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Home , Berlin Philharmonic, Simon Rattle, Sinfonia da Requiem

Wednesday 8 May 2019 7.30–9.40pm Barbican

LSO SEASON CONCERT SIR

Britten Sinfonia da Interval MAHLER 5 Mahler No 5

Sir Simon Rattle conductor Welcome Latest News On our Blog

statements. Mahler composed the BMW CLASSICS IN TRAFALGAR SQUARE THE PUBLIC DOMAIN symphony at a critical time, as ill health forced him to resign as conductor of the On 30 June, the LSO takes over Trafalgar As part of LSO Futures, our festival of new and as Square as Sir Simon Rattle conducts a and contemporary music, 500 community he fell in love with Alma Schindler, who dance-inspired programme of music by singers took part in a stirring performance of would later become his wife. Dvořák, Poulenc, Ravel and Bushra El-Turk. David Lang’s the public domain on 24 March. There will also be performances by young We look back on the project and its effects Thank you to our media partners Classic FM, musicians from the LSO On Track scheme in on our local community on the LSO Blog. who have recommended this evening to East London and from the Guildhall School. their listeners. ARTIST PORTRAIT: LSO IN THE BBC PROMS 2019 onight, Sir Simon Rattle returns to I hope that you enjoy the concert and that Pianist Daniil Trifonov tells us about his conduct the LSO at the Barbican you will join us again soon. At the end of The LSO and a 300-strong choir perform life away from the concert stage, and the for our final London concert before the month, Conductor Laureate Michael Walton’s Belshazzar’s Feast on Tuesday experiences that made him love music – embarking on a tour of Latin America. The Tilson Thomas joins us for a pair of concerts 20 August at the BBC Proms, conducted from rock and jazz to the films of Andrei LSO will perform this evening’s programme featuring Beethoven, Bartók and Ives, and by Sir Simon Rattle. The programme also Tarkovsky and Scriabin’s ‘Poem of Ecstasy’. at concert halls in Bogotá, Medellín, Lima, in June pianist Daniil Trifonov continues his includes Varèse’s Amériques and French Buenos Aires, Montevideo and Santiago, LSO Artist Portrait series, with two concerto composer Charles Koechlin’s Les bandar-log. Read these articles and more at showcasing the Orchestra at its very best. performances and a solo recital. • lso.uk/blog THE LSO IN LATIN AMERICA Opening the concert is ’s WELCOME TO TONIGHT’S GROUPS Sinfonia da Requiem, written when the Follow us online for behind-the-scenes composer was 25 years old in response to updates of this month’s inaugural LSO Welcome to Adele Friedland and Friends, an invitation from the Japanese government. voyage to Latin America. We thank CGSH who are attending tonight’s concert. Completed in 1939, the Sinfonia remembers Kathryn McDowell CBE DL International Legal Services LLP for its those who died in the first conflicts of Managing Director contribution to the LSO’s concerts in Please ensure all phones are switched off. World War I. Argentina, and Santander for sponsoring our Photography and audio/video recording concerts in Buenos Aires and Montevideo. are not permitted during the performance. Mahler’s Fifth Symphony makes up the second half of the concert, a work which facebook.com/londonsymphonyorchestra continues to inspire listeners as one of instagram.com/londonsymphonyorchestra the composer’s most deeply personal twitter.com/londonsymphony

