Saturday 13 January 2018 7.30–9.35pm Barbican Hall

MUSIC OF EXILE

Schoenberg, Shilkret, Tansman, Milhaud, Castelnuovo-Tedesco, Toch & Stravinsky Genesis Suite (UK premiere) Interval BartÓk Concerto for Orchestra

Sir Simon Rattle conductor Gerard McBurney creative director MUSIC OF Mike Tutaj projection design Simon Callow, Rodney Earl Clarke, Sara Kestelman, Helen McCrory narrators London Symphony Chorus Simon Halsey chorus director

Produced by the LSO and the Barbican. Part of the LSO’s 2017/18 Season, Barbican EXILE Presents and the Barbican’s 2018 season, The Art of Change, which explores how artists respond to, reflect and can potentially effect change in the social and political landscape. Welcome Kathryn McDowell & Sir Nicholas Kenyon

elcome to tonight’s LSO concert at We are joined by a stellar cast of narrators WELCOME TO TONIGHT’S GROUPS the Barbican, part of the Barbican’s for the Genesis Suite: Simon Callow, 2018 season, The Art of Change. Rodney Earl Clarke, Sara Kestelman and We are delighted to welcome Continuing his first season as Music Director Helen McCrory. A warm welcome also Mr & Mrs Nisbet & Friends of the Orchestra and Artist-in-Association to the London Symphony Chorus, who join with the Barbican and Guildhall School, the Orchestra on-stage, led by the LSO’s Sir Simon Rattle explores music written during Choral Director Simon Halsey. the 1940s by composers who fled wartime Europe to take refuge in the US. He conducts This evening’s concert, following opera the Genesis Suite, a rarely heard collaboration performances in 2015 and 2016, is presented by seven of the leading composers of the day, in partnership by the LSO and the Barbican. followed by BartÓk’s joyful celebration of Working in collaboration allows us to bring music, his Concerto for Orchestra. together both partners’ work and expertise to create truly memorable musical experiences. Under the creative directorship of Gerard The LSO and Barbican are both partners in McBurney, the music and stories of the Culture Mile, a recently unveiled initiative Genesis Suite – and its themes of creation, to create a major destination for culture, destruction and politics – will be brought creativity and learning in the Square Mile, to life through specially created visual and we look forward to future collaborations. projections by Mike Tutaj, an award-winning projection designer. Gerard McBurney is well We hope you enjoy the performance and that known in classical music on both sides of the you will return to the Barbican – where, Atlantic as a composer, broadcaster, writer as Resident Orchestra, the LSO performs and creative director, and it is a great pleasure 70 concerts every year – for a wide range of to be working with him on this performance. events across the art-forms in the year ahead.

Kathryn McDowell CBE DL Sir Nicholas Kenyon CBE Managing Director, LSO Managing Director, Barbican Centre

2 Welcome 13 January 2018 Tonight’s Concert / introduction by Gerard McBurney

at Shilkret was a kaleidoscopically of was something more like high-falutin’ answered; and one – Béla Bartók – half- To that end, Mike Tutaj and I have sifted colourful and talented musician. agitprop. Or a gigantic musical billboard. accepted and then had to pull out. It is through filmed, photographed and recorded New York-born, the son of Jewish Or an exercise in popular conscience-stirring. certainly intriguing, though, that of the materials from the time when this music immigrants from Central Europe, he began seven composers who eventually participated, was conceived and written down (1943–45) as a child-prodigy clarinettist (playing Still, the idea was not simple to execute. six were recent immigrants to America, and then, feeling pretty confident Shilkret under Mahler!), before turning to the piano, Selections from the opening chapters of refugees from the European nightmare; himself would have approved, we have composing, conducting, arranging, producing, the Book of Genesis were to be dramatically and six – all except Stravinsky – were Jewish. moved forwards in history through the more and goodness knows what else besides. declaimed to the accompaniment of music than 70 years between then and now to He was fascinated by the most varied kinds of by composers working in as many different Evidently, Shilkret intended his Genesis Suite draw in some fairly bald and more recent modern music and by the latest technologies – styles as possible – a weird game of musical to make an appeal to the hearts and minds echoes of what was already prophesied in film, recording, radio – all of which he dreamed consequences, as it were. The results were of the American public in 1945. In the event, the original composition. of combining to bring ‘high’ and ‘low’ art to be performed, recorded, broadcast and financial limitations and the overwhelming closer together. And in his more ambitious distributed so as to reach mass audiences. practical difficulties of rebuilding a post-war Shilkret’s first plan was that Bartók would moments he whimsically contemplated a world meant the piece was really not much write the Prelude – and it is clear from their large-scale work ‘based on the Bible’. Shilkret himself prepared the text, using noticed. What’s disturbing now – returning friendly correspondence that Bartók was the American Standard Version of the to it more than 70 years after it was written – really interested. Unfortunately, it eventually Towards the end of World War II, with King James Bible. Cutting out repetition is that while the music and the aesthetic are became clear that the dangerously ill the overwhelmingly appalling news of the and extras like genealogies, he created of their time, the moral message has lost Hungarian composer was not going to be Holocaust, the destruction of old Europe a version that tells a story of menacing absolutely nothing of its relevance. able to take part after all, and that was and the impending migration of millions of darkness, emphasising and mourning the when Shilkret asked Schoenberg to step in refugees filling newspapers and magazines hideous damage inflicted by humankind This was the starting point for our idea of a to compose the opening movement. It was and newsreels, Shilkret – always generous- upon the world and on itself. The intended ‘production’ of a rarely heard and sometimes with this tantalising ‘might-have-been’ hearted – decided to invite as many famous political significance at that historical downright peculiar collective composition. in mind – what would Bartók’s Prelude to (and mostly penniless) composers as he turning-point hardly needs underlining. This piece was always intended to have a Genesis have been like? – that Sir Simon could think of to take part in an unusual But it is worth noting – and this evidently theatrical or cinematic side. To his wife, Rattle came up with the beautiful idea of work of collective public art. mattered to Shilkret – that each of these for example, Shilkret proudly called his own involving Bartók in the project anyway by ancient disasters is followed by migration, contribution ‘operatic’, adding: ‘What is wrong letting his great Concerto for Orchestra - Despite his vaulting energy and ambition, catastrophe every time turning human in writing music to accentuate the scene or begun before the Genesis Suite and finished Shilkret was not a pretentious man, and beings into homeless refugees. words [sic] – Wagner did it all the time’, after it – become, as it were, his noble he was clear from the beginning that what though he also warned her that Schoenberg’s answer to the Cassandra-like darkness and he had in mind was unlikely to end up as a Naturally, some of the composers Shilkret Prelude was ‘a great piece of music but oh – bitterness of this project in which he so deep work of art. What he was thinking invited to take part said no; others never so new in sound’. nearly took part. •

Tonight’s Concert 3 Genesis Suite 1945 / note by Neil W Levin

Arnold Schoenberg omposed collectively by an commissioner, Nathaniel Shilkret – the of ‘crossover’ has achieved respectability of 1 Prelude assemblage of some of the most least known among its seven composers sorts as nearly its own genre, we can more important émigré figures on the outside the film, popular and other easily appreciate the work’s artistic merits Nathaniel Shilkret contemporary music scene of the 1940s, commercial realms. Its cohesiveness along with its engaging interpretations of 2 Creation the Genesis Suite was neither the first nor derives not from homogeneous substance, the biblical stories. the last instance of combined authorship artistic cooperation or stylistic unity, Alexandre Tansman of a single musical work. Quite a few cases but from its traditionally Judaic yet very Although Shilkret had sought since the 3 Adam and Eve of team composition can be cited in the American ecumenical concept, its dramatic 1920s to appeal sympathetically to diverse history of western music. But few if any are narration, its wartime and immediate musical tastes across a broad spectrum, Darius Milhaud even remotely as lavish or grandiose – even postwar liberal sensibilities, and, of course, ranging from classical to popular to jazz 4 Cain and Abel fustian for some – as the Genesis Suite. its biblical basis. Even more historically idioms, his immediate inspiration for a None have approached either its Hollywood significant was its attempted marriage Genesis project was a poll that indicated Mario Castelnuovo-Tedesco grand scale or the degree of its aspirations of high art with a perceived cinematic wide public interest in musical depiction 5 The Flood (Noah’s Ark) to broad popular appeal. soundscape – an accommodation between of the Bible. Mario Castelnuovo-Tedesco, ‘lowbrow/middlebrow’ and ‘highbrow’ composer of the fifth movement, later Ernst Toch The Genesis Suite also differs from most other cultural predispositions that musicologist revealed that his MGM colleague’s initial 6 The Rainbow (The Covenant) so-called team efforts in several additional James Westby has described as art idea had been to compose a series of respects, not least because it was not really negotiating with kitsch: a convergence ‘musical frescoes’ evoking principal Igor Stravinsky a collaborative undertaking in any artistic between the sophisticated art of European episodes in the Book of Genesis. 7 Babel sense, but rather a string of independently émigré composers and the ‘dynamo written pieces as movements by seven distinct of American popular culture’. Shilkret began by writing what would Sir Simon Rattle conductor composers – some with radically divergent become the second movement of the Gerard McBurney creative director musical-aesthetic orientations, two of whom At its 1945 premiere in Los Angeles under suite, Creation. Its sliding tone clusters Mike Tutaj projection design (Schoenberg and Stravinsky) resented each the baton of Werner Janssen, narrated by in parallel motion and the absence of Simon Callow, Rodney Earl Clarke, other artistically, professionally and religiously. Edward Arnold (a film and subsequent a tonal reference point provide an aura Sara Kestelman, Helen McCrory narrators They barely spoke, and rehearsals were television personality) with a measure of of dissonance that corresponds to the London Symphony Chorus organised to prevent their meeting. period pomposity that would sound painfully biblical description of the earth in the Simon Halsey chorus director (In the end they were there simultaneously, dated now, such a hybrid may have appeared ‘pre-creation’ universe as tohu vavohu but remained on opposite sides of the hall.) strange – even bizarre and unworkable. in the original Hebrew: ‘unformed and Indeed, one review referred to the concept void’ in conventional translations, The suite was bound from conception as ‘doomed to be a hopelessly insoluble but also implying chaos preceding its more by its origin as the brainchild of its mixture’. Today, however, when the notion reduction to ordered arrangement.

