London Living Music

Sunday 28 May 2017 7pm Barbican Hall

HAITINK CONDUCTS BRUCKNER

Bruckner INTERVAL London’s Symphony Orchestra Bruckner Symphony No 9 conductor Sally Matthews soprano Karen Cargill mezzo–soprano Eric Cutler Alessandro Spina bass Simon Halsey chorus director

Concert finishes approx 9.05pm 2 Welcome 28 May 2017

Welcome Living Music Kathryn McDowell In Brief

A warm welcome to tonight’s LSO concert at the BRUCKNER SYMPHONY NO 4 LIVE STREAM: Barbican. It is a great pleasure to see Bernard Haitink NOW ON YOUTUBE return for the second of three concerts this season, which explore the Ninth of Mahler François-Xavier Roth and the LSO’s performance of and Bruckner. The LSO has enjoyed a long-standing Bruckner’s Symphony No 4 was streamed live on the friendship and close collaboration with Bernard LSO’s YouTube channel on 23 April. The performance Haitink since 2002, and we look forward to joining is now available to watch again on YouTube. him on tour in Paris later this month. youtube.com/lso Haitink is one of the leading interpreters of Bruckner, conducting many memorable performances of his works with the LSO in recent years. Tonight, he pairs THE PLANETS ACHIEVES SILVER STATUS two masterpieces of the composer’s later years: the choral Te Deum and monumental Symphony No 9. With over 60,000 copies sold worldwide, LSO Live’s We are pleased to welcome tonight’s soloists for release of Holst’s The Planets Suite has achieved the Te Deum – Sally Matthews, Karen Cargill, Eric silver status. The acclaimed recording, made over Cutler and Alessandro Spina – alongside the London three evenings in June 2002 with Sir , Symphony Chorus and Choral Director Simon Halsey. is available on CD or to download on our website:

I hope that you enjoy this evening’s concert, and lsolive.lso.co.uk that you can join us again soon. Bernard Haitink conducts the Orchestra again on Thursday 1 June, joined by pianist Mitsuko Uchida, and on 4 and 8 A WARM WELCOME TO TONIGHT’S GROUPS June we welcome back Michael Tilson Thomas, LSO Conductor Laureate, for two concerts followed Groups of 10+ receive a 20% discount on standard by a tour of Sweden, Denmark and Finland. tickets to LSO concerts, plus other exclusive benefits. Tonight we are delighted to welcome:

Gerrards Cross Community Association Farnham U3A Concert Club Queen Elizabeth Girls School Kathryn McDowell CBE DL King Edward VI Grammar School Managing Director The Haberdashers’Aske’s Boys’ School Jenny Faulkner and Friends Marian Durbridge and Friends Rebecca Dunnell and Friends

lso.co.uk/groups lso.co.uk Bruckner the Man 3

Bruckner the Man by Stephen Johnson

Myths cling like limpets to great artists, no matter how hard scholars try to scrape them off. And of no composer is this truer than .

STEPHEN JOHNSON is the author Bruckner is still frequently described as a ‘simple’ man, Equally strange to those who knew him was of Bruckner Remembered (Faber). an Austrian peasant with little education and even Bruckner’s almost religious devotion to Wagner – He also contributes regularly to BBC less grasp of the sophisticated Viennese world even Wagner himself is said to have been Music Magazine and , in which he tried so desperately to establish both embarrassed by Bruckner’s adoration (which is and broadcasts for BBC Radio 3 a living and a reputation. saying a great deal!). But the way Bruckner as a (Discovering Music), BBC Radio 4 composer synthesises lush Wagnerian harmonies and the BBC World Service. The facts tell a different story. Bruckner may have and intense expression with elements drawn from appeared unpolished, at times bizarrely eccentric, Schubert, Beethoven, Haydn, Bach and the Renaissance especially to self-conscious Viennese sophisticates, church master Palestrina is remarkably original. but he was far from ill-educated. His father was a It shows that, unlike many of his contemporaries, village schoolmaster – a background he shared with Bruckner was far from losing himself in Wagner’s several of the greatest Austrian and German writers intoxicating soundworld. His obsessions may have and thinkers. Bruckner went through a rigorous Catholic caused him terrible problems – particularly his teacher-training programme, passing his exams notorious ‘counting mania’. (During one crisis period first time with distinction (quite a rare achievement he was found trying to count the leaves on a tree.) in those days). Close friends and colleagues testify to his lively and enquiring intellect, as well as his But paradoxically the same obsessiveness may friendliness and generosity. Bruckner’s intense have helped him keep his bearings as a composer. Roman Catholic faith certainly marked him out There’s an old joke that Bruckner ‘wrote the same as unworldly. There are stories of him breaking symphony nine times’, and it’s true that the symphonies off lectures at the University to pray; tend to be based on the same ground plan, with similar begging God’s forgiveness for unintentionally features in similar places. But the same is true of ‘stealing’ another man’s tune; dedicating his the great Medieval cathedrals, and no one could say Ninth Symphony ‘to dear God’. However, tensions that Chartres Cathedral was the same building as between the demands of his faith and his lifelong Durham or Westminster Abbey. Bruckner planned tendency to fall in love with improbably young his cathedral-like symphonic structures in meticulous women reveal a deep rift in his nature. Bruckner detail, and at best they function superbly as formal could also be alarmingly compulsive in his devotions – containers for his ecstatic visions and extreme especially at times of acute mental crisis (there were mood swings. Disconcerting simplicity and profound plenty of those) – and there are hints he was prone complexity co-exist in the man as in his music. to doubt, especially in his last years. It’s one of the things that makes him so fascinating and, in music, unique. 4 Programme Notes 28 May 2017

