Sunday 24 June 2018 7–9.10pm Barbican Hall

LSO SEASON CONCERT SHOSTAKOVICH

Shostakovich Violin Concerto No 1 Interval Shostakovich Symphony No 10 *

Gianandrea Noseda conductor Nicola Benedetti violin

Generously supported by Reignwood

* Symphony No 10 broadcast live on YouTube

Recorded for future broadcast on medici.tv Welcome LSO News

Having performed Shostakovich Symphony The concert this evening is generously TATE MODERN & BMW CLASSICS No 10 in many of those locations, the work supported by LSO Principal Partner will form the second half of tonight’s concert, Reignwood, who have also sponsored On Saturday 30 June the Orchestra will perform and also part of Gianandrea Noseda’s continuing the LSO’s tour of China as part of a wider in the vast chamber of Tate Modern’s survey of the Shostakovich symphonies shared ambition to develop understanding Turbine Hall as Sir Simon Rattle conducts which resumes next season on 1 November. and exchange between our two cultures. Stockhausen’s multi-orchestra masterpiece Tonight we welcome a group of Chinese Gruppen; followed by BMW Classics in Beginning the concert this evening with musicians on an exchange, following a visit Trafalgar Square on Sunday 1 July. Shostakovich’s First Violin Concerto, of some of the LSO’s Panufnik composers it is a pleasure to welcome back violinist to China during the tour. The Orchestra is FOND FAREWELLS Nicola Benedetti, who has been a friend indebted to Reignwood for its support. Welcome to the LSO for the final full orchestra of the LSO for many years and who is as This evening’s performance will be the final concert in our 2017/18 season. It has been a passionate about the importance of music I do hope you enjoy tonight’s concert concert for two distinguished LSO Members – landmark year for the Orchestra which began so education as we are. One of the Orchestra’s and would like to take this opportunity to LSO Principal Trombone Dudley Bright who memorably with the ten-day ‘This is Rattle’ leading education projects is LSO On Track thank you for your presence at concerts became a full LSO Member in 2001, and LSO festival launching the LSO’s first season with which reaches thousands of young throughout the 2017/18 season. We wish Trumpet Gerald Ruddock who joined in 1997 its new Music Director. It also featured two musicians in boroughs across East London you an enjoyable summer and look forward and was LSO Vice-Chairman for a number centenary celebrations – François-Xavier every year; it celebrates its tenth anniversary to welcoming you to the LSO again soon. of years. We wish them well. Roth exploring Debussy and Marin Alsop with a special concert featuring current conducting Bernstein – and included a brand and past participants on 5 July here at THIS IS RATTLE WINS RPS AWARD new series of concerts, Half Six Fix, the first the Barbican, alongside the LSO and of which was with this evening’s conductor Guildhall School musicians. The LSO has been awarded the Royal Gianandrea Noseda, who has been LSO Philharmonic Society’s Music Award in the Principal Guest Conductor since 2016/17. One of the LSO’s core aims is to bring Kathryn McDowell CBE DL Concert Series and Festivals category for great music to as many people as possible, Managing Director September’s ‘This is Rattle’ celebrations. Gianandrea Noseda and the LSO have just and tonight’s performance is one of returned from an extensive three-week tour eight this season that is live streamed WELCOME TO TONIGHT’S GROUPS to Thailand and China, taking in major cities on YouTube for viewers around the world including Bangkok, Shanghai, Shenzhen, to see for free. It is also being filmed Tonight we are delighted to welcome Wuhan and Beijing among others where for medici.tv whom we are grateful for our group bookers from Gerrards Cross the LSO has been very warmly received. their continuing partnership. Community Association, Hertford U3A and Adele Friedland & Friends.

