Sunday 8 April 2018 7–9.15pm Barbican Hall

LSO SEASON CONCERT BEETHOVEN & SHOSTAKOVICH

Beethoven Concerto No 4 Interval NOSEDA Shostakovich No 8

Gianandrea Noseda conductor Nikolai Lugansky piano

Recommended by Classic FM Welcome LSO News Online

I would like to take this opportunity to THE LSO’S 2018/19 SEASON YOUTUBE LIVE STREAMS thank our media partner Classic FM, who have recommended tonight’s The LSO’s 2018/19 season is now on sale. If you cannot make it to the Barbican, concert to their listeners. Highlights include Music Director Sir Simon tune in to the LSO’s YouTube channel Rattle’s exploration of folk-inspired music on Sunday 22 April 2018 at 7pm to watch I hope that you enjoy the performance, in his series Roots and Origins; the the LSO’s Music Director Sir Simon Rattle and that you are able to join us again continuation of Gianandrea Noseda’s conduct Mahler’s Symphony No 10 soon. Gianandrea Noseda continues his Shostakovich cycle; Artist Portraits alongside Tippett’s The Rose Lake live Shostakovich cycle with the First Violin with soprano and conductor Barbara Hannigan from the Barbican Hall. Concerto and Symphony No 10 on Sunday and pianist Daniil Trifonov; and eight world 24 June with soloist Nicola Benedetti. premieres across the season. Full listings Our last live stream (from Sunday 11 March), A warm welcome to tonight’s LSO concert On Sunday 15 April the will perform are available at lso.co.uk/201819season. featuring Sir at the Barbican. Following highly successful the world premiere of Patrick Giguère’s a programme of Schumann and Berlioz with performances across Europe earlier in Panufnik commission, Revealing, alongside mezzo-soprano Ann Hallenberg, is also the season, and a concert in Warsaw on Elgar’s Cello Concerto and Sibelius’ GRUPPEN AT TATE MODERN available to watch in full now. Friday, we are delighted to be joined by Symphony No 5 with Susanna Mälkki. youtube.com/lso. Gianandrea Noseda, the LSO’s Principal The LSO has announced two performances Guest Conductor, as he continues this of Stockhausen’s Gruppen in Tate Modern’s series of Shostakovich . Turbine Hall with Sir Simon Rattle on RINGING AN ORCHESTRA LIKE A BELL Saturday 30 June 2018. Tickets will go on In tonight’s programme of light and shade, sale in April; visit lso.co.uk/tate for details. In his article on the LSO Blog, Panufnik we hear one of the central works of piano Kathryn McDowell CBE DL James Hoyle explains the concert repertoire, Beethoven’s Piano Managing Director inspiration for his piece Marangona and Concerto No 4, alongside Shostakovich’s WELCOME TO TONIGHT’S GROUPS the influence that bell ringing has had on colossal Symphony No 8. For the concerto his compositional process. it is a pleasure to welcome Nikolai Lugansky, Tonight we are delighted to welcome who returns after making his LSO debut Il Sipario Musicale under Gianandrea Noseda’s baton in 2013. Mrs Adele Friedland & Friends Read our news, watch videos and more • lso.co.uk/news • youtube.com/lso • lso.co.uk/blog