4 Programme Notes 13 January 2018 In Castelnuovo-Tedesco’s account, Shilkret narration, leaving the words to the chorus resolution to manifestly tonal C major. Schwendener provided Russ with the asked him to assist by writing a movement only as a scriptural quotation. Apparently, Inconsistent with conventional perceptions necessary information gleaned from on the flood story. It becameNoah’s Ark Stravinsky viewed the Creation as sacred of the Almighty’s omnipotence – or perhaps painstaking research, and guided the project (the fifth movement), which addresses dogma and religious mystery that precluded poetically – Schoenberg thought of the from its inception to its conclusion, resulting the reasons for God’s decision and the profanation by visualisation. Musical-dramatic Prelude’s double fugue as symbolic of the in the 2003 Milken Archive recording with circumstances of the flood. When Shilkret retelling of the Tower of Babel story needed ‘technical’ hurdles to creating the world the Ernst Senff Choir and Radio Symphony then decided to seek contributions from not violate that principle, so long as out of nothing, light out of darkness. Orchestra Berlin conducted by Gerard Schwarz. other recognised composers, Castelnuovo- God’s voice was not artificially replicated. Tedesco asked Ernst Toch to complete the Oddly enough, despite his own antipathy to Despite seeming stylistic incongruities among Today’s performance by Sir Simon Rattle flood story with depictions of its conclusion Judaism and ‘the Jews’ – whom he blamed some of the internal juxtapositions, one and the London Symphony Orchestra marks and God’s covenant with Noah. The opening in part for the Bolshevik Revolution and can tease out a structural arch stretching the UK premiere of the Genesis Suite. • fugue of The Rainbow (the sixth movement) the ensuing campaign against the Russian from the Prelude’s implied ‘pre-creation’ has been heard as underscoring the sanctity Orthodox Church (notwithstanding his disorder – which becomes ordered creation of the Divine promise. admiration for individual Jews in the music in Schoenberg’s fugue – to Stravinsky’s world and his eventual embrace of the contrapuntally depicted construction of Toch then introduced Shilkret to Alexandre State of Israel) – Stravinsky’s distaste for the tower, but then back to chaos in his Tansman, whose Adam and Eve (the third vocal imitation of the Divinity had echoes musical portrayal of its demolition and Neil W Levin is an emeritus professor movement) has eight musical episodes that in established Judaic sensibilities. mankind’s linguistic confusion. of Jewish music at the Jewish Theological were characterised at the time as ‘more Seminary in New York and currently atmospheric than descriptive’. Upon Tansman’s BartÓk, Hindemith and Prokofiev reportedly Apart from Schoenberg’s and Stravinsky’s Professor-in-Residence in music at overture to him, Darius Milhaud undertook declined invitations to participate. But movements, any performance now of the YIVO Institute for Jewish Research. the episodic Cain and Abel (the fourth Shilkret’s approach to Schoenberg was the Genesis Suite is possible only due to Dr Levin commenced his artistic directorship movement), which the 1945 programme successful. (He most certainly would have its major reconstruction project for the and role as Editor-in-Chief of the Milken notes described as ‘the story of discord refused had he known that Stravinsky’s Milken Archive of Jewish Music. This was Archive of Jewish music in 1996. and violence deftly underlined in music’. confidential fee was more than thrice his undertaken by Paul Schwendener, the or the others’.) Although his ‘pre-biblical’ Archive’s A&R Advisor since 1998, who Interval – 20 minutes In turn, Milhaud interested Stravinsky in Prelude was assumed to reflect a common identified orchestrator Patrick Russ to There are bars on all levels; ice cream contributing the final movement,Babel . conception of primordial chaos preceding reconstruct authentically the five other can be bought at the stands on stalls Tansman – a witness to the initial discussions Creation, Westby believes that its twelve- scores – two from still tentative manuscripts and circle level. Visit the Barbican Shop between Shilkret and Stravinsky – would later tone row actually defines order from the and three from severely condensed sketches on Level -1 and see our new range of explain Stravinsky’s refusal to allow imitation outset. Divinely determined organisation with only one or two musical lines and Gifts and Accessories. of the Divine voice in the corresponding is thus confirmed with ordered atonality’s only vague instrumentation indications.

Programme Notes 5 Genesis Suite Composer Profiles

ARNOLD SCHOENBERG 1874–1951 NATHANIEL SHILKRET 1889–1982 ALEXANDRE TANSMAN 1897–1986 DARIUS MILHAUD 1892–1974

ne of the most influential 20th- athaniel (Nat) Shilkret was lexandre Tansman, composer and ilhaud, a French composer and century composers, Schoenberg a clarinettist, conductor, virtuoso pianist, was born in Łódź, teacher, was also a member of has justly been described as the composer and arranger, as well Poland. He studied music at the ‘Les Six’ (a French take on the ‘reluctant revolutionary’, pioneer of a method as a businessman and broadcaster. Born in Conservatory in his home town, completed Russian ‘Five’) – a group of musicians of composition that broke with long-standing New York in 1889, to Jewish parents who had his doctorate in law in Warsaw and won reacting against the shadow of Wagner traditions of harmony and melodic writing. emigrated from Europe, he and his brothers three prizes in the Polish National Music and heavy Romanticism. He studied cello and violin at school but left were encouraged in their musical education Competition, before moving to Paris in 1919. full-time education soon after his father’s from an early age. Nathaniel appeared as Born in Marseille, he studied in Paris and death. He also began to compose original a clarinet soloist with the New York Boys In Paris, Tansman came into contact with first heard jazz on a trip to the US in 1922. works, and in the early 1890s took lessons Orchestra at just seven years old, later leading musical figures of the day, including After marrying and beginning a family, he from Alexander Zemlinsky, building on his performing with the New York Philharmonic Ravel and Stravinsky, and became a part of was forced to flee the Nazi invasion in 1939 self-taught knowledge. He later attempted Society under the baton of Gustav Mahler. the École de Paris, a collection of émigré and settled in America where he secured to support his family by teaching; meanwhile artists based in the city, all of which combined a teaching post at Mills College, Oakland, his increasingly atonal works gained He became Director of Light Music at the with his Polish heritage to influence his Calfornia. Here he taught his most famous notoriety in conservative-minded Vienna. Victor Talking Machine Corporation in 1926. distinctive, neo-Classical style of music. pupil Dave Brubeck, who said of him: As a conductor, he led numerous radio ‘Milhaud was an enormously gifted classical His structured use of the twelve notes of broadcasts and best-selling recordings; Following the Nazi occupation of France composer and teacher who loved jazz and the scale, beginning with such works as the as a composer, he made orchestral (where he had recently been granted incorporated it into his work’. Burt Bacharach Piano Pieces Op 23 (1920–23) and developed arrangements and wrote a number of citizenship), Tansman fled Europe with was also amongst his students – Milhaud into a strict system of composition, was hugely popular songs (including his his family in 1941, settling in Los Angeles. once told him: ‘Don’t be afraid of writing misunderstood and condemned by many. most famous, The Lonesome Road). His music was championed by leading something people can remember and whistle’. Those who regarded the twelve-note conductors and he began to compose method as emotionally sterile were forced Shilkret moved to Hollywood in 1935, film scores, including the Oscar-nominated Following World War II he returned to to reconsider when Schoenberg completed where he wrote and arranged music for Paris Underground. Paris and taught alternately between his highly dramatic opera Moses und Aron films, including Swing Time and Winterset, there and the US. • in 1928. Shortly after Hitler came to power for which he was nominated for an Oscar. After the war he returned to France, where in 1933, the Schoenbergs emigrated from It was here, in 1944–45, that he brought his works were warmly received by leading Germany and eventually settled in the US. together his musical colleagues for the ensembles and musicians. He lived there Here, he taught and composed a series of Genesis Suite. Shilkret retired in 1958 and until his death in 1986. • refined twelve-note masterpieces. • returned to New York, where he died in 1982. •

