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Home , Edward Elgar, Julius Benedict, Max Bruch, Othello (Dvořák), Piano Quintet (Elgar), Serenade (Bruch)

Sunday 11 February 2018 7–9.20pm Barbican Hall

LSO SEASON CONCERT ELGAR, BRUCH & DVOŘÁK

Dvořák : Bruch No 1 Interval Elgar No 2

SIR MARK Sir Mark Elder conductor violin

Recommended by Classic FM

ELDER 5.30pm Barbican Hall LSO Platforms: Guildhall Artists Free entry

Elgar in A minor Op 84

Joon Yoon piano Amarins Wierdsma violin Lyrit Milgram violin Alexander McFarlane Ben Tarlton Welcome LSO News On Our Blog

rehearsal and an afternoon of talks and THE LSO’S 2018/19 SEASON 2018 LSO PANUFNIK . A warm welcome to those ANNOUNCED attendees who join us in the audience tonight. The LSO’s 2018/19 season is now on sale. Highlights include Music Director Sir Simon The LSO Panufnik Composers Scheme We also hosted a pre-concert recital with Rattle’s exploration of folk-inspired music in enables composers to experiment and musicians from the Guildhall School, featuring his series Roots and Origins; Artist Portraits develop their orchestral writing skills. Elgar’s Piano Quintet. These free recitals with soprano Barbara Hannigan and pianist Congratulations go to Joel Järventausta, take place before many LSO concerts, and Daniil Trifonov; and eight premieres. Cassie Kinoshi, Lara Poe, Ido Romano, seek to provide a platform for the musicians George Stevenson and Alex Tay, who of the future. For more information and Plus there’s much more to explore with join the 2018 scheme. future dates, visit lso.co.uk/lsoplatforms. LSO Discovery’s free lunchtime concerts, Welcome to tonight’s LSO concert at the Discovery and Singing Days, and BBC Radio 3’s Barbican. It is a pleasure to be joined by I would like to take this opportunity to thank concerts at LSO St Luke’s. BEHIND-THE-SCENES: WHY IS A GREEN Sir Mark Elder for the second instalment in his our media partner, Classic FM, who have ROOM CALLED A GREEN ROOM? exploration of Elgar’s with the recommended this concert to their listeners. Visit lso.co.uk/201819season for full listings. LSO. Following Thursday’s performance of Why are performers’ rooms in a venue called the First Symphony, and acclaimed readings I hope that you enjoy the performance and green rooms? We look further into this of and that you will join us again soon. The next WELCOME TO TONIGHT’S GROUPS surprisingly difficult question on our blog. in previous seasons, we look forward to the LSO concert at the Barbican takes place on Second Symphony this evening. Sunday 18 February, with music by Strauss, We are delighted to welcome Prokofiev and Helen Grime conducted by Faversham Music Club We also hear music by Dvořák and Bruch Daniel Harding. Witham Choral Society Read our news, watch videos and more in tonight’s programme. For Bruch’s lyrical Guildford U3A • lso.co.uk/news No 1, we are pleased that Haverhill Concert Club • lso.co.uk/blog Nikolaj Znaider returns as soloist, following European Travelplan Ltd • .com/lso his recent Mozart and Tchaikovsky series.

This performance forms the culmination Kathryn McDowell CBE DL of a day of activity centred around Elgar’s Managing Director life and music. Earlier today, we hosted a Discovery Day at the Barbican and LSO St Luke’s, with access to this morning’s