2 Welcome 8 April 2018 Tonight’s Concert / by Liam Hennebry Coming Up

his evening’s concert presents PROGRAMME NOTE WRITERS Sunday 15 April 2018 7pm Sunday 22 April 2018 7pm two contrasting visions of the Barbican Hall Barbican Hall future. The first is optimistic and Lindsay Kemp is a senior producer for nonchalant, the other rather more bleak BBC Radio 3, including programming ELGAR’S CELLO CONCERTO MAHLER’S TENTH and uncertain. Written in his mid-30s, lunchtime concerts at Wigmore Hall and Beethoven’s Fourth Piano Concerto displays LSO St Luke’s; Artistic Advisor to York Patrick Giguère Revealing Tippett The Rose Lake * the confident, relaxed and optimistic Early Music Festival; Artistic Director of (world premiere, Panufnik Commission *) Mahler comp Cooke Symphony No 10 manner into which the composer was Baroque at the Edge Festival; and a regular Elgar Cello Concerto entering during the middle phase of his contributor to Gramophone magazine. Sibelius Symphony No 5 Sir Simon Rattle conductor career. Absent is the drama and stormy turbulence of the symphonies. Instead, the Andrew Huth is a musician, writer and Susanna Mälkki conductor * Supported by Resonate, a PRS Foundation initiative concerto oozes sanguine optimism – making translator who writes extensively on French, Daniel Müller-Schott cello in partnership with the Association of British , it one of the most sublimely elegant and Russian and Eastern European music. BBC Radio 3, The Foyle Foundation and the Boltini Trust beautiful works in the composer’s output. * The Panufnik Scheme is generously Andrew Stewart is a freelance music supported by Lady Hamlyn and The Helen Hamlyn Trust Thursday 17 May 2018 7.30pm Buoyancy is followed by darkness in the journalist and writer. He is the author Barbican Hall more pessimistic and emotional work by of The LSO at 90, and contributes to Thursday 19 & 26 April 2018 7.30pm Shostakovich. The Eighth Symphony reveals a wide variety of specialist classical Barbican Hall SIBELIUS a composer whose confidence had been music publications. deeply shaken by World War II. Rather than MAHLER’S NINTH Sibelius Violin Concerto the triumphant and nationalistic work many Sibelius Symphony No 6 expected would follow the Seventh Symphony, Helen Grime Woven Space * (world premiere) Sibelius Symphony No 7 we hear a bleak and ambiguous expression Mahler Symphony No 9 of the composer’s post-war uncertainties. Michael Tilson Thomas conductor The tide may have turned for the Red Sir Simon Rattle conductor Janine Jansen violin Army and fascism might have been on the road to defeat, but many sources * Commissioned for Sir Simon Rattle Recommended by Classic FM of authoritarianism would yet remain – and the LSO by the Barbican a fact that Shostakovich would have confirmed to his cost following the 26 April generously supported by Baker McKenzie symphony’s premiere and his subsequent condemnation by the Soviet state. •

Tonight’s Concert 3 Piano Concerto No 4 in G major Op 58 1804–06 / note by Lindsay Kemp