2 Welcome 8 May 2019 Tonight’s Concert In Brief Sir Simon Rattle with the LSO

hile Benjamin Britten was living PROGRAMME CONTRIBUTORS Thursday 20 June 7.30–9.45pm Thursday 27 June 7.30–9.25pm in America in the final years of Barbican Saturday 29 June 7.30–9.25pm the 1930s, he was commissioned Stephen Johnson is the author of Bruckner Barbican by the Japanese government to compose Remembered (Faber) and Mahler: His Life and LSO + GUILDHALL SCHOOL: BRUCKNER a piece of symphonic music. The brief was Music (Naxos). He also contributes regularly open to interpretation, and in response to BBC Music Magazine and , Vaughan Williams Britten composed his Sinfonia da Requiem. and broadcasts for BBC Radio 3, Radio 4 Fantasia on a Theme by Thomas Tallis Janáček The Cunning Little Vixen (semi-staged) But the commissioning board thought the and the World Service. Grainger Lincolnshire Posy for Winds subject of remembrance too sensitive, Bruckner Symphony No 4 Sir Simon Rattle conductor and it wasn’t until 1941 that the work was Philip Reed is a specialist in the life and Peter Sellars director premiered by the . music of Benjamin Britten. His publications Sir Simon Rattle conductor Lucy Crowe Vixen The Sinfonia begins with a ritual Lacrymosa, include five volumes ofThe Selected Letters London Symphony Orchestra Gerald Finley Forester which builds to a blazing climax, and in the of Benjamin Britten, as well as contributions Guildhall School Musicians Sophia Burgos Fox, Chocholka which follows Britten deftly invokes to studies of , and the Peter Hoare Schoolmaster, Cock, Mosquito a dance of death. The final movement is a . Generously supported by Baker McKenzie Jan Martiník Badger, Parson serene, consoling lullaby. Produced by LSO and Barbican Composed four decades earlier at the turn of the 20th century, Mahler’s Fifth Symphony Saturday 14 September 7.30–9.30pm begins with funereal solemnity, followed by Barbican an urgent second movement, characterised by a shrill three-note woodwind figure. The SEASON OPENING waltz-like scherzo of the third movement precedes the famous ‘Adagietto’ for strings Emily Howard Antisphere (world premiere)* and harp – a love song without words Violin Concerto for Mahler’s future wife Alma. The final Walton Symphony No 1 rondo rings with affirmation, bringing the Symphony to a joyous conclusion. Sir Simon Rattle conductor Leila Josefowicz violin

*Commissioned for Sir Simon Rattle and the LSO by the Barbican

Tonight’s Concert 3 Benjamin Britten Sinfonia da Requiem Op 20 1940 / note by Philip Reed

1 Lacrymosa Sinfonia da Requiem was written in the a Christian framework of reference (one STRAUSS’ JAPANESE FESTIVAL MUSIC 2 Dies irae spring of 1940 and the score dispatched to of the points to which its commissioners 3 Requiem aeternam Japan. Plans were laid for Britten to travel objected), has wider implications given the • Joseph Goebbels assigned the Japanese to Tokyo and attend the premiere of the background of violence and menace in which 2600th anniversary commission to Richard n 1939 the Japanese Government new work later than year. While the Sinfonia it was written. The composer’s letters from Strauss (then aged 75), who interrupted his commissioned a number of was undoubtedly suited to the composer’s this period make it quite clear that the work work on the Die Liebe der Danae to musical works from European own requirements, it did not fulfil the reflected his own response to the war raging compose Japanische Festmusik Op 84. He composers including Strauss •, Ibert and commissioners’ at all. On examining the in Europe and beyond. It therefore operates received 10,000 Reichsmarks for his effort, Pizzetti, to mark the 2600th anniversary of score they considered the work inappropriate on more than one level and provides a locus but Japanische Festmusik remains Strauss’ the founding of the Japanese dynasty the to the occasion and it was rejected. There classicus of the juxtaposition of the public least performed orchestral work. following year. Also among the composers were, perhaps inevitably, misunderstandings and private artistic statement. invited to participate was the 25-year-old on both sides and a voluminous exchange of Benjamin Britten, at that time living and correspondence and documents ensued. The slow–fast–slow sequence of movements working in the United States. His publisher, Nevertheless, the Japanese held their resolve adopts a key scheme based on D minor Ralph Hawkes, had been approached via the and the work was not performed as part for the first two movements, major for British Council for a ‘full-scale orchestral of the celebrations. The first performance the last. Britten’s movements recast the work, symphonic poem, symphony, suite, of the Sinfonia da Requiem was given in conventional order of the Requiem Mass, overture’ from Britten in September 1939, New York, in March 1941, by the New York with the Lacrymosa, usually a pendant the month in which hostilities broke out Philharmonic conducted by . to the Dies irae, now placed first, and between Britain and . The the Requiem aeternam re-sited from the composer readily agreed although he made World events were also to play their part in beginning of the conventional requiem it clear from the outset (to Hawkes, at least) the extraordinary history of the work. At the to the end in Britten’s symphony. Death that any manifestation of jingoism would same time as Britten was trying to compose himself pounds terrifyingly at the door not be to his taste. He wrote to Hawkes a suitable rejoinder to the chairman of the from the outset of the Lacrymosa’s ritual in October outlining what he had in mind: commissioning committee in Tokyo, political mourning, a movement which climaxes in ‘I have a scheme for a short symphony – tensions between Japan, America and the a blaze of D minor/major. The Dies irae is Interval – 20 minutes or symphonic poem. Called Sinfonia da Allies were intensifying, finally to break one of Britten’s most powerful and virtuosic There are bars on all levels. Requiem (rather topical, but not of course out in December 1941 with the Pearl Harbor dances of death, full of demonic savagery, Visit the Barbican Shop to see our mentioning dates or places!) which sounds attack. The Sinfonia, while nominally an in while the last movement, in a serene range of Gifts and Accessories. rather what they would like’. memoriam to Britten’s parents and adopting D major, offers a consoling lullaby. •