2 Welcome 24 June 2018 HOW I LIVE... ONE MEMBERSHIP. TWO CLUBS

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MEMBERSHIP ENQUIRIES: +44 (0)1344 846 337 EMAIL: [email protected] 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 formalistic perversions and anti-democratic at the Petrograd Conservatory to compose and arrange pieces to boost tendencies in music’, a crippling blow to in 1919. He supplemented his family’s public morale. He lived through the first Shostakovich’s artistic freedom that was meagre income from his earnings as a months of the German siege of Leningrad, healed only after the death of Stalin in 1953. cinema pianist, but progressed to become serving in the auxiliary fire service. Shostakovich answered his critics later that a composer and concert pianist following — year with the powerful Tenth Symphony, the critical success of his First Symphony in which he portrays ‘human emotions in 1926 and an ‘honourable mention’ in the ‘If they cut off both hands, and passions’, rather than the collective 1927 Chopin International Piano Competition I will compose music anyway dogma of Communism. A few years before in Warsaw. Over the next decade he the completion of his final and bleak embraced the ideal of composing for Soviet holding the pen in my teeth.’ Fifteenth String Quartet, Shostakovich society, and his Second Symphony was Shostakovich writing in 1936 suffered his second heart attack and the dedicated to the October Revolution of 1917. — onset of severe arthritis. Many of his final works – in particular the penultimate Shostakovich announced his Fifth Symphony In July he began work on the first three symphony (No 14) – are preoccupied with of 1937 as ‘a Soviet artist’s practical creative movements of his Seventh Symphony, the subject of death. • reply to just criticism’. A year before its completing the defiant finale after his premiere he had drawn a stinging attack evacuation in October and dedicating the from the official Soviet mouthpiece Pravda, score to the city. A micro-filmed copy in an article headed ‘Muddle instead of was despatched by way of Teheran and music’, in which Shostakovich’s initially an American warship to the US, where it was successful opera Lady Macbeth 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 When the Fifth Symphony was premiered by one critic to Picasso’s Guernica. in Leningrad, the composer’s reputation and career were rescued. Acclaim came not In 1948 Shostakovich and other leading only from the Russian audience, who gave composers, Prokofiev among them, were the work a reported 40-minute ovation, but forced by the Soviet cultural commissar, also from musicians and critics overseas. Andrei Zhdanov, to concede that their

4 Composer Profile 24 June 2018 Dmitri Shostakovich Violin Concerto No 1 in A minor Op 77/99 1948, rev 1955 / note by Andrew Huth

1 Nocturne: Moderato censoring a number of composers, dedicated to Oistrakh both his Second Violin theme given out initially by cellos and 2 Scherzo: Allegro Shostakovich chief among them, for such Concerto (1967) and Violin Sonata (1968). basses, and then repeated a further eight 3 Passacaglia: Andante crimes as ‘formalist perversions’ and The movement titles might at first times. This Passacaglia recalls something 4 Burlesque: Allegro con brio – Presto ‘anti-democratic tendencies’. These suggest something like a series of loosely of the brooding intensity of the first accusations were nonsense, but it was connected character pieces, but in fact movement, though it is more sectional in Nicola Benedetti violin Stalin’s nonsense and the composers in this is one of Shostakovich’s most tightly construction and therefore offers a greater question had no choice but to bow their and symphonically organised scores. variety of expression and gesture. y his early 40s, Shostakovich had heads and do as they were told. produced a huge amount of music NOCTURNE BURLESQUE in almost every form: operas, Shostakovich was dismissed from his ballets, symphonies, chamber music, and teaching posts at the Leningrad and The Nocturne gives the impression of being A solo cadenza, of mounting tension and several scores for the theatre and cinema. Moscow Conservatoires, and for the next the most free of the four movements, a fearsome technical difficulty, spills into His only concerto, however, was the light five years presented himself in public as long and eloquent meditation for the violin, the finale, which Shostakovich originally (though wonderful and funny) Concerto for the author of much bland and politically rising and falling in great arches of melody. intended to be launched by the soloist. Piano, Trumpet and Strings of 1933. Wasn’t acceptable music. But at the same time he The orchestra functions as accompaniment He changed his mind, scoring it instead for it now time to follow his distinguished also wrote more personal and challenging to the soloist, providing a background of the full orchestra, when Oistrakh begged for colleagues Prokofiev, Myaskovsky and works, putting them aside for better times. brooding anxiety. Much of this movement’s a moment of respite ‘so at least I can wipe Khachaturian with a violin concerto? Some As well as the Violin Concerto, they included power derives from its measured pace and the sweat off my brow’. This finale, recalling prompting may have come from the great the Fourth and Fifth String Quartets, rhythm, the overall restraint producing the wild energy of the Scherzo, makes no violinist David Oistrakh, whom he had the song cycle From Jewish Folk Poetry an effect of great intensity. concessions to Soviet orthodoxy or to known as a friend and chamber music and the Tenth Symphony. the demands for optimism at all costs, partner for over a decade. SCHERZO & PASSACAGLIA and puts the seal on one of Shostakovich’s These works became known to the public most powerful and personal works. • The Violin Concerto was completed in only after Stalin’s death in 1953, the Violin Restraint is thrown aside in the following March 1948, but had to wait seven and Concerto last of all. Already familiar to Scherzo, a remorseless nightmare of activity a half years before it was performed. friends and fellow musicians from the that hurtles onwards in a wild, frantic Interval – 20 minutes The reason, as so often with Shostakovich, composer’s run-throughs at the piano, it dance. One of the many ideas that appear There are bars on all levels of the was closely bound up with Soviet musical was premiered in Leningrad in October 1955 in its course is the four-note DSCH motive Concert Hall; ice cream can be bought politics. While he was in the middle of and then four months later in Moscow, (D, E-flat, C, B-natural in German musical at the stands on Stalls and Circle level. composing the finale, there came the conducted by Evgeny Mravinsky and played notation) that the composer used as his Visit the Barbican Shop on Level -1 to see infamous resolution from the Central by Oistrakh, its dedicatee. Shostakovich was own musical signature; another provides our new range of Gifts and Accessories. Committee of the Communist Party delighted by the performances, and later the basis of the third movement, a 17-bar

