Thursday 5 October 7.30–9.45pm Barbican Hall

LSO SEASON CONCERT MAHLER SYMPHONY NO 5

Britten Concerto Interval MAHLER 5 Mahler Symphony No 5

Semyon Bychkov conductor Janine Jansen violin

Recommended by Classic FM

6pm Barbican Hall LSO Platforms: Guildhall Artists

Britten Phantasy Quartet Britten

Guildhall School Musicians Welcome / Kathryn McDowell CBE DL Tonight’s Concert / introduction by Stephen Johnson

beautiful work, written in response to the When the young PROGRAMME NOTE WRITERS Spanish Civil War. discovered the music of it was deeply unfashionable in this country – Stephen Johnson is the author of Bruckner Earlier tonight, students from the Guildhall for some it was even morally suspect. Remembered (Faber) and Mahler: His Life and School performed by Britten Music (Naxos). He also contributes regularly in a short concert, free to ticket-holders. This But Britten sensed a kindred spirit in the to BBC Music Magazine and The Guardian, series seeks to complement and amplify the Austrian-Jewish giant. For Mahler, music and broadcasts for BBC Radio 3, Radio 4 repertoire in the Orchestra's programme and could never be simply abstract, a beautiful and the World Service. provide a platform for the musicians of the sound object to be admired at arm’s length: future. For further details visit lso.co.uk. as he said, a symphony ‘must embrace Andrew Stewart is a freelance music everything’. The burning urgency of Mahler’s journalist and writer. He is the author A warm welcome to tonight’s LSO concert. Thank you to our media partners Classic FM, symphonies and songs, the deeply humane, of The LSO at 90, and contributes to Following our 2017/18 launch last month, who have recommended this evening to inclusive vision they communicated with a wide variety of specialist classical which celebrated the arrival of Sir Simon their listeners. such dazzling orchestral brilliance, spoke music publications. Rattle as the Orchestra’s Music Director, to Britten directly. we are delighted to continue the season I hope you enjoy the performance and look tonight with two good friends of the LSO, forward to welcoming you back to another Britten’s , composed on Semyon Bychkov and Janine Jansen. LSO concert soon. Bernard Haitink joins the the eve of World War II, is Mahlerian in Orchestra for our next three performances on its range of feeling, from intense lyrical Performances of Mahler’s First and Third 10, 15 and 19 October, conducting works by sweetness to biting irony and finally tragic Symphonies have been particular highlights Brahms, Beethoven, Adès and Mendelssohn. anguish. Life, it seems to say, is never more of Semyon Bychkov’s recent collaborations poignantly beautiful than when it is under with the LSO, and we are pleased that he threat. Mahler’s Fifth was written after the will continue this exploration with us in composer had both survived a near-fatal 2017/18 – with the Fifth Symphony tonight haemorrhage and met the love of his life in and the Second later on in February. quick succession – and it sounds like it! Kathryn McDowell CBE DL Progressing from a spectacularly bleak We are also thrilled to be joined by violinist Managing Director Funeral March, via a manic Scherzo, to a Janine Jansen after performances with the radiant hymn of hope, it records thrillingly Orchestra last season as part of her Artist Tonight we are delighted to welcome our a great artist’s struggle to find meaning, Portrait series. This evening she presents group bookers Omega Tours. if not in divine, then in human love. Britten’s Violin Concerto, a grief-stricken yet

2 Welcome 5 October 2017 Celebrating Bernstein October to December 2017

Symphony No 1, 'Jeremiah' Symphony No 3, 'Kaddish' Pre-Concert Talk with Marin Alsop

Wonderful Town Symphony No 2, 'The Age of Anxiety' with Sir Simon Rattle

Singing Day: Chichester Psalms

Family Concert lso.co.uk Benjamin Britten Violin Concerto Op 15 1938–39 / note by Stephen Johnson

