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Home , Carl Martin Reinthaler, Fabio Luisi, Julia Kleiter, London Symphony Chorus, Philippe Jordan, Rinaldo (cantata)

Orchestra Living

Sunday 19 March 2017 7pm Barbican Hall

BRAHMS’ GERMAN

Schubert Symphony No 8 (‘Unfinished’) INTERVAL Brahms German Requiem

London’s Symphony Orchestra conductor soprano Simon Keenlyside baritone chorus director

Concert finishes approx 9.10pm

2 Welcome 19 March 2017

Welcome Living Music Kathryn McDowell In Brief

Welcome to tonight’s LSO concert at the Barbican, THANK YOU TO THE LSO GUARDIANS where conductor Fabio Luisi returns for his second programme of German repertoire with us this season. Tonight we welcome the LSO Guardians, and extend our sincere thanks to them for their commitment to After his performance of Beethoven’s Mass in C in the Orchestra. 2014, we are delighted that Fabio Luisi will conduct the LSO and London Symphony Chorus in Brahms’ LSO Guardians are those who have pledged to German Requiem, joined by soloists Simon Keenlyside remember the LSO in their Will. In making this and Julia Kleiter, who makes her LSO debut tonight. meaningful commitment, they are helping to The concert opens with another piece from the 19th secure the future of the Orchestra; ensuring that century, Schubert’s ‘Unfinished’ Symphony No 8. our world-class artistic programme continues, and that our pioneering education and community I would like to take this opportunity to thank our projects will thrive for years to come. media partner Classic FM, who have supported and recommended tonight’s concert. lso.co.uk/legacies

I hope you enjoy the performance and will join us again on 23 March, when Alain Altinoglu makes his FRANÇOIS-XAVIER ROTH TO BECOME LSO debut a programme of Prokofiev’s LSO PRINCIPAL GUEST CONDUCTOR Overture on Hebrew Themes, Ravel’s complete Daphnis and Chloé with the London Symphony On 7 March the LSO was delighted to announce that Chorus, and Shostakovich’s Cello Concerto No 1 François-Xavier Roth will become the Orchestra’s with Gautier Capuçon as the soloist. Principal Guest Conductor from September 2017. For more information, please visit:

lso.co.uk/news

Kathryn McDowell CBE DL A WARM WELCOME TO TONIGHT’S GROUPS Managing Director The LSO offers great benefits for groups of 10+, including 20% discount on standard tickets. Tonight we are delighted to welcome:

Paradise Travel

lso.co.uk/groups London Symphony Orchestra

Legacy Giving Leaving a legacy to the London Symphony Orchestra is one of the most enduring gifts you can make, and ensures that future generations will have access to the outstanding music- making of the Orchestra.

When the time is right for you to include a gift in your Will, please securing remember us. the future

To find out more about legacy giving, or to have a discussion about leaving a legacy to the LSO, please contact us: [email protected] London Symphony Orchestra 020 7382 2514 , London EC2Y 8DS lso.co.uk/legacies London Symphony Orchestra is a registered charity in England No 232391 4 Programme Notes 19 March 2017

Franz Schubert (1797–1828) Symphony No 8 in B minor D759 (‘Unfinished’) (1822)

1 ALLEGRO MODERATO Whatever it was that stopped Schubert from 2 ANDANTE CON MOTO completing the symphony we shall probably never know. A number of theories have been suggested, PROGRAMME NOTE WRITER Music history is littered with incomplete compositions, among the most convincing of which is that, having LINDSAY KEMP is a senior from Bach’s Art of Fugue to Berg’s Lulu. So why, broken off composition with the third movement producer for BBC Radio 3, including alone among them all, has the symphony that Schubert just begun, Schubert simply felt unable to pick up programming Lunchtime Concerts began in October 1822, and then abandoned with the threads of such an intensely personal work. from Wigmore Hall and LSO St Luke’s, only two of its intended four movements completed, His development as an instrumental composer was Artistic Director of the London become known as the ‘Unfinished’? Why are Bruckner’s rapid at this time, and an ambitious desire to forge Festival of Baroque Music, and a Ninth or Mahler’s Tenth, both regularly performed for himself a position as Beethoven’s acknowledged regular contributor to Gramophone. today in their partial state, not similarly entitled? successor may well be the reason for a large The probable reason is that in most cases it was death number of other broken works from the years that prevented fulfilment of the work, an implacable around 1820. Maybe, too, in his mind he had simply external force which gives no reason to cast doubt moved on by the time the chance to resume work on a composer’s motivation or drive. Short though on the ‘Unfinished’ presented itself; certainly its his life was, Schubert had another six years in which uniquely sustained brand of pained poetic lyricism to finish the ‘Unfinished’, and he wrote many other was not one to which he later returned. works after it. Clearly the reason for its abandonment SCHUBERT’S LETTER TO was an inner one. Whatever it was that stopped THE MUSIC SOCIETY Vienna, 20 September 1823 The known facts are inconclusive. When in August Schubert from completing Highly esteemed Society! 1823 Schubert was elected an honorary member the symphony we shall For the diploma appointing me an of a music society based in Graz, he offered to probably never know. honorary member – which on account present them with the manuscript of the incomplete of my prolonged absence from as a token of thanks, perhaps with a I received only a few days ago – I thank promise to compose the rest of it soon. The score The opening presents a bleak vision: a sinuous and you most devotedly. May my fervour was duly given to the Society’s representatives, menacingly subterranean theme intoned by cellos to serve the art of music succeed in Joseph and Anselm Hüttenbrenner, in whose private and double basses, followed by a nervous string making me once fully worthy of this hands it then remained. That they saw no reason to accompaniment to an aching tune given out on honour. To express my sincerest release it is not as perverse as it sounds; Schubert’s and . The music then builds steadily gratitude in a musical form as well contemporary reputation was almost exclusively in volume until a held note on horns and I shall take the liberty of sending as a composer of vocal music, and, as far as we swells into a brief but sturdy bridge to the lilting your worthy society within the know, no symphony of his was accepted for public second theme. Announced by cellos and taken up by shortest possible time the score performance anywhere between the premiere of the the violins, this new, major-key theme seems at first of one of my . Sixth in 1818 and his death ten years later. Thus it was to promise a more carefree mood, but interruptions With the deepest respect, only when latter-day Schubert-lovers wrested the score from the full orchestra suggest otherwise, and it is A most grateful and obedient of the ‘Unfinished’ from Anselm over 40 years after it with a sense of relief that the theme later emerges servant of this worthy society, was written that it finally came to light, receiving its in a sweetly extended version. After this first section Franz Schubert premiere in Vienna in 1865 to keen public interest. has been repeated, a brief reminder of the opening lso.co.uk Programme Notes 5