2 Welcome 11 February 2018 Tonight’s Concert / by Stephen Johnson Coming Up

ven for those who know Dvořák Between these two absorbing, complex PROGRAMME NOTE WRITERS Sunday 11 March 2018 7pm well, his Othello can be a shocking masterpieces comes one of the enduringly Barbican Hall discovery. Here we find that popular treasures of the violin repertoire: Alison Bullock is a freelance writer and this generous-hearted, warmly melodic Bruch’s First Violin Concerto. Abundantly music consultant whose interests range SCHUMANN & BERLIOZ also had his dark side. This tuneful, ingeniously constructed, it was from Machaut to Messiaen and beyond. compact, gripping psychological thriller Bruch’s crowning success, one he was A former editor for the New Grove Dictionary Schumann Overture: Genoveva takes us inside the mind of Shakespeare’s never able to repeat. It may be his only of Music and the LSO, she is now based in Berlioz Les nuits d’été Othello, struggling with conflicting feelings great work, but that doesn’t make it Oslo, Norway. Schumann Symphony No 2 of love and murderous jealousy. At first any less impressive – or loveable. lyrically tender, it soon turns anguished, Wendy Thomson studied at the Royal Sir John Eliot Gardiner conductor then eerily obsessive, finally climaxing in College of Music, before taking an Ann Hallenberg mezzo-soprano rage and despair. Hearing Othello is like MMus in musicology at King’s College, experiencing a disturbingly powerful opera London. In addition to writing about without voices, compressed into just a music she is Executive Director of Classic Thursday 19 & 26 April 2018 7.30pm quarter of an hour. Arts Productions, a major supplier of Barbican Hall independent programmes to BBC Radio. Elgar’s Second Symphony will also surprise HELEN GRIME WORLD PREMIERE those who know this composer from Stephen Johnson is the author of Bruckner his ‘Enigma’ Variations and Pomp and Remembered (Faber) and Mahler: His Life Helen Grime Woven Space * Circumstance Marches. ‘I have written out and Music (Naxos). He also contributes (world premiere) my soul’, Elgar told a friend – and what a regularly to BBC Music Magazine and The Mahler Symphony No 9 complicated soul that turns out to be. Yes, Guardian, and broadcasts for BBC Radio 3, there’s noble aspiration, beguiling humour Radio 4 and the World Service. Sir conductor and lush pastoral beauty, but Elgar also talked of a ‘malign influence’ that stalks through Andrew Stewart is a freelance music * Commissioned for Sir Simon Rattle and the the first movement, and which returns with journalist and writer. He is the author LSO by the Barbican terrifying power at the climax of the third. of The LSO at 90, and contributes to One early critic even heard ‘pessimism and a wide variety of specialist classical 26 April generously supported by Baker McKenzie rebellion’ in this music. Did Elgar inwardly music publications. sense the oncoming catastrophe of World War I, just three years in the future? There are many possible interpretations. lso.co.uk/whatson

Tonight’s Concert 3 Antonín Dvořák Overture: Othello Op 93 1892 / note by Alison Bullock

hen Antonín Dvořák was invited anger (‘Othello murders her at the height to America in 1892, to take up of his wrath’), remorse (‘he considers the position of Director of the his dreadful crime’) and the final, tragic new National Conservatory of Music in outcome (‘he kills himself’). New York, it was final proof (if proof were needed) of his reputation as one of the most Dvořák probably intended to paint a musical important living composers in the western picture of the ill-fated lovers, and the world. Shortly his arrival in New York, overture is full of little references, both he conducted a concert that included a new from within the work and from other pieces work, a trilogy entitled Nature, Life and Love, (such as Dvořák’s own ). But the comprising the In Nature’s Realm composer was in severe doubt as to whether (Op 91), Carnival (Op 92) and Othello (Op 93). the work should carry the title Othello, These three works are interconnected by and considered such alternatives as ‘The Othello with by Christian Köhler (1859) the main musical theme that first appears Tragic Overture’ or even ‘Eroica’. In the end, in In Nature’s Realm, but while Carnival has though, he came down on the side of the • ’S OTHELLO become known as a separate piece, the other most evocative of the alternatives – for even two works are much less known, and they are though Dvořák’s autograph notations were Shakespeare’s tragedy is based on the story handkerchief that served as the ‘proof’ of rarely played as a set. Dvořák’s intention with never intended for publication, we can use Un Capitano Moro (A Moorish Captain) Desdemona’s affair was planted. kills the three overtures was to depict the three the title to conjure up our own story for the written by Italian Renaissance poet Cinthio his wife for revealing his plan, and is great themes of the trilogy’s title; the theme overture, which, however one looks at it, is around 1565. The play tells the story of left to be punished by the Venetian state. of love is treated in the final piece,Othello . absolutely one of Dvořák’s most brilliant, Othello, a general of the Venetian army, who Tormented by guilt, Othello kills himself. expressive orchestral works. • has secretly married Desdemona, daughter Dvořák was well acquainted with of senator . The senator disowns The play was first performed on 1 November Shakespeare’s tragedy •, and made his daughter after learning of their union, 1604 at Whitehall Palace in London and has reference in his manuscript to particular and Othello is ordered to sail for Cyprus, gone on to enjoy an extensive performance scenes from the play. However, these accompanied by his wife and some of his men. history as well as numerous operatic, film annotations indicate that his intention Through ruses planted by the jealous and literary adaptations – notably the 1995 was probably not to retell the entire play, ensign Iago, Othello becomes suspicious of film starring Laurence Fishburn, Irène Jacob but to use its references to create a more Desdemona, believing that she has been and Kenneth Branagh. generalised picture of tragic love, including unfaithful with the lieutenant Cassio. such elements as passion (‘They [Othello Enraged, Othello smothers Desdemona, only and Desdemona] embrace in silent ecstasy’), to learn through Iago’s wife Emilia that the