6 Composer Profiles 13 January 2018 MARIO CASTELNUOVO-TEDESCO 1895–1968 ERNST TOCH 1887–1964 IGOR STRAVINSKY 1882–1971

ario Castelnuovo-Tedesco studied rnst Toch was born in Vienna to he son of the Principal Bass at the piano at the Istituto Musicale Jewish parents, and began writing Mariinsky Theatre, Stravinsky met Cherubini in his hometown of his own music – largely self-taught – many of the leading musicians Florence, and took lessons in composition as a child. Although he began studies in of the day through his father. In 1903 he with Ildebrando Pizzetti, who introduced philosophy at the University of Vienna, became a pupil of Rimsky-Korsakov, and him to Alfredo Casella, an important he was awarded the Mozart Prize for one as a result he came to the attention of champion of the young composer. of his compositions in 1909, which allowed Sergei Diaghilev, who commissioned a new him to move to Frankfurt to pursue both ballet from him, The Firebird. The success In the 1930s, Castelnuovo-Tedesco wrote piano and composition. of The Firebird, and then Petrushka (1911) his Second Violin Concerto in response to and The Rite of Spring (1913), confirmed the rising tide of anti-Semitism in Europe. After serving in the Austrian army during his status as a leading young composer. By 1938 the composer’s music had been World War I, he settled in Mannheim and removed from the radio and in 1939 he and returned his attentions to composing; Stravinsky settled in France in 1920, his family left Italy, moving first to New York works like the Ninth String Quartet eventually becoming a French citizen in and settling shortly after in California, where gained him a reputation as a leading 1934, and during this period moved away he expanded his career to include writing proponent of modernism. from his Russianism towards a new ‘neo- film scores for a number of studios. Classical’ style. Personal tragedy in the form After Hitler’s rise to power in Germany, Toch of his daughter, wife and mother all dying His body of work encompasses theatrical fled – first to Paris, then London, New York within eight months of each other, and the works, including two acclaimed operas based and finally California, where, like many of onset of World War II persuaded Stravinsky on Shakespeare, and orchestral and chamber his colleagues, he wrote film scores for to move to America in 1939, where he lived music, although he is perhaps most well- Hollywood. He struggled to find recognition until his death. known for his significant contribution to the for his own avant-garde style in the US – guitar repertoire, for which he wrote almost however, the shock of a severe heart attack From the 1950s, his compositional style again 100 works. in 1948 prompted a renewed focus on his changed, this time in favour of a form of own music, and his creations over the next serialism. He continued with an exhausting He remained in the US for the rest of his life, 16 years included seven symphonies, notably schedule of conducting engagements and became an influential teacher of film the Pulitzer Prize-winning Third (1954). until 1967, and died in New York in 1971. music, with Jerry Goldsmith, André Previn He remained in California, and died in He was buried in Venice on the island of and John Williams among his students. • Santa Monica in 1964. • San Michele, close to the grave of Diaghilev. •

Composer Profiles 7 Genesis Suite Texts

Texts from American Standard Version 6 And God said, Let there be a firmament Part 2 24 And God said, Let the earth bring forth of the King James Bible. An ellipsis (…) in the midst of the waters … the living creature after his kind … indicates a cut from the full text. 14 And God said, Let there be lights in 7 … and it was so. the firmament of the heaven to divide … cattle, and creeping thing, and beast 1 PRELUDE the day from the night; and let them be of the earth … 8 And God called the firmament Heaven … for signs, and for seasons, and for days, 2 THE CREATION and years: … and it was so … 9 And God said, Let the waters under the Part 1 heaven be gathered together unto 15 And let them be for lights in the … and God saw that it was good. one place, and let the dry land appear: firmament of the heaven to give light Genesis:1 and it was so. upon the earth … 27 So God created man in his own image, in the image of God created he him; 1 In the beginning God created the 10 And God called the dry land Earth; 16 And God made two great lights; the male and female … heaven and the earth. and the gathering together of the greater light to rule the day, and the waters called he Seas: and God saw lesser light to rule the night: 28 And God blessed them, and God said 2 And the earth was without form, that it was good. he made the stars also. unto them, Be fruitful, and multiply, and void; and darkness was upon the and replenish the earth, and subdue it: face of the deep. And the Spirit of God 11 And God said, Let the earth bring forth 17 And God set them in the firmament of and have dominion over the fish of moved upon the face of the waters. grass, the herb yielding seed and the the heaven to give light upon the earth … the sea, and over the fowl of the air, fruit tree yielding fruit after his kind … and over every living thing that moveth 3 And God said, Let there be light: 18 … and God saw that it was good … upon the earth. and there was light. … and it was so. 20 And God said, Let the waters bring forth 29 And God said … 4 And God saw the light, that it was good: 12 And the earth brought forth grass, and abundantly the moving creature that and God divided the light from the herb yielding seed after his kind, and the hath life, and fowl that may fly above the Behold, I have given you every herb darkness. tree yielding fruit, whose seed was in earth in the open firmament of heaven. bearing seed, which is upon the face itself, after his kind: and God saw that it of all the earth, and every tree, 5 And God called the light Day, and the was good … 21 And God created great whales … in which is the fruit of a tree yielding darkness he called Night … seed; to you it shall be for meat. … after their kind, and every winged fowl after his kind …

8 Texts 13 January 2018 30 And to every beast of the earth, and to 3 ADAM AND EVE 15 And the LORD God took the man, and 21 And the LORD God caused a deep sleep every fowl of the air, and to every thing put him into the garden of Eden to dress to fall upon Adam and he slept: and he that creepeth upon the earth, wherein 4 … in the day that the LORD God made it and to keep it. took one of his ribs, and closed up the there is life, I have given every green herb the earth and the heavens, flesh instead thereof; for meat: and it was so. 16 And the LORD God commanded the man, 5 And every plant of the field before it was saying, Of every tree of the garden thou 22 And the rib, which the LORD God had 31 And God saw every thing that he had in the earth, and every herb of the field mayest freely eat: taken from man, made he a woman, made, and, behold, it was very good. before it grew: (for the LORD God had and brought her unto the man. And the evening and the morning were not caused it to rain upon the earth, and 17 But of the tree of the knowledge of good the sixth day. there was not a man to till the ground.) and evil, thou shalt not eat of it: for in 23 And Adam said, This is now bone of my the day that thou eatest thereof thou bones, and flesh of my flesh: she shall be Genesis:2 6 But there went up a mist from the shalt surely die. called Woman, because she was taken earth, and watered the whole face out of Man. 1 Thus the heavens and the earth were of the ground. 18 And the LORD God said, It is not good finished, and all the host of them. that the man should be alone; I will make 24 Therefore shall a man leave his father 7 And the LORD God formed man of the him an help meet for him. and his mother, and shall cleave unto his 2 And on the seventh day God ended his dust of the ground, and breathed into wife: and they shall be one flesh. work which he had made; and he rested his nostrils the breath of life; and man 19 And out of the ground the LORD God on the seventh day from all his work became a living soul. formed every beast of the field, and 25 And they were both naked, the man and which he had made. every fowl of the air; and brought them his wife, and were not ashamed. 8 And the LORD God planted a garden unto Adam to see what he would call 3 And God blessed the seventh day, and eastward in Eden; and there he put the them: and whatsoever Adam called Genesis:3 sanctified it: because that in it he had man whom he had formed. every living creature, that was the rested from all his work which God name thereof. 1 Now the serpent was more subtil than created and made. 9 And out of the ground made the LORD any beast of the field which the LORD God to grow every tree that is pleasant to 20 And Adam gave names to all cattle, and God had made. And he said unto the the sight, and good for food; the tree of to the fowl of the air, and to every beast woman, Yea, hath God said, Ye shall not life also in the midst of the garden, and of the field; but for Adam there was not eat of every tree of the garden? the tree of knowledge of good and evil. found an help meet for him. 2 And the woman said unto the serpent, 10 And a river went out of Eden to water We may eat of the fruit of the trees of the garden … the garden:

Texts 9 Genesis Suite Texts continued

3 But of the fruit of the tree which is in 9 And the LORD God called unto Adam, 16 Unto the woman he said, I will greatly 4 CAIN AND ABEL the midst of the garden, God hath said, and said unto him, Where art thou? multiply thy sorrow and thy conception; Ye shall not eat of it, neither shall ye in sorrow thou shalt bring forth children; Genesis:4 touch it, lest ye die. 10 And he said, I heard thy voice in the and thy desire shall be to thy husband, garden, and I was afraid, because I was and he shall rule over thee. 1 And Adam knew Eve his wife; and 4 And the serpent said unto the woman, naked; and I hid myself. she conceived, and bare Cain, and said, Ye shall not surely die: 17 And unto Adam he said, Because thou I have gotten a man from the LORD. 11 And he said, Who told thee that thou hast hearkened unto the voice of thy 5 For God doth know that in the day ye eat wast naked? Hast thou eaten of the tree, wife, and hast eaten of the tree … 2 And she again bare his brother Abel. thereof, then your eyes shall be opened, whereof I commanded thee that thou And Abel was a keeper of sheep, and ye shall be as gods, knowing good shouldest not eat? … cursed is the ground for thy sake; but Cain was a tiller of the ground. and evil. in sorrow shalt thou eat of it all the 12 And the man said, The woman whom days of thy life … 3 And in process of time it came to pass, 6 And when the woman saw that the thou gavest to be with me, she gave me that Cain brought of the fruit of the tree was good for food, and that it was of the tree, and I did eat. 19 In the sweat of thy face shalt thou ground an offering unto the LORD. pleasant to the eyes, and a tree to be eat bread, till thou return unto the desired to make one wise, she took 13 And the LORD God said unto the woman, ground; for out of it wast thou taken: 4 And Abel, he also brought of the of the fruit thereof, and did eat, and What is this that thou hast done? for dust thou art, and unto dust shalt firstlings of his flock and of the fat gave also unto her husband with her; And the woman said, The serpent thou return … thereof. And the LORD had respect and he did eat. beguiled me, and I did eat. unto Abel and to his offering:

7 And the eyes of them both were opened, 14 And the LORD God said unto the serpent, 5 But unto Cain and to his offering he had and they knew that they were naked; Because thou hast done this, thou art not respect. And Cain was very wroth, and they sewed fig leaves together, cursed above all cattle, and above every and his countenance fell. and made themselves aprons. beast of the field; upon thy belly shalt thou go, and dust shalt thou eat all the 6 And the LORD said unto Cain, 8 And they heard the voice of the LORD God days of thy life: Why art thou wroth? and why is walking in the garden in the cool of the day: thy countenance fallen? and Adam and his wife hid themselves 15 And I will put enmity between thee and from the presence of the LORD God the woman, and between thy seed and amongst the trees of the garden. her seed; it shall bruise thy head, and thou shalt bruise his heel.