4 Programme Notes 8 May 2019 Benjamin Britten in Profile 1913–76 / by Andrew Stewart

collaborating with such writers as WH Auden LISTEN ON LSO LIVE FROM THE ARCHIVES and Christopher lsherwood, and his lifelong relationship and working partnership with • In 1946, the LSO was featured playing Peter Pears developed in the late 1930s. At Britten’s The Young Person’s Guide to the the beginning of World War II, Britten and Orchestra, conducted and presented by Pears remained in the US; on their return, Sir Malcolm Sargent, in a famous film they registered as conscientious objectors produced by the Ministry of Education, and were exempted from military service. The Instruments of the Orchestra.

The first performance of the opera Peter Grimes in 1945 opened the way for a series of magnificent stage works mainly conceived for the . In June 1948 Britten founded the of Music and the Arts, for which he subsequently ritten received his first lessons wrote many new works. By the mid-1950s from his mother, a prominent he was generally regarded as the leading Peter Grimes member of the Lowestoft Choral British composer, helped by the success of Sir conductor Society who also encouraged her son’s such as , and earliest efforts at composition. In 1924 he The Turn of the Screw. One of his greatest Variations on a Theme of Frank Bridge heard Frank Bridge’s tone poem The Sea and masterpieces, the War Requiem, was first LSO String Ensemble began to study composition with him three performed on 30 May 1962 for the festival years later. After leaving Gresham’s School, of consecration of St Michael’s Cathedral, The Turn of the Screw Holt, in 1930 he gained a scholarship to the Coventry, its anti-war message reflecting Richard Farnes conductor Royal College of Music. Here he studied the composer’s pacifist beliefs. composition with John Ireland and piano War Requiem with Arthur Benjamin. A remarkably prolific composer, Britten Gianandrea Noseda conductor completed works in almost every genre and Britten attracted wide attention when for a wide range of musical abilities, from Listen on Spotify and Apple Music, or he conducted the premiere of his Simple those of schoolchildren and amateur singers browse the catalogue at lsolive.co.uk Symphony in 1934. He worked for the GPO to such artists as , Film Unit and various theatre companies, and Peter Pears. •

Composer Profile 5 2019/20 with the London Symphony Orchestra ROOTS & ORIGINS 50 YEARS WITH THE LSO RUSSIAN ROOTS ARTIST PORTRAIT Sir Simon Rattle Gianandrea Noseda Antoine Tamestit

Season Opening Concert Berlioz: Romeo and Juliet Shostakovich’s Sixth Jörg Widmann’s Viola Concerto 14 September 2019 10 November 2019 31 October 2019 with 19 April 2020 Messiaen’s Éclairs sur l’Au-delà HALF SIX FIX Tchaikovsky’s Fifth 15 September 2019 Prokofiev: Symphony No 5 3 & 28 November 2019 Berio Voci with François-Xavier Roth 13 November 2019 11 June 2020 Brahms & Rachmaninov Shostakovich’s Seventh 18 & 19 September 2019 Michael Tilson Thomas, Tchaikovsky 5 December 2019 Walton Viola Concerto & Prokofiev with Alan Gilbert Berg & Beethoven’s Seventh 14 November 2019 Shostakovich’s Ninth 14 June 2020 16 January 2020 30 January & 9 February 2020 BBC Radio 3 Lunchtime Concerts: Beethoven: James MacMillan: St John Passion Antoine Tamestit & Friends Christ on the Mount of Olives SMALL SCALE 5 April 2020 8 & 15 May; 5 & 26 June 2020, 19 January & 13 February 2020 LSO Chamber Orchestra LSO St Luke’s Beethoven’s Ninth Symphony 16 February 2020 Mozart Concertos 12 & 13 October 2019, Bartók: Duke Bluebeard’s Castle LSO St Luke’s 23 April 2020 Rameau, Purcell, Handel Mahler’s Fourth Symphony 15 December 2019, 26 April 2020 Milton Court Concert Hall