4 Programme Notes 11 February 2018 Violin Concerto No 1 in Op 26 1866 / note by Wendy Thomson

1 Vorspiel: Allegro Moderato FIRST MOVEMENT situation with a sequence of ever-blossoming own violin concerto for Joachim, he borrowed 2 Adagio The opening movement of Bruch’s work must and more agitated ornamentation. the same effect, so admirably suited to the 2 Finale: Allegro energico have posed problems for contemporary instrument. And though Brahms’ colossal listeners. Traditionally, a 19th-century concerto Resolution proves unattainable, and masterpiece has tended to overshadow the Nikolaj Znaider violin begins with an expansive first movement, towards the end the material of the opening more modest, but perhaps more innovative usually incorporating a virtuosic , recitative returns. The anguished question work by Bruch, a spate of recordings by he first – and by far best-known – giving the soloist a chance to settle into a of the remains unanswered, major violinists has happily restored this of Max Bruch’s three violin prolonged and satisfying battle with the but instead sinks gently down through gem to its rightful place in the repertory. • was written for the Hungarian orchestra and to emerge with flying colours. a transitional passage onto a despairing virtuoso , whose charismatic The first movement of Bruch’s concerto sustained B-flat, which magically melts playing inspired similar works from affords the soloist no such opportunity. into the E-flat radiance of the Adagio. Schumann and Brahms. In 1868 Joachim It opens not with a bold flourish, but with a became director of the newly formed fearful, pianissimo tremolo on the SECOND MOVEMENT Music Academy in , where Bruch was and a plaintive, questioning statement Here, questions and answers are redundant. a professor, and the next year Bruch wrote on wind instruments, to which the soloist Subtly supported by the orchestra, the the concerto for his famous colleague. replies with an unaccompanied passage of violin simply unfolds one of the most recitative, earnest and eloquent, but far glorious sustained melodies ever written, Although Bruch’s First Violin Concerto from consolatory. exploiting its most luscious timbres to the has largely sustained his posthumous full. Mendelssohn’s concerto was an obvious reputation, it suffered for a long time from The orchestra’s next question coaxes a model, and when Tchaikovsky came to write the musical snobbery which declared it similar response, whereupon the question is his Violin Concerto nearly a decade later, he ‘too easy to be great’. Some of the greatest asked a third time. This time a more forceful also recognised the virtue of a simple, lyrical concertos – particularly those by Brahms and expansive – but still inconclusive – central movement, eventually settling on and Tchaikovsky – were initially damned as response is forthcoming, stated over a the song-like Canzonetta. hopelessly ‘unviolinistic’ (usually because muted, restless orchestral background. their dedicatees found they couldn’t play Finally, in response to the orchestra’s FINALE Interval – 20 minutes them), and only later hailed as masterpieces. insistent demands, the soloist makes a But it is the exhilarating, gypsy-style rondo There are bars on all levels of the The two exceptions were by Mendelssohn positive statement – a serene, full-blown Finale – a clear homage to its dedicatee’s Concert Hall; ice cream can be bought and Bruch. Both works lie brilliantly under melody in dialogue with the orchestra. Hungarian origins – which finally allows the at the stands on Stalls and Circle level. the fingers, so that technical difficulties such But the underlying orchestral restlessness soloist joyous, uninhibited rein. Brahms Visit the Barbican Shop on Level -1 to see as rapid passage-work or double-stopping returns to haunt the movement, with the coveted this style so much that when, ten our new range of Gifts and Accessories. can be accomplished with relative ease. soloist desperately trying to control the years later, he came to write the finale of his