Programme Notes 5 Dmitri Shostakovich Symphony No 10 in E minor Op 93 1953 / note by Andrew Huth

1 Moderato widest audience. It was certainly a huge He reproached himself for having written second of his Four Pushkin Monologues, 2 Allegro public success, and Soviet listeners clearly the symphony in too much of a hurry, composed in 1952, at the setting of the 3 Allegretto heard a truth in the music that needed to and for the fact that the movement lengths words ‘What does my name mean to you?’. 4 Andante – Allegro be expressed. Soviet officialdom demanded were all wrong and out of proportion. orthodoxy and optimism in the arts. Later, when the Composers’ Union The five-note horn call heard twelve times hostakovich’s Tenth Symphony But optimism was the last thing on organised a discussion about the piece, in the third movement, always at the appeared eight years after its anyone’s mind in mid-1953. With the he humbly acknowledged criticism and came same pitch and often unaccompanied, predecessor, the impertinent death of their Great Leader and Teacher, out with such meaningless statements as, represents another name cyphered into Ninth, and, significantly, it was his first Russians naturally reflected on the horrors ‘In this work I wanted to convey human musical notation: that of Elmira Nazirova •, major work to appear after the death of they had suffered over the past 20 years, feelings and passions’. These banalities a young pianist and composer from Azerbaijan Stalin. This momentous event occurred and wondered what the future could hold seem to have performed their function with whom Shostakovich was involved on 5 March 1953 (ironically, on the for them. There may have been some feelings in deflecting criticism of a more insightful at the time. Finally, the last movement’s same day that died). of hope, but it is unlikely that Shostakovich and dangerous kind. coda echoes the bogus triumphalism of The Symphony was completed six months shared them: the Tenth Symphony suggests the second of the Two Krylov Fables •, later in October 1953, although there is an overriding mood of uncertainty and Treating Shostakovich’s music simply as a which Shostakovich set to music in 1922, evidence that it may have been planned fear in the shadow of power. coded message to be deciphered, as some at the prophetic words ‘God save us and some of it composed during 1951, of the more extreme recent writing on the from such judges’, as the cloth-eared or even earlier – that is, in the aftermath — composer tends to do, ignores how music ass recommends the nightingale to take of the notorious 1948 attack on so many ‘In this work I wanted to convey communicates, and it also devalues the music lessons from the cockerel. Soviet composers, and on Shostakovich music by ignoring its capacity for ambiguity, in particular. During his years of virtual human feelings and passions.’ paradox and contradiction. That said, there For its breadth of vision, variety of ideas disgrace, Shostakovich withheld many — are a number of references and quotations and directness of effect, the Tenth was important new pieces and produced instead in the Tenth Symphony which point towards immediately hailed as Shostakovich’s film music and official patriotic works, The composer’s own comments on his the composer’s private intentions. finest symphonic work to date. As almost as well as such ‘abstract’ and ‘private’ works symphony verge on the absurd. Before its always in Shostakovich, the basic material as the 24 Preludes and Fugues for piano. first performance under conductor Yevgeny The clearest of them, which first appears is simple and clear, and so is the traditional Mravinsky in Leningrad on 17 December 1953 in the third movement, is the four-note four-movement symphonic form. The variety A new symphony from Shostakovich was he confessed that, ‘Again I have been motive D, E-flat, C, B-natural, the musical emerges from a very obvious symphonic bound to be considered a major event in unable to write a real sonata allegro’ signature Shostakovich derived from the unity: the first three movements, for example, Russian music, and the Tenth proved to be (the first movement was never intended German spelling of his own name and all begin with the same three-note rising his first work in many years that could be as an allegro; and it is certainly one its musical notation: DSCH •. The first figure, which in its turn is closely related described as both sincere and aimed at the of his very finest sonata structures). movement contains a reference to the to the DSCH monogram.