Anton Bruckner (1824–96) Te Deum (1884, ed Nowak 1962)

1 TE DEUM LAUDAMUS It was in 1881 that Bruckner’s fortunes at last began 2 TE ERGO QUAESUMUS to change. The belated premiere of his Fourth 3 AETERNA FAC CUM SANCTIS TUIS Symphony under was a surprise 4 SALVUM FAC POPULUM TUUM success – Bruckner’s first since he moved to Vienna. 5 IN TE, DOMINE, SPERAVI Even some of the more conservative elements in the Viennese musical press began to nod approval. SALLY MATTHEWS SOPRANO The first surviving sketches for the Te Deum date KAREN CARGILL MEZZO-SOPRANO from later that year – which, given Bruckner’s ERIC CUTLER TENOR comments in that letter to Levi quoted above, is ALESSANDRO SPINA BASS surely significant. The Te Deum is one of Bruckner’s LONDON SYMPHONY CHORUS most grandly affirmative works: exactly the kind of SIMON HALSEY CHORUS DIRECTOR offering one might expect from a grateful survivor. When Bruckner realised he might not live to finish PROGRAMME NOTE WRITER For Bruckner, the Te Deum was ‘the pride of my life’. the last movement of his Ninth Symphony, he STEPHEN JOHNSON There was more to this than craftsman-like satisfaction suggested using the Te Deum as an alternative finale. in a job well done. In a letter to the conductor It’s a strange notion, and it has never caught on, but Hermann Levi, written eight days after the work’s it attests to Bruckner’s enduring pride in the work. triumphant Viennese premiere in 1885, Bruckner tells how he ‘dedicated [it] to God for having brought As to the text itself, the old church hymn ‘Te Deum’ me through so much anguish in Vienna’. is one of the most joyous affirmations of faith in the Christian liturgy. According to legend it was A MUSICAL FEUD Bruckner had needed all the reserves of strength improvised under the inspiration of the Holy Spirit As a Wagnerian, Bruckner made his Roman Catholic faith could bring him during by Saints Ambrose and Augustine at the latter’s himself the unintentional target of the his first decade and a half in the Austrian capital. baptism on Easter Saturday, AD 387. Modern scholars music critics of Vienna’s establishment Encouraged to move to Vienna by his champion, the generally take a dim view of this story, but it is very who advocated for Brahms’ style of conductor Johann von Herbeck, Bruckner had found likely that Bruckner would have heard it as a boy, composition. Of the Eighth Symphony the city’s musical establishment at best indifferent, during his education at the Augustinian monastery of one such critic, Gustav Dömpke, at worst downright hostile. The first performance of St Florian, and he may still have believed it when he wrote: ‘We recoil in horror before his Third Symphony in 1877 had been a catastrophe: came to set the words in his late 50s. Bruckner also this rotting odour which rushes into the orchestra was uncooperative, most of the audience honours one of the musical gods of his youth in the our nostrils from the disharmonies walked out, and the critics were savage. Despite opening bars of the Te Deum. The opening chant-like of this putrefactive counterpoint. enthusiastic support from a handful of his students, phrase for the is very similar on paper to that [Bruckner’s] imagination is so Bruckner’s confidence – rocky at the best of times – which begins Haydn’s splendid ‘Marie Therese’ in his incurably sick and warped that very nearly collapsed. At the same time the constant setting of the same text in 1800. But the effect is very anything like regularity in chord failure of his attempts to marry (Bruckner had a different. Where Haydn’s setting bounds forwards, progressions and period structure bizarre tendency to fall for unsuitably young women) Bruckner presents us with an awe-inspiring slab simply do not exist for him. Bruckner further depressed him. Yet some core of inner of sound – like the bare, imposing façade of a great composes like a drunkard!’ strength remained, keeping him on track artistically. early-Medieval cathedral. Eventually, persistence was rewarded. lso.co.uk Programme Notes 5

London Symphony Orchestra

TEXTS & TRANSLATIONS For some time afterwards Bruckner alternates SUMMER HIGHLIGHTS PAGE 6 similar massive tutti passages with quieter, more reflective music. At the heart of the work are two intensely devotional sections led by the tenor solo: (1860–1911) at the words ‘Te ergo quaesumus’ and ‘Salvum fac attended lectures given by populum tuum’. In both passages, a solo violin adds Bruckner in Vienna and, according an exquisite countermelody in rising scales, first to his wife Alma, demonstrated at the words ‘quos pretioso sanguine redemisti’ a ‘lifelong love of Bruckner’, (‘whom you have redeemed by your precious blood’), programming the elder composer’s then later at ‘et benedic’ (‘and bless’). Bruckner works frequently during his thus underlines in music echoes of the climax of conducting career. On the title the Roman Catholic Mass – the point in the liturgy page of his copy of the Te Deum, where the priest elevates the bread and the wine. Mahler crossed out the designation ‘For solo voices, chorus and The opposition between imposing tuttis and meditative MICHAEL TILSON THOMAS orchestra, organ ad libitum’, lyricism only ends as the soloists begin the final replacing it with his own words: section, ‘In te Domine speravi’ (‘In thee, Lord, have Sun 4 Jun 2017 7pm, Barbican ‘For the tongues of angels, I trusted’). In the familiar translation from the English Stravinsky Scènes de ballet heaven-blest, chastened hearts, Book of Common Prayer, the final phrase ‘non Prokofiev Violin Concerto No 1 and souls purified in the fire!’. confundar in aeternum’ is translated as ‘let me never Tchaikovsky Symphony No 6 (‘Pathétique’) be confounded’. But the Latin is ambiguous: the final Lisa Batiashvili violin sentence can also be read as: ‘In thee, Lord, have I trusted, that I may never be confounded’. Bruckner’s Thu 8 Jun 2017 7.30pm, Barbican setting seems designed to accommodate both Brahms Piano Concerto No 2 readings. As the final climax builds, ‘non confundar’ Nielsen Symphony No 5 is hushed, sombre, harmonically searching – Yuja Wang piano a questioning note perhaps. But at the end the words are declaimed with stark confidence through DANIEL HARDING glittering fanfares: faith is triumphant. Sun 25 Jun 7pm, Barbican Mahler Symphony No 3 Anna Larsson alto INTERVAL – 20 minutes Ladies of the London Symphony Chorus There are bars on all levels of the Concert Hall; ice cream Simon Halsey chorus director can be bought at the stands on Stalls and Circle level.