Programme Notes 5 Antonín Dvořák in profile 1841–1904 Max Bruch in profile 1838–1920

His first job was as a viola player, although teacher. After moving to in 1862 he supplemented his income by teaching. he met the poet Geibel and collaborated In the mid-1860s he began to compose a with him on the three-act opera . series of large-scale works, including his His first and best-known Violin Concerto Symphony No 1, ‘The Bells of Zlonice’, and received its premiere in the German city of the . Two operas, a second in 1866, where he served from 1865 symphony, many songs and chamber works to 1867 as Music Director. During one of his followed before Dvořák decided to concentrate journeys to Britain, the composer discovered on composition. In 1873 he mar­ried one of a copy of James Johnson and ’ his pupils, and in 1874 received a much-needed folk anthology The Scots Musical Museum. cash grant from the Austrian government. Its tunes offered Bruch a wealth of ideas lobbied the publisher that he filtered into his own musical language. Simrock to accept Dvořák’s work, leading to the publication of his and a After a period as a freelance composer in orn into a peasant family, Dvořák commission for a set of . oung Max Bruch was introduced Berlin, Bruch succeeded as developed a love of folk tunes at to the rudiments of music by his conductor of the Philharmonic an early age. His father inherited The nationalist themes expressed in mother, a professional soprano Society (1880–83) and thereafter became the lease on a butcher’s shop in the small Dvořák’s music attracted considerable and music teacher. His early lessons were conductor of the Breslau Orchesterverein village of Nelahozeves, north of Prague. interest beyond Prague. In 1883 he was supplemented by studies in music theory until 1890, when he accepted a professorship When he was twelve, the boy left school and invited to London to conduct a concert of with a respected teacher in , which at the Berlin Academy, teaching composition was apprenticed to become a butcher, at his works, and he returned to often enabled the 11-year-old Bruch to compose there until he retired in 1911. first working in his father’s shop and later in the 1880s to oversee the premieres of an orchestral overture and chamber works. in the town of Zlonice. Here Dvořák learned several important commissions, including In 1852 he received a scholarship from the Bruch’s secular choral works, such as Frithjof, German and also refined his musical talents his Seventh Symphony, and Requiem Mass. Mozart Foundation in Frankfurt to support the epic and Das von der Glocke, to such a level that his father agreed he Dvořák’s Cello Concerto in B minor received studies in composition and theory with enjoyed considerable popularity during his should pursue a career as a musician. its world premiere in London in March 1896. and piano lessons in . lifetime, although today he is best known as a In 1857 he enrolled at the Prague Organ His Ninth Symphony ‘From the New World’, composer of works for violin and orchestra. • School during which time he became a product of Dvořák’s American years Bruch’s first opera, Scherz, List und Rache, inspired by the music dramas of Wagner: (1892–95), confirmed his place among the was produced in Cologne in 1858 and for the opera was to become a constant feature finest of late 19th-century composers. • next three years he worked there as a music Composer Profiles by Andrew Stewart of Dvořák’s creative life.