10 Texts 13 January 2018 7 If thou doest well, shalt thou not be 14 Behold, thou hast driven me out this 5 THE FLOOD (NOAH’S ARK) 10 And Noah begat three sons, accepted? and if thou doest not well, sin day from the face of the earth; and from Shem, Ham, and Japheth … lieth at the door. And unto thee shall be thy face shall I be hid; and I shall be a Genesis:6 his desire, and thou shalt rule over him. fugitive and a vagabond in the earth; and 13 And God said unto Noah, The end of all it shall come to pass, that every one that 1 And it came to pass when men began flesh is come before me; for the earth is 8 And Cain talked with Abel his brother: findeth me shall slay me. to multiply on the face of the earth and filled with violence through them; and, and it came to pass, when they were in daughters were born unto them … behold, I will destroy them with the earth. the field, that Cain rose up against Abel 15 And the LORD said unto him, Therefore his brother, and slew him. whosoever slayeth Cain, vengeance 5 … that GOD saw that the wickedness 14 Make thee an ark of gopher wood; rooms shall be taken on him sevenfold. of man was great in the earth, and that shalt thou make in the ark, and shalt 9 And the LORD said unto Cain, And the LORD set a mark upon Cain, every imagination of the thoughts of pitch it within and without with pitch … Where is Abel thy brother? And he said, lest any finding him should kill him. his heart was only evil continually. I know not: Am I my brother’s keeper? 16 A window shalt thou make to the ark … 16 And Cain went out from the presence of 6 And it repented the LORD that he had 10 And the LORD said, What hast thou done? the LORD, and dwelt in the land of Nod, made man on the earth, and it grieved … and the door of the ark shalt thou set The voice of thy brother’s blood crieth on the east of Eden … him at his heart. in the side thereof … unto me from the ground. 7 And the LORD said, I will destroy man 17 And, behold, I, even I, do bring a flood of 11 And now art thou cursed from the earth, whom I have created from the face of waters upon the earth, to destroy all flesh, which hath opened her mouth to receive the earth; both man, and beast, and the wherein is the breath of life, from under thy brother’s blood from thy hand; creeping thing, and the fowls of the air; heaven; and every thing that is in the for it repenteth me that I have made them. earth shall die. 12 When thou tillest the ground, it shall not henceforth yield unto thee her strength; 8 But Noah found grace in the eyes of 18 But with thee will I establish my a fugitive and a vagabond shalt thou be the LORD … covenant and thou shalt come into in the earth. the ark thou, and thy sons, and thy wife, … Noah was a just man and perfect in his and thy sons’ wives with thee. 13 And Cain said unto the LORD, generations, and Noah walked with God. My punishment is greater than I can bear.

Texts 11 Genesis Suite Texts continued

19 And of every living thing of all flesh, two 10 And it came to pass after seven days, 24 And the waters prevailed upon the earth 6 And it came to pass … of every sort shalt thou bring into the that the waters of the flood were upon an hundred and fifty days. ark, to keep them alive with thee; they the earth … … that Noah opened the window of the shall be male and female. Genesis:8 ark which he had made: 11 … the same day were all the fountains 20 Of fowls after their kind, and of cattle of the great deep broken up, and the 1 And God remembered Noah, and 7 And he sent forth a raven, which went after their kind, of every creeping thing of windows of heaven were opened. every living thing … forth to and fro, until the waters were the earth after his kind, two of every sort dried up from off the earth. shall come unto thee, to keep them alive. 18 … and the ark went upon the face of … that was with him in the ark: and God the waters. made a wind to pass over the earth, 8 Also he sent forth a dove from him, to Genesis:7 and the waters assuaged; see if the waters were abated from off 19 And the waters prevailed exceedingly the face of the ground; 1 And the LORD said unto Noah, upon the earth; and all the high hills, 2 The fountains also of the deep and the Come thou and all thy house into that were under the whole heaven, windows of heaven were stopped, and 9 But the dove found no rest for the sole of the ark; for thee have I seen righteous were covered. the rain from heaven was restrained; her foot, and she returned unto him into before me in this generation … the ark, for the waters were on the face 21 And all flesh died that moved upon the 3 And the waters returned from off the of the whole earth … 5 And Noah did according unto all that the earth, both of fowl, and of cattle, and of earth continually: and after the end of LORD commanded him … beast, and of every creeping thing that the hundred and fifty days the waters 10 And he stayed yet other seven days; creepeth upon the earth, and every man: were abated. and again he sent forth the dove out 7 And Noah went in, and his sons, of the ark; and his wife, and his sons’ wives 22 All in whose nostrils was the breath of 4 And the ark rested … with him, into the ark … life, of all that was in the dry land, died. 11 And the dove came in to him in the … upon the mountains of Ararat. evening; and, lo, in her mouth was 9 And the LORD said: I will cause it 23 And every living substance was an olive leaf pluckt off: so Noah knew to rain upon the earth 40 days and destroyed … 5 And the waters decreased continually … that the waters were abated from off 40 nights; and every living substance the earth … that I have made will I destroy from … from the earth: and Noah only … [and] were the tops of the mountains off the face of the earth. remained alive, and they that were seen. 13 … and, behold, the face of the ground with him in the ark. was dry.

12 Texts 13 January 2018 6 THE RAINBOW (THE COVENANT) Genesis:9 7 BABEL 7 Go to, let us go down, and there confound their language, that they may 15 And God spake unto Noah, saying, 8 And God spake unto Noah … Genesis:11 not understand one another’s speech.

16 Go forth of the ark, thou, and thy 9 Behold, I establish my covenant with you … 1 And the whole earth was of one 8 So the LORD scattered them abroad from wife, and thy sons, and thy sons’ language, and of one speech. thence upon the face of all the earth: and wives with thee. 12 This is the token of the covenant which they left off to build the city. I make between me and you and every 2 And it came to pass, as they journeyed 17 Bring forth with thee every living thing living creature that is with you, for from the east, that they found a plain in 9 Therefore is the name of it called Babel; that is with thee, of all flesh, both of perpetual generations: the land of Shinar; and they dwelt there. because the LORD did there confound fowl, and of cattle, and of every creeping the language of all the earth: and from thing … 13 I do set my bow in the cloud, and it shall 3 And they said one to another, Go to, let thence did the LORD scatter them abroad be for a token of a covenant between me us make brick, and burn them throughly. upon the face of all the earth. • … that they may … and the earth. And they had brick for stone, and slime had they for mortar. … be fruitful, and multiply upon the earth. 14 And it shall come to pass, when I bring a cloud over the earth, that the bow shall 4 And they said, Go to, let us build us a 18 And Noah went forth, and his sons, and be seen in the cloud: city and a tower, whose top may reach his wife, and his sons’ wives with him: unto heaven; and let us make us a name, 15 And I will remember my covenant … lest we be scattered abroad upon the 19 Every beast, every creeping thing, and face of the whole earth. every fowl, and whatsoever creepeth … and the waters shall no more become upon the earth, after their kinds, went a flood to destroy all flesh. 5 And the LORD came down to see the forth out of the ark … city and the tower, which the children 17 And God said unto Noah, This is the of men builded. token of the covenant, which I have established between me and all flesh 6 And the LORD said, Behold, the people is that is upon the earth … one, and they have all one language; and this they begin to do: and now nothing will be restrained from them, which they have imagined to do.

Texts 13 Béla Bartók Concerto for Orchestra 1943 / note by Paul Griffiths

1 Introduzione: Andante non troppo The score – the biggest Bartók completed His programme note for the first performance gathering activity that springs to life with 2 Presentando le coppie: during the last five years of his life, living suggests a more or less continuous narrative: the acceleration of an upward scale figure Allegro scherzando in the United States as a sick, disheartened ‘The general mood of the work represents,’ to initiate the bounding main theme – 3 Elegia: Andante non troppo refugee from fascism and war – was he wrote, ‘apart from the jesting second still featuring fourths – of a sonata allegro. 4 Intermezzo interrotto: Allegretto commissioned by Serge Koussevitzky • movement, a gradual transition from the 5 Finale: Pesante — Presto at the urging of two of the composer’s sternness of the first movement and the The calmer second subject is delivered by younger Hungarian friends, Fritz Reiner lugubrious death-song of the third, to the life- a solo oboe and repeated by clarinets in Narrated Text and Joseph Szigeti, who hoped that such assertion of the last one.’ However, there is octaves, then by flutes and oboe in triads. Taken from a letter from Belá Bartók a request would help restore their mentor’s also the invitation to understand the work as One implication of the title is that this is a to Joseph Szigeti, 30 January 1944. morale, his health and his finances. returning symmetrically back to its beginning. concerto with multitudinous soloists, and so it is already appearing. A third subject arrives artók’s attachment to folk — on solo clarinet, from which it is passed music was not just to its ‘The title of this symphony-like orchestral work is explained by its tendency to to cor anglais and around the woodwind rhythms and melodies but also ensemble. Phases of development and to its social force, how it would bind treat the single orchestral instruments in a ‘concertante’ or soloistic manner.’ recapitulation (the second subject now communities in ways of joy or lament, Béla Bartók coming first) are compact. work or relaxation. His Concerto for Orchestra — is music in this image – music in which The next movement, first of the two orchestral players exert themselves as a scherzos, is a game of couples, with pairs of community, performing with, to and against Bartók began work in August 1943, while As in several earlier works, Bartók created instruments playing at different intervals: one another, and modelling, for the larger resting at Saranac Lake in upstate New York, a five-part symmetrical form, where in this bassoons in minor sixths, oboes in minor society of us listeners, an ideal in which and finished the piece within eight weeks – a case two big symphonic dances enclose two thirds, clarinets in minor sevenths, flutes in an array of diverse individuals can discover remarkably short period, proving he had been scherzos with, at the centre, an elegy. clear fifths, muted trumpets in discordant a unity that does not iron out but rather reinvigorated by the challenge. Writing to major seconds. After a brass chorale the springs from difference and honours it. Szigeti that he was feeling better, he remarked: In keeping with the spirit of a public occasion, couples return as before, their games at once All this is implied by the title, which ‘Perhaps it is due to this improvement the musical materials are laid out clearly and elaborated and mollified. The trumpets, for Bartók did not invent (his friend Kodály • (or it may be the other way round) that the working takes place in, as it were, full instance, settle their differences and agree had written a concerto for orchestra a few I have been able to finish the work that view. First comes a pentatonic theme in the on D, the keynote of this movement. years before, and the first was probably Koussevitzky commissioned.’ Koussevitzky bass, built entirely from fourths and major Hindemith’s of 1925), but which his conducted the premiere on 1 December seconds – a memory from central Europe, Then the work’s very beginning is recalled, to work took full possession of. 1944 with his Boston Symphony Orchestra, perhaps, but also an evocation of night, give rise to a slow movement whose climax after which Bartók extended the ending. of darkness. This becomes the ground for has brass chords falling as avalanches against