Why not tweet us your thoughts on the first half of the 020 7638 8891 performance @londonsymphony? lso.co.uk 6 Texts 28 May 2017

Anton Bruckner Te Deum: Texts

1 TE DEUM LAUDAMUS Te Deum laudamus: te Dominum confitemur. We praise thee, O God. We acknowledge thee to be the Lord. Te aeternum Patrem omnis terra veneratur. All the earth doth worship thee: the Father everlasting.

Tibi omnes Angeli, tibi coeli et universae potestates, To thee all Angels cry aloud. The Heavens, and all the Powers therein, Tibi Cherubim et Seraphim, incessabili voce proclamant: To thee Cherubim and Seraphim: continually do cry,

Sanctus, sanctus, sanctus Dominus Deus Sabaoth. Holy, Holy, Holy Lord God of Hosts; Pleni sunt coeli et terra maiestatis gloriae tuae. Heaven and earth are full of the Majesty of thy glory.

Te gloriosus Apostolorum chorus, The glorious company of the Apostles praise thee. Te Prophetarum laudabilis numerus, The goodly fellowship of the Prophets praise thee. Te Martyrum candidatus laudat exercitus; The noble army of Martyrs praise thee. Te per orbem terrarum sancta confitetur ecclesia: The Holy Church throughout all the world doth acknowledge thee;

Patrem immensae majestatis, The Father of an infinite Majesty; Venerandum tuum verum et unicum Filium, Thine honourable, true and only Son; Sanctum quoque Paraclitum Spiritum. And the Holy Ghost: the Comforter.

Tu rex gloriae, Christe! Thou art the King of Glory, O Christ. Tu Patris sempiternus es Filius. Thou art the everlasting Son of the Father.

Tu ad liberandum suscepturus hominem non horruisti Virginis uterum. When thou tookest upon thee to deliver man, thou didst not abhor the Virgin’s womb. Tu devicto mortis aculeo aperuisti credentibus regna caelorum. When thou hadst overcome the sharpness of death, thou didst open the Kingdom of Heaven to all believers. Tu ad dexteram Dei sedes in gloria Patris. Thou sittest at the right hand of God in the glory of the Father. Judex crederis esse venturus. We believe that thou shalt come to be our Judge. lso.co.uk Texts 7

2 TE ERGO QUAESUMUS Te ergo quaesumus, tuis famulis subveni, We therefore pray thee, help thy servants, quos pretioso sanguine redemisti. whom thou hast redeemed with thy precious blood.

3 AETERNA FAC CUM SANCTIS TUIS Aeterna fac cum sanctis tuis in gloria numerari. Make them to be numbered with thy Saints in glory everlasting.

4 SALVUM FAC POPULUM TUUM Salvum fac populum tuum, Domine, et benedic hereditati tuae! O Lord, save thy people and bless thine inheritance. Et rege eos, et extolle illos usque in aeternum. Govern them and lift them up forever.

Per singulos dies benedicimus te. Day by day, we magnify thee; Et laudamus nomen tuum in saeculum, et in saeculum saeculi. And we worship thy Name, ever world without end.

Dignare, Domine, die isto sine peccato nos custodire. Vouchsafe, O Lord, to keep us this day without sin. Miserere nostri, Domine, miserere nostri! Have mercy upon us, O Lord, have mercy upon us. Fiat misericordia tua, Domine, super nos, quemadmodum Let thy mercy lighten upon us, O Lord, as our trust is in thee. speravimus in te.

5 IN TE, DOMINE, SPERAVI In te, Domine, speravi: non confundar in aeternum. O Lord, in thee have I trusted: let me never be confounded. 8 Programme Notes 28 May 2017

Anton Bruckner Symphony No 9 (1887–96, ed Nowak 1951)