6 Composer Profiles 11 February 2018 in profile 1857–1934 / profile by Andrew Stewart

lgar’s father, a trained piano-tuner, his position as England’s finest composer, before the end of World War I, he entered ran a music shop in Worcester crowned by two further , a series an almost cathartic period of chamber in the 1860s. Young Edward, the of ceremonial works, two symphonies and music composition, completing the peaceful fourth of seven children, showed musical concertos for violin and cello. slow movement of his soon talent but was largely self-taught as a after Armistice Day. The Piano Quintet was violinist, and composer. During his Elgar was knighted in 1904, and in the finished in February 1919 and reveals the early freelance career, which included work same year the , Covent composer’s deep nostalgia for times past. the staff band at the County Garden, put on a three-day festival devoted Following his retirement, Elgar’s most Lunatic Asylum in , he suffered entirely to his music, an honour which valuable work was done in the recording many setbacks. He was forced to continue had never before been accorded to a living studio, a technology he fully embraced, teaching long after the desire to compose English composer. In 1911 Elgar was awarded recording many of his works with the LSO. full-time had taken hold. the and became the LSO’s Despite illness, Elgar managed to sketch Principal Conductor, premiering many of movements of a Third Symphony before A picture emerges of a frustrated, his new works with the Orchestra. Shortly his death on 23 February 1934. • pessimistic man, whose creative impulses were restrained by his circumstances and apparent lack of progress. It was at this time he married his wife Caroline Alice Roberts, herself a published novelist and the daughter of Major-General Sir Henry Gee Roberts. The cantata Caractacus, commissioned by the Leeds Festival and premiered in 1898, brought the composer recognition beyond his native city and at the end of March 1891 the Elgars were invited to travel to Bayreuth for that summer’s festival of Wagner’s operas, a prospect that inspired Edward immediately to compose three movements for , the . The Variations on an Original • Elgar conducts Pomp and Circumstance March No 1 with the LSO at the opening of Abbey Road Theme, ‘Enigma’ (1898–99) and his Studios on 12 November 1931. His remarks to the Orchestra were: ‘Glad to see you all. Very light The Dream of Gerontius (1900) cemented programming this morning. Please play this tune as if you have never heard it before.’

Composer Profiles 7 Edward Elgar Symphony No 2 in E-flat major Op 63 1911 / note by Stephen Johnson

1 Allegro Vivace e Nobilmente itself in Elgar’s lifetime. It was only in the Was the symphony intended as a portrait SECOND MOVEMENT 2 Larghetto later decades of the 20th century that it of one of those moments when delight The second movement is a noble, deeply 3 Rondo: Presto gradually came to be seen as one of his most reigns; or is it an expression of regret that felt symphonic elegy, beginning with what 4 Moderato e important and personal statements. Elgar delight comes so rarely? The more one gets is unmistakably a . Given the was aware of its significance from the start. to know Symphony No 2, the more likely symphony’s dedication ‘to the Memory of he premiere of Elgar’s Symphony In another letter to Alice Stuart Wortley he one is to side with the latter interpretation. His late Majesty King Edward VII’, many No 1, in December 1908, was a grouped his Symphony No 2 with the Violin But even that doesn’t make sense of all of presumed that this movement was an sensation; there were ovations for Concerto and the choral ode The Music its mysteries and seeming contradictions. expression of lament for the King, who died the composer, ecstatic reviews, and nearly Makers: ‘I have written out my soul in the while the symphony was being written. In a hundred performances in the following concerto, Symphony No 2 and the Ode and FIRST MOVEMENT fact Elgar had already noted down ideas for year. Two years later there was rapturous you know it … in these three works I have At first, matters seem clear enough. The first this movement in 1904, when he had been applause for the Violin Concerto. Such shewn myself’. movement begins with a magnificent musical shocked to learn of the death of his friend success had given the self-doubting Elgar springboard: repeated notes on strings surge Rodewald. an added boost of confidence. He returned Here, perhaps, lies part of the problem. upwards into a confidently arching theme, to sketches for a symphony he had made Elgar’s Symphony No 1 is a magnificently ‘tremendous energy’ embodied in music. When the funeral march theme returns after around 1903–4 and began forging them sustained and integrated work. Worlds of The gentler second theme () is more a grand, impassioned climax, Elgar does into something new. By the end of February turmoil and doubt are opened up, but at shadowy and uncertain, but the energy from something strikingly original: the first 1911, after just two months of sustained the end is a triumphant restatement of the opening returns with added force, building plays a quasi-improvisatory counterpoint effort, the Symphony No 2 was complete. the confident, noble theme with which it to a superb climax. Then comes something to the tune, as though it were following a ‘I have worked at fever heat’, Elgar told his began – a clear declaration of what Elgar unexpected. Eight quiet harp chimes introduce different, freer beat; it is almost as though a confidanteAlice Stuart Wortley •, ‘and the himself called ‘massive hope’. The Violin a weirdly sensual central section, with camera had suddenly homed in on one grief- thing is tremendous in energy’. Concerto may be more reflective, but it too singing out a long, peculiarly sinister melody stricken face amid the crowds of mourners. ends in blazing affirmation. But the Second above pulsating basses, timpani and bass If Elgar was expecting another triumph, Symphony is emotionally more complex, drum. ‘I have written the most extraordinary THIRD MOVEMENT he was cruelly disappointed. Surprisingly its ending ambiguous. And although the passage’, Elgar wrote, ‘a sort of malign After this, the Rondo is alert and intensely the hall was not quite full, and at the four movements are rich in thematic influence wandering thro’ the summer night active, a refreshing contrast to the funereal end, Elgar noted, the audience ‘sat there cross references, the symphony is full of in the garden’. Energetic life reasserts itself in ‘Larghetto’ – or so it seems at first. But like a lot of stuffed pigs’. One anonymous surprising, even unsettling, changes in a relatively straightforward recapitulation of darker, more demonic forces are at work critic even accused Symphony No 2 of mood and character. Even the words from the earlier music. Still, that ‘malign influence’ here; in fact many listeners find this ‘pessimism and rebellion’. There were more Shelley with which Elgar chose to head leaves an uncomfortable aftertaste – and movement more devilish than the famous enthusiastic reactions in years to come, the score can be read in different ways: we haven’t heard the last of it yet. Demons’ Chorus in Elgar’s The Dream of but the symphony never really established ‘Rarely, rarely comest thou, Spirit of Delight!’.