6 Programme Notes 24 June 2018 FIRST MOVEMENT was Shostakovich, whose DSCH monogram • SHOSTAKOVICH’S DSCH MONOGRAM SPEED READ emerges in the third movement as a jerky In the first movement, the outlines of puppet-like figure, standing out forlorn in Shostakovich’s musical monogram DSCH Shostakovich’s Tenth Symphony, a Classical sonata form are used as a contrast to the ‘Elmira’ horn call and references (D, E-flat, C, B-natural in German notation) premiered in December 1953, was the means of articulating a symphonic drama to the hushed coda of the first movement. is a recurring theme across his works. composer’s first major work to appear which unfolds in a span of well over It refers to the German spelling of his name: after Stalin died in March the same 20 minutes, all within the same basic tempo. FINALE Dmitri Schostakowitsch. year. With hindsight, we know that This breadth of scale allows climaxes of Stalin’s passing heralded a period of enormous power to arise organically from The Andante opening to the finale sums • ELMIRA’S MOTIF relief from oppression and horror for the the basically subdued lyrical background. up the brooding, oppressed aspects of Soviet people. However, the spirit of the It also allows the material to appear the Symphony. Its material reappears in The notes of the time was hardly celebratory and only many-sided: the very simplicity of the the following Allegro section, where it is ‘Elmira’ motif tentatively hopeful – a mood captured tonal language means that only slight associated with the DSCH motive; and (E–A–E–D–A) spell by this symphony, which is at times inflections are necessary to change the although a cheerful finale was an obligatory out ‘E La Mi Re A’ contemplative, violent, uncertain, shape or meaning of an idea in the course ending to a Soviet symphony, there are in a combination and at once undoubtedly sincere. It is of the dramatic argument. deliberate irrationalities and oddities here. of French and also a highly personal work, evident most German notation. clearly at the climax of the third movement, — She kept the musical cypher a secret until 1990, which is boldly emblazoned with The Tenth Symphony suggests an overriding mood of when she disclosed a letter Shostakovich had Shostakovich’s DSCH musical monogram. written to her to musicologist Nelly Kavetz. uncertainty and fear in the shadow of power … — • TWO FABLES BY KRYLOV PROGRAMME NOTE WRITERS

SECOND AND THIRD MOVEMENTS Although the purpose of a symphonic The 18th-century writer Ivan Krylov wrote Andrew Huth is a musician, writer and finale should be to resolve all tensions, poetic versions of Aesop’s Fables, well translator who writes extensively on French, The second movement is short, loud, this finale actually increases them, known to all Russian children. Shostakovich, Russian and Eastern European music. intense and immensely powerful. It has especially after the recall of the brutalism who set two of the poems to music at only been plausibly claimed that this is a musical of the second movement and the final 15 years old, would have known the words Andrew Stewart is a freelance music portrait of Stalin himself, or at least the insistence on the DSCH monogram. • by heart. The first fable contrasts the lazy journalist and writer. He was the author aspect of Stalin that enthralled millions. but beautiful dragonfly with the hard- of The LSO at 90, and contributes to One person obviously not enthralled or working ant; the second compares the braying a wide variety of specialist classical seduced by this image of unbridled power of a donkey to the song of a nightingale. music publications.