Franz Schubert Composer Profile

then leads us into the dark realms of the central In childhood, Schubert was taught the violin by development section, which takes the cello-and- his schoolmaster father and piano by his eldest bass theme and works it up to a pitch of nightmarish brother. He rapidly became more proficient than his intensity. The sequence of first and second themes is teachers, and showed considerable musical talent, then reprised, before the introductory theme returns so much so that in 1808 he became a member of once again to initiate a world-weary, dejected coda. Vienna’s famous Imperial Court chapel . He was educated at the Imperial City College, where Schubert casts the slow second movement in E major, he received lessons from the composer Salieri. His a distant key from the B minor of the first which father, eager that Franz should qualify as a teacher enhances the sense of entering a different and work in the family’s schoolhouse, encouraged world. Indeed, the relationship between the two the boy to return home in 1814. Compositions soon movements has been described by one writer as began to flow, although teaching duties interrupted that of ‘a certain premonition of death and a vision progress. Despite his daily classroom routine, of heaven’. But despite the Elysian beauty of the Schubert managed to compose 145 songs in 1815, tender first theme, and even the apparent gruff together with four stage works, two symphonies, cheerfulness with which its striding bass line at one two masses and a large number of chamber pieces. point offers to take things over, the night-terrors still COMPOSER PROFILE BY lurk. The clarinet’s nostalgic second theme is the first ANDREW STEWART Though the quantity of Schubert’s output is to hint at disquiet, but the orchestral outburst which astonishing enough, it is the quality of his melodic rears its head later on leaves no doubt that true invention and the richness of his harmonic peace of mind is not to be had here. conception that are the most remarkable features of his work. He was able to convey dramatic images Schubert’s half-composed third movement is a and deal with powerful emotions within the space bold and vigorous scherzo; what the finale might of a few bars, as he so often did in his songs and MORE SCHUBERT IN 2017/18 have been remains a mystery. But then, given chamber works. The public failure of his stage the power of the music he had written already, works and the reactionary attitudes to his music Thu 11 Jan 2018 7.30pm perhaps that was too difficult a question even for of conservative Viennese critics did not restrict Schubert Symphony No 8 Schubert to answer. his creativity, nor his enjoyment of composition; (‘Unfinished’) illness, however, did affect his work and outlook. Mahler Rückert Lieder In 1824 Schubert was admitted to Vienna’s General Handel Three Arias Hospital for treatment for syphilis. Although his Rameau Les Boréades – Suite condition improved, he suffered side-effects from his medication, including severe depression. During Sir conductor the final four years of his life, Schubert’s health Magdalena Kozˇena´ declined; meanwhile, he created some of his finest mezzo-soprano compositions, chief among which are the song-

INTERVAL – 20 MINUTES cycles Winterreise and Schwanengesang, and the Book now There are bars on all levels of the Concert Hall; ice cream last piano sonatas. lso.co.uk/alwaysmoving can be bought at the stands on the Stalls and Circle level. 6 Programme Notes 19 March 2017

Johannes Brahms (1833–97) German Requiem Op 45 (1865–68)