8 Programme Notes 11 February 2018 Gerontius. Eventually throbbing, pounding through fabulously rich orchestral textures. • CRITICAL RECEPTION • ELGAR ON LSO LIVE drums, quiet at first but building steadily, A celebration of Shelley’s ‘Spirit of Delight’? announce the return of the ‘malign There is something poignant about the Although public opinion was muted, critics influence’ theme from the first movement: way the splendour fades. One may be left were initially positive about the Second first on strings, then thundered out by heavy repeating the first two words of the Shelley Symphony. ’ reviewer, writing brass. Elgar compared this nightmare vision quotation: ‘Rarely, rarely …’ • the day after the premiere, thought, ‘The to some words from Tennyson’s poem Maud, new symphony by Sir Edward Elgar, which the words of a dead man cast into a shallow was the main attraction of the Festival grave beneath a roadway: yesterday, may at once be said confidently • ALICE STUART WORTLEY to be a great deal better than his first, and — two of its movements undoubtedly reach ‘And the hoofs of the horses Although officially dedicated to Edward VII, very near the level of the Variations and the who died in 1910, it has been speculated that Violin Concerto – that is to say, they touch beat, beat, Elgar’s Symphony No 2 was inspired by his the composer’s highest mark.’ The hoofs of the horses beat, relationship with his confidante Alice Stuart Beat into my scalp and my brain’. Wortley. Their relationship had deepened at Similarly, applauded — the time of writing his Violin Concerto the the composer’s ‘firmer grip, not only of Elgar previous year – the work contains several the symphonic form, but of the substance Variations on an Original Theme, ‘Enigma’ references to his private nickname for her, expressed within its confines’, writing also Introduction and Allegro for Strings FINALE ‘Windflower.’ that ‘there are heights here that hitherto According to Elgar, ‘the whole of the sorrow even Elgar himself had not touched, but we Sir conductor is smoothed out and ennobled in the last Herself a talented amateur pianist, Wortley are doubtful if the greater public will realise London Symphony Orchestra movement’. Some Elgarians have had their was the daughter of the painter John Everett the fact immediately.’ doubts about this. The gently wandering, Millais and married to the Conservative ‘As beautifully paced and played as any on rhythmically repetitive first theme does MP for a Sheffield constituency. Although Subsequent productions were less well disc and a superb Introduction & Allegro suggest an attempt at ‘smoothing out’; there is little evidence that her relationship received. The Manchester Guardian later by the orchestra that premiered the work the noble second theme even seems to with Elgar developed beyond friendship, wondered whether Elgar’s charm had under the composer.’ bring back echoes of the First Symphony’s the two remained close for a number of ‘diminished rather than grown as his ‘massive hope’. But then comes the coda: years, particularly after they both lost their craftsmanship and subtlety of fantastic quieter, slower, with the symphony’s spouses. The majority of her letters to Elgar, variation have increased … we can hardly Available to purchase at lsolive.lso.co.uk opening theme now gliding gracefully and some of his to her, were destroyed. say that the work contains any melody in and Amazon or to stream on Spotify and the full sense of the word.’ Apple Music