1 Allegro moderato violent concentration, and puts it much to haunt the music, and it is no surprise Third Movement 2 Andante con moto more in line with the Violin Concerto and that when the piano finally re-enters it is Beethoven now makes another radical 3 Rondo: Vivace ‘Razumovskys’. This relaxed demeanour was with material derived from it. No less a gesture, moving stealthily and smoothly a new facet of Beethoven’s style, one that characteristic of the movement is the way into the finale without a break. As in all his Nikolai Lugansky piano came with the added confidence and mastery that at those places where the music does concertos, it is a Rondo, its returning theme of his so-called ‘middle period’, and in its seem to be getting agitated, the tension being a tidy, fanfare-like tune which prompts he Fourth Piano Concerto was way it is no less typical or radical than his is soon diffused; not even the climactic the introduction of trumpets and drums for composed during a particularly rich more familiar stormy side. The Fourth Piano fortissimo return of the main theme, in the first time in this concerto. After the high phase in Beethoven’s life. Begun Concerto, a work of surpassing beauty and massive chords batted between the pianist’s concentration of the slow movement, the in 1804, it was completed two years later poetry, is one of its most sublime examples. hands, can maintain its bombast for long. mood here is expansive again: the piano’s and thus dates from the same time as the suavely soaring second theme is subjected Fifth Symphony, the Violin Concerto, the First Movement Second Movement to elaborate contrapuntal treatment from three ‘Razumovsky’ String Quartets, and the Without doubt the boldest stroke in the The second movement is another departure the orchestra; the main theme appears original version of the Fidelio. It was whole concerto is also one of the utmost from convention, discarding the usual formal in a ravishing smoothed-over version for premiered, with the composer as soloist, gentleness. Normally at this time, a models in favour of a dramatic interlude of the violas; and there is space for a spot at the Theater an der Wien in Vienna on concerto would begin with a long passage operatic directness and power. Beethoven of cat-and-mouse between the cadenza 22 December 1808, in a concert that also for the orchestra, who would introduce liked to think of his instrumental music in and the accelerated, headlong finish. • included the first performances of the the movement’s main themes before the narrative terms, and although we do not know Fifth and Sixth Symphonies, parts of the soloist joins in later. Beethoven followed this what inspired this movement, the comparison Mass in C major, and the Choral Fantasy. etiquette in his first three piano concertos, of it by his early biographer A B Marx to but in the Fourth it is the piano which begins Orpheus taming the Furies is convincing. Beethoven often worked on more than one the piece on its own, with a touchingly quiet composition at a time, so it is interesting to and simple chordal theme. For any audience Certainly there is some kind of confrontation see the first movements of both the Fourth expecting a grand extrovert opening, or at occurring here between the stern unison Piano Concerto and the Fifth Symphony the very least a sturdy one, it is a heart- denouncements of the orchestral strings and being dominated by the same four-note stopping moment, and though the orchestra the sweetly harmonised, emollient responses Interval – 20 minutes rhythmic cell (short–short–short–long). then takes over and presents the remaining of the piano, gradually winning the orchestra There are bars on all levels of the themes in the normal way, it is too late to over until it falls into line with an acquiescent Concert Hall; ice cream can be bought No one would claim that the two works are pretend that nothing unusual has happened. pizzicato chord. Having won the argument, at the stands on Stalls and Circle level. similar in personality, however; the broad the piano draws itself to full height in a brief Visit the Barbican Shop on Level -1 to see lyrical cast of the Concerto is in marked Several new themes are heard, but that but disquieting show of strength, before the our new range of Gifts and Accessories. contrast to the Symphony’s terse, almost first piano theme (and its rhythm) continue movement comes to a wary close.

4 Programme Notes 8 April 2018 Ludwig van Beethoven In Profile 1770–1827 / by Andrew Stewart

eethoven showed early musical other teachers. Although Maximilian the guardianship of his nephew, he created promise, yet reacted against his Franz withdrew payments for Beethoven’s a series of remarkable new works in his later father’s attempts to train him as Viennese education, the talented musician years, including the Missa Solemnis and his a child prodigy. The boy pianist attracted had already attracted support from some late symphonies and piano sonatas. the support of the Prince-Archbishop, of the city’s wealthiest arts patrons. who supported his studies with leading The first public performances of his own It is thought that around 10,000 people musicians at the Bonn court. By the early compositions came in 1795, and were followed his funeral procession on 1780s Beethoven had completed his first well received. He shrewdly negotiated a 29 March 1827. Certainly, his posthumous compositions, all of which were for keyboard. contract with Artaria & Co, the largest music reputation developed to influence successive With the decline of his alcoholic father, publisher in Vienna and he was soon able generations of composers and other Ludwig became the family breadwinner to devote his time to composition and the artists inspired by the heroic aspects of as a musician at court. performance of his own works. With the Beethoven’s character and the profound humanity of his music. • — ‘Do not merely practise your art, but force your way into its secrets; it deserves that, for only art and science can exalt man to divinity.’ • DEALING WITH DEAFNESS Beethoven in a letter to an aspiring young pianist Owing to his loss of hearing, Beethoven kept — many ‘conversation books’, where his friends could write so that he would know what they Encouraged by his employer, the Prince- premiere of the Second Symphony he came were saying. Beethoven would then respond Archbishop Maximilian Franz, Beethoven to be regarded as one of the most important either orally or in writing. Primarily used in travelled to Vienna in November 1792 of the new generation of composers who the last decade of his life, these documents with the goal of studying performance. would follow Haydn and Mozart. have provided rich sources of information He worked under Joseph Haydn, whom he for musical historians and musicologists. had met two years earlier. By 1793 he had In 1800, Beethoven began to complain They contain discussions about music and established himself a well-known pianist of deafness •, a condition which would composition alongside other matters. Some, in the salons of the Viennese nobility. The continue to worsen until his death. But however, were altered or destroyed after younger composer ceased his lessons with despite suffering the distress and pain of Beethoven’s death by his secretary Anton Joseph Haydn when the latter discovered tinnitus, chronic stomach ailments, liver Schindler, who wished that only a positive he was secretly taking lessons from several problems and an embittered legal case for view of the composer’s life would survive.