14 Programme Notes 13 January 2018 the searing melody for violins in octaves. Paul Griffiths has been a critic for nearly • ZOLTÁN KODÁLY • SERGE KOUSSEVITZKY A solitary piccolo calls out like a night bird. 40 years, including for The Times and The New Yorker, and is an authority on 20th Zoltán Kodály (1882–1967) was a Hungarian Its high B is seized on two octaves down and 21st-century music. Among his books composer, ethnomusicologist and, like his by unison strings to start the second are studies of Boulez, Ligeti and Stravinsky. good friend Bartók, a committed collector scherzo, an intermezzo introduced by solo He also writes novels and librettos. of the folk music of his native country. oboe and interrupted by a quotation from In 1906 he received a PhD for his thesis on Shostakovich’s ‘Leningrad’ Symphony, Hungarian folk song, and he began field trips which was being played everywhere at to collect folk music from the Hungarian the time. Bartók has the orchestra laugh countryside with Bartók at around the at the theme and give it fairground-organ same time. The two composers published treatment before continuing as before, collections of folk song, programmed their but he also humanely undercuts the satire music side-by-side in concerts, formed a by having the Shostakovich theme emerge New Hungarian Music Society, and remained as a transformation of his own. lifelong friends. After Bartók’s death, Kodály described their shared ‘vision of an educated For the finale, as often before, he provides a Hungary, reborn from the people … We Serge Koussevitzky (1874–1951) was a Russian- lively dance rondo in duple time, with figures decided to devote our lives to its realisation’. born conductor and publisher. He founded from earlier in the work – especially from the the Editions Russes de Musique in 1909, opening movement – reappearing in bright Bartók described Kodály’s music as ‘the through which he promoted the music of sunlight, and with canons adding to the most perfect embodiment of the Hungarian Scriabin, Prokofiev, Stravinsky and Medtner, supreme virtuosity. • spirit’, and most of his most famous works – before leaving Russia in 1920 for Paris, where including the Dances of Galánta, the choral he organised a summer concert series. He Psalmus Hungaricus and the opera Háry moved to the US a few years later, where he Janos – bear the influence of his studies became conductor of the Boston Symphony and research. Orchestra, commissioned and conducted the premieres of numerous new works, founded He was also the founder of the Kodály the Tanglewood Music Center, and set up Method, an influential music education the Koussevitzky Foundation to support method that uses folk song, hand signs, the composition of new works; the list of pictures and singing to teach young children composers receiving its support reads like the fundamental aspects of musicianship. a who’s who of modern composition.

Programme Notes 15 Béla Bartók in Profile 1881–1945 / by Andrew Stewart

éla Bartók’s family boasted how the Bartók detested the rise of fascism and • BARTÓK ON LSO LIVE boy was able to recognise different in October 1940 he quit Budapest and dance rhythms before he could travelled, via Lisbon, to the US. At first speak. Born in 1881 in Nagyszentmiklós, he concentrated on ethnomusicological Hungary (now Sinnicolau Mare, Romania), researches, but eventually returned to he began piano lessons with his mother composition and created a significant group at the age of five. From 1899 to 1903 he of ‘American’ works, including the Concerto studied piano and composition at the for Orchestra, his Third Piano Concerto and Royal Academy of Music in Budapest, where the draft of a Viola Concerto. he created a number of works that echoed the style of Brahms and Richard Strauss. His character was distinguished by a firm, almost stubborn refusal to compromise or After graduating he discovered Austro- be diverted from his musical instincts by Hungarian and Slavic folk music, travelling money or position. Throughout his working extensively with his friend Zoltán Kodály life, Bartók collected, transcribed and and recording countless ethnic songs and annotated the folk songs of many countries, dances which began to influence his own a commitment that brought little financial compositions. His music was also influenced return or recognition but one which he Piano Concerto No 3 by the works of Debussy, to which he was regarded as his most important contribution Suite from The Miraculous Mandarin introduced by Kodály in 1907, the year in to music. He also declined the security of a which he became Professor of Piano at the composition professorship during his final Valery Gergiev conductor Budapest Conservatory. years in America, although he did accept Yefim Bronfman piano the post of visiting assistant in music at Bartók established his mature style with Columbia University from March 1941 to £11.99 such scores as the ballets The Wooden the winter of 1942 until ill health forced Available at lsolive.lso.co.uk, Prince (1914–16, completed 1917) and his retirement. • in the Barbican Shop, The Miraculous Mandarin (1918–19, online on iTunes & Amazon or completed 1926–31), and his opera Duke on Apple Music and Spotify Bluebeard’s Castle (1911, completed 1918). He revived his career as a concert pianist in 1927 when he gave the premiere of his First Piano Concerto in Mannheim.

16 Composer Profile 13 January 2018 Sir Simon Rattle conductor

ir Simon Rattle was born in has broken new ground with the education London, Europe and the US, initially working Liverpool and studied at the programme Zukunft@Bphil, earning closely with the Los Angeles Philharmonic Royal Academy of Music. the Comenius Prize in 2004, the Schiller Orchestra and Boston Symphony Orchestra, Special Prize from the city of Mannheim and more recently with the Philadelphia From 1980 to 1998, Sir Simon was Principal in May 2005, the Golden Camera and the Orchestra. He regularly conducts the Vienna Conductor and Artistic Adviser of the City of Urania Medal in Spring 2007. He and the Philharmonic, with which he has recorded Birmingham Symphony Orchestra and was Berlin Philharmonic were also appointed the complete Beethoven symphonies and appointed Music Director in 1990. In 2002 International UNICEF Ambassadors in the piano concertos (with Alfred Brendel) and is he took up his current position of Artistic same year – the first time this honour has also a Principal Artist of the Orchestra of the Director and Chief Conductor of the Berlin been conferred on an artistic ensemble. Age of Enlightenment and Founding Patron Philharmonic where he will remain until of Birmingham Contemporary Music Group. 2018. In September 2017 he became Music In 2013, Sir Simon and the Berlin Philharmonic Director of the London Symphony Orchestra. took up a residency at the Baden-Baden In September 2017, Sir Simon opened his Osterfestspiele performing Mozart’s The first season as Music Director of the London Sir Simon has made over 70 recordings Magic Flute. Past seasons have included Symphony Orchestra with a programme of for EMI (now Warner Classics), and has Puccini’s Manon Lescaut and Peter Sellars’ British music, a concert performance of received numerous prestigious international ritualisation of Bach’s St John Passion, Berlioz’s The Damnation of Faust, and the awards for his recordings on various labels. Strauss’ Der Rosenkavalier, Berlioz’s The Stravinsky ballets. In November, he toured Releases on EMI include Stravinsky’s Damnation of Faust and Wagner’s Tristan Asia with the Berlin Philharmonic Orchestra, Symphony of Psalms, Berlioz’s Symphonie and Isolde. For the Salzburg Osterfestspiele with soloists Yuja Wang and Seong-Jin Cho. fantastique, Ravel’s L’enfant et les sortilèges, Rattle conducted staged productions of The rest of the 2017/18 season will take Tchaikovsky’s The Nutcracker Suite and Beethoven’s Fidelio, Mozart’s Così fan Sir Simon on a European and US tour with Mahler’s Symphony No 2. Sir Simon’s tutte, Britten’s Peter Grimes and Debussy’s the LSO, to Munich with the Bayerische most recently released recordings in 2017 Pelléas et Mélisande. He also conducted Rundfunk Orchestra, and he will return to (Debussy’s Pelléas et Mélisande and Ravel, Wagner’s complete Ring Cycle with the Baden-Baden with the Berlin Philharmonic Dutilleux and Delage on Blu-Ray and DVD) Berlin Philharmonic for the Aix-en-Provence for a production of Wagner’s Parsifal. were released on LSO Live. Festival and Salzburg Osterfestspiele and most recently at the Deutsche Oper, Berlin Sir Simon Rattle was knighted in 1994 and in As well as fulfilling a taxing concert schedule and the Wiener Staatsoper. the 2014 New Year’s Honours he received the in Berlin, Sir Simon regularly tours within Order of Merit from Her Majesty the Queen. • Europe, North America and Asia. His Sir Simon has strong, long-standing partnership with the Berlin Philharmonic relationships with the leading orchestras in

Artist Biographies 17 Gerard McBurney creative director

erard McBurney is a composer, He is known for his special interest in writer and deviser, working in Russian and Soviet music, and especially for theatre, radio, television, concert his completions of lost and forgotten pieces hall and on the internet. Recent projects by Shostakovich, including the music-hall have included collaborations with the show Hypothetically Murdered and the Barbican Centre, Southbank Centre, unfinished operatic satire Orango. Sir Mark Elder and the Hallé, the BBC Proms, Lincoln Center (New York), the Lucerne He is currently artistic advisor to the San and Aix Festivals, and orchestras across Diego Symphony, and is also assisting the US, including Los Angeles, New York Esa-Pekka Salonen and the Philharmonia and Philadelphia. Orchestra on their new Weimar project. •

Between 2006 and 2016 he was Artistic Programming Advisor at the Chicago Symphony Orchestra, and Creative Director of Beyond the Score, a series of 30 live multimedia explorations of orchestral masterworks which have also been filmed and viewed online more than half a million times.