1 FEIERLICH, MISTERIOSO Richard Heller, Bruckner’s doctor during his last 2 SCHERZO: BEWEGT, LEBHAFT – TRIO: SCHNELL – SCHERZO 18 months, felt sure that Bruckner ‘had drawn up 3 ADAGIO: LANGSAM, FEIERLICH a contract with his ‘dear God’. If He willed that the symphony, which was indeed to be a hymn of praise PROGRAMME NOTE WRITER Bruckner began work on his Ninth Symphony in to God, should be finished, He should give Bruckner STEPHEN JOHNSON August 1887. He was still working on it on the day the time he needed for his task; if he died too soon he died, nine years later. Why did it take him so and his musical offering was left incomplete, God long? For one thing, his physical health was failing; had only himself to blame’. BRUCKNER on LSO LIVE worse still, there was a marked increase in the nervous, obsessive behaviour that had worried his Tragically, Bruckner failed to complete the Ninth Discover Bruckner’s Symphonies friends in the past. He had also loaded himself with Symphony. The immense finale, nearly complete Nos 4, 6 and 9 on LSO Live, including professional distractions: extensive revisions of the in sketch-score, seems to tail off not long before Bernard Haitink’s recently released First, Second, Third and Eighth Symphonies and the the end. This has led some writers to suggest that version of the Ninth, named Album Masses in E minor and F minor, and the composition Bruckner didn’t know how to end the symphony – of the Week in The Sunday Times and of two substantial choral works: his setting of Psalm that the triumphant coda he intended couldn’t be Editor’s Choice in Gramophone. 150 and the . made to work, and that the world is probably better off with the symphony as it stands: a magnificent from £5.99 Then there was the sheer magnitude of the task in three-movement torso. That may be a comforting Available at hand. Bruckner meant the Ninth Symphony to be belief, but it’s almost certainly groundless. Dr Heller lsolive.lso.co.uk a summing-up of his life’s achievements (including describes how Bruckner ‘went over to the piano in the Barbican quotations from some of his most successful works). and played me parts of the symphony with shaking Shop or online at There was also an implied tribute to one of his musical hands, but with undiminished accuracy and strength. iTunes & Amazon gods: in one of his lectures at the Vienna University, I have often regretted the fact that I cannot play or Bruckner told the class, ‘I’ll write my last symphony write down music after one hearing, because then in , just like Beethoven’s Ninth. Beethoven I might be able to give some idea of the end of the won’t object’. Friends and colleagues remembered Ninth Symphony’. similar remarks. So, where most composers would have shied away from inviting comparison with Heller’s testimony isn’t unique. Bruckner’s biographer Beethoven’s mighty Ninth (the ‘Choral’ Symphony), Max Auer claimed that he saw a page of the score – Bruckner actively encouraged it. at or near the end of the finale – in which all the main themes appear ‘piled on top of each other, But there was more to this than arrogance. as in the finale of the Eighth Symphony’. Alas, this The dedication of the symphony ‘dem lieben Gott’ crucial page has vanished, and we can only guess (‘to dear God’) shows that Bruckner saw the Ninth as to what its effect might have been. Nevertheless, as a special expression of his life-long Roman Catholic the three fully orchestrated movements Bruckner faith – perhaps not as unquestioning as some did complete form a remarkably satisfying musical have claimed, but certainly a potent guiding force. experience – like the two surviving movements of Schubert’s famous ‘Unfinished’ Symphony. lso.co.uk Programme Notes 9

THE BRUCKNER PROBLEM The structure of this symphonic torso – two long, are alarming moments when the tonal foundations Deryck Cooke, the British slow-paced movements framing a shorter, faster seem to shake under our feet – all this seems closer musicologist most famous for Scherzo – is well balanced. The climax of the Adagio to the later Mahler, or even to Berg. The pounding his full realisation of Mahler’s is powerful enough to form the high-point of an rhythms and grinding dissonances of the central incomplete Tenth Symphony, hour-long symphony, and its calmly resigned coda, Scherzo have invited comparison with Bartók, coined the term ‘The Bruckner with its fleeting references to earlier works, can be Prokofiev or Shostakovich. Problem’. He refers to the fact seen as a kind of answer to the agonised probing that the composer was constantly of the first movement and the nightmare visions of The Adagio brings music of true Brucknerian revising his symphonies and the Scherzo. When Bruckner’s pupil Gustav Mahler nobility – especially the hymn-like elegy for the allowing others to make their ended his Ninth Symphony with an intensely striving, four so-called ‘Wagner ’ (more like tenor and own alterations to his work. ultimately resigned Adagio, he may well have had bass horns than tubas) after the first climax. There Therefore there is no definitive the example of Bruckner’s Ninth in mind. are moments of radiance amid the anguished version of any one of Bruckner’s crescendos and long wintry melodies. But the symphonies, but rather a number Agonised probing, nightmare visions – this is not final climax contains the most anguished music of authorised editions that differ the kind of language one readily associates with ‘a in the whole symphony, with , in orchestration, structure and hymn of praise to God’. But the spiritual journey of and the other bass instruments bellowing out the length. This has been the source the Ninth Symphony in its three-movement form is a Adagio’s opening ‘missed octave’ violin theme, fff. of much debate among scholars very dark one. It is hard to resist the impression that The culminating discord is left hanging in the air, and performers, each having their thoughts of death left a deep imprint on the character unresolved. But then comes the coda, bringing at own reasons for endorsing one of this symphony. Nowhere else in Bruckner’s output last a sense of peace and tonal stability. This may be version over another. does one encounter such disturbingly ambiguous a long way from the triumphant hymn with which harmonies and tortured melodic lines – the opening Bruckner apparently intended to close his Ninth and theme of the Adagio, with its upward ‘missed octave’ last Symphony; it may only be the end by default – leap, is as pained as anything in Mahler. And yet the yet it remains one of the most moving endings in musical architecture still has that grand, spacious symphonic literature. feeling one finds in the earlier symphonies – the quality that has led to Bruckner’s symphonies being described as ‘cathedrals in sound’.