Programme Notes 7 Gianandrea Noseda conductor

ianandrea Noseda is widely Noseda works with the leading opera houses Noseda’s intense recording activity accounts recognised as one of the leading and orchestras in the world, including the for more than 50 CDs, many of which have conductors of his generation. Cleveland Orchestra, La Scala, Munich and been celebrated by critics and received In January 2016 he was named as the New York Philharmonics, NHK Symphony, awards. His Musica Italiana project, which he seventh Music Director of the National Orchestra dell’Accademia Nazionale di began more than ten years ago, chronicles Symphony Orchestra (US), beginning his Santa Cecilia, Philadelphia Orchestra, the under-appreciated Italian repertoire of the four-year term at the start of the 2017/18 Royal Opera House (Covent Garden), Vienna 20th century and has brought many lost season with an opening night gala Symphony Orchestra and Zurich Opera. masterpieces to light. Conducting the celebrating Leonard Bernstein’s centenary. In 2015 he made his debut with the Berlin Vienna Philharmonic Orchestra and the Philharmonic, the same year he made his Orchestra Teatro Regio Torino, he has also Noseda serves as Principal Guest Conductor Salzburg Festival debut leading the Vienna recorded opera albums with celebrated of the London Symphony Orchestra and Philharmonic in a performance of Verdi’s vocalists such as Ildebrando d’Arcangelo, the Israel Philharmonic Orchestra, Principal Il trovatore, as well as conducting a gala Rolando Villazón, and Conductor of the Orquestra de Cadaqués, celebrating Plácido Domingo’s relationship . The critics have received and Artistic Director of the Stresa Festival with the festival. both of his LSO Live recordings featuring in Italy. From 2007 until 2018 Noseda served Britten’s War Requiem and Verdi’s Requiem as Music Director of the Teatro Regio Torino Gianandrea Noseda has a cherished with huge acclaim. where he ushered in a transformative era for relationship with the Metropolitan Opera the company, reflected in wide international dating back to 2002. During the 2016/17 A native of Milan, Noseda is Cavaliere acclaim for its productions, tours, recordings, season he conducted a new production of Ufficiale al Merito della Repubblica Italiana, and film projects. Gounod’s Romeo and Juliet, which received marking his contribution to the artistic its premiere at the New Year’s Eve Gala. life of Italy. In 2015, he was honoured as The 2017/18 season marked the beginning of He also led a critically acclaimed new Musical America’s Conductor of the Year, his tenure as Music Director of the National production of Bizet’s The Pearl Fishers, and was named the 2016 International Symphony Orchestra and included weeks with which received its premiere at a New Year’s Opera Awards Conductor of the Year. the Israel Philharmonic, Orchestre de Paris and Eve Gala in 2015. His widely praised 2014 In December 2016 he was honoured New York Philharmonic. He also joined the interpretation of Borodin’s Prince Igor, to conduct the Nobel Prize Concert in LSO on a tour of Far East Asia. At the end of directed by , is available Stockholm. In February 2018 he was May, he led his first symphonic programme on DVD from Deutsche Grammophon. appointed Accademico of Santa Cecilia. • with the Met Orchestra at Carnegie Hall.

8 Artist Biographies 24 June 2018 Nicola Benedetti violin

icola Benedetti is one of the Summer 2017 saw Nicola make her debut at Edinburgh Festival, Glasgow Royal Concert most sought-after violinists of her the Gstaad Menuhin Festival with Antonio Hall, Frankfurt Alte Oper and LSO St Luke’s generation. Her ability to captivate Pappano and the Orchestra dell’ Accademia among others. Spring 2018 saw the trio’s audiences with her innate musicianship Nazionale di Santa Cecilia. She returned to welcome return to North America with and dynamic presence, coupled with her the BBC Proms with Thomas Søndergård performances in Boston and Vancouver. wide appeal as a high-profile advocate for and the BBC National Orchestra of Wales, classical music, has made her one of the and to the Edinburgh International Festival Fiercely committed to music education most influential classical artists of today. with Iván Fischer and the Budapest Festival and to developing young talent, Nicola has Orchestra. The season has also seen debuts formed associations with schools, music With concerto performances at the heart with the Orchestre de Paris and collaborations colleges and local authorities. In 2010, she of her career, Nicola is in much demand with the Deutsches Symphonie-Orchester became Sistema Scotland’s official musical with major orchestras and conductors Berlin, Philadelphia Orchestra, City of ‘Big Sister’ for the Big Noise project, a music across the globe. Conductors with whom Birmingham Symphony, Royal Scottish initiative partnered with Venezuela’s she has worked include Vladimir Ashkenazy, National Orchestra, Bremen Philharmonic, El Sistema (Fundación Musical Simón Bolívar). Jiří Bělohlávek, Stéphane Denéve, Warsaw Philharmonic, Dallas Symphony, As a board member and teacher, Nicola James Gaffigan, , Alan Gilbert, Atlanta Symphony, New World Symphony embraces her position of role model to Jakub Hrůša, Kirill Karabits, Kristjan Järvi, and Baltimore Symphony with Marin Alsop. encourage young people to take up music, Vladimir Jurowski, Zubin Mehta, Peter and she continues to spread this message Oundjian, Vasily Petrenko, Donald Runnicles, With her regular duo partner pianist in school visits and masterclasses around Krzysztof Urbański, Juraj Valčuha, Edo de Waart, Alexei Grynyuk, Nicola frequently performs the world. Pinchas Zukerman and Jaap van Zweden. recitals in the world’s leading concert halls and festivals, with most recent highlights In addition, Nicola developed her own Nicola enjoys working with the highest level including the Wigmore Hall, Concertgebouw education and outreach initiative of orchestras including collaborations with Amsterdam, Utrecht, Rome, Copenhagen, The Benedetti Sessions giving hundreds the London Symphony Orchestra, the London Dortmund, Ludwigshafen, Bielefeld and Kiel. of aspiring young string players the and New York Philharmonic Orchestras, Nicola is also a devoted chamber musician opportunity to rehearse, undertake and National Symphony Orchestra of and collaborates with cellist Leonard observe masterclasses, culminating in a Washington DC, Orchestra of the Mariinsky Elschenbroich and pianist Alexei Grynyuk, performance alongside Nicola. She has Theatre, Leipzig Gewandhausorchester, who have been performing as a trio presented The Benedetti Sessions at the Camerata Salzburg, Czech Philharmonic, since 2008. Recent performances include Royal Albert Hall, Cheltenham Festival and Los Angeles Philharmonic, and the London’s Cadogan Hall, Amsterdam Royal Concert Hall Glasgow, and has plans San Francisco and Chicago Symphonies. Concertgebouw, Birmingham Symphony Hall, to develop this on an international scale. •

