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London's Symphony Orchestra London Symphony Orchestra Living Music Sunday 6 December 2015 7pm Barbican Hall James Moriarty Windows (world premiere) * Mozart Piano Concerto No 9 INTERVAL London’s Symphony Orchestra Bruckner Symphony No 4 Daniel Harding conductor Maria João Pires piano Concert finishes approx 9.30pm Tonight’s performance is in memory of Lord Moser * An LSO Panufnik Composers Scheme commission supported by the Helen Hamlyn Trust 2 Welcome 6 December 2015 Welcome Living Music Kathryn McDowell In Brief Welcome to this evening’s concert with LSO LSO LIVE NOMINATED FOR ICMA AWARDS Principal Guest Conductor Daniel Harding, beginning a three-part exploration of Bruckner’s monumental Two recent LSO Live releases – Schumann’s symphonies, starting with the Fourth, the ‘Romantic’, Das Paradies und die Peri conducted by Sir Simon which was the first to bring the composer Rattle, and Sir Peter Maxwell Davies’ Symphony widespread critical acclaim. In the first half, we No 10 and Sir Andrzej Panufnik’s Symphony No 10 are delighted to be joined by Maria João Pires, conducted by Sir Antonio Pappano – have been a pianist who shares a long history with the LSO, nominated for the International Classical Music and who performs Mozart’s Piano Concerto No 9 Awards 2016. The winners will be announced on in E-flat major K271. 20 January. Opening the programme is the world premiere icma-info.com of Windows by James Moriarty, an LSO Panufnik Composers Scheme commission, which gives young composers the opportunity to develop their skills APPLICATIONS OPEN FOR THE 2016 writing for a full symphony orchestra. Sincere thanks PANUFNIK COMPOSERS SCHEME to the Helen Hamlyn Trust for its sustained support of the scheme. The Panufnik Composers Scheme is an exciting initiative offering six emerging composers each year Tonight we celebrate the life of Lord Moser, the opportunity to write for and try out their pieces an extraordinarily gifted man whose contribution to with the London Symphony Orchestra at a workshop our national life was outstanding. As chairman of the at LSO St Luke’s. We are now accepting applications LSO Education Advisory Committee for nearly 20 years, for the 2016 scheme. The programme begins in Lord Moser was an invaluable adviser and friend to February 2016 and culminates with the public the LSO, who contributed greatly to the development workshop in April 2017. The scheme is generously of LSO Discovery and LSO St Luke’s. A tribute by supported by the Helen Hamlyn Trust. Baroness Blackstone is included on page three. lso.co.uk/composing I hope you enjoy the concert and can join us again on Wednesday 16 December when Daniel Harding and Maria João Pires return for Beethoven’s Piano A WARM WELCOME TO TONIGHT’S GROUPS Concerto No 3 and Bruckner’s Symphony No 9. The LSO offers great benefits for groups of 10+. At tonight’s concert we are delighted to welcome: Faversham Music Club Gerrards Cross Community Association Maria Lopes & Friends Kathryn McDowell CBE DL Managing Director lso.co.uk/groups lso.co.uk Lord Moser 3 In Memoriam Lord Moser (1922–2015) opera repertoire and the contributions of leading conductors and singers, as well as leading board discussions on complex management and financial issues. Amongst the many musical organisations he supported were Wigmore Hall, where he was a regular concertgoer, the Oxford Chamber Music Festival as Chairman of the Patrons and the Menuhin School as a Governor. Claus Moser was aware of the need to promote music education, and indeed education in the arts more generally. He spoke with great conviction on this subject in the House of Lords and elsewhere. As a trustee of the Hamlyn Foundation, he encouraged grants to organisations devoted to it and was the moving spirit behind a programme called Musical Futures. Its work showed that pupils were more likely to be involved in music-making if they could choose the kind of music they enjoyed. Across the country, music-making in secondary schools has been reinvigorated through Musical Claus Moser was introduced to music in his Futures and it was Claus who inspired it. childhood in Berlin. Growing up in a musical family he went to concerts and operas, had piano lessons For nearly 20 years he chaired the LSO Education and listened to his parents and their friends playing Advisory Committee, guiding the development of the classical music in the 1920s and 1930s. His passion Orchestra’s education and community programme for music was established early in his life and stayed and, in particular, the creation of LSO St Luke’s, with him until he died in September. He became a the home of LSO Discovery. He was a passionate gifted amateur pianist, playing in concerts for charity. advocate of its work and saw it as an important On one such occasion at St John’s, Smith Square, 20 part of this great orchestra’s