In the two big outer movements, the underlying current is slow, however animated the musical surface may appear. To newcomers, the first movement’s structure may seem baffling: there are so many themes, so many sudden changes of direction that the comforting outlines of what textbooks call ‘sonata form’ (a musical form central to European music in the 18th and 19th centuries) can be difficult to make out. On top of that, there 10 Artist Biographies 28 May 2017

Bernard Haitink Conductor

Bernard Haitink’s conducting career began 62 years He is committed to the development of young ago with the Radio Philharmonic Orchestra in his musical talent, and gives an annual conducting native Holland. He went on to be Chief Conductor masterclass at the Lucerne Easter Festival. This of the Concertgebouw Orchestra for 27 years, season, in addition, he gives conducting classes as well as Music Director of Glyndebourne Festival to students at the Hochschule der Kunst, Zurich, , the , Covent Garden, and and leads performances with the orchestra of the Principal Conductor of the London Philharmonic, Royal College of Music. the Staatskapelle Dresden and the Chicago Symphony Orchestra. He is Patron of the Radio Philharmonic, Bernard Haitink has an extensive discography for and Conductor Emeritus of the Boston Symphony, Phillips, Decca and EMI, as well as the many new as well as an honorary member of both the live recording labels established by in Philharmonic and the Chamber Orchestra of Europe. recent years, such as the LSO, Chicago Symphony and Bayerischer Rundfunk. He has received many 2016 marked the 50th anniversary of Bernard Haitink’s awards and honours in recognition of his services first appearance at both the BBC Proms and the to music, including several honorary doctorates, Lucerne Festival. These occasions were celebrated an honorary Knighthood and Companion of Honour Conductor Emeritus with the London Symphony Orchestra at the Proms, in the United Kingdom, and the House Order of Boston Symphony Orchestra and both the Lucerne Festival Orchestra and the Orange-Nassau in the Netherlands. Chamber Orchestra of Europe in Lucerne. He also Honorary Conductor toured with the European Union Youth Orchestra, Royal Concertgebouw Orchestra of which he is Conductor Laureate, marking the 40th anniversary of their creation. The 2016/17 season Honorary Member began with the and has seen Berlin Philharmonic Orchestra him continuing his close association with the Bavarian Radio Symphony, the Chamber Orchestra BERNARD HAITINK IN 2017/18 Honorary Member of Europe, Tonhalle Orchestra Zürich, L’Orchestre Chamber Orchestra of Europe National de France, Orchestra Mozart, the Royal Tue 10 Oct 2017 7.30pm Concertgebouw Orchestra and the London and BRAHMS AND BEETHOVEN Conductor Laureate Boston Symphony Orchestras. with Emanuel Ax European Union Youth Orchestra He will revisit and conduct Beethoven’s Missa Sun 15 Oct 2017 7pm Solemnis with the orchestra and chorus of La Scala, ADÈS, MENDELSSOHN AND BRAHMS Milan. This summer he appears at the Salzburg with Veronika Eberle Festival with the Vienna Philharmonic, and with the Chamber Orchestra of Europe at the BBC Proms alwaysmoving.lso.co.uk and Lucerne Festival. lso.co.uk Artist Biographies 11

Sally Matthews Karen Cargill Soprano Mezzo–soprano

Sally Matthews was the winner of Scottish mezzo-soprano the 1999 Kathleen Ferrier Award. Karen Cargill was the winner She studied with Cynthia Jolly and of the 2002 Kathleen Ferrier Johanna Peters and completed Award. Engagements in the the Opera Course at the Guildhall 2016/17 season and beyond School of Music and Drama in 2000. include Waltraute in Wagner’s She was a member of the Royal Götterdämmerung in her Opera’s Young Artists Programme debut with the Canadian Opera from 2001 to 2003 and was a Company, a return to Scottish BBC New Generation Artist. Opera as Judith in Bartók’s Bluebeard’s Castle, her debut for In 2001, she made her Royal Glyndebourne Festival Opera and Opera debut as Nannetta in return invitations to both the Royal Verdi’s with Bernard Opera and the . Haitink. Since then, roles at Covent Garden have included Pamina in Highlights this season include Mozart’s The Magic , Fiordiligi in Così fan tutte, Sifare in Mozart’s her debut with the Royal Concertgebouw in Mahler’s Symphony No 2 Mithridates, King of Pontus, Anne Truelove in Stravinsky’s The Rake’s with Daniele Gatti and Symphony No 3 with the Progress, and Blanche in Poulenc’s Les Dialogues des Carmélites. and Yannick Nézet-Séguin; Tippett’s A Child of our Time with the Symphonieorchester des Bayerischen Rundfunks; Verdi’s Matthews made her debut in 2016 singing Silvia in with both the Philharmonia and Royal Philharmonic Orchestras; the world premiere of Thomas Adès’ The Exterminating Angel, a role Mahler’s Das von der Erde with Esa-Pekka Salonen and the she will repeat in future seasons at the the Royal Opera and again as Metropolitan Orchestra at Carnegie Hall, l’Orchestre National de she makes her debut at the Metropolitan Opera in New York. Highlights France, and with Donald Runnicles and Staatskapelle Dresden. from the current season include the title role in Janácˇek’s Jenu˚fa with Bayerische Staatsoper and playing Madeleine in Strauss’ Capriccio at Karen appears regularly at the Salzburg Festival, Edinburgh Festival in . She also made her LA Opera debut as Kostanze and BBC Proms, and opera highlights have included appearances at in Mozart’s The Abduction from the Seraglio, and performed Brahms’ the Royal Opera, the Metropolitan Opera in New York and Deutsche German Requiem with the Gürzenich Orchestra and François-Xavier Opera in Berlin. Her roles have included Waltraute in Wagner’s Roth. In 2018 she will join the Berlin Philharmonic and Sir Gotterdämmerung and Brangäne in Tristan and Isolde. This summer for Schumann’s Das Paradies und die Peri. she will sing Fricka in Wagner’s Die Walküre for the first time with the Royal Scottish National Opera. She has held the position of She sings with major orchestras including the LSO, Mahler Chamber Associate Artist of the Scottish Chamber Orchestra since 2013. Orchestra, Rotterdam Philharmonic, Berlin and Munich Philharmonics. She has performed with , Michael Tilson Thomas, Highlights with her regular recital partner Simon Lepper include Sir , Bernard Haitink, Sir Simon Rattle, Daniel Harding, appearances at Wigmore Hall, the Concertgebouw in Amsterdam, Robin Ticciati and Valery Gergiev. Sally has given recitals with Simon Kennedy Centre in Washington and Carnegie Hall in New York, and a Lepper at La Monnaie, Brussels, the Concertgebouw, Amsterdam and recent recording of Lieder by Alma and Gustav Mahler for Linn Records. Wigmore Hall, where she has also appeared with the Nash Ensemble. 12 Artist Biographies 28 May 2017