1 SELIG SIND, DIE DA LEID TRAGEN early 1850s when the 20-year-old Brahms first met (BLESSED ARE THEY THAT MOURN) Robert and Clara Schumann. They were amazed at 2 DENN ALLES FLEISCH ES IST WIE GRAS this young genius, and shortly afterwards Schumann (FOR ALL FLESH IS AS GRASS) published the famous article which proclaimed 3 HERR, LEHRE DOCH MICH Brahms to be the long-awaited who would (LORD, MAKE ME TO KNOW MINE END) bring to fulfilment all the best tendencies in German 4 WIE LIEBLICH SIND DEINE WOHNUNGEN music. Within months Schumann’s mental health (HOW LOVELY ARE THY DWELLINGS) collapsed; he attempted suicide and was confined in 5 IHR HABT NUN TRAURIGKEIT an asylum, where he died in 1856. In the meantime, (AND YE NOW THEREFORE HAVE SORROW) Brahms became closely attached to Schumann’s 6 DENN WIR HABEN HIE wife Clara, and the music from these years expresses (FOR HERE HAVE WE NO CONTINUING CITY) much of the turmoil and stress he experienced. 7 SELIG SIND DIE TOTEN (BLESSED ARE THE DEAD) ‘As far as the text is concerned, JULIA KLEITER SOPRANO I confess that I would gladly omit SIMON KEENLYSIDE BARITONE LONDON SYMPHONY CHORUS even the word ‘German’ and SIMON HALSEY CHORUS DIRECTOR instead use ‘Human’.

PROGRAMME NOTE WRITER Brahms was a questioning, subtle agnostic who Brahms, writing to Carl Martin Reinthaler, ANDREW HUTH is a musician, could not accept any dogmatic form of religion. Director of Music at the Bremen Cathedral writer and translator who writes His German Requiem is not a liturgical work, nor extensively on French, Russian and even specifically Christian. There is no mention of Eastern European music. sin or redemption, no vision of eternal judgement In 1854 Brahms began a sonata for two pianos, or plea for divine mercy. Instead, there is an almost which then turned into a projected symphony in pagan sense of inevitable fate, tempered by stoic D minor. The first movement of this, in its turn, MARTIN LUTHER (1483–1546) endurance and a search for consolation and hope. eventually became the opening movement of the initiated the Protestant Reformation The ‘German’ in the title has nothing to do with First Piano Concerto (1856–58), while the theme of a by nailing his Ninety-Five Theses nationalism, but refers to the language: Brahms slow movement in the triple rhythm of a Sarabande to the door of Wittenberg Castle admired the poetry and wisdom to be found in became the basis of the second movement of the Church in 1517. He argued that many passages in the Bible and compiled his own Requiem. The dark style of orchestration that Brahms the theological underpinnings texts from the Old and New Testaments and the devised for the Concerto certainly influenced the of Catholicism were flawed and Apocrypha in the venerable 16th-century translation Requiem’s overall sound; and the Concerto’s slow proposed a radical new interpretation by Martin Luther. movement marks the first appearance of a particular of scripture and faith that would mood of resigned serenity that is so characteristic of form the basis of all subsequent The immediate stimulus for the composition of the Requiem, the work which Brahms hoped would Protestant denominations. the Requiem was the death of Brahms’ mother in be worthy of Schumann’s prophecies and stand as a February 1865, but its genesis goes back to the suitable memorial to him. lso.co.uk Programme Notes 7

Johannes Brahms Composer Profile

After a poorly rehearsed run-through of three Johannes Brahms was born in Hamburg, the son of movements in Vienna in December 1867, Brahms an impecunious musician; his mother later opened conducted the first performance on 10 April a haberdashery business to help lift the family out of (Good Friday) 1868 in Bremen Cathedral, just a poverty. Showing early musical promise he became a month before his 35th birthday. The Requiem then pupil of the distinguished local pianist and composer consisted of only six movements. Brahms soon Eduard Marxsen and supplemented his parents’ added a seventh movement and in February 1869 meagre income by playing in the bars and brothels the final form of the work was premiered under of Hamburg’s infamous red-light district. Carl Reinecke in . Within a year it had received 20 performances in Germany and Switzerland, and In 1853 Brahms presented himself to Robert Schumann soon made Brahms famous throughout Europe. in Düsseldorf, winning unqualified approval from the older composer. Brahms fell in love with Schumann’s The first movement, with divided violas and cellos wife, Clara, supporting her after her husband’s but no violins or , establishes a prevailing illness and death. The relationship did not develop mood; each of the following movements has its as Brahms wished, and he returned to Hamburg; own distinct colouring, its own particular shade their close friendship, however, survived. In 1862 of objectivity or intimacy, resulting in an overall COMPOSER PROFILE BY Brahms moved to Vienna where he found fame arch-like structure. ANDREW STEWART as a conductor, pianist and composer. The Leipzig premiere of his German Requiem in 1869 was a The solo baritone in the third and sixth movements, triumph, with subsequent performances establishing and the soprano in the fifth, sing passages which BRAHMS on LSO LIVE Brahms as one of the emerging German nation’s are among the most deeply expressive and personal foremost composers. Following the long-delayed utterances in all of Brahms’ music. It is the chorus, Brahms completion of his First Symphony in 1876, he though, that bears the burden of the Requiem, German composed in quick succession the , conveying the inner meaning of the words that Brahms Requiem the two piano Rhapsodies, Op 79, the First Violin had so carefully chosen to express his deepest £8.99 Sonata and the Second Symphony. His subsequent thoughts on life and death. Not that Brahms himself lsolive.lso.co.uk association with the much-admired court orchestra ever tried to explain in words what he was doing. in Meiningen allowed him freedom to experiment Whenever he was asked what lay behind his music conductor and de­velop new ideas, the relationship crowned by he would turn away questions with the sort of the Fourth Symphony of 1884. gruffness he seems to have inherited from his father. ‘The LSO sound is immaculate’ After the Bremen premiere of the Requiem, which Sentinel In his final years, Brahms composed a series of reduced many in the audience to tears, old Jakob profound works for the clarinettist Richard Mühlfeld, Brahms was discovered taking snuff outside the and explored matters of life and death in his Four cathedral, simply muttering ‘It didn’t sound too bad’. Serious Songs. He died at his modest lodgings in Vienna in 1897, receiving a hero’s funeral at the city’s central cemetery three days later. 8 Texts 19 March 2017

