wird der dich rief dir geben. Shall he who called thee grant thee. Wieder aufzublühn wirst du gesät! To bloom again wert thou sown! Der Herr der Ernte geht The Lord of the Harvest goes Und sammelt Garben And gathers in the sheaves, Uns ein, die starben! Of us who died!

Alto Alto O glaube, mein Herz, O glaube; Oh believe, my heart, oh believe: Es geht dir nichts verloren! Nothing is lost for thee! Dein ist, was du gesehnt! Thine, yea, thine is all thou hast longed for! Dein, was du geliebt, Thine is all thou hast loved, Was du gestritten! All thou hast striven for!

Soprano Soprano O glaube, Oh believe, Du wardst nicht umsonst geboren! Thou wert not born in vain, Hast nicht umsonst gelebt, Neither hast thou vainly lived, Gelitten! Nor suffered! lso.co.uk Text 7

Chorus Chorus Was entstanden ist, Whatsoever is created Das muss vergehen! Must also pass away! Was vergangen, auferstehen! Whatsoever has passed away, must rise again!

Chorus and Alto Chorus and Alto Hör’ auf zu beben! Bereite dich zu leben! Cease thy trembling! Prepare to live!

Soprano and Alto Soprano and Alto O Schmerz! Du Alldurchdringer! O pain! Thou piercer of all things! Dir bin ich entrungen! From thee have I been torn away! O Tod! du Allbezwinger! O death! Of all things the master! Nun bist du bezwungen! Now art thou mastered! Mit Flügeln, die ich mir errungen, On wings that I have won me In heissem Liebesstreben, In fierce contest of love, Werd’ ich entschweben Shall I soar away Zum Licht, zu dem kein Aug’ gedrungen! To the light to which no eye hath penetrated!

Chorus Chorus Mit Flügeln, die ich mir errungen, On wings that I have won me Werd’ ich entschweben Shall I soar away! Sterben werd’ ich, um zu leben! I shall die, in order to live!

Chorus, Soprano and Alto Chorus, Soprano and Alto Aufersteh’n, ja aufersteh’n Rise again, yea, rise again Wirst du, mein Herz, in einem Nu! Shalt thou, my heart, in an instant! Was du geschlagen All that thou hast fought for Zu Gott wird es dich tragen! To God shall it bring thee!

English Translation © Ron Isted

THE GUSTAV MAHLER SOCIETY UK Daniel Harding president

The Society has an active programme of events including evening talks and weekend study days. It publishes a journal, The Wayfarer, and offers discounts to its members on a range of concerts. Individual membership costs £16 per year.

Full details can be found on the website mahlersociety.org 8 Artist Biographies 5 June 2016