role in our musical years ago, when he played a Mozart piano concerto, life. Both as a close friend and former Minister for the then young conductor was none other than the Arts, I am delighted that tonight’s concert is Daniel Harding, who is conducting tonight’s concert. dedicated to Claus Moser in acknowledgement of his extraordinary contribution to the cultural life For many years he contributed to a wide range of of the nation. organisations associated with the musical life of this country. He was a trustee of the Royal Opera House, Baroness Blackstone becoming the Chairman of its board from 1974 to Chairman, British Library and long-standing 1987. He was immensely knowledgeable about the colleague and friend of Lord Moser 4 Programme Notes 6 December 2015 James Moriarty (b 1993) Windows (World Premiere) (2015) PROGRAMME NOTE WRITER Each year, two composers from the LSO Panufnik Written initially as a series of fragments for each JO KIRKBRIDE is a freelance Composers Scheme’s intake are selected to write section of the orchestra, these layers were then writer on classical music, whose a piece for the LSO and, in 2013, James Moriarty divided and distributed across the score to create, broad roster of clients includes the was chosen to compose a five-minute orchestral in Moriarty’s words, ‘a musical mosaic in which every London Sinfonietta, Britten Sinfonia, work to be premiered at the Barbican tonight. With element interacted with every other, whilst retaining Aldeburgh Productions, Cheltenham such a huge orchestral canvas at his disposal and its own identity.’ This layering effect sees all of the Festival, and the Scottish Chamber a relatively short time-frame to fill, Moriarty alighted materials stratified through their orchestration: the Orchestra. She holds a masters on the idea of a musical snapshot – a ‘window’ onto woodwind only ever play together, the strings only from Cambridge University and a another work. Windows imagines itself as looking ever play together, and the horns, tuba, timpani, doctorate from Durham University. into a longer piece that does not exist, but could be and bass drum only ever play with the double envisaged, as Moriarty explains: basses, to name a few examples. ‘These materials are constantly developing, emerging and receding ‘Looking through a window one is able to scrutinise the to steal the scene, only to give it away again.’ Just view. You can observe both tiny, fascinating details and as our gaze shifts from one part of the scene to another, so our ears shift from place to place too – broad panoramas. The ability to do both is perhaps the listen, for instance, as the eerie opening chords result of the window’s framing of the scene: you can only in the woodwinds hand over to the strings and back again, creating a vista that is constantly imagine what might be beyond this scene, and that makes moving and changing before our eyes/ears. your own view of it all the more special. I have always Commission supported by the Helen Hamlyn Trust loved looking out of the window. This piece attempts to as part of the LSO Panufnik Composers Scheme create a musical equivalent for that experience.’ The scene from Moriarty’s window is, like much of PANUFNIK COMPOSERS WORKSHOP 2016 his music, one which shifts between the expansive Fri 11 Mar 2016 10am–6pm and the intimate. Tiny fragments reveal themselves to be part of much biggesr vistas, just as large, Witness a pivotal point in the process of putting sweeping expanses begin to break down over the together a new work as the LSO works with course of the work into isolated moments. Imagine the latest group of Panufnik Composers, under Alfred Hitchcock’s camera, panning inwards from the guidance of composer Colin Matthews a busy street scene, locating a single window and conductor François-Xavier Roth. and zooming upwards and inwards to reveal the inhabitants within: Windows has the same To book your free tickets, call the Barbican voyeuristic effect on its listeners, as we are drawn Box Office on 020 7638 8891. inexorably into its panoramic techniques. lso.co.uk Composer Profile 5 James Moriarty Composer Profile London Symphony Orchestra Born and raised in London, James Moriarty was SPIRIT OF TODAY just 19 years old when he was accepted onto the LSO Panufnik Composers Scheme. Moriarty’s music has earned him the prestigious Eric Coates prize for composition (for Windows) and has been performed by the London Chamber Orchestra, and a variety of bespoke ensembles, at venues as diverse as LSO St Luke’s, Cadogan Hall, The Forge, The Thinktank Planetarium and the Rag Factory. This diversity is reflected in his music, which oscillates between traditional classicism and a fondness for the more unusual – occasionally revealing his interest in electronic dance genres such as dubstep, jungle and deep house.
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