Grainger 4 June 2020 Produced by the LSO and Barbican. Part of the LSO’s 2019/20 Season and Barbican Presents. Explore the new season at Gershwin, Ives, Harris & Bernstein 6 June 2020 lso.co.uk/201920season Symphony No 5 1901–02 / note by Stephen Johnson

Part I hen Mahler started work on his At the same time, the Fifth Symphony opens with an ominous fanfare, Funeral March: In gemessenem Schritt. Fifth Symphony in the summer marked a new departure for Mahler. Up then the full orchestra thunders in with an Streng. Wie ein Kondukt. of 1901, he must have felt until then, all his had either unmistakable funereal tread. Shuddering (With measured tread. Strict. that he’d survived an emotional assault contained sung texts or come with detailed string trills and deep, rasping horn notes Like a procession) course. In February, after a near-fatal explanatory programmes. The Fifth has evoke Death in full grotesque pomp. Sturmisch bewegt. Mit grösster Vehemenz haemorrhage and a dangerous operation, neither. Instead, we are expected to Then comes a more intriguing pointer: (Stormy. With utmost vehemence) he had resigned his post as conductor of interpret the music directly, for ourselves, the quieter march theme that follows the Vienna Philharmonic Orchestra. His without any explicit help from the composer. (strings alone) is clearly related to Mahler’s Part II relationship with the musicians had been One of the problems with programmes, he’d song Der Tambourg’sell (The Drummer Lad), Scherzo: Kräftig, nicht zu schnell. uneasy at best – not all of them appreciated come to realise, was that people would take which tells of a pitiful young deserter facing (Vigorous, not too fast) his intensely demanding style of rehearsal – them literally, and then go on to assume execution. Here perhaps is another face of and some of the press (especially the that the music had been explained for them. death: not grand, but pitiful and desolate. Part III city’s vocal anti-Semitic press) had been Adagietto: Sehr langsam (Very slow) poisonous. Still, leaving such a prestigious Rondo-Finale: Allegro and lucrative post was a wrench. — ‘Conductors for the next 50 years will all take it too fast and At about the same time Mahler met his future wife, Alma Schindler •, and fell make nonsense of it … Oh, that I might give my symphonies their passionately in love. That at least was a first performance 50 years after my death!’ hopeful development, but still emotionally Gustav Mahler on the Scherzo of his Fifth Symphony challenging. Right from the start there were tensions in their relationship, which — Mahler chose to ignore – to his cost, as he eventually found. Some composers seek Listening was also creative: it went beyond Second Movement escape from the trials of their personal life ‘real’ events and feelings to another, more The much faster second movement has in their music, but Mahler was the kind of mysterious world – a world beyond simple the character of an urgent personal struggle. artist whose life and work are inextricably, sequence in time and space. The shrill three-note woodwind figure often painfully interlinked. Unsurprisingly, near the start comes to embody the idea the Fifth Symphony bears the imprint of First Movement of striving. Several times aspiration falls Mahler’s recent experiences throughout Mahler does, however, give us a substantial back into sad rumination and echoes of its complex five-movement structure. clue to the possible meaning of the first the Funeral March. At last the striving movement. Entitled ‘Funeral March’, it culminates in a radiant brass hymn.