Daniel Harding Conductor

Born in Oxford, Daniel Harding began his career His operatic experience includes Strauss’ Ariadne assisting Sir Simon Rattle at the City of auf Naxos, Mozart’s and The Marriage Symphony Orchestra, with which he made his of Figaro at the Salzburg Festival with the Vienna professional debut in 1994. He went on to assist Philharmonic, Britten’s The Turn of the Screw and at the and made Berg’s Wozzeck at the , Covent his debut with the Orchestra at the 1996 Berlin Festival. Garden, Mozart’s Die Entführung aus dem Serail at the Bayerische Staatsoper, Munich, Mozart’s From September 2016 he will become the Music The Magic at the Wiener Festwochen and Director of the and will continue Berg’s Wozzeck at the Theater an der Wien. Recent to carry out his roles as of the and future guest engagements include the world Swedish Radio Symphony Orchestra, Principal Guest premiere of Olga Neuwirth’s Masaot/Clocks Without Conductor of the London Symphony Orchestra and Hands with the Orchestra in Music Partner of the New Japan Philharmonic. He Vienna, Cologne and Luxembourg; a European tour is Artistic Director of the Ohga Hall in Karuizawa, with the Royal Concertgebouw Orchestra; and a return Japan and was recently honoured with the lifetime to the US to conduct the Los Angeles Philharmonic. title of Conductor Laureate of the Mahler Chamber Principal Guest Conductor Orchestra. His previous positions include Principal His recent recordings for Deutsche Grammophon, London Symphony Orchestra Conductor and Music Director of the MCO (2003–11), Mahler’s Symphony No 10 with the Vienna Principal Conductor of the Trondheim Symphony Philharmonic Orchestra, and Orff’s Carmina Burana Music Director (1997–2000), Principal Guest Conductor of Sweden’s with the Bavarian Radio Symphony Orchestra, have Swedish Radio Symphony Orchestra Norrköping Symphony (1997–2003) and Music both won widespread critical acclaim. For Virgin/EMI Director of the Deutsche Kammerphilharmonie he has recorded Mahler’s Symphony No 4 with the Music Partner Bremen (1997–2003). ; Brahms’ Symphonies New Japan Philharmonic Nos 3 and 4 with the Deutsche Kammerphilharmonie He is a regular visitor to the Vienna Philharmonic, Bremen; Britten’s Billy Budd with the London Artistic Director Dresden Staatskapelle, Royal Concertgebouw, Symphony Orchestra (winner of a Grammy Award Ohga Hall Berlin Philharmonic, the Bavarian Radio, Leipzig for best opera recording); Mozart’s Don Giovanni and Gewandhaus and the Orchestra Filarmonica della Britten’s The Turn of the Screw, both with the Mahler Conductor Laureate Scala. Other guest conducting engagements have Chamber Orchestra; works by Lutosławski with Mahler Chamber Orchestra included the Munich Philharmonic, Orchestre Solveig Kringelborn and the Norwegian Chamber National de Lyon, Oslo Philharmonic, London Orchestra; and works by Britten with Philharmonic, Royal Stockholm Philharmonic, Santa and the Britten Sinfonia. Cecilia Orchestra of Rome, Orchestra of the Age of Enlightenment, Rotterdam Philharmonic, Frankfurt In 2002 he was awarded the title Chevalier de l’Ordre Radio Orchestra and the Orchestre des Champs- des Arts et des Lettres by the French Government Elysées. US orchestras he has performed with and in 2012 he was elected a member of The Royal include the , Philadelphia Swedish Academy of Music. Orchestra, Boston Symphony Orchestra, Los Angeles Philharmonic and Chicago Symphony Orchestra. lso.co.uk Artist Biographies 9

Miah Persson Anna Larsson Soprano Alto

Internationally renowned Swedish Anna Larsson graduated from soprano Miah Persson has worked the University College of Opera all over the world as a concert in Stockholm in 1996. Her artist and recitalist, as well as on international debut was made in the operatic stage. Mahler’s Symphony No 2 with the Berlin Philharmonic Orchestra and In concert Miah has appeared with Claudio Abbado in 1997, and her the Chicago Symphony Orchestra, opera debut as Erda in Wagner’s Munich, the at the Deutsche Accademia Santa Cecilia, and the Staatsoper in Berlin conducted Simón Bolívar Symphony Orchestra by . of Venezuela and Gustavo Dudamel in Salzburg. She has performed In concert, Anna Larsson is Strauss’ Four Last Songs with the rightly justifying her international Montreal Symphony Orchestra at position as the premier and the BBC Proms; Mahler’s Fourth most consummate interpreter of Symphony and Strauss’ Four Last Songs with the Budapest Festival Gustav Mahler’s works. She regularly sings with all the great orchestras Orchestra in a tour of South America; Mozart and Gluck arias with the including the Berlin Philharmonic, Lucerne Festival Orchestra, New Hamburg Symphony Orchestra; Mozart arias at the Concertgebouw York Philharmonic, Wiener Philharmoniker, Accademia Nazionale di ; Mahler’s Symphony No 2 with the New York Philharmonic, Santa Cecilia Orchestra, Chicago Symphony, Los Angeles Philharmonic, the Swedish Radio Symphony Orchestra and the Philharmonia Orchestra; London Symphony and London Philharmonic orchestras. She sings Bach’s B Minor Mass at La Fenice; Mahler’s Symphonies Nos 2 and 4, almost the entire concert repertoire for contralto or mezzo-soprano and Mozart arias with the Los Angeles Philharmonic; Bach’s St Matthew and orchestra with the most illustrious conductors, including Zubin Passion with the Rotterdam Philharmonic Orchestra; and Grieg’s Peer Mehta, Esa-Pekka Salonen, Daniel Harding, , Sir Simon Gynt at the Grafenegg Festival with the BBC Symphony Orchestra. Miah Rattle, Sir Antonio Pappano, Gustavo Dudamel, Seiji Ozawa, Mark has also given recitals at London’s Wigmore Hall, Vienna Konzerthaus, Wigglesworth, , Marc Albrecht, Hartmut Haenchen, Amsterdam Concertgebouw, Schubertiade, and at the Tonhalle Zurich. Kurt Masur, Lorin Maazel, Alan Gilbert and Nikolaus Harnoncourt.