Programme Notes 9 Sir Mark Elder conductor

ir Mark Elder has been Music Director first English conductor to conduct a new Symphony, and in 2012 fronted BBC2’s TV of the Hallé since 2000. He was production), Munich, Amsterdam, Zürich, series Maestro at the Opera. He presented a Music Director of English National Geneva, Berlin and the Bregenz Festival. series of TV programmes on BBC4 during the Opera (1979–93), Principal Guest Conductor 2015 Proms in which he talked about eight of the City of Symphony Sir Mark Elder has made many recordings symphonies ranging from Beethoven to Orchestra (1992–5) and Music Director of with including the Hallé, London MacMillan featuring performances from the Rochester Philharmonic Orchestra, US Philharmonic, Royal Concertgebouw season’s concerts. (1989–94). He has held positions as Principal Orchestra, City of Birmingham Symphony Guest Conductor of the BBC Symphony Orchestra, BBC Symphony, OAE, Orchestra In April 2011, he took up the position of Orchestra and the London Mozart Players. of the Royal Opera House and ENO, in Artistic Director of Opera Rara, for whom repertoire ranging from Verdi, Strauss and recording projects have included Donizetti’s He has worked with many of the world’s Wagner to contemporary music. In 2003 Dom Sebastien, Imelda di Lambertazzi, leading symphony orchestras, including the Hallé launched its own CD label and Linda di Chamounix, Maria di Rohan and a the Berlin Philharmonic, Orchestre de Paris, releases have met with universal critical multi-award-winning release of Les Martyrs. Chicago Symphony, Boston Symphony, acclaim, culminating in Gramophone Awards Royal Concertgebouw and Munich for Elgar’s The Dream of Gerontius and Sir Mark Elder was appointed a Companion Philharmonic. He is a Principal Artist of Violin Concerto in 2009–10 and Wagner’s of Honour in the 2017 Queen’s Birthday the Orchestra of the Age of Enlightenment Götterdämmerung in 2010. His recording Honours, was knighted in 2008 and awarded and works regularly with the LSO. He has of Elgar’s won Recording of the CBE in 1989. He won an Olivier Award in appeared annually at the BBC Proms for many the Year in the 2013 BBC Music Magazine 1991 for his outstanding work at ENO and in years, including the internationally televised Awards. Other Hallé CD releases include May 2006 he was named Conductor of the Last Night of in 1987 and 2006, complete recordings of Wagner’s Die Year by the Royal Philharmonic Society. He and from 2003 with the Hallé Orchestra. Walküre and Götterdämmerung. A live was awarded Honorary Membership of the recording of Wagner’s Lohengrin has Royal Philharmonic Society in 2011. • He works regularly in the most prominent recently been released by the Royal international opera houses, including: Concertgebouw Orchestra. the Royal Opera House, Covent Garden; Metropolitan Opera, New York; Opéra TV appearances include a two-part film on National de Paris; Lyric Opera, Chicago; the life and music of Verdi for BBC TV in and Glyndebourne Festival Opera. Other 1994 and a similar project on Donizetti for guest engagements have taken him to German television in 1996. In November 2011 the Bayreuth Festival (where he was the he co-presented BBC TV’s four part series