8 Programme Notes 8 May 2019 Is the answer to death to be found in religious from his Rückert Lieder. The poem ends with ALMA SCHINDLER (1879–1964) consolation – faith? But the affirmation the words ‘I live alone in my heaven, in my collapses under its own weight, and the love, in my song’; Mahler quotes the violin • Alma Schindler was an Austrian composer, movement quickly fades into darkness. phrase that accompanies ‘in my love, in my writer and socialite. Her father was the song’ at the very end of the Adagietto. landscape painter Emil Schindler, and she Third Movement grew up within a wealthy, artistic society. Now comes a surprise. The Scherzo bursts Finale As a young composer, Alma desired to onto the scene with a wildly elated horn So human, rather than divine love provides 'do something truly remarkable'; she had fanfare. The character is unmistakably the true turning point in the Fifth Symphony – ambitions to write an opera, and studied Viennese – a kind of manic waltz. Perhaps just as Mahler believed it had done for him composition with Alexander Zemlinsky. some of Mahler’s feelings about his adopted in 1901. The finale is a vigorous, joyous However, she abandoned her aspirations in Viennese home went into this movement. contrapuntal display – genuine joy this time, 1901 on her engagement to Gustav Mahler, Certainly there are parts of this movement it seems, not the Scherzo’s manic elation. who claimed that a relationship between where the gaiety sounds forced, even Even motifs from the Adagietto are drawn two married composers would be 'ridiculous' downright crazy. Mahler himself wondered into the bustling textures. and could only lead to rivalry. what people would say ‘to this primeval including Thomas Mann, music, this foaming, roaring, raging sea of Finally, after a long and exciting build-up, In 1910, Mahler discovered Alma's affair and Erich Wolfgang Korngold, among others. sound, to these dancing stars, to these breath- the second movement’s brass chorale with the Bauhaus architect Walter Gropius. After Werfel's death in 1945 Alma moved to taking iridescent and flashing breakers?’ returns in full splendour, now firmly In response to the crisis he assisted her in New York, where she died in 1964. anchored in D major, the symphony’s publishing a set of her songs. Following Fourth Movement ultimate home key: the triumph of faith, Mahler's death in 1911, Alma had an intense Alma had a significant influence on the Now comes the famous Adagietto, for hope and, above all, of love? Not everyone relationship with the artist Oskar Kokoschka, interpretation of Mahler's works. In 1924, strings and harp alone, and another finds this ending convincing; significantly before marrying Gropius in 1915. The couple she arranged for the publication of an profound change of mood. Mahler, the Alma Mahler had her doubts from the start. divorced in 1920, after Gropius learned of edition of his letters and a facsimile of his great Lieder composer, clearly intended this But one can hear it either way – as a ringing her affair with the novelist Franz Werfel, Tenth Symphony. In 1940 she published her movement as a kind of love song without affirmation or as forced triumphalism – to whom she was married from 1929. Memories and Letters of Gustav Mahler, words to his future wife, Alma. There and it still stirs. For all his apparent late- followed by a second autobiography in is another significant clue here. At the Romanticism, Mahler was also a very In 1938, Alma and Werfel (who was Jewish) 1959/60. Her influence is still felt to this movement’s final climax Mahler invokes modern composer: even in his most positive left Nazi-occupied for France, day, although the reliability of her writings one of his greatest songs, Ich bin der Welt statements there is room for doubt. • emigrating to the US in 1940, where Alma has been called into question. abhanden gekommen (I am lost to the world) became an influential figure in the artistic life of Los Angeles, hosting emigrants