Johannes Brahms German Requiem: Texts

1 Seilig sind, die da Leid tragen Blessed are they that mourn Selig sind, die da Leid tragen, denn sie sollen Blessed are they that mourn, Matthew 5:4 getröstet werden. for they shall be comforted.

Die mit Tränen säen, werden mit Freuden ernten. They that sow in tears shall reap in joy. Psalm 126:5–6 Sie gehen hin und weinen und tragen edlen Samen, They that go forth and weep, bearing precious seed, und kommen mit Freuden und bringen ihre Garben. shall doubtless come again with rejoicing, bringing their sheaves with them.

Seilig sind, die da Leid tragen … Blessed are they that mourn …

2 Denn alles Fleisch es ist wie Gras For all flesh is as grass Denn alles Fleisch es ist wie Gras For all flesh is as grass, and all the glory of man as 1 Peter 1:24 und alle Herrlichkeit des Menschen the flower of grass. The grass withers, and the flower wie des Grases Blumen. Das Gras ist verdorret thereof falleth away. und die Blume abgefallen.

So seid nun geduldig, lieben Brüder, bis auf die Be patient therefore, brethren, unto the coming of James 5:7 Zukunft des Herrn. Siehe, ein Ackermann wartet the Lord. Behold, the husbandman waiteth for the auf die köstliche Frucht der Erde und ist geduldig precious fruit of the earth, and has long patience for darüber, bis er empfahe den Morgenregen und it, until he receive the morning and evening rain. Abendregen. So seid geduldig. So be ye patient.

Denn alles Fleisch es ist wie Gras … For all flesh is as grass …

Aber des Herrn Wort bleibet in Ewigkeit. But the word of the Lord endureth for ever. 1 Peter 1:25

Die Erlöseten des Herrn werden wieder kommen, And the ransomed of the Lord shall return, and come Isaiah 35:10 und gen Zion kommen mit Jauchzen; ewige Freude to Zion with songs and everlasting joy upon their wird über ihrem Haupte sein; Freude und Wonne heads: they shall obtain joy and gladness, and sorrow werden sie ergreifen und Schmerz und Seufzen and sighing shall flee away. wird weg müssen. lso.co.uk Texts 9

3 Herr, lehre doch mich Lord, make me to know mine end Herr, lehre doch mich, daß ein Ende mit mir haben Lord, make me to know mine end, and the measure Psalm 39:4–7 muß, und mein Leben ein Ziel hat, und ich davon muß. of my days, what it is: that I may know how frail I am. Siehe, meine Tage sind einer Hand breit vor dir, und Behold, thou hast made my days as an handbreadth; mein Leben ist wie nichts vor dir. and mine age is as nothing before thee.

Ach, wie gar nichts sind alle Menschen, die doch so Surely every man walketh in a vain show: surely they sicher leben. Sie gehen daher wie ein Schemen, und are disquieted in vain: he heaps up riches, and knows machen ihnen viel vergebliche Unruhe; sie sammeln not who shall gather them. und wissen nicht wer es kriegen wird.

Nun Herr, wess soll ich mich trösten? Ich hoffe auf dich. And now, Lord, what wait I for? My hope is in thee.

Der Gerechten Seelen sind in Gottes Hand The souls of the righteous are in the hand of God, Wisdom of und keine Qual rühret sie an. and there shall no torment touch them. Solomon 3:1

4 Wie lieblich sind deine Wohnungen How lovely are thy dwellings Wie lieblich sind deine Wohnungen, Herr Zebaoth! How lovely are thy dwellings, O Lord of hosts! Psalm 84:1,2,4 Meine Seele verlanget und sehnet sich nach den My soul longs, yea, even faints for the courts of the Vorhöfen des Herrn; mein Leib und Seele freuen sich Lord: my heart and my flesh cries out for the living in dem lebendigen Gott. Wohl denen, die in deinem God. Blessed are they that dwell in thy house: they Hause wohnen, die loben dich immerdar. will always be praising thee.

5 Ihr habt nun Traurigkeit And ye now therefore have sorrow Ihr habt nun Traurigkeit; aber ich will euch And ye now therefore have sorrow; but I will see you John 16:22 wiedersehen und euer Herz soll sich freuen und eure again, and your heart shall rejoice, and your joy no Freude soll niemand von euch nehmen. man taketh from you.

Ich will euch trösten, wie einen seine Mutter tröstet. As one whom his mother comforts, so will I comfort you. Isaiah 66:13

Sehet mich an: Ich habe eine kleine Zeit Mühe und Behold with your eyes, how that I have but little Ecclesiasticus 51:27 Arbeit gehabt und habe großen Trost funden. labour and have gotten unto me much rest.