Eric Cutler Alessandro Spina Tenor Bass

Eric Cutler has appeared at the Italian singer Alessandro Spina Metropolitan Opera in New York, has performed the roles of the Bayerische Staatsoper in Archangel Michael in the world Munich, at the Salzburg Festival, premiere of Giorgio Battistelli’s

the Royal Opera House, Venice’s CO2, Dottore Grenvil in Verdi’s Teatro la Fenice, the Lyric Opera La traviata, Don Basilio in of Chicago, La Monnaie in Rossini’s The Barber of Seville, Brussels, the Teatro dell’Opera Billy Jackrabbit in Puccini’s The in Rome, the Canadian Opera Girl of the West and Angelotti Company, Houston Grand Opera, in Puccini’s Tosca. Vlaamse Opera, Opera Australia, the Grand Théâtre de Genève, He has worked with an array of the Glyndebourne Festival, Paris opera companies throughout Opera and Santa Fe Opera. He Europe including the Maggio collaborates regularly with leading Musicale Fiorentino, Opéra de Nice, orchestras in the US and Europe. Teatro San Carlo di Napoli, Opera Tenerife, Teatro Petruzzelli Bari, Opera di Roma and Wexford Festival Highlights of the 2016/17 season include the title role in Offenbach’s Opera. His recent engagements include the roles of Don Alfonso in Les contes d’Hoffmann in Dresden and Madrid, Florestan in Mozart’s Così fan tutte with the company of the Teatro San Carlo di Beethoven’s Fidelio in Stuttgart, Apollo in Strauss’ Daphne in Hamburg, Napoli on tour in Chile, Abimélech in Saint-Saëns’ Samson and Delilah and Florestano in Paer’s Leonora in Dresden. Recent engagements with Teatro Verdi di Trieste, and Maestro Sostituto in the world premiere include role debuts as Adolar in Weber’s Euryanthe (Frankfurt), and of Lorenzo Ferrero’s Risorgimento! with the Teatro Comunale di Bologna. Don José in Bizet’s Carmen (), and title roles in Gounod’s Romeo and Juliet (Lyric Opera of Chicago), Mozart’s Other noteworthy appearances include the part of Fère Laurent in (Essen) and Berlioz’s The Damnation of Faust (Bordeaux). Gounod’s Romeo and Juliet with Filarmonico di Verona, Lunardo in Wolf-Ferrari’s I quatro rusteghi, and Colline in Puccini’s La bohème Other recent roles include Radamès in Verdi’s Aida (Opera Köln) and with the Teatro Malibran di Venezia. His concert repertoire includes Iopas in Berlioz’s Les Troyens (at the Metropolitan Opera, Paris Opera Britten’s Te Deum and Mozart’s Requiem. and with Boston Symphony Orchestra under James Levine). He also portrayed Georg in Wagner’s The Flying Dutchman (Wagner Geneva Alessandro Spina has worked with directors such as Stefano Festival), the Shepherd in Szymanowski’s (Paris Opera Vizioli, Robert Carsen, Gino Zampieri, Roberto De Simone, Stephane directed by Kristoph Warlikowski and conducted by Kazushi Ono), Braunschweig, Hugo De Ana and Daniele Abbado, and conductors the Italian Tenor in Strauss’ The Knight of the Rose and Andres in such as Maurizio Benini, Aldo Sisillo, Stefano Ranzani, Daniele Callegari, Berg’s Wozzeck (both Metropolitan Opera), and Raoul de Nangis Daniele Gatti, , , Massimo Zanetti, in Meyerbeer’s Les Huguenots (La Monnaie). Asher Fisch, Piergiorgio Morandi, Michele Mariotti, Pinchas Steinberg and Roberto Abbado. Cutler is a native of Adel, Iowa and an alumnus of Luther College and the Metropolitan Opera’s Lindemann Young Artists Development Programme. He lives in Germany with his wife and two children. lso.co.uk Artist Biographies 13

Simon Halsey CBE Choral Director

Simon Halsey occupies a unique position in classical In June 2016, the LSC, LSO Discovery and music. He is the trusted advisor on choral singing Community Choir performed the world premiere of to the world’s greatest conductors, orchestras and The Hogboon, the late Peter Maxwell Davies’ new choruses, and also an inspirational teacher and children’s opera, with Sir Simon Rattle and students ambassador for choral singing to amateurs of every from the Guildhall School of Music. In summer 2017 age, ability and background. Making singing a central the LSO Discovery and Community Choirs will part of the world-class institutions with which he is premiere a new opera by Andrew Norman, which associated, he has been instrumental in changing Rattle and Halsey will also take to Berlin to perform the level of symphonic singing across Europe. with the Berlin Philharmonic and their youth choir, of which he is Artistic Director. He is also a highly respected teacher and academic, nurturing the next generation of choral conductors Born in London, Simon Halsey sang in the choirs on his post-graduate course in Birmingham and of New College, Oxford, and of King’s College, through masterclasses at Princeton, Yale and Cambridge, and studied conducting at the Royal elsewhere. He holds three honorary doctorates from College of Music in London. In 1987, he founded the universities in the UK, and in 2011 Schott Music City of Birmingham Touring Opera with Graham Vick. published his book and DVD on choral conducting, He was Chief Conductor of the Netherlands Radio Chorleitung: Vom Konzept zum Konzert. Choir from 1997 to 2008 and Principal Conductor of the Northern Sinfonia’s Choral Programme Halsey has worked on nearly 80 recording projects, from 2004 to 2012. From 2001 to 2015 he led the many of which have won major awards, including Rundfunkchor Berlin (of which he is now Conductor the Gramophone Award, Diapason d’Or, Echo Klassik, Laureate); under his leadership the chorus gained and three Grammy Awards with the Rundfunkchor a reputation internationally as one of the finest Berlin. He was made Commander of the British professional choral ensembles. Halsey also initiated Empire in 2015, was awarded The Queen’s Medal innovative projects in unconventional venues and for Music in 2014, and received the Officer’s Cross interdisciplinary formats. of the Order of Merit of the Federal Republic of Germany in 2011 in recognition of his outstanding contribution to choral music in Germany.