Programme Notes 9 Gustav Mahler in Profile 1860–1911 / by Stephen Johnson

ustav Mahler’s sense of being a presence from early on: six of Mahler’s Alma Schindler in 1902. Alma’s infidelity – an outsider, coupled with a siblings died in infancy. This no doubt partly which almost certainly accelerated the penetrating, restless intelligence, explains the obsession with mortality in final decline in Mahler’s health in 1910/11 – made him an acutely self-conscious searcher Mahler’s music. Few of his major works has earned her black marks from some after truth. For Mahler the purpose of art do not feature a funeral march: in fact biographers; but it is hard not to feel some was, in Shakespeare’s famous phrase, Mahler’s first composition (at age ten) sympathy for her position as a ‘work widow’. to ‘hold the mirror up to nature’ in all its was a Funeral March with Polka – exactly bewildering richness. The symphony, he the kind of extreme juxtaposition one finds Nevertheless, many today have good cause told , ‘must be like the world. in his mature works. to be grateful to Mahler for his single- It must embrace everything’. minded devotion to his art. TS Eliot – another artist caught between the search for — faith and the horror of meaninglessness – ‘I am three times homeless: a native of Bohemia in Austria, wrote that ‘humankind cannot bear very much reality’. But Mahler’s music suggests an Austrian among Germans, a Jew throughout the world.’ another possibility. With his ability to — confront the terrifying possibility of a purposeless universe and the empty finality Mahler’s symphonies can seem almost For most of his life Mahler supported himself of death, Mahler can help us confront and over-full with intense emotions and ideas: by , but this was no mere means endure stark reality. He can take us to the love and hate, joy in life and terror of death, to an end. Indeed his evident talent and edge of the abyss, then sing us the sweetest the beauty of nature, innocence and bitter energetic, disciplined commitment led to songs of consolation. If we allow ourselves experience. Similar themes can also be successive appointments at Prague, Leipzig, to make this journey with him, we may find found in his marvellous songs and song- Budapest, Hamburg and climactically, in that we too are the better for it. • cycles, though there the intensity is, 1897, the Vienna Court Opera. if anything, still more sharply focused. In the midst of this hugely demanding Gustav Mahler was born the second of schedule, Mahler composed whenever he 14 children. His parents were apparently could, usually during his summer holidays. ill-matched (Mahler remembered violent The rate at which he composed during these scenes), and young Gustav grew dreamy and brief periods is astonishing. The workload introspective, seeking comfort in nature in no way decreased after his marriage to rather than human company. Death was the charismatic and highly intelligent

10 Composer Profile 8 May 2019 Sir Simon Rattle conductor

ir Simon Rattle was born in Music education is of supreme importance et Mélisande, Strauss’ Salome and Bizet’s and studied at the Royal Academy to Sir Simon. His partnership with the Carmen, a concert performance of Mozart’s of Music in London. From 1980 to Philharmonic broke new ground with the Idomeneo and many concert programmes. 1998, he was Principal Conductor and Artistic education programme Zukunft@Bphil, Adviser of the City of Birmingham Symphony earning him the Comenius Prize, the Schiller Sir Simon has long-standing relationships Orchestra and was appointed Music Director Special Prize from the city of Mannheim, with the leading in London, in 1990. He moved to Berlin in 2002 and held the Golden Camera and the Urania Medal. Europe and the US, initially working closely the positions of Artistic Director and Chief He and the were with the and Conductor of the Berlin Philharmonic until appointed International UNICEF Boston Symphony Orchestra, and more he stepped down in 2018. Sir Simon became Ambassadors in 2004 – the first time this recently with The . Music Director of the London Symphony honour had been conferred on an artistic He regularly conducts the Vienna Orchestra in September 2017. ensemble. Sir Simon has also been awarded Philharmonic, with whom he has recorded several prestigious personal honours, which the complete Beethoven symphonies and Sir Simon has made over 70 recordings for include a knighthood in 1994, becoming piano concertos with , and is EMI (now Warner Classics) and has received a member of the from Her also a Principal Artist of the Orchestra of the numerous prestigious international awards Majesty the Queen in 2014, and being given Age of Enlightenment and Founding Patron for his recordings on various labels. Releases the Freedom of the City of London in 2018. of Birmingham Contemporary Music Group. on EMI include Stravinsky’s Symphony of Psalms (which received the 2009 Grammy In 2013 Sir Simon began a residency at the During the 2018/19 season Sir Simon Award for Best Choral Performance); Berlioz’s Baden-Baden Easter Festival, conducting embarks upon tours to Japan, South Korea, Symphonie fantastique; Ravel’s L’enfant et Mozart’s The Magic and a series of Latin America and Europe with the London les sortilèges; Tchaikovsky’s – concerts with the Berlin Philharmonic. Symphony Orchestra. He conducts the Suite; Mahler’s Symphony No 2; and Subsequent seasons have included Czech Philharmonic Orchestra for the first Stravinsky’s . From performances of Puccini’s Manon Lescaut, time in Mahler’s and 2014 Sir Simon recorded the Beethoven, Peter Sellars’ ritualisation of Bach’s St John returns to the Deutsche Staatsoper Berlin, Schumann and Sibelius symphony cycles Passion, Strauss’ Der Rosenkavalier, Berlioz’s the Bavarian Radio Symphony Orchestra on the Berlin Philharmonic’s new in-house The Damnation of Faust, Wagner’s Tristan and the Berlin Philharmonic. In March label, Berliner Philharmoniker. His most and Isolde and, most recently, in 2019 he conducted Peter Sellars’ revival of recent recordings include Debussy’s Pelléas 2018. For the Salzburg Easter Festival, Bach’s St John Passion with both the Berlin et Mélisande, Turnage’s Remembering, and Rattle has conducted staged productions of Philharmonic and the Orchestra of the Age Ravel, Dutilleux and Delage on Blu-Ray and Beethoven’s , Mozart’s Così fan tutte, of Enlightenment. • DVD with the LSO on LSO Live. Britten’s Peter Grimes, Debussy’s Pelléas