Engagements in the 2015/16 season and beyond include the Governess In December 2010 Anna Larsson was appointed Court Singer by King in Britten’s The Turn of the Screw at ; Mozart’s with Carl XVI Gustaf of Sweden, and in 2011 she opened her own concert the Nashville Symphony; Blank Out, a new work by Michel van der house, Vattnäs Concert Barn, in Dalecarlia, where she has sung God Aa, for Netherlands Opera with performances in Amsterdam, Rome, the mother in The King of Fools, the newly composed opera about , Lucerne, Beijing and Rotterdam; Grieg’s Peer Gynt with the Jussi Björling that Vattnäs Concert Barn commissioned for the summer Vienna Symphony Orchestra; Donna Elvira in Mozart’s Don Giovanni festival in 2015. This season includes returns to the Royal Opera at the Liceu Barcelona; Strauss’ Four Last Songs with Deutsches House, for Zia Principessa in Puccini’s Suor Angelica Symphonie-Orchester Berlin; Fiordiligi in Mozart’s Così fan tutte with with Sir Antonio Pappano; the for Erda in Wagner’s Tokyo Symphony Orchestra; and her return to Wigmore Hall. Siegfried, Waltraute in his Götterdämmerung, and Klytaemnestra in Strauss’ Elektra; and the Deutsche Staatsoper Berlin for Wagner’s Ring with Daniel Barenboim. 10 Artist Biographies 5 June 2016