Composer Profile 5 Symphony No 8 in C minor Op 65 1943 / note by Andrew Huth

1 Adagio – Allegro non troppo Shostakovich’s new symphony – was as Rachmaninov and Stravinsky discovered immediately creates a sense of vast musical 2 Allegretto bound to be received with suspicion. One (rather to their surprise) that they were space within which the tension gradually 3 Allegro non troppo – representative comment after the first Russians first and anti-Bolsheviks second, mounts, the tempo increases, the themes 4 Largo – performance was that, ‘it sees only the how can one doubt the visceral reactions become brutalised and the music eventually 5 Allegretto dark side of life. Its composer must be a of anyone who actually lived in erupts into the first of the symphony’s poor-spirited sort not to share the joy of throughout a war that cost the three great climaxes, drum roll crescendos he Eighth Symphony is a dark, his people’. After the Leningrad premiere in something like 27 million dead, two thirds punctuating massive cries from the full epic work standing at the very 1944 the work virtually disappeared from of whom were civilians? orchestra. The long cor anglais threnody centre of Shostakovich’s output. the repertory, and at the notorious 1948 that follows is characteristic of much of the Composed in a mere ten weeks between conference • that condemned the finest The Eighth is a great tragic statement symphony’s quiet music: a sense of numb July and September 1943, it was first composers in Russia it was singled out for about suffering, but its validity need not shock after the experience of horror. performed in on 4 November under its ‘unhealthy individualism’ and pessimism. rely on the specific circumstances of its Evgeny Mravinsky. Expectations were high, The two following movements, both short for Shostakovich’s Seventh Symphony, — and fast, take up and intensify ideas associated with the siege of Leningrad, had ‘Fascism is not just National Socialism; from the first movement. The second, been adopted both in Russia and the West beginning as a grimly mechanised march, as a symbol of resistance to the Nazis. this music is about terror, slavery, moral decay.’ contains woodwind solos – notably for the It was hoped that the Eighth would follow Dmitri Shostakovich scampering piccolo – in Shostakovich’s in its patriotic footsteps, but with the most sardonic vein. The third is a grim moto difference that the tide of war had now — perpetuo interspersed with vivid shrieks and turned. Earlier that year the German Sixth Shostakovich is reported as saying in 1942 composition. Written 75 years ago, it howls, and hurtles towards the second big Army had been annihilated at Stalingrad, that his Fifth and Seventh symphonies were continues to ring out as the voice of an climax. After this the symphony’s opening the siege of Leningrad had been lifted, concerned ‘not only with Fascism, but also individual sensibility speaking for the dotted rhythm is given out by brass and and the Nazis were in retreat. events in our country, as well as tyranny millions whose lives have been shattered strings, then sinks into the bass, where it and totalitarianism in general’, and that, by totalitarianism, militarism and cruelty, is repeated eleven times, underpinning the What should have been a symphony of ‘Fascism is not just National Socialism; this whatever their sources. The theme is as most introverted music in the symphony, heroism and victory turned out to be nothing music is about terror, slavery, moral decay.’ topical today as it was in 1943. quiet throughout, with a sense of repression, of the sort. At a time when optimism If this holds true for the Fifth and Seventh exhaustion, even suffocation. There is a vast and glorification of the Motherland under symphonies, it is even more relevant to the The symphony’s opening – dotted-note sense of relief as the music at last slides Stalin’s inspired leadership were the Eighth. At the same time, the fact that this gestures in the strings leading to a sparse, into a warm C major and a solo bassoon order of the day, anything more complex – is a war symphony cannot be minimised. bleak theme in the violins – recalls that begins the finale. let alone the questioning ambiguities of After all, if even such anti-Bolshevik exiles of the Fifth, and here too Shostakovich