In May 2017 he was Creative Partner for the Cincinnati May Festival, devising and directing semi-staged productions of Mendelssohn’s A Midsummer Night’s Dream and Elgar’s The Dream of Gerontius.

18 Artist Biographies 13 January 2018 Simon Callow narrator Rodney Earl Clarke narrator

He directed Shirley Valentine in the West the David Jacobs Tribute Concert alongside End and on Broadway, Single Spies at the NT Michael Ball. He has presented on television and Carmen Jones at the Old Vic, as well as for the BBC, and his debut album Glorious the film of The Ballad of the Sad Café. Quest has received critical acclaim.

He has written biographies of Oscar Wilde, In 2016 he starred in an arena tour of Charles Laughton and Charles Dickens, and West End/Broadway hits with the Czech three autobiographical books: Being An Philharmonic conducted by Keith Lockhart, Actor, Love Is Where It Falls, and My Life working alongside Louise Dearman, Marin in Pieces. The third volume of his massive Mazzie and Jason Danieley. He recently Orson Welles biography, One Man Band, performed with the Hallé in a Musical Pops appeared in 2016; Inside Wagner’s Head, Concert at the Bridgewater Hall alongside a short biography of Wagner, was published West End soprano Ashleigh Gray, and last year. Music is his great passion, and he at the BBC Proms performing songs in has made many appearances with the LSO, Beyond the Score: Dvořák New World imon Callow is an actor, author and LPO and the London Mozart Players. • ailed by Gramophone as a ‘singer Symphony conducted by Sir Mark Elder. director. He studied at Queen’s to be watched’, Rodney Earl Clarke Last summer he starred in Bernstein’s University, Belfast, and then is recognised for his versatility in On the Town at the Regent’s Park Open trained as an actor at the Drama Centre in performance. Rodney has appeared in many Air Theatre directed by Drew McOnie London. He joined the National Theatre in shows including Carmen Jones at the Royal and has been elected an Associate of 1979, where he created the role of Mozart Festival Hall, London, Jude Kelly’s award- the Royal Academy of Music for his service in Peter Shaffer’s Amadeus. His many one- winning production of Bernstein’s On the and contribution to the music industry. • man shows include The Mystery of Charles Town, Kenneth Branagh’s epic film version Dickens, Being Shakespeare, A Christmas of Mozart’s The Magic Flute, Sondheim’s Carol, Inside Wagner’s Head, Juvenalia 80th Birthday Celebration at the BBC Proms, and, most recently, The Man Jesus. He has The Broadway Sound at the BBC Proms with appeared in many films including A Room the John Wilson Orchestra, and Gershwin’s with a View, Four Weddings and a Funeral, Porgy and Bess conducted by Sir Simon Shakespeare in Love and Phantom of the Rattle. He starred in Raymond Gubbay’s Opera, and is currently playing The Duke of popular show Crazy for Gershwin and has Sandringham in the television series Outlander. also performed many times on BBC Radio 2’s Friday Night is Music Night, most recently

Artist Biographies 19 Sara Kestelman narrator Helen McCrory narrator

Recent theatre includes: The Lady In The Helen has received much critical acclaim for Van (Theatre Royal Bath), Filthy Business her work on the small screen. She starred in and The Intelligent Homosexual’s Guide to Peter Morgan’s The Jury and won the Critics Capitalism and Socialism with a Key to the Circle Best Actress Award for her role in the Scriptures (Hampstead Theatre), Making Channel 4 series North Square, having been Noise Quietly (Donmar), Torch Song Trilogy previously nominated for her performance in (Menier Chocolate Factory), 4000 Miles and Fragile Heart. She returned to Peaky Blinders Ignis (The Print Room). as Aunt Polly in September, and recently filmed Fearless for ITV and the second series She directed the musical Brass for National of Penny Dreadful (Showtime/Sky). Youth Music Theatre, named Best Musical Production 2014 in the UK Theatre Awards. In film Helen has starred in several British independent features, such as The James Recent television work includes: Maigret Gang for Mike Barker, Dad Savage opposite (ITV), From There To Here and In the Flesh Patrick Stewart, Roger Mitchell’s Enduring livier Award winner for Sam Mendes’ (BBC). Films include: One Last Dance, he multi award-winning actress Love and as Gillian Armstrong in Charlotte Cabaret (Donmar) and recipient Zardoz, Lisztomania, Lady Jane, Ex Memoria, Helen McCrory recently completed Gray. She garnered excellent reviews for of the Clarence Derwent Award, The Last Sparks Of Sundown, Pardon The a critically acclaimed run at the her role as Cherie Blair in Stephen Frears’ Sara has appeared extensively with the Intrusion, Prick Thy Neighbour. National Theatre as the title role in Medea. film The Queen (2006), a role she reprised Royal Shakespeare Company, National She has worked extensively with Sam Mendes in 2010 in The Special Relationship, starring Theatre and in the West End. She created Forming BASK Films with Amanda Brennan, at the Donmar Warehouse playing lead roles alongside Michael Sheen. She voiced the the role of Margrette Bohr in Michael Frayn’s she made Yes, But That’s Not All!, a in How I Learnt to Drive, Old Times directed character of Mrs Bean in 2009’s Fantastic award winning Copenhagen and doubled documentary film about her work with a by Roger Michelle and in Mendes’ farewell Mr Fox, took the role of Narcissa Malfoy Titania/Hippolyta in Peter Brook’s 1970 remarkable woman living with the effects double bill Twelfth Night and Uncle Vanya. in the Harry Potter films, featured in RSC A Midsummer Night’s Dream. She has of stroke, which won two US film festival Other notable theatre credits include a sell-out Martin Scorsese’s Hugo in 2011, followed appeared in many musicals including Fiddler awards in 2016. 2005 run in the West End of As You Like It by Skyfall and the lead role in Flying Blind On The Roof, Nine, Coco and Threepenny (leading to nominations for an Olivier Award in 2012. Recent film appearances include Opera, and created the role of Jessie in She is a published poet and song writer, and for Best Actress in the Theatregoer A Little Chaos alongside Kate Winslet, Tim Firth and Gary Barlow’s The Girls. performing her one-woman show Choice Awards 2006), Ibsen’s Rosmersholm Loving Vincent, Their Finest, and starring All About Me! internationally. • (2008) and The Late Middle Classes and roles in Women in Black: Angel of Death and Last of the Haussmans at the National Bill (by the team behind Horrible Histories). • Theatre with Julie Walters and Rory Kinnear.

20 Artist Biographies 13 January 2018 Simon Halsey chorus director

imon Halsey holds positions across four honorary doctorates from universities Born in London, Simon Halsey sang in the the UK and Europe as Choral Director in the UK, and in 2011 Schott Music published choirs of New College, Oxford, and of King’s of the London Symphony Orchestra his book and DVD on choral conducting, College, Cambridge, and studied conducting and Chorus; Chorus Director of the City of Chorleitung: Vom Konzept zum Konzert. at the Royal College of Music in London. In Birmingham Symphony Orchestra Chorus; 1987, he founded the City of Birmingham Artistic Director of Orfeó Català Choirs Halsey has worked on nearly 80 recording Touring Opera with Graham Vick. He was and Artistic Adviser of Palau de la Música, projects, many of which have won major Chief Conductor of the Netherlands Radio Barcelona; Artistic Director of Berliner awards, including the Gramophone Award, Choir from 1997 to 2008 and Principal Philharmoniker Youth Choral Programme; Diapason d’Or, Echo Klassik, and three Conductor of the Northern Sinfonia’s Choral Director of the BBC Proms Youth Choir; Artistic Grammy Awards with the Rundfunkchor Programme from 2004 to 2012. From 2001 Advisor of Schleswig-Holstein Musik Festival Berlin. He was made Commander of to 2015 he led the Rundfunkchor Berlin (of Choir; Conductor Laureate of Rundfunkchor the British Empire in 2015, was awarded which he is now Conductor Laureate); under Berlin; and Professor and Director of Choral The Queen’s Medal for Music in 2014, and his leadership the chorus gained a reputation Activities at the University of Birmingham. received the Officer’s Cross of the Order of internationally as one of the finest professional Merit of the Federal Republic of Germany choral ensembles. Halsey also initiated Simon Halsey occupies a unique position in 2011 in recognition of his outstanding innovative projects in unconventional in classical music. He is the trusted advisor contribution to choral music in Germany. venues and interdisciplinary formats. • on choral singing to the world’s greatest conductors, orchestras and choruses, Since becoming Choral Director of and also an inspirational teacher and the London Symphony Orchestra and ambassador for choral singing to amateurs Chorus in 2012, Halsey has been credited of every age, ability and background. Making with bringing about a ‘spectacular singing a central part of the world-class transformation’ (Evening Standard) of the institutions with which he is associated, he LSC. Highlights with the LSO in 2017/18 has been instrumental in changing the level include Schoenberg’s Gurrelieder at the BBC of symphonic singing across Europe. Proms with Sir Simon Rattle and Halsey’s CBSO and Orfeó Català choruses; Liszt’s He is also a highly respected teacher and ‘Faust’ Symphony with Sir Antonio Pappano; academic, nurturing the next generation of Mahler’s Symphony No 2 with Semyon choral conductors on his post-graduate course Bychkov; and performances of Berlioz and in Birmingham and through masterclasses Bernstein with Rattle in his inaugural year at Princeton, Yale and elsewhere. He holds as Music Director of the LSO.