Simon Halsey CBE Choral Director

Simon Halsey is a sought-after conductor of venues and interdisciplinary formats; he retains a choral repertoire at the very highest level, and an close collaboration with the ensemble in his new ambassador for choral singing across the world. position of Conductor Laureate. As Artistic Director He is Choral Director of the London Symphony of the Berliner Philharmoniker’s Youth Choral Orchestra and Chorus, Chorus Director of the City Programme Vokalhelden (‘Vocal Heroes’), Halsey of Birmingham Symphony Orchestra Choruses, and leads a long-term education and performance Director of the BBC Proms Youth Choir. Halsey is project that brings together children from diverse also Conductor Laureate of the Rundfunkchor Berlin, backgrounds from all over Berlin. Halsey’s CBSO Artistic Director of the Berliner Philharmoniker’s Chorus is in high demand from other leading Youth Choral Programme, and Artistic Advisor of the orchestras, in addition to its work with the City of Schleswig-Holstein Musik Festival Choir. From 2016 Birmingham Symphony Orchestra. Recent highlights he adds the roles of Artistic Director of the Orfeó include a performance of Mahler’s Symphony No 2 Català Choirs and Artistic Adviser to the Palau de with the Berliner Philharmoniker and the LSC at the la Música, Barcelona. Making singing a central part Royal Festival Hall, celebrating Sir Simon Rattle’s of these world-class institutions, Halsey has been 60th birthday. At the CBSO Halsey has also founded instrumental in changing the level of symphonic a Youth Chorus and Children’s Chorus, as well Choral Director singing across . as two community choirs in Birmingham and the London Symphony Orchestra surrounding area. London Symphony Chorus Since becoming Choral Director of the London Artistic Director Symphony Orchestra and Chorus in 2012, Halsey Halsey’s numerous awards include three Grammys Orfeó Català Choirs has been credited with bringing about a ‘spectacular for his recordings with the Rundfunkchor Berlin. transformation’ (Evening Standard) of the LSC. 2015/16 He was awarded The Queen’s Medal for Music 2014 Artistic Advisor highlights with the LSO have included Debussy’s for his influence on the musical life of the UK, and Palau de la Música Pelléas et Mélisande and Haydn’s The Seasons with was also made Commander of the Order of the Chorus Director Sir Simon Rattle, and Elgar’s The Dream of Gerontius British Empire in The Queen’s Birthday Honours City of Birmingham Symphony with Sir Mark Elder. The Chorus also joined the LA 2015. In recognition of his outstanding contribution Orchestra Choruses Philharmonic and Gustavo Dudamel at the Barbican to choral music in Germany, Halsey was given for a performance of Mahler’s Symphony No 3, and the Officer’s Cross of the Order of Merit of the Conductor Laureate sang Rachmaninov’s Vespers at London Temple Church, Federal Republic of Germany in 2011. He holds Rundfunkchor Berlin with Halsey on the podium. In June 2016, the LSO three honorary doctorates from universities in Artistic Director Discovery Choirs and Community Choir will perform the UK, and is Professor and Director of Choral Berlin Philharmonic the world premiere of The Hogboon, Sir Peter Maxwell Activities at the University of Birmingham. In 2011 Youth Choral Programme Davies’ new children’s opera, with Sir Simon Rattle Schott Music published his book and DVD on choral and students from Guildhall School of Music. conducting, Chorleitung: Vom Konzept zum Konzert. Director Born in London, Simon Halsey sang in the choirs BBC Proms Youth Choir Under Halsey’s leadership the Rundfunkchor Berlin of New College, Oxford, and of King’s College, Artistic Advisor gained a reputation internationally as one of the Cambridge. He studied conducting at the Royal Choir Academy of the finest professional choral ensembles. Halsey also College of Music in London. Schleswig-Holstein Musik Festival initiated innovative projects in unconventional lso.co.uk London Symphony Chorus 11