10 Texts 19 March 2017

Johannes Brahms German Requiem: Texts (continued)

6 Denn wir haben hie For here have we no continuing city Denn wir haben hie keine bleibende Statt, For here have we no continuing city, Hebrews 13:14 sondern die zukünftige suchen wir. but we seek one to come.

Siehe, ich sage euch ein Geheimnis: Wir werden Behold, I show you a mystery; we shall not all 1 Corinthians nicht alle entschlafen, wir werden aber alle sleep, but we shall all be changed, in a moment, 15:51–52,54–55 verwandelt werden; und dasselbige plötzlich, in in the twinkling of an eye, at the last trump: for the einem Augenblick, zu der Zeit der letzten Posaune. shall sound, and the dead shall be raised Denn es wird die Posaune schallen, und die Toten incorruptible, and we shall be changed. werden auferstehen unverweslich, und wir werden verwandelt werden.

Dann wird erfüllet werden das Wort, das geschrieben Then shall be brought to pass the saying that is steht: der Tod is verschlungen in den Sieg. written, Death is swallowed up in victory. Tod, wo ist dein Stachel? O death, where is thy sting? Hölle, wo ist dein Sieg? O grave, where is thy victory?

Herr, du bist würdig, zu nehmen Preis und Ehre und Thou art worthy, O Lord, to receive glory and honour Revelation 4:11 Kraft, denn du hast alle Dinge erschaffen, and power: for thou hast created all things, and for und durch deinen Willen haben, sie das Wesen thy pleasure they are and were created. und sind geschaffen.

7 Selig sind die Toten Blessed are the dead Selig sind die Toten, die in dem Herren sterben von Blessed are the dead which die in the Lord, from Revelation 14:13 nun an. Ja, der Geist spricht, daß sie ruhen von ihrer henceforth: yea, says the Spirit, that they may rest Arbeit; denn ihre Werke folgen ihnen nach. from their labours; and their works do follow them.

12 Artist Biographies 19 March 2017

Fabio Luisi Conductor

Grammy and ECHO Klassik Award-winner Fabio Luisi Santa Cecilia Orchestra, Mahler Chamber Orchestra, is currently undertaking his sixth and final season La Scala, Milan, Opéra National de , Vienna as Principal Conductor of the , Staatsoper, Bayerische Staatsoper, Deutsche Oper his fifth as General Music Director of Opera, and Staatsoper Berlin. and his first as Principal Conductor of the Danish National Symphony Orchestra. In February 2015, Philharmonia Zurich launched its Philharmonia Records label with three Luisi In the 2016/17 season, Luisi conducted Mahler’s recordings, featuring music by Berlioz and Wagner, Ninth Symphony in the DNSO’s season opening and a DVD of Verdi’s . The conductor concerts, and returns to Copenhagen for Mahler’s received his first Grammy Award in March 2013 Seventh and First Symphonies later in the season, for his leadership of the last two of Wagner’s followed by a tour to five cities in California with , recorded live at the Deborah Voigt in Wagner’s Wesendonck Lieder. Metropolitan Opera and released on Deutsche Further appearances include concerts with the Grammophon. His extensive discography also San Francisco Symphony, Philadelphia Orchestra, includes operas by Verdi, Salieri, Bellini; symphonic NHK Symphony, Munich Philharmonic, Philharmonia repertoire by Honegger, Respighi, Liszt, Richard Principal Conductor Zurich, and a concert at Florence’s Opera di Firenze, Strauss and Bruckner; and all of the symphonies Metropolitan Opera where Luisi will assume the role of Music Director and the oratorio Das Buch mit sieben Siegeln in the spring of 2018. by neglected Austrian composer Franz Schmidt. General Music Director Zurich Opera Luisi’s previous appointments include Chief Conductor Born in in 1959, Luisi began piano studies of the Vienna Symphony, for which he was honoured at the age of four and received his diploma from Principal Conductor with the orchestra’s Golden Bruckner Medal and the Conservatorio Niccolò Paganini in 1978. Danish National Symphony Orchestra Golden Bruckner Ring (2005–13); General Music He later studied conducting with Milan Horvat at Director of Dresden’s Staatskapelle and Sächsische the Conservatory in Graz. In 2014 he was awarded Staatsoper (2007–10); Artistic Director of Leipzig the Grifo d’Oro, the highest honour given by the (1999–2007); Music Director city of Genoa, for his contributions to the city’s of the Orchestre de la Suisse Romande (1997–2002); cultural legacy. In his time off the podium, Luisi is Chief Conductor of the Tonkünstler-Orchester in also a passionate maker of perfumes. Sales from Vienna (1995–2000); and Artistic Director of the his one-person operation, flparfums.com, benefit Graz Symphony (1990–96). the Luisi Academy for Music and Visual Arts.