6 Programme Notes 8 April 2018 Shostakovich’s own public comments on his • ZHDANOVISM • SHOSTAKOVICH ON LSO LIVE music were usually trite, if not downright misleading. Thus he explained: ‘This new was followed by a special congress of the work is an attempt to look into the future, Union of Soviet Composers, at which many towards the post-war age. The Eighth of the accused composers were forced to Symphony contains many inner conflicts of publicly repent. both a tragic and dramatic nature, but it is on the whole an optimistic, life-affirming Zhdanovism as a policy would not end work … the fifth movement contains bright, until five years after Stalin’s death in 1953, pastoral music with various kinds of dance when a Central Committee decree formally elements interwoven with folk motifs.’ rehabilitated the affected composers. Russian soprano Galina Vishnevskaya Even Shostakovich couldn’t bring himself reported that Shostakovich hosted a to claim that this finale was triumphant party to celebrate, toasting to the new or victorious. Many people in the USSR announcement and singing Zhdanov’s words believed that the post-war period would ‘There must be beautiful music; there must lead to a new freedom for their country. be refined music’ to the tune of Stalin’s Shostakovich was clearly not one of them; The 1948 decree formed part of the wider favourite Lezginka. Shostakovich Symphony No 8 that much seems obvious from the placing Zhdanov cultural doctrine, so-named for of the third great climax, a virtual repeat its architect, Soviet Central Committee conductor of that in the first movement. In its wake Secretary and cultural adviser to Joseph London Symphony Orchestra a long solo for the bass clarinet with solo Stalin, Andrei Zhdanov (pictured). The violin appears as a sort of halfway-stage policy criticised what it called ‘formalist’ ‘All the searing intensity, perceptiveness between the first movement’s lamenting works, those works which existed for their and magnificent playing that made this cor anglais solo and the sardonic clowning own sake, rather than serving greater such a memorable performance survives of the piccolo in the second movement. social purposes, and condemned many of on this recording.’ The symphony ends with a gradual quiet fade the Soviet Union’s foremost composers. The Daily Telegraph out, as though drained of energy or feeling. • Shostakovich, Prokofiev, Miaskovsky, Khachaturian, Shebalin and Popov all found Available to purchase at lsolive.lso.co.uk their works unprogrammable, criticised for and Amazon or to stream on Spotify and writing allegedly ‘hermetic’ music and for Apple Music misusing dissonant intervals. The decree

Programme Notes 7 THE CYCLE CONTINUES …

Gianandrea Noseda continues his Shostakovich series

Symphony No 10 24 June 2018 Symphony No 4 1 & 4 November 2018 Symphony No 1 27 & 28 March 2019 Concerto No 1 for piano, trumpet and strings 16 June 2019 lso.co.uk 020 7638 8891 THE CYCLE CONTINUES … Dmitri Shostakovich In Profile 1906–75 / by Andrew Stewart