London Symphony Chorus Biography On stage

The London Symphony Chorus was formed in 1966 to complement SOPRANOS ALTOS TENORS BASSES the work of the London Symphony Orchestra, and this season marks Frankie Arnull Elizabeth Boyden Paul Allatt * Simon Backhouse * Heather Ashford Gina Broderick Erik Azzopardi Laurence Bacon its 50th anniversary. The partnership between the LSC and LSO Kerry Baker Jo Buchan * Matt Fernando Gavin Buchan has continued to develop and was strengthened in 2012 with the Louisa Blankson Lizzy Campbell Matthew Flood Steve Chevis appointment of Simon Halsey as joint Chorus Director of the LSC Evaleen Brinton Liz Cole Andrew Fuller Matt Clarke Anna Byrne-Smith Maggie Donnelly Simon Goldman Thomas Fea * and Choral Director for the LSO. Carol Capper * Diane Dwyer Euchar Gravina Ian Fletcher Laura Catala-Ubassy Lynn Eaton Matthew Horne Robert Garbolinski * Jessica Collins Linda Evans John Marks Gerald Goh The LSC has partnered many other major orchestras and has Shelagh Connolly Tina Gibbs Alastair Matthews John Graham performed nationally and internationally with the Berlin and Vienna Harriet Crawford Joanna Gill Tucker Moore Owen Hanmer * Philharmonic Orchestras, and the Leipzig Gewandhaus Orchestra. Rebecca Dent Yoko Harada Daniel Owers James Hockey Lucy Farrington Kate Harrison Chris Riley Anthony Howick Championing the musicians of tomorrow, it has also worked with Lucy Feldman Lis Iles David Rowe Alex Kidney both the NYOGB and the EUYO. The Chorus has toured extensively Naomi Fletcher Ella Jackson Harpreet Sandhu Thomas Kohut throughout Europe and has also visited North America, Israel, Joanna Gueritz Kristi Jagodin Peter Sedgwick Gregor Kowalski Maureen Hall Christine Jasper Chris Straw Isaac Leavertone Australia and South East Asia. Isobel Hammond Jill Jones Malcolm Taylor Peter Leppard Emma Harry Vanessa Knapp James Warbis George Marshall Emily Hoffnung Gilly Lawson Brad Warburton Hugh McLeod Highlights from last season include Haydn’s The Creation with Denise Hoilette Olivia Lawson Robert Ward * Geoff Newman Edward Gardner at the City of London Festival, Brahms’ Requiem with Josefin Holmberg Belinda Liao * Paul Williams-Burton Alan Rochford Daniel Harding, and critically acclaimed performances with Sir Simon Claire Hussey * Liz McCaw Alan Winwood Richard Tannenbaum Debbie Jones Jane Muir Gordon Thornett Rattle of Schumann’s rarely performed Das Paradies und die Peri with Jessica Kirby Caroline Mustill Robin Thurston the LSO at the Barbican, and Mahler’s Second Symphony with the Luca Kocsmarszky Helen Palmer Tom Torley Berlin Philharmonic and the CBSO Chorus at the Royal Festival Hall. Emily Norton Susannah Priede Jezz Wareing Jessica Norton Lucy Reay Johannes Wolff Maggie Owen Emma Recknell In the 2015/16 season the LSC has been celebrating its 50th anniversary Andra Patterson Maud Saint-Sardos Frances Pope Lis Smith with a range of performances, including Rachmaninov’s All-Night Vigil Liz Reeve Claire Trocme in Temple Church; Bernstein’s Chichester Psalms with James Gaffigan; Tabitta van Nouhuys Curzon Tussaud * Denotes LSC council member Haydn’s The Seasons with Rattle; Elgar’s The Dream of Gerontius Rebecca Vassallo Rachel Twyford Gabrielle Walton-Green Magdalena Ziarko with Sir Mark Elder; and the world premiere performance of a new Lizzie Webb opera by Sir Peter Maxwell Davies, The Hogboon in June. Becky Wheaton

President Sir Simon Rattle OM CBE The London Symphony Chorus is generously supported by: President Emeritus André Previn KBE John S Cohen Foundation, The Helen Hamlyn Trust, The Revere Charitable Trust, Vice President Michael Tilson Thomas The Welton Foundation, LSC Friends, Members of the LSC Patrons Simon Russell Beale CBE and Howard Goodall CBE LSO Sing is generously supported by: Chorus Director Simon Halsey CBE Sir Siegmund Warburg’s Voluntary Settlement Assistant Directors Neil Ferris and Matthew Hamilton Chorus Accompanist Roger Sayer Want to sing with the LSC? Find out more about life in one of London’s Chairman Owen Hanmer leading choirs, and how to apply, on the LSC website: lsc.org.uk/join-us 12 The Orchestra 5 June 2016