Fabio Luisi maintains an active schedule of guest engagements with international orchestras and opera companies, including the Bayerischer Rundfunk, , Chicago Symphony, Boston Symphony, Cleveland Orchestra, Royal Concertgebouw Orchestra, Orchestre de Paris, London Symphony Orchestra, Philharmonia, lso.co.uk Artist Biographies 13

Julia Kleiter Simon Keenlyside Soprano Baritone

Future performances by German Simon Keenlyside was born in soprano Julia Kleiter include new London. He made his operatic productions of Lehár’s The Land debut at the Hamburg State Opera of Smiles in Zurich and Weber’s as Count Almaviva in Mozart’s Der Freischütz at the Teatro alla . Simon Scala in Milan, where she will Keenlyside appears in all the sing Agathe for the first time, world’s great opera houses and appearances as a soloist and has a particularly close in Haydn’s in Berlin association with the Metropolitan with , as well as song Opera New York, the Royal Opera recitals in Vienna, Basel and at House Covent Garden, and the Schubertiade. the Bavarian and houses where his roles Highlights of recent seasons include Prospero (Adès’ The include her operatic debut at Tempest), Posa (Verdi’s Don Carlo), Teatro alla Scala as Contessa Germont Père (Verdi’s La traviata), in Mozart’s The Marriage of Figaro in 2016, as Fiordiligi in Mozart’s Papageno (Mozart’s The Magic ), Count Almaviva and the title roles Così fan tutte in Zurich and at , Eva in Wagner’s in Mozart’s , Tchaikovsky’s Eugene Onegin, Debussy’s Die Meistersinger von Nürnberg in Paris with and Pelléas et Mélisande, Berg’s Wozzeck, Britten’s , Thomas’ in Berlin with , Emma in Schubert’s Fierabras with Hamlet, Verdi’s Macbeth and Rigoletto. He won the 2006 Olivier Award at Salzburg Festival, Donna Elvira in Mozart’s Don for outstanding achievement in opera. In 2007 he was given the ECHO Giovanni with Fabio Luisi in Zurich, Ilia in Mozart’s in Essen Klassik award for Male Singer of the Year, and in 2011 he was honoured and with in Graz and Zurich, Zdenka in Strauss’ with Musical America’s Vocalist of the Year Award. Arabella in Zurich with Franz Welser-Möst, in Berlin with and in Paris with Philippe Jordan, and as Almirena in Handel’s Simon’s operatic plans this season include Mozart’s Don Giovanni at at Chicago Lyric Opera. the Metropolitan Opera, Vienna State Opera and Bilbao Opera; Count Almaviva in Mozart’s The Marriage of Figaro at Teatro alla Scala Milan; As a concert singer and song recitalist she performs in all major and the roles of Macbeth and Golaud in Debussy’s Pelléas et Mélisande concert halls, and has worked with conductors such as Helmuth Rilling, at the Vienna State Opera. On the concert platform he will perform , , , Nikolaus Harnoncourt, Marc Adès’ Totentanz with the Los Angeles Philharmonic and RTE National Minkowski, Ivor Bolton, René Jacobs, Christoph Poppen, Symphony Orchestra under the composer’s baton. In recital he will and . Recently she has performed Schumann’s Das appear in Barcelona, Zurich and London with Malcolm Martineau; Paradies und die Peri in Zurich with Fabio Luisi, Haydn’s The Creation in the United States with Emanuel Ax; and in Prague and Munich with in Milan and Bruckner’s in Munich with Zubin Mehta. his jazz band programme – Blue Skies: Songlines to American Music.

Born in Limburg, Julia Kleiter studied with William Workmann in Simon was made a CBE in 2003. Hamburg and with Klesie Kelly-Moog in Cologne. 14 Artist Biographies 19 March 2017