Since becoming Choral Director of the London Symphony Orchestra and Chorus in 2012, Halsey has been credited with bringing about a ‘spectacular transformation’ (Evening Standard) of the LSC. Highlights with the LSO in 2016/17 included Verdi’s Requiem in London and at the Lincoln Center White Lights festival with Gianandrea Noseda; El Niño with John Adams in London and Paris; and Ligeti’s Le grand macabre with Sir Simon Rattle. 14 The Chorus 28 May 2017

London Symphony Chorus On stage

The London Symphony Chorus was formed in 1966 to complement SOPRANOS Deborah Staunton Lucy Reay James Warbis the work of the London Symphony Orchestra, and last year celebrated Frankie Arnull Giulia Steidl Annaliese Sayes Brad Warburton Kerry Baker Winnie Tse Lis Smith Robert Ward * its 50th anniversary. The partnership between the LSC and LSO was Anna Byrne-Smith Tabitta van Nouhuys Erika Stasiuleviciute Paul Williams-Burton strengthened in 2012 with the appointment of Simon Halsey as joint Carol Capper * Olivia Wilkinson Jane Steele BASSES Chorus Director of the LSC and Choral Director for the LSO. Elaine Cheng Alice Young Margaret Stephen Harriet Crawford Linda Thomas Simon Backhouse * Emma Craven ALTOS Claire Trocme Chris Bourne The LSC has partnered many other major orchestras and has performed Barbara de Matos Liz Boyden Andy Chan Rebecca Dent Jo Buchan * Matt Clarke nationally and internationally. Championing the musicians of tomorrow, Saskia Edwards Lizzy Campbell Jorge Aguilar Giles Clayton it has also worked with both the NYO and the EUYO. The Chorus has Lucy Farrington Sarah Clowry Paul Allatt * Edward Cottell Liz Cole Robin Anderson Damian Day toured extensively throughout Europe and has also visited North Lucy Feldman Joanna Gueritz Maggie Donnelly Jack Apperley Thomas Fea America, Israel, Australia and South East Asia. Jenna Hawkins Diane Dwyer Erik Azzopardi Ian Fletcher Emily Hoffnung Lynn Eaton Raymond Brien Robert Garbolinski * Linda Evans Oliver Burrows Josue Garcia Much of the LSC’s repertoire has been captured in its large catalogue Denise Hoilette Josefin Holmberg Amanda Freshwater Matt Fernando Daniel Gosselin of recordings, which have won nine awards including five Grammys. Kuan Hon Christina Gibbs Matt Flood Bryan Hammersley In June 2015 the recording of Sir Peter Maxwell Davies’ Symphony Claire Hussey * Joanna Gill Andrew Fuller * Owen Hanmer * Debbie Jones Rachel Green Patrizio Giovannotti Alex Kidney No 10, commissioned by the LSO, won a prestigious South Bank Sky Jessica Kirby Yoko Harada Euchar Gravina Thomas Kohut Arts award in the Classical category. Ruth Knowles Clark Kate Harrison Michael Harman George Marshall Marylyn Lewin Lis Iles Anthony Madonna Hugh McLeod Hannah McNaboe Cristine Jasper John Marks Alan Rochford Highlights from the 2015/16 season included Haydn’s The Seasons Jane Morley Jill Jones Alastair Mathews Rod Stevens with Sir Simon Rattle, Elgar’s The Dream of Gerontius with Sir Mark Emily Norton Vanessa Knapp Matthew McCabe Richard Tannenbaum Gillian Lawson Tobias Muller Daniel Thompson Elder, and Sir Peter Maxwell Davies’ The Hogboon. Last year, the LSC Gill O’Neill Maggie Owen Olivia Lawson Daniel Owers Robin Thurston gave performances of Verdi’s Requiem in London and New York as part Isabel Paintin Belinda Liao * Davide Prezzi Liam Velez of their 50th anniversary celebrations. Andra Patterson Anne Loveluck * Chris Riley Jez Wareing Andrea Persman Liz McCaw Peter Sedgwick Tyler Wert Louisa Prentice Jane Muir Chris Straw Anthony Wilder The Chorus wishes to dedicate this performance in loving memory Carole Radford Caroline Mustill Richard Street * Dorothy Nesbit Malcolm Taylor of Georges Leaver (1925–2017), a bass member of the Chorus from Liz Reeve Mikiko Ridd Helen Palmer Owen Toller * denotes 1968 to 2015, its treasurer for many years, and a much-loved friend. Alison Ryan Susannah Priede * Simon Wales LSC Council Member