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FIRST VIOLINS HORNS PERCUSSION 19 MAY: SIR ANTONIO PAPPANO & VIKTORIA MULLOVA Roman Simovic Leader Edward Vanderspar Gareth Davies Christopher Parkes Neil Percy John Mills Gillianne Haddow Alex Jakeman Angela Barnes David Jackson Lennox Mackenzie German Clavijo Patricia Moynihan Alexander Edmundson Sam Walton Edicson Ruiz Thank you Clare Duckworth Lander Echevarria Jonathan Lipton Tom Edwards @londonsymphony for the dreamlike PICCOLOS Nigel Broadbent Anna Bastow Timothy Jones Jeremy Cornes concert yesterday with Maestro Pappano! Ginette Decuyper Julia O’Riordan Sharon Williams Nick Hougham Gerald Gregory Robert Turner Meilyr Hughes OFF-STAGE You made my week! Jörg Hammann Heather Wallington PERCUSSION Olivier Stankiewicz Claire Parfitt Philip Hall OFF-STAGE HORNS Tom Lee Rosie Jenkins Laurent Quenelle Richard Holttum Jocelyn Lightfoot Glyn Matthews Jack Ryan Smith INCREDIBLY impressive, Jane Marshall Harriet Rayfield Melanie Martin Brendan Thomas Karen Hutt dynamic Mahler 6 from Antonio Pappano Ian Rhodes Felicity Matthews Andrew Budden COR ANGLAIS HARPS & @londonsymphony. Sylvain Vasseur Jeffrey Bryant Christine Pendrill Bryn Lewis Rhys Watkins CELLOS Manon Morris Takane Funatsu Rebecca Gilliver CLARINETS Philip Cobb Paul Arbuthnot Epic #Mahler6 Roisin Walters Alastair Blayden Chris Richards Gerald Ruddock ORGAN @BarbicanCentre with @londonsymphony Jennifer Brown Chi-Yu Mo Catherine Edwards SECOND VIOLINS Noel Bradshaw Thomas Lessels & amazing Shostakovich Violin Concerto David Van Dijk Eve-Marie Caravassilis Anna Hashimoto Nigel Thomas No 1 with @ViktoriaMullova Great evening! Thomas Norris Daniel Gardner Antoine Bedewi E-FLAT CLARINET Sarah Quinn Hilary Jones Chi-Yu Mo Miya Väisänen Amanda Truelove 22 MAY: BMW LSO OPEN AIR CLASSICS David Ballesteros Miwa Rosso Matthew Gardner Victoria Simonsen Duncan Gould Julian Gil Rodriguez Leah Bae Had an amazing experience Naoko Keatley DOUBLE BASSES at #BMWLSOopenair. Thanks Belinda McFarlane Rick Stotijn Rachel Gough @londonsymphony + @BMW for using William Melvin Colin Paris Joost Bosdijk Iwona Muszynska Patrick Laurence Dominic Tyler music to make London feel like such a Philip Nolte Thomas Goodman special place. Andrew Pollock Joe Melvin CONTRA Paul Robson Jani Pensola Dominic Morgan Paul Sherman Sarah Owens Absolutely loved tonight’s Simo Väisänen Tchaikovsky at #BMWLSOopenair! Quality #classicalmusic @londonsymphony

LSO STRING EXPERIENCE SCHEME

Established in 1992, the LSO String Experience The Scheme is supported by: London Symphony Orchestra Editor Scheme enables young string players at the Help Musicians UK Barbican Edward Appleyard start of their professional careers to gain The Polonsky Foundation Silk Street [email protected] work experience by playing in rehearsals The Barbara Whatmore Charitable Trust London and concerts with the LSO. The scheme The Idlewild Trust EC2Y 8DS Photography auditions students from the London music The Lefever Award Igor Emmerich, Kevin Leighton, conservatoires, and 15 students per year Registered charity in England No 232391 Anna Thorbjornsson, Monika Rittershaus, are selected to participate. The musicians Taking part in both the rehearsals and Julian Hargreaves Details in this publication were correct are treated as professional ’extra’ players performance of this programme was first at time of going to press. Print Cantate 020 3651 1690 (additional to LSO members) and receive fees violinist Anna Lee. for their work in line with LSO section players. Advertising Cabbell Ltd 020 3603 7937