10 Artist Biographies 11 February 2018 Nikolaj Znaider violin

ikolaj Znaider performs at the Znaider’s extensive discography includes Nikolaj Znaider plays the ‘Kreisler’ highest level as both conductor Nielsen’s Violin Concerto with Alan Gilbert Guarnerius ‘del Gesu’ 1741 on extended and virtuoso violin soloist with and the New York Philharmonic, Elgar’s loan to him by The Royal Danish Theatre the world’s most distinguished orchestras. Violin Concerto in B minor with the late through the generosity of the VELUX He has been Principal Guest Conductor of Sir Colin Davis and the Staatskapelle , Foundations, the Villum Fonden and the Mariinsky Orchestra in St Petersburg award-winning recordings of the Brahms the Knud Højgaard Foundation. • since 2010, and was previously Principal Guest and Korngold concertos with Conductor of the Swedish Chamber Orchestra. and the Philharmonic, the Beethoven and Mendelssohn concertos with Zubin Mehta Following a return to the Tanglewood Festival and the Israel Philharmonic, Prokofiev’s with the Boston Symphony and Juanjo Violin Concerto No 2 and Glazunov’s Concerto Mena, the 2017/18 season has seen Znaider with Mariss Jansons and the Bavarian Radio continue his Mozart recording project with Symphony, and the Mendelssohn Violin the London Symphony Orchestra. He has Concerto on DVD with Riccardo Chailly and a particularly strong relationship with the the Gewandhaus Orchestra. Znaider has LSO, an orchestra he conducts and with also recorded the complete works of Brahms whom he performs as soloist every season. for violin and piano with Yefim Bronfman. Their recording of Mozart’s Violin Concertos 4 and 5 will be released on LSO Live in Znaider is passionate about supporting the March 2018. Znaider also appears regularly next generation of musical talent and spent with orchestras such as the Staatskapelle ten years as Founder and Artistic Director of Dresden, Cleveland Orchestra, New York the annual Nordic Music Academy summer Philharmonic and Chicago Symphony as school, and is now President of the Nielsen both conductor and soloist. Competition, which takes place every three years in Odense, Denmark.

Artist Biographies 11 London Symphony Orchestra on stage tonight

Leader Second Violins Cellos Flutes Horns Timpani LSO String Experience Scheme Carmine Lauri Thomas Norris Tim Hugh Adam Walker Timothy Jones Nigel Thomas Since 1992, the LSO String Experience Sarah Quinn Minat Lyons Alex Jakeman Angela Barnes Scheme has enabled young string players First Violins Miya Väisänen Alastair Blayden Andrew Budden Percussion from the London music conservatoires at Lennox Mackenzie David Ballesteros Jennifer Brown Piccolo Jonathan Lipton Neil Percy the start of their professional careers to gain Clare Duckworth Matthew Gardner Noel Bradshaw Rebecca Larsen Stephen Craigen David Jackson work experience by playing in rehearsals Gerald Gregory Julian Gil Rodriguez Daniel Gardner Sam Walton and concerts with the LSO. The musicians Maxine Kwok-Adams Naoko Keatley Hilary Jones Tom Edwards are treated as professional ‘extra’ players Claire Parfitt Belinda McFarlane Victoria Harrild Jose Vegara David Elton (additional to LSO members) and receive Elizabeth Pigram William Melvin Peteris Sokolovskis Ruth Contractor Gerald Ruddock Harps fees for their work in line with LSO section Colin Renwick Iwona Muszynska Niall Keatley Bryn Lewis players. The Scheme is supported by Sylvain Vasseur Andrew Pollock Double Basses Lucy Wakeford The Polonsky Foundation, Barbara Rhys Watkins Paul Robson Colin Paris Christine Pendrill Whatmore Charitable Trust, The Thistle Richard Blayden Alix Lagasse Patrick Laurence Peter Moore Trust and Idlewild Trust. Performing in Aischa Gündisch Eugenio Sacchetti Thomas Goodman James Maynard tonight’s concert are Ruth Heney and Grace Lee Jani Pensola Chris Richards Joanna Patrick. Hilary Jane Parker Simo Väisänen Ben Aldren Bass Erzsebet Racz Jane Atkins Nicholas Worters Paul Milner Gillianne Haddow E-Flat Malcolm Johnston Chi-Yu Mo Anna Bastow David Kendall German Clavijo Bass Clarinet Editor Julia O’Riordan Arthur Stockel Edward Appleyard | [email protected] Robert Turner Fiona Dinsdale | [email protected] Katrin Burger Editorial Photography Fiona Dalgliesh Daniel Jemison Ranald Mackechnie, Benjamin Ealovega, Stephanie Edmundson Joost Bosdijk Lars Gundersen Nancy Johnson Print Cantate 020 3651 1690 Shiry Rashkovsky Contra Advertising Cabbells Ltd 020 3603 7937 Dominic Morgan Details in this publication were correct at time of going to press.

12 The Orchestra 11 February 2018