Artist Biographies 21 London Symphony Chorus on stage

President Sir Mark Elder won a Gramophone award and Sir Simon Rattle om cbe the recording of the Grande Messe des morts by Berlioz with the LSO conducted by Sir Colin President Emeritus Davis won an International Music Award in André Previn kbe the Choral Works category. In June 2015 the recording of Sir Peter Maxwell Davies’ Tenth Vice President Symphony, commissioned by the LSO and Michael Tilson Thomas recorded by the LSO and the LSC with Sir Antonio Pappano, won a prestigious South Patrons Bank Sky Arts award in the Classical category. Simon Russell Beale cbe Howard Goodall cbe The 2016/17 season included performances of Verdi’s Requiem with Gianandrea Noseda Chorus Director he London Symphony Chorus was Youth Orchestra of Great Britain and in the Barbican and at the Lincoln Center in Simon Halsey cbe formed in 1966 to complement the European Union Youth Orchestra. New York, a semi-staging of Ligeti’s Le grand the work of the London Symphony The Chorus has toured extensively throughout macabre with Sir Simon Rattle and Peter Associate Director Orchestra and in 2016 celebrated its 50th Europe and has also visited North America, Sellars, and Brahms’ Requiem with Fabio Luisi. Matthew Hamilton anniversary. The partnership between the Israel, Australia and South East Asia. The LSC also collaborated with the CBSO LSC and LSO has continued to develop and was and Orfeó Català choruses for Schoenberg’s Chorus Accompanist strengthened in 2012 with the appointment Much of the LSC repertoire has been captured Gurrelieder at the BBC Proms with the Benjamin Frost of Simon Halsey as joint Chorus Director in its large catalogue of recordings featuring London Symphony Orchestra and Sir Simon of the LSC and Choral Director for the LSO. renowned conductors and soloists, which Rattle in August. Highlights of 2017/18 Chairman It now plays a major role in furthering the have won nine awards, including five Grammys. include Liszt’s ‘Faust’ Symphony with Owen Hanmer vision of the LSO Sing initiative. Recent releases include Britten’s War Requiem Sir Antonio Pappano and Mahler’s with Gianandrea Noseda and Mahler’s Symphony No 2 with Semyon Bychkov. Concert Manager The LSC has also partnered with many Symphonies Nos 2, 3 and 8 with Valery Gergiev. Robert Garbolinski other major orchestras and has performed The Seasons by Haydn, Belshazzar’s Feast by The LSC is always interested in recruiting nationally and internationally with the Walton, Otello by Verdi, and the world premiere new members, welcoming applications LSO Choral Projects Manager Berlin and Vienna Philharmonic Orchestras, of the St John Passion by James MacMillan from singers of all backgrounds. Interested Andra East and the Leipzig Gewandhaus Orchestra. were all under the baton of the late singers are welcome to attend rehearsals Championing the musicians of tomorrow, Sir Colin Davis. The recent recording of before arranging an audition. For further it has also worked with both the National Götterdämmerung with the Hallé under information, visit lsc.org.uk. •

22 London Symphony Chorus 13 January 2018 Sopranos Altos Tenors Basses Assistant Directors Anneke Amalie Denise Hoilette Kate Aitchison Ella Jackson * Paul Allatt * Simon Backhouse * (Genesis Suite) Frankie Arnull Alice Jones Rosalind Bagshaw Kristi Jagodin Robin Anderson Chris Bourne Nia Llewelyn Jones Greta Astedt Debbie Jones Hetty Boardman Christine Jasper Jack Apperley Gavin Buchan Benjamin Frost Kerry Baker Jessica Kirby Weston Vanessa Knapp Erik Azzopardi Andy Chan Anna Byrne-Smith Luca Kocsmarszky Elizabeth Boyden Belinda Liao * Paul Beecham Steve Chevis * denotes LSC Laura Catala-Ubassy Meg Makower Gina Broderick Liz McCaw Raymond Brien Matthew Clarke council member Anjali Christopher Jane Morley Jo Buchan * Caroline Mustill Oliver Burrows Giles Clayton Shelagh Connolly Emily Norton Janik Dale Dorothy Nesbit Michael Delany Damian Day Harriet Crawford Gill O’Neill Maggie Donnelly Siu-Wai Ng John Farrington Thomas Fea Rebecca Dent Maggie Owen Lynn Eaton Helen Palmer Matthew Fernando Robert Garbolinski * Katharine Elliot Andra Patterson Linda Evans Susannah Priede * Andrew Fuller * Josué Garcia Lucy Feldman Roberta Phillip Amanda Freshwater Erika Stasiuleviciute Patrizio Giovannotti Daniel Gosselin Kara Florish Liz Reeve Christina Gibbs Claire Trocmé Simon Goldman Owen Hanmer * Joanna Gueritz Deborah Staunton Joanna Gill Curzon Tussaud Euchar Gravina J-C Higgins * Isobel Hammond Giulia Steidl Rachel Green Hannah Wisher Michael Harman Nathan Homan Emma Harry Sarah Talbot Yoko Harada Alastair Mathews Anthony Howick Jenna Hawkins Winnie Tse Kate Harrison Matthew McCabe Alex Kidney Roberta Hincke Lizzie Webb Jo Houston Tom McNeill Thomas Kohut Emily Hoffnung Alice Young Elisabeth Iles Daniel Owers Andy Langley Davide Prezzi Sam Loveless Pablo Romero George Marshall Michael Scharff Hugh McLeod Peter Sedgwick Jamie Patrick Richard Street * Alan Rochford Malcolm Taylor Richard Tannenbaum Simon Wales Robin Thurston James Warbis Evan Troendle Robert Ward * Jez Wareing Anthony Wilding

London Symphony Chorus 23 Mike Tutaj projection design

ased in Chicago, Mike Tutaj’s designs have been seen and heard Sir Simon Rattle in 2018 on the stages of The Goodman Theatre, Steppenwolf Theatre, Chicago Symphony Orchestra, Chicago Shakespeare Sunday 14 January 7pm Sunday 22 April 7pm Theatre, The Second City, Victory Gardens, Barbican Hall Barbican Hall Lookingglass, Writers’ Theatre, The Court Theatre, TimeLine, American Theater Janáček Overture: From the House Tippett The Rose Lake † Company, Paramount Theatre, The of the Dead Mahler comp Cooke Symphony No 10 Hypocrites, and many more. Carter Instances Berg Violin Concerto Sir Simon Rattle conductor Off-Broadway credits include MCC Theater, BartÓk Concerto for Orchestra p73, EnGarde Arts and The York Theatre. † Supported by Resonate, a PRS Foundation Regional credits include Indiana Repertory Sir Simon Rattle conductor initiative in partnership with Association of Theatre, The Alliance Theatre, Philadelphia Isabelle Faust violin British Orchestras, BBC Radio 3 and Boltini Trust Theatre Company, South Coast Rep, Center Stage, Syracuse Stage, Virginia Stage, Children’s Theatre Company (Minneapolis), Thursday 19 & 26 April 7.30pm 2018/19 SEASON ANNOUNCEMENT City Theatre Company (Pittsburgh) and Barbican Hall Theatre Squared. Visit lso.co.uk on Tuesday 23 January for Helen Grime Woven Space * (world premiere) details of the LSO’s 2018/19 season with Mike has taught Projection Design in the Mahler Symphony No 9 Music Director Sir Simon Rattle. Theatre Department of Columbia College Chicago. He is an artistic associate with Sir Simon Rattle conductor TimeLine Theatre, and a member of United Scenic Artists local 829. • * Commissioned for Sir Simon Rattle and the LSO by the Barbican

26 April generously supported by Baker McKenzie

24 Artist Biographies 13 January 2018 London Symphony Orchestra on stage tonight

Leader Second Violins Cellos Flutes Horns Timpani LSO String Experience Scheme Andrew Haveron David Alberman Tim Hugh Gareth Davies Timothy Jones Nigel Thomas Since 1992, the LSO String Experience Thomas Norris Alastair Blayden Alex Jakeman Angela Barnes Scheme has enabled young string players First Violins Miya Väisänen Jennifer Brown Benjamin Jacks Percussion from the London music conservatoires at Carmine Lauri David Ballesteros Noel Bradshaw Piccolo Jonathan Lipton Neil Percy the start of their professional careers to gain Lennox Mackenzie Matthew Gardner Eve-Marie Caravassilis Patricia Moynihan David Jackson work experience by playing in rehearsals Clare Duckworth Julian Gil Rodriguez Daniel Gardner Trumpets Sam Walton and concerts with the LSO. The musicians Ginette Decuyper Naoko Keatley Hilary Jones Oboes Philip Cobb are treated as professional ‘extra’ players Gerald Gregory Belinda McFarlane Miwa Rosso Olivier Stankiewicz David Elton Harps (additional to LSO members) and receive Maxine Kwok-Adams William Melvin Deborah Tolksdorf Juliana Koch Gerald Ruddock Bryn Lewis fees for their work in line with LSO section Elizabeth Pigram Iwona Muszynska Victoria Harrild Rosie Jenkins Niall Keatley Lucy Wakeford players. The Scheme is supported by Claire Parfitt Andrew Pollock The Polonsky Foundation, Idlewild Trust, Laurent Quenelle Paul Robson Double Basses Cor Anglais Trombones Piano Barbara Whatmore Charitable Trust and Harriet Rayfield Louise Shackelton Colin Paris Christine Pendrill Dudley Bright Elizabeth Burley The Thistle Trust. Colin Renwick Jan Regulski Patrick Laurence Peter Moore Sylvain Vasseur Matthew Gibson Clarinets James Maynard Rhys Watkins Violas Joe Melvin Andrew Marriner Morane Cohen- Edward Vanderspar Jani Pensola Chris Richards Bass Trombone Lamberger Gillianne Haddow Hugh Sparrow Peter Sparks Paul Milner Benjamin Roskams Malcolm Johnston Simo Väisänen German Clavijo Jeremy Watt Bass Clarinet Tuba Editor Lander Echevarria Laurent Ben Slimane Alberto Azzolini Edward Appleyard | [email protected] Julia O’Riordan Fiona Dinsdale | [email protected] Robert Turner Bassoons Editorial Photography Heather Wallington Rachel Gough Ranald Mackechnie, Oliver Helbig, Paul Rider, Jonathan Welch Daniel Jemison Doug Peters, P Keightley / Lebrecht, Katrin Burger Joost Bosdijk Matthias von der Tann Stephen Doman Print Cantate 020 3651 1690 Alistair Scahill Contra Bassoon Advertising Cabbells Ltd 020 3603 7937 Dominic Morgan Details in this publication were correct at time of going to press.