Artist Biographies 9 ‘Gianandrea Noseda let Shostakovich the music tell its own story.’ Symphony No 5 The Times on Noseda’s Shostakovich Gianandrea Noseda

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Leader Second Violins Cellos Flutes Bassoons Bass Trombone LSO String Experience Scheme Roman Simovic Saskia Otto Tim Hugh Gareth Davies Daniel Jemison Paul Milner Since 1992, the LSO String Experience Thomas Norris Alastair Blayden Alex Jakeman Gretha Tuls Scheme has enabled young string players First Violins Miya Väisänen Noel Bradshaw Joost Bosdijk Tuba from the London music conservatoires at Carmine Lauri Matthew Gardner Eve-Marie Caravassilis Piccolos Daniel Trodden the start of their professional careers to Lennox Mackenzie Julian Gil Rodriguez Daniel Gardner Luke O’Toole Contra Bassoon gain work experience by playing in rehearsals Clare Duckworth Naoko Keatley Hilary Jones Dominic Morgan Timpani and concerts with the LSO. The musicians Ginette Decuyper Belinda McFarlane Amanda Truelove Oboes Nigel Thomas are treated as professional ‘extra’ players Gerald Gregory Iwona Muszynska Victoria Harrild Olivier Stankiewicz Horns (additional to LSO members) and receive Maxine Kwok-Adams Philip Nolte Peteris Sokolovskis Juliana Koch Timothy Jones Percussion fees for their work in line with LSO section Claire Parfitt Morane Cohen- Deborah Tolksdorf Daniel Finney Christopher Parkes Neil Percy players. The Scheme is supported by Sylvain Vasseur Lamberger Angela Barnes David Jackson The Polonsky Foundation, Barbara Whatmore André Gaio Pereira Siobhan Doyle Double Basses Cor Anglais Alexander Edmundson Sam Walton Charitable Trust, Derek Hill Foundation, Aischa Gündisch Caroline Frenkel Colin Paris Maxwell Spiers Jonathan Lipton Tom Edwards The Thistle Trust, Idlewild Trust and Alix Lagasse Alain Petitclerc Patrick Laurence Angus Allnatt Charitable Foundation. Hazel Mulligan Robert Yeomans Matthew Gibson Clarinet Trumpets Harps Hilary Jane Parker Jani Pensola Andrew Marriner Philip Cobb Bryn Lewis Helen Paterson Violas Joe Melvin Chris Richards David Elton Ruth Holden Erzsebet Racz Edward Vanderspar Simo Väisänen Gerald Ruddock Malcolm Johnston Jeremy Watt Bass Clarinet Niall Keatley Celeste Editor Anna Bastow Nicholas Worters Christelle Pochet Catherine Edwards Edward Appleyard | [email protected] German Clavijo Trombones Co-editor Carol Ella E-flat Clarinet Dudley Bright Fiona Dinsdale | [email protected]

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