President Sir Simon Rattle OM CBE President Emeritus André Previn KBE Neil Ferris Associate Chorus Director for Bruckner’s Te Deum Vice President Michael Tilson Thomas Patrons Simon Russell Beale CBE and Howard Goodall CBE The London Symphony Chorus is generously supported by: Chorus Director Simon Halsey CBE The John S Cohen Foundation, The Helen Hamlyn Trust, The Revere Charitable Trust, Associate Directors Neil Ferris and Matthew Hamilton The Welton Foundation, LSC Friends, Members of the LSC Chorus Accompanist Benjamin Frost Chairman Owen Hanmer LSO Sing is generously supported by: Sir Siegmund Warburg’s Voluntary Settlement, Barnett & Sylvia 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 choirs, and how to apply, at lsc.org.uk/join-us LSO Friends, Garfield Weston Foundation, The Patron’s Fund lso.co.uk The Orchestra 15

London Symphony Orchestra Your views On stage Inbox

FIRST VIOLINS VIOLAS SUN 7 MAY – SIR MARK ELDER & ANNE-SOPHIE MUTTER Roman Simovic Leader Edward Vanderspar Gareth Davies Philip Cobb Carmine Lauri Gillianne Haddow Alex Jakeman Gerald Ruddock Lennox Mackenzie Malcolm Johnston Robin Totterdell Mary Heyler Mark Elder/Anne-Sophie Mutter/Tchaikovsky – Clare Duckworth Anna Bastow PICCOLO Andrew Mitchell delicious combination @londonsymphony Nigel Broadbent Regina Beukes Sharon Williams Ginette Decuyper Lander Echevarria TROMBONES Gerald Gregory Julia O’Riordan Dudley Bright Luís The Shostakovich was AMAZING. Olivier Stankiewicz Maxine Kwok-Adams Robert Turner Peter Moore Rosie Jenkins Claire Parfitt Heather Wallington James Maynard Laurent Quenelle Jonathan Welch BASS Harriet Rayfield Michelle Bruil Christine Pendrill Paul Milner Sylvain Vasseur Felicity Matthews SUN 14 MAY – NIKOLAJ ZNAIDER Rhys Watkins TUBA CELLOS Julia Rumley Andrew Marriner Leslie Neish Helena Smart Tim Hugh Chi-Yu Mo Chris Baraniuk INCREDIBLE performance of Tchaikovsky’s Alain Petitclerc Minat Lyons Chris Richards Alastair Blayden Antoine Bedewi fifth symphony tonight by @londonsymphony. Just wonderful. SECOND VIOLINS Jennifer Brown Daniel Jemison TIMPANI David Alberman Noel Bradshaw Daniel Shao I greatly enjoyed Mozart and Tchaikovsky Thomas Norris Eve-Marie Caravassilis Joost Bosdijk Antoine Bedew Sarah Quinn Daniel Gardner tonight @londonsymphony – 2 kindred spirits! CONTRA ORGAN Miya Väisänen Hilary Jones Dominic Morgan Richard Pearce David Ballesteros Amanda Truelove Peter Very nice Tchaikovsky from @londonsymphony tonight. Matthew Gardner Hester Snell HORNS Julian Gil Rodriguez Bertrand Chatenet Special shout out to @Maxinekwokadams’ sparkly shoes! DOUBLE BASSES Naoko Keatley Timothy Jones Colin Paris Belinda McFarlane Angela Barnes Patrick Laurence William Melvin Alexander Edmundson Matthew Gibson Iwona Muszynska Jonathan Lipton Thomas Goodman Andrew Pollock Stephen Craigen Joe Melvin Paul Robson Thomas Kane Jani Pensola Erzsebet Racz James Thatcher Benjamin Griffiths Brendan Thomas Ivan Rubido Gonzalez

LSO STRING EXPERIENCE SCHEME

Established in 1992, the LSO String Experience The Scheme is supported by London Symphony Orchestra Cover photography Scheme enables young string players at the Help Musicians UK Barbican Ranald Mackechnie, featuring Members start of their professional careers to gain The Polonsky Foundation Silk Street who began their LSO careers through work experience by playing in rehearsals Fidelio Charitable Trust London LSO Discovery. Visit lso.co.uk/1617photos and concerts with the LSO. The scheme N Smith Charitable Settlement EC2Y 8DS for a full list. auditions students from the London music Lord and Lady Lurgan Trust conservatoires, and 15 students per year Barbara Whatmore Charitable Trust Registered charity in England No 232391 Photography are selected to participate. The musicians LSO Patrons Suntory Hall, Ranald Mackechnie, Clive Barda, Details in this publication were correct are treated as professional ’extra’ players Johan Persson, K K Dundas, Dario Acosta, at time of going to press. (additional to LSO members) and receive fees Performing in tonight’s concert are Chris Wahlberg Andre Pereira (Violin II), Emre Erashin for their work in line with LSO section players. Editor (Double Bass). Emmanuel Bach (Violin I) Print Cantate 020 3651 1690 Edward Appleyard took part in rehearsals for the concert. [email protected] Advertising Cabbell Ltd 020 3603 7937 London Symphony Orchestra

14 September 2017 Season opening concert

17 & 19 September 2017 Berlioz The Damnation of Faust

21 & 24 September 2017 Stravinsky The Firebird, Petrushka, The Rite of Spring

13 & 17 December 2017 Mahler Das Lied von der Erde

16 & 21 December 2017 Bernstein Wonderful Town (concert version)

11 January 2018 Schubert, Mahler, Handel, Rameau THIS IS 13 January 2018 Genesis Suite

14 January 2018 RATTLE 20th Century Masters Sir Simon Rattle’s first season as LSO Music Director 19 & 26 April 2018 Mahler Symphony No 9 Full 2017/18 listings available at alwaysmoving.lso.co.uk 22 April 2018 Tickets available online now Mahler Symphony No 10