fter early piano lessons with his With the outbreak of war against Nazi work represented ‘most strikingly the mother, Shostakovich enrolled Germany in June 1941, Shostakovich began to formalistic perversions and anti-democratic at the Petrograd Conservatory compose and arrange pieces to boost public tendencies in music’, a crippling blow to Gianandrea Noseda in 1919. He supplemented his family’s morale. He lived through the first months of Shostakovich’s artistic freedom that was meagre income from his earnings as a the German siege of Leningrad, serving as a healed only after the death of Stalin in 1953. continues his cinema pianist, but progressed to become a member of the auxiliary fire service. Shostakovich answered his critics later that Shostakovich series composer and concert pianist following the year with the powerful Tenth Symphony, critical success of his First Symphony in 1926 — in which he portrays ‘human emotions and and an ‘honourable mention’ in the 1927 passions’, rather than the collective dogma Symphony No 10 ‘If they cut off both hands, Chopin International Piano Competition in of Communism. A few years before the 24 June 2018 Warsaw. Over the next decade he embraced I will compose music anyway completion of his final and bleak Fifteenth holding the pen in my teeth.’ Symphony No 4 the ideal of composing for Soviet society, String Quartet, Shostakovich suffered his 1 & 4 November 2018 and his Second Symphony was dedicated to Shostakovich writing in 1936 second heart attack and the onset of severe the October Revolution of 1917. — arthritis. Many of his final works – in particular Symphony No 1 the penultimate symphony (No 14) – are 27 & 28 March 2019 Shostakovich announced his Fifth Symphony In July he began work on the first three preoccupied with the subject of death. • of 1937 as ‘a Soviet artist’s practical creative movements of his Seventh Symphony, Concerto No 1 for piano, reply to just criticism’. A year before its completing the defiant finale after his trumpet and strings premiere he had drawn a stinging attack evacuation in October and dedicating the 16 June 2019 from the official Soviet mouthpiecePravda , score to the city. A micro-filmed copy was in an article headed ‘Muddle instead of despatched by way of Teheran and an music’, in which Shostakovich’s initially American warship to the US, where it was successful opera Lady of the broadcast by the NBC Symphony Orchestra Mtsensk District was condemned for its and Toscanini. In 1943 Shostakovich extreme modernism. ‘It is leftist bedlam completed his Eighth Symphony, its instead of human music,’ the article claimed. emotionally shattering music compared lso.co.uk When the Fifth Symphony was premiered in by one critic to Picasso’s Guernica. 020 7638 8891 Leningrad, the composer’s reputation and career were rescued. Acclaim came not only In 1948 Shostakovich and other leading from the Russian audience, who gave the composers, Prokofiev among them, were work a reported 40-minute ovation, but also forced by the Soviet cultural commissar, from musicians and critics overseas. Andrei Zhdanov, to concede that their

Composer Profile 9 Gianandrea Noseda conductor

idely recognised as one of the Highlights of his 2017/18 season include a vocalists such as Ildebrando d’Arcangelo, leading conductors of his generation, tour of the Far East with the LSO in June. Rolando Villazón, and Gianandrea Noseda has been He also performs with the Israel Philharmonic, . Critics have also received Music Director of the National Symphony , Orchestre de Paris recordings of Britten’s War and Orchestra (US) since September 2017. and in May he will lead the Metropolitan Verdi’s Requiem for the LSO Live label He has served as Music Director of the Opera Orchestra at for the with huge acclaim. Teatro Regio Torino since 2007, where his first time. Noseda works with the leading visionary leadership and ambitious global opera houses and orchestras in the world, Noseda is dedicated to the next generation touring initiatives over the last decade have including the Cleveland Orchestra, , of artists, through his masterclasses and made the opera house one of the leading Munich Philharmonic, New York Philharmonic, work with youth orchestras, including the international companies on the global stage. NHK Symphony, Orchestra dell’Accademia European Union Youth Orchestra. The company has become one of ’s Nazionale di Santa Cecilia, Philadelphia leading cultural ambassadors, and its most Orchestra, and the Royal Opera House. A native of , Gianandrea Noseda is recent activites include appearances at the He also continues to work with institutions Cavaliere Ufficiale al Merito della Repubblica Edinburgh International Festival and the where he has previously held posts, including Italiana, marking his contribution to the Royal Opera House in Muscat, Oman where the BBC Philharmonic, which he led from artistic life of Italy. In 2015 he was honoured it opened the 2017/18 season. Noseda also 2002–11; the Pittsburgh Symphony, where as Musical America’s Conductor of the Year, serves as Principal Guest Conductor of the the Victor de Sabata Chair was created for and was named the 2016 International Opera London Symphony Orchestra and the Israel him as Principal Guest Gonductor; and the Awards Conductor of the Year. In December Philharmonic Orchestra, Principal Conductor , which appointed him its 2016 Noseda was honoured to conduct the of the Orquestra de Cadaqués, and Artistic first foreign Principal Guest Conductor in 1997, Nobel Prize Concert in Stockholm. • Director of the Stresa Festival in Italy. a position he held for a decade.