London Symphony Chorus On stage

The London Symphony Chorus was formed in 1966 to complement SOPRANOS Deborah Staunton Lucy Reay BASSES the work of the London Symphony Orchestra, and last year celebrated Anneke Amalie Giulia Steidl Maud Saint-Sardos Simon Backhouse * Frankie Arnull Winnie Tse Lis Smith Roger Blitz its 50th anniversary. The partnership between the LSC and LSO was Liz Ashling Tabitta Van Nouhuys Jane Steele Chris Bourne strengthened in 2012 with the appointment of Simon Halsey as joint Kerry Baker Rebecca Vassallo Margaret Stephen Gavin Buchan Chorus Director of the LSC and Choral Director for the LSO. Louisa Blankson Lizzie Webb Claire Trocmé Matt Clarke Evaleen Brinton Alice Young Giles Clayton Anna Byrne-Smith TENORS Edward Cottell The LSC has partnered many other major orchestras and has performed Carol Capper * ALTOS Jorge Aguilar Damian Day Laura Catala-Ubassy Lauren Au Paul Allatt * Joe Dodd nationally and internationally with the Berlin and Vienna Philharmonic Jessica Collins Hetty Boardman-Weston Jack Apperley Thomas Fea orchestras, and the Leipzig Gewandhaus Orchestra. Championing the Shelagh Connolly Liz Boyden Erik Azzopardi Robert Garbolinski * musicians of tomorrow, it has also worked with both the NYOGB and Rebecca Dent Gina Broderick Oliver Burrows Daniel Gosselin Elisa Franzinetti Jo Buchan * Michael Delany Owen Hanmer * the EUYO. The Chorus has toured extensively throughout Europe and Maureen Hall Lizzy Campbell Matt Fernando Anthony Howick has also visited North America, Israel, Australia and South East Asia. Isobel Hammond Sarah Clowry Matt Flood Alex Kidney Emma Harry * Liz Cole Andrew Fuller * Thomas Kohut Jenna Hawkins Maggie Donnelly Patrizio Giovannotti Gaetano Lo Coco Much of the LSC’s repertoire has been captured in its large catalogue Lydia Haynes Lynn Eaton Simon Goldman George Marshall of recordings, which have won nine awards including five Grammys. Emily Hoffnung Linda Evans Euchar Gravina Hugh McLeod Denise Hoilette Tina Gibbs Michael Harman Geoff Newman In June 2015 the recording of Sir Peter Maxwell Davies’ Symphony Josefin Holmberg Joanna Gill Matthew Horne Alan Rochford No 10, commissioned by the LSO and recorded by the LSO and the Claire Hussey * Yoko Harada Anthony Madonna Rod Stevens LSC with Sir , won a prestigious South Bank Sky Arts Ruth Knowles-Clark Kate Harrison Alastair Mathews Richard Tannenbaum Luca Kocsmarszky Elisabeth Iles Matthew McCabe Gordon Thomson award in the Classical category. Debbie Lee Ella Jackson Daniel Owers Robin Thurston Marylyn Lewin Kristi Jagodin Davide Prezzi Liam Velez Highlights from last season included Haydn’s The Seasons with Rattle, Aine Macdonald Christine Jasper Brais Romero-Breijo Jez Wareing Rebecca McKimm Jill Jones Chris Straw Tyler Wert Elgar’s The Dream of Gerontius with Sir Mark Elder, and Sir Peter Maxwell Hannah McNaboe Vanessa Knapp Richard Street Davies’ The Hogboon. In 2016/17 the LSC continues to celebrate its Jane Morley Gillian Lawson James Warbis Jessica Norton Olivia Lawson Brad Warburton 50th anniversary with performances of Verdi’s Requiem in London and Maggie Owen Belinda Liao * Robert Ward * New York, followed by Ligeti’s Le grand macabre with Sir Simon Rattle, Isabel Paintin Liz McCaw Paul Williams-Burton * denotes and Bruckner’s Te Deum with . Andra Patterson Aoife McInerney LSC Council Member Carole Radford Jane Muir Mikiko Ridd Caroline Mustill Alison Ryan Dorothy Nesbit Jasmine Spencer Siu-Wai Ng President Sir Simon Rattle OM CBE President Emeritus André Previn KBE Vice President Associate Chorus Director for Brahms’ German Requiem Neil Ferris Patrons CBE and CBE Chorus Director Simon Halsey CBE The London Symphony Chorus is generously supported by: Associate Directors Neil Ferris and Matthew Hamilton The John S Cohen Foundation, The Helen Hamlyn Trust, The Revere Charitable Trust, Chorus Accompanist Benjamin Frost The Welton Foundation, LSC Friends, Members of the LSC Chairman Owen Hanmer LSO Sing is generously supported by: Sir Siegmund Warburg’s Voluntary Settlement, Barnett & Syliva Shine No 2 Want to sing with the LSC? Find out more about life in one of London’s Charitable Trust, John S Cohen Foundation, Slaughter and May Charitable Trust, leading , and how to apply, at lsc.org.uk/join-us LSO Friends, Garfield Weston Foundation, The Patron’s Fund lso.co.uk Artist Biographies 15

Simon Halsey Chorus Director

Simon Halsey holds positions across the UK and Simon Halsey became Choral Director of the London Europe as Choral Director of the London Symphony Symphony Orchestra and Chorus in 2012. Highlights Orchestra and Chorus; Chorus Director of the City with the LSO in 2016/7 have included the Verdi of Birmingham Symphony Orchestra Chorus; Artistic Requiem in London and at the Lincoln Center White Director of Orfeó Català Choirs and Artistic Adviser Lights festival with Gianandra Noseda; El Niño with of Palau de la Música, Barcelona; Artistic Director of John Adams in London and Paris; and Ligeti’s Le grand Berliner Philharmoniker Youth Choral Programme; macabre with Sir Simon Rattle in London and Berlin. Director of the BBC Proms Youth Choir; Artistic In June 2016, the LSO Discovery Choirs and London Advisor of Schleswig-Holstein Musik Festival Choir; Symphony Chorus performed the world premiere of Conductor Laureate of the Rundfunkchor Berlin; The Hogboon, the late Sir Peter Maxwell Davies’ new and Professor and Director of Choral Activities at children’s opera, with Sir Simon Rattle and students . from the Guildhall School. In summer 2017, the LSO Discovery Choirs and Community Choir will premiere Simon Halsey is the trusted advisor on choral singing a new opera by Andrew Norman, which Rattle and to the world’s greatest conductors, orchestras Halsey will also take to Berlin to perform with the and choruses, and a teacher and ambassador for and their youth choir. choral singing to amateurs of every age, ability and background. Making singing a central part of the Born in London, Simon Halsey sang in the choirs world-class institutions with which he is associated, of New College, Oxford, and of King’s College, he has been instrumental in changing the level of Cambridge. and studied conducting at the Royal symphonic singing across Europe. He is also a highly College of Music in London. In 1987, he founded he respected teacher and academic, nurturing the next City of Birmingham Touring Opera with Graham Vick. generation of choral conductors on his post-graduate He was Chief Conductor of the Netherlands Radio course in Birmingham and through masterclasses at Choir from 1997 to 2008 and Principal Conductor of Princeton, Yale and elsewhere. He holds three honorary the Northern Sinfonia’s Choral Programme from 2004 doctorates from universities in the UK, and in 2011 to 2012. From 2001 to 2015 he led the Rundfunkchor Schott Music published his book and DVD on choral Berlin (of which he is now Conductor Laureate); conducting, Chorleitung: Vom Konzept zum Konzert. under his leadership the Chorus gained a reputation internationally as one of the finest professional Halsey has worked on nearly 80 recording projects, choral ensembles. While there Halsey also initiated many of which have won major awards, including innovative projects in unconventional venues and the Gramophone Award, Diapason d’Or, Echo Klassik, interdisciplinary formats. and three Grammy Awards with the Rundfunkchor Berlin. He was made Commander of the British Empire in 2015, was awarded The Queen’s Medal for Music in 2014, and received the Officer’s Cross of the Order of Merit of the Federal Republic of Germany in 2011 in recognition of his outstanding contribution to choral music in Germany. 16 The Orchestra 19 March 2017