Artist Biography 11 London Symphony Orchestra on stage tonight

Leader Second Violins Horns LSO String Experience Scheme Roman Simovic Julián Gil Rodríguez Rebecca Gilliver Juliana Koch Timothy Jones Nigel Thomas Since 1992, the LSO String Experience Thomas Norris Alastair Blayden Olivier Stankiewicz Diego Incertis Scheme has enabled young string players First Violins Miya Väisänen Jennifer Brown Rosie Jenkins Angela Barnes Percussion from the London music conservatoires at Carmine Lauri Matthew Gardner Noel Bradshaw Estefanía Beceiro Neil Percy the start of their professional careers to gain Emily Nebel Alix Lagasse Daniel Gardner Vazquez David Jackson work experience by playing in rehearsals Clare Duckworth Belinda McFarlane Hilary Jones Christine Pendrill Jonathan Lipton Sam Walton and concerts with the LSO. The musicians Ginette Decuyper Iwona Muszynska Amanda Truelove Michael Kidd Tom Edwards are treated as professional ‘extra’ players Laura Dixon Csilla Pogany Laure Le Dantec Alex Wide Paul Stoneman (additional to LSO members) and receive fees Gerald Gregory Siobhan Doyle Peteris Sokolovskis Chris Richards for their work in line with LSO section players. Maxine Kwok-Adams Alexandra Lomeiko Simon Thompson Chi-Yu Mo Harps William Melvin Greta Mutlu David Elton Bryn Lewis The Scheme is supported by: Claire Parfitt Philip Nolte Double Basses Bass Jason Evans Ruth Holden The Polonsky Foundation Laurent Quenelle Alain Petitclerc Enno Senft Katy Ayling Robin Totterdell Barbara Whatmore Charitable Trust Harriet Rayfield Erzsebet Racz Colin Paris Niall Keatley Piano Derek Hill Foundation Sylvain Vasseur Patrick Laurence Contrabass Clarinet Gerald Ruddock Elizabeth Burley Lord and Lady Lurgan Trust Rhys Watkins Violas Matthew Gibson Anthony Pike Angus Allnatt Charitable Foundation Julian Azkoul Edward Vanderspar Thomas Goodman Celeste Rod Stafford Morane Cohen- Malcolm Johnston Joe Melvin Peter Moore Philip Moore Lamberger German Clavijo José Moreira Daniel Jemison James Maynard Performing tonight: Stephen Doman Jani Pensola Joost Bosdijk Dudley Bright David Shaw (violin), Zachary Spontak (violin) Lander Echevarria Dominic Tyler Carol Ella Bass Editor Robert Turner Gareth Davies Contra Paul Milner Fiona Dinsdale | [email protected] Heather Wallington Sarah Bennett Dominic Morgan Editorial Photography Michelle Bruil Luke O’Toole Ranald Mackechnie, Chris Wahlberg, Stephanie Ben Thomson Harald Hoffmann, Marco Borggreve Edmundson Piccolo Patrick Harrild Print Cantate 020 3651 1690 Cynthia Perrin Patricia Moynihan Advertising Cabbells Ltd 020 3603 7937 Alistair Scahill Details in this publication were correct at time of going to press.

12 The Orchestra 8 May 2019