Gianandrea Noseda has a cherished Noseda’s intense recording activity has MORE GIANANDREA NOSEDA relationship with the Metropolitan Opera produced more than 50 CDs, many of which dating back to 2002. In the 2016/17 season have been celebrated by critics and received Sunday 3 June 2018 7pm, Barbican Hall he conducted a new production of Gounod’s awards. His Musica Italiana project, which Roméo et Juliette, which received its premiere he initiated more than ten years ago, Beethoven Piano Concerto No 3 at the New Year’s Eve Gala; he also led a has chronicled under-appreciated Italian Mussorgsky arr Ravel critically acclaimed new production of Bizet’s repertoire of the 20th century and brought Pictures at an Exhibition Les pêcheurs de perles which premiered at the to light many masterpieces. He has also New Year’s Eve Gala in 2015. recorded opera albums with celebrated Yefim Bronfman piano

10 Artist Biographies 8 April 2018 Nikolai Lugansky piano

escribed by Gramophone as Director of the Tambov Rachmaninov BBC RADIO 3 CONCERTS NEXT SEASON ‘the most trailblazing and Festival and is also a supporter of, and meteoric performer of all’, regular performer at, the Rachmaninov Friday 14 September 2018 1pm Nikolai Lugansky regularly works with top- Estate and Museum of Ivanovka. LSO St Luke’s level conductors such as Osmo Vänskä, , , Nikolai Lugansky has won a number of WORKS BY CHOPIN Charles Dutoit, Gianandrea Noseda and awards for his many recordings. His recital Vladimir Jurowski. Concerto highlights of CD featuring Rachmaninov’s Piano Sonatas Ingrid Fliter piano the 2017/18 season include engagements won the Diapason d’Or and an with the Baltimore Symphony Orchestra, Award, whilst his recording of concertos Friday 14 September 2018 6.30pm Orchestra dell’Accademia Nazionale di Santa by Grieg and Prokofiev with Kent Nagano LSO St Luke’s Cecilia, Hong Kong Philharmonic, Junge and the Deutsches Symphonie-Orchester Deutsche Philharmonie and the Yomiuri Berlin was Gramophone Editor’s Choice. WORKS BY MOZART Nippon Symphony Orchestra. He will also His earlier recordings have also won a take part in European tours with the Royal number of awards, including a Diapason Anne Queffélec piano Stockholm Philharmonic Orchestra and Sakari d’Or, BBC Music Magazine Award and Oramo, and the Russian National Orchestra. ECHO Klassik prize. Lugansky’s most recent Friday 21 September 2018 1pm disc of Tchaikovsky’s Grande Sonata and LSO St Luke’s Recent recital performances include The Seasons, released in June 2017, met with appearances at Paris’ Théâtre des Champs- enthusiastic reviews and was described WORKS BY BACH Élysées, New York’s 92nd Street Y, Aix-en- as ‘insightful and mature’ (The Guardian). Provence, Lisbon’s Gulbenkian, Tokyo, He has recently signed an exclusive contract Víkingur Ólafsson piano Rio de Janeiro and the Great Hall of the with harmonia mundi. Moscow Conservatoire. He will also perform Friday 21 September 2018 6.30pm at Wigmore Hall later this month. Lugansky Nikolai Lugansky studied at Moscow’s LSO St Luke’s regularly performs at some of the world’s Central Music School and the Moscow most distinguished festivals, including Conservatoire, where his teachers included WORKS BY SCHUBERT La Roque d’Anthéron, and the Verbier, Tatiana Kestner, Tatiana Nikolayeva and Tanglewood and Ravinia Festivals. His Sergei Dorensky. He was awarded the honour Simone Dinnerstein piano chamber music collaborators include Vadim of People’s Artist of Russia in April 2013. • Repin, Alexander Kniazev, and Leonidas Kavakos. Lugansky is Artistic lso.co.uk/lunchtimeconcerts.