The Orchestra 25 Barbican Supporters

MAJOR SUPPORTERS PHILLIPS BARBICAN PATRONS Patrons Sajid Hussein A New Direction – Redleaf Communications Anonymous (12) Wendy Hyde London Cultural Education Challenge Reed Smith LLP Leading Patrons The Adamson Family Louise Jeffreys Arts Council England Shiseido SHM Foundation Jane Attias Alan Jones and Ashley Garrett Christie Digital Slaughter and May Platinum Patrons Stephen and Alyson Barter Dr Ian Jones and Virginia Crum-Jones City Bridge Trust Spitfire Audio Anonymous (1) Peter Bazalgette and Hilary Newiss David and Denise Joseph Esmée Fairbairn Foundation Steinway & Sons Crystal Amber Fund Dr Denise Bennett Anne Kahn J Paul Getty Jr Charitable Trust Taittinger Champagne Emma Kane Johnny Bergius Sir Nicholas Kenyon Paul Hamlyn Foundation tp bennett The Porter Foundation Sam and Rosie Berwick Colin Kirkpatrick SHM Foundation UBS Nicholas Berwin Klaret Services (UK) Ltd. Sir Siegmund Warburg’s Voluntary Principal Patrons Lynn Biggs The Mark Krueger Charitable Trust Settlement TRUSTS, FOUNDATIONS & PUBLIC FUNDERS Anonymous (1) Dr Geraldine Brodie Sonya Leydecker and Steven Larcombe The Rt Hon the Lord Mayor of the City Art Fund Mr and Mrs Baha Bassatne Lynette Brooks Homer Neil and Tracy Lawson-May of London 2016/17, Alderman Australian High Commission in London Martin and Celestina Hughes The Duke of Buccleuch Michael Likierman Dr Andrew Parmley Cockayne Grants for the Arts, John Murray Gwen and Stanley Burnton James Lintott and May Liang The Sackler Trust a donor-advised fund of the Ian Rosenblatt Emma Chamberlain Sir Laurie and Lady Magnus The Terra Foundation for American Art London Community Foundation George S Zakhem Tim and Caroline Clark Robert McHenry and Sally Lloyd-Bostock The Wolfson Foundation Culture Ireland Tim and Jean Clement-Jones Wendy Mead UBS Embassy of the Kingdom of the Premier Patrons Carole Conrad Millichope Foundation Youth Music Netherlands Anonymous (1) Dr Gianetta Corley Sir Hamid and Lady Moollan Europa Cinemas Russ and Linda Carr Sonia Crandall Sir Paul Morgan BUSINESS PARTNERS Film London Tim and Catherine Cox Alexander de Mont Professor Dame Linda Partridge and Aberdeen Asset Management PLC Foundation for FutureLondon Stuart and Laura Fraser Michèle Fajtmann and Albert May Mr Michael Morgan Allen & Overy Garfield Weston Foundation Sarah Ingham Trevor Fenwick and Jane Hindley Mark Payne Allford Hall Monaghan Morris Goethe-Institut London John and Angela Kessler Ian S. Ferguson Ben and Christina Perry Bank of America Merrill Lynch Institut français Kendall Langford Roger and Clare Gifford Stuart and Carolyn Popham Bloomberg Performing Arts Fund NL Ruth and Stuart Lipton Marina Gratsos Keith Salway Christie Digital Phillip and Irene Toll Gage Foundation Barbara J Merry Sean Gregory Stephan and Rosamund Shakespeare Crédit Agricole Stanley Thomas Johnson Foundation Dr Georges Mouton Barbara and Michael Gwinnell Giles Shilson DLA Piper The Daiwa Anglo-Japanese Foundation George and Betsy Newell Alfred and Liselotte Gysi Nicola Stanhope Hawkins Brown The Dorothy Slate Trust Helen Veale and Trevor Phillips Julian Hale and Helen Likierman John and Paula Tomlinson Japan Centre The Government of Flanders Judith Pleasance and Margaret Pleasance Gary Halkyard Steven Tredget Kajima The Great Britain Sasakawa Foundation Ondine de Rothschild Richard and Jenny Hardie Mel Tsiaprazis Leigh Day The Henry Moore Foundation Michael and Melanie Sherwood Malcolm Herring Liz Veecock Linklaters LLP The Japan Foundation Lady Juliet and Dr Christopher Tadgell Marianne Hinton Peter and Karen Ventress Momart The Québec Government Office, London Torsten Thiele Hollick Family Charitable Trust Mascha Zherebtsova Natrium Capital Limited The Worshipful Company of Gold Susie Thomson Richard Hopkin Ann Ziff NET-A-PORTER and Silver Wyre Drawers Nomura Tower Hill Trust

26 Barbican Supporters / Barbican Centre Board & Administration 13 January 2018 Barbican Centre

BARBICAN CENTRE BOARD BARBICAN CENTRE TRUST BARBICAN DIRECTORS BARBICAN MUSIC BARBICAN MARKETING BARBICAN DEVELOPMENT

Chairman Chairman Managing Director Head of Music Production Managers Senior Stage Manager Head of Marketing Head of Development Dr Giles Shilson Emma Kane Sir Nicholas Kenyon Huw Humphreys Jo Athroll Hannah Wye Phil Newby Lynette Brooks Lucy Barrie Deputy Chairman Trustees Chief Operating and PA to the Head of Music Claire Corns Stage Manager Senior Marketing BARBICAN GUILDHALL John Tomlinson Richard Bernstein Financial Officer Latana Phoung Kirsty Harris Chris Meehan Manager CREATIVE LEARNING Dr Geraldine Brodie Sandeep Dwesar Mez Jones Ben Jefferies Board Members Sir Roger Gifford Events Producer Kate Packham Deputy Stage Managers Head of Creative John Bennett Sir Nicholas Kenyon Director of Arts Eddie Shelter Mette Skriver Paul Harcourt Marketing Managers Learning Russ Carr Kendall Langford Louise Jeffreys Roger Garnett Peter Fisher Jenny Mollica Gerard Grech Professor Dame Senior Technical Production Co-ordinator Robert Rea Matt Saull Tom Hoffman Henrietta Moore Director of Learning Manager Sarah Danby Creative Learning Wendy Hyde John Murray and Engagement Ingo Reinhardt Stage Assistants Marketing Assistants Producer, Music Emma Kane Alasdair Nisbet Sean Gregory Planning and Ademola Akisanya David Lally & Cross Arts Vivienne Littlechild John Porter Artistic Hires and Partnerships Manager Kaide Harcourt Mairi Warren Anna Wilson Edward Lord Dr Giles Shilson Director of Operations Planning Manager Joseph Littlewood Paul M Harcourt Catherine McGuinness Torsten Thiele and Buildings Katy Morrison Brandon Laxton BARBICAN Creative Learning Wendy Mead Steven Tredget Jonathon Poyner Concerts Planning Jonas Sousa COMMUNICATIONS Assistant Producer Lucy Musgrave Music Programmers Coordinator Emily Williams Graham Packham EA to Paul Keene, Chris Sharp Adam Davison Chief Projectionist Head of Trevor Phillips Sir Nicholas Kenyon Thomas Zagrosek Communications Technical Manager Judith Pleasance Jo Daly Programming Technical Managers Lorna Gemmell Tim Bifield Tom Sleigh Co-ordinators Mark Bloxsidge Projectionists Sarah Hickling Luke Freeborough Matt Clark Senior Communications Clerk to the Board Ella Salter Neil Woolley Jonathan Greer Manager Gregory Moore Tim Hale Sabine Kindel Consultant Creative Technical Supervisors Producer Jason Kew Producing Administrator Senior Communications Bryn Ormrod Martin Shaw Colette Chilton Officer Tom Shipman Sylwia Janik Sean Harwood Beyond Barbican Producer Technicians Music Administrator Communications Officer Rachel Smith Matthew Barnes Joanne Welfare Rachel Coombes Michael Casey Jack Jordan Communications Charley Mackley Assistant Peter Mycroft Jean Tang Olly Nendick Joleigh Saunders David Strange 27 Wed 24 Jan Filarmonica della Scala Riccardo Chailly

Riccardo Chailly conducts Tchaikovsky’s volcanic Fourth Symphony and Grieg’s show-stopping Piano Concerto with Benjamin Grosvenor.

Book now at barbican.org.uk/classical

Image: Riccardo Chailly © Silvia Lelli

Orchestra of La Scala 245x168 LSO programme mono ad.indd 1 20/12/2017 11:57