London Symphony Orchestra Your views On stage Inbox

FIRST VIOLINS VIOLAS HORNS SUN 12 MAR – SUSANNA MÄLKKI & CHRISTIAN TETZLAFF Carmine Lauri Leader Rachel Roberts Adam Walker Timothy Jones Dragan Sredojevic Gillianne Haddow Alex Jakeman Angela Barnes Lennox Mackenzie Malcolm Johnston Jocelyn Lightfoot Helen Bradshaw @Maxinekwokadams @londonsymphony Nigel Broadbent Regina Beukes PICCOLO Jonathan Lipton @Flutelicious @BarbicanCentre Lush Strauss. Thank you Sharon Williams Ginette Decuyper Lander Echevarria Anna Euen LSO and dynamic Susanna Mälkki Gerald Gregory Julia O’Riordan Jörg Hammann Robert Turner Rosie Jenkins Claire Parfitt Jonathan Welch Philip Cobb Juan Pechuan Ramirez Julian Griffiths Nice concert tonight! Really enjoyed it! Laurent Quenelle Francis Kefford Gerald Ruddock Harriet Rayfield Maya Meron CLARINETS Colin Renwick Felicity Matthews Andrew Marriner Dudley Bright Sylvain Vasseur Caroline O’Neill Chi-Yu Mo James Maynard WED 15 FEB – JOHN WILSON & HÅKAN HARDENBERGER Rhys Watkins CELLOS Julia Rumley BASSOONS BASS Tim Hugh Helena Smart Daniel Jemison Paul Milner Edward Davies Superb evening listening to the amazing Erzsebet Racz Alastair Blayden Joost Bosdijk Jennifer Brown TUBA @londonsymphony perform Rachmaninov’s 2nd Symphony. SECOND VIOLINS Noel Bradshaw CONTRA Patrick Harrild Just amazing. David Alberman Eve-Marie Caravassilis Dominic Morgan Sarah Quinn Hilary Jones Miya Väisänen Miwa Rosso Nigel Thomas Conor Sheridan Just overwhelmed after hearing Richard Blayden Deborah Tolksdorf HARPS @londonsymphony play Rachmaninov @BarbicanCentre. Julian Gil Rodriguez Bryn Lewis Belinda McFarlane DOUBLE BASSES Incredible music conducted by John Wilson in his LSO debut. Imogen Barford William Melvin Rick Stotijn Paul Robson Colin Paris Louise Shackelton Patrick Laurence Hazel Mulligan Matthew Gibson Gordon MacKay Thomas Goodman Robert Yeomans Joe Melvin Jani Pensola Jeremy Watt

LSO STRING EXPERIENCE SCHEME

Established in 1992, the LSO String Experience The Scheme is generously supported by: London Symphony Orchestra Editor Scheme enables young string players at the Barbara Whatmore Charitable Trust Barbican Edward Appleyard start of their professional careers to gain Help Musicians UK Silk Street [email protected] work experience by playing in rehearsals Fidelio Charitable Trust London and concerts with the LSO. The scheme N Smith Charitable Settlement EC2Y 8DS Cover Photography auditions students from the London music Lord and Lady Lurgan Trust Ranald Mackechnie, featuring Members who conservatoires, and 15 students per year LSO Patrons Registered charity in England No 232391 began their LSO careers through LSO Discovery. are selected to participate. The musicians Polonsky Foundation Visit lso.co.uk/1617photos for a full list. Details in this publication were correct are treated as professional ’extra’ players at time of going to press. Photography (additional to LSO members) and receive fees Uwe Arens, Matthias Heyde, Igor Emmerich, for their work in line with LSO section players. Print Cantate 020 3651 1690 Kevin Leighton, Barbara Luisi, Ranald Mackechnie, Theodora Rosgrave, Advertising Cabbell Ltd 020 3603 7937 Alberto Venzago.