Artist Biographies 11 London Symphony Orchestra on stage tonight

Leader Second Violins Cellos Flutes Horns Timpani LSO String Experience Scheme Roman Simovic Saskia Otto Rebecca Gilliver Gareth Davies Alberto Menendez Nigel Thomas Since 1992, the LSO String Experience Sarah Quinn Alastair Blayden Alex Jakeman Angela Barnes Scheme has enabled young string players First Violins Miya Väisänen Jennifer Brown Julian Sperry Alexander Edmundson Percussion from the London music conservatoires at Carmine Lauri Matthew Gardner Noel Bradshaw Jonathan Lipton Neil Percy the start of their professional careers to gain Lennox Mackenzie Julian Gil Rodriguez Eve-Marie Caravassilis Piccolo James Pillai David Jackson work experience by playing in rehearsals Clare Duckworth Naoko Keatley Daniel Gardner Patricia Moynihan Sam Walton and concerts with the LSO. The musicians Ginette Decuyper Belinda McFarlane Hilary Jones Trumpets Tom Edwards are treated as professional ‘extra’ players Gerald Gregory William Melvin Amanda Truelove Oboes David Elton Paul Stoneman (additional to LSO members) and receive Claire Parfitt Iwona Muszynska Morwenna Del Mar Juliana Koch Gerald Ruddock Glyn Matthews fees for their work in line with LSO section Laurent Quénelle Andrew Pollock Deborah Tolksdorf Michael O’Donnell Niall Keatley players. Performing in tonight’s concert are Harriet Rayfield Ingrid Button David Geoghegan Ruth Heney (First Violin) and Jacky Siu (Cello). Colin Renwick Siobhan Doyle Double Basses Cor Anglais Sylvain Vasseur Hazel Mulligan Ander Perrino Christine Pendrill Trombones The Scheme is supported by Rhys Watkins Gabrielle Painter Colin Paris Dudley Bright The Polonsky Foundation Julian Azkoul Matthew Gibson Clarinets James Maynard Barbara Whatmore Charitable Trust Grace Lee Violas Thomas Goodman Chris Richards The Thistle Trust and Idlewild Trust Hilary Jane Parker Jane Atkins Joe Melvin Peter Sparks Bass Trombone Angus Allnatt Charitable Foundation Benjamin Roskams Gillianne Haddow Jani Pensola Paul Milner Anna Bastow Emre Ersahin E-Flat Clarinet May Dolan Jose Moreira Chi-Yu Mo Tuba Julia O’Riordan Peter Smith Editor Robert Turner Bass Clarinet Edward Appleyard | [email protected] Ilona Bondar Renaud Guy-Rousseau Fiona Dinsdale | [email protected] Stephen Doman Editorial Photography Carol Ella Bassoons Ranald Mackechnie, Naãve Ambroisie Philip Hall Rachel Gough Print Cantate 020 3651 1690 Alistair Scahill Dominic Tyler Advertising Cabbells Ltd 020 3603 7937 Milena Simovic Contra Bassoon Dominic Morgan Details in this publication were correct at time of going to press.

12 The Orchestra 8 April 2018