Moderato con moto already an experienced professional composer dance motif, eventually answered by sighs minor. Does the shadow of the catastrophe Vivace with a growing international reputation. from strings. Above this the solo violin to come fall across this music, as it did in Passacaglia: Andante lento So far he had written no operas – his stage sings a long, high-soaring melody. Later the the poem September 1, 1939 by Britten’s debut, with the opera , was to tempo increases and a wilder, more sinister then-close friend WH Auden •? Or is this Janine Jansen violin follow in New York two years later. It was dance episode begins, but eventually the simply the most direct expression to date of with orchestral works such as the Variations opening song theme returns on full strings, a melancholic tendency that was to emerge oday Benjamin Britten’s status on a Theme of Frank Bridge and the Piano the timpani’s original motif now developed repeatedly in Britten’s later work? Life, seems majestically secure. From Concerto that he had made his name, and with full virtuoso panache by the violin. it seems to say, is never more poignantly Europe and America to the Far the following year he had a big (if somewhat beautiful than when it is under threat. • East he is seen as one of the 20th century’s controversial) success with his – again purely A wild, driven scherzo follows, caustically greatest composers of opera, choral and orchestral – . brilliant at first, but with a much more soulful, Interval – 20 minutes solo vocal music. But even such a stellar folk-like violin theme at its heart. The return reputation can come with a cost. There still At this stage it must have seemed to Britten of the scherzo material is achieved by a touch seems to be a lingering suspicion in some that concert music offered at least one of grotesque genius: accelerating violin FOR REFERENCE quarters that as a composer Britten needed enticing way ahead. The Violin Concerto in phrases become rapid skittering figures for words to achieve greatness – that his particular shows how much he had learned two piccolos, while in the depths a much • The Passacaglia is a centuries-old orchestral and chamber works, impressive from such 20th-century orchestral masters slower theme rises ominously on tuba, variation form built up over repetitions though they might be, never really reach the as Mahler and Prokofiev. It also shows foreshadowing the Passacaglia theme in of a theme presented in the bass – rather same heights. Why else should it be that, him thinking on a more ambitious scale the finale. The scherzo makes an exciting like the twelve-bar bass in jazz or blues. after the triumphant premiere of his opera than before, both in terms of form and climactic return, from which emerges the in 1945, Britten produced so expression – particularly in the powerful violin’s solo cadenza – showy at first, but • Wystan Hugh Auden (1907–73) was little purely orchestral and instrumental closing Passacaglia •. Britten was to achieve with a growing note of anguish. an Anglo-American poet, playwright and music? Here, surely, is the proof that with magnificent things in this form in later librettist, and a leading literary voice of the Grimes he had at last found his metier. works, but the Passacaglia in the Violin Then as it rises stratospherically, soft 20th century. He had a particular affinity for Concerto is his first truly great example. trombones intone the Passacaglia theme music, collaborating with Chester Kallman But if that were the case, how would we itself, now no longer grotesque but heavy on texts for Stravinsky and Henze. His most explain the steadily rising popularity of a The Concerto begins with a possibly half-ironic with sadness and foreboding. The variations significant musical collaboration, however, work like the Violin Concerto? Britten wrote tribute to a composer for whom Britten had that follow traverse a wide range of was with Britten; together they worked the Concerto in 1939, completing it not long mixed feelings: Beethoven. Like Beethoven’s moods and characters, but after a noble on the opera Paul Bunyan (1941), several after he arrived in the United States with Violin Concerto, Britten’s opens with a figure full-orchestral climax, the slow coda is films, a play and the song cycle Our Hunting his life-long partner, the tenor Peter Pears. for solo timpani, only here they sound, not a unmistakably elegiac, the violin’s final trills Fathers (1936), although their friendship never Britten was only 25, but by this stage he was march rhythm, but a faintly Latin-inflected ambiguously poised between major and recovered following an argument in 1942.

4 Programme Notes 5 October 2017 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 The BFI has made the film available to Grimes in 1945 opened the way for a series view online for free. To watch it, visit: of magnificent stage works mainly conceived goo.gl/XKqo3h for the . In June 1948 Britten founded the Aldeburgh Festival of Music and the Arts, for which he subsequently ritten received his first piano lessons wrote many new works. By the mid-1950s from his mother, a prominent he was generally regarded as the leading Variations on a Theme of Frank Bridge member of the Lowestoft Choral British composer, helped by the success of LSO String Ensemble Society who also encouraged her son’s operas such as , and £ 7.99 earliest efforts at composition. In 1924 he The Turn of the Screw. One of his greatest heard Frank Bridge’s tone poem The Sea and masterpieces, the , was first The Turn of the Screw began to study composition with him three performed on 30 May 1962 for the festival Richard Farnes conductor years later. After leaving Gresham’s School, of consecration of St Michael’s Cathedral, £13.99 Holt, in 1930 he gained a scholarship to the Coventry, its anti-war message reflecting Royal College of Music. Here he studied the composer’s pacifist beliefs. War Requiem composition with John Ireland and piano Gianandrea Noseda conductor with Arthur Benjamin. A remarkably prolific composer, Britten £12.99 completed works in almost every genre and Britten attracted wide attention when for a wide range of musical abilities, from Peter Grimes he conducted the premiere of his Simple those of schoolchildren and amateur singers Sir Colin Davis conductor Symphony in 1934. He worked for the GPO to such artists as Mstislav Rostropovich, £9.99 Film Unit and various theatre companies, Julian Bream and Peter Pears. •

Composer Profile 5 Gustav Mahler 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 trumpet 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 symphonies 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 make nonsense of it … Oh, that I might give my symphonies their future wife, Alma Schindler •, and fell first performance 50 years after my death!' passionately in love. That at least was a Gustav Mahler on the Scherzo of his Fifth Symphony hopeful development, but still emotionally challenging. Right from the start there — were tensions in their relationship, which Mahler chose to ignore – to his cost, as he Listening was also creative: it went beyond Second Movement eventually found. Some composers seek ‘real’ events and feelings to another, more The much faster second movement has escape from the trials of their personal life mysterious world – a world beyond simple the character of an urgent personal struggle. in their music, but Mahler was the kind of sequence in time and space. The shrill three-note woodwind figure artist whose life and work are inextricably, near the start comes to embody the idea often painfully interlinked. Unsurprisingly, First Movement of striving. Several times aspiration falls the Fifth Symphony bears the imprint of Mahler does, however, give us a substantial back into sad rumination and echoes of Mahler’s recent experiences throughout clue to the possible meaning of the first the Funeral March. At last the striving its complex five-movement structure. movement. Entitled ‘Funeral March’, it culminates in a radiant brass hymn.

6 Programme Notes 5 October 2017 Is the answer to death to be found in religious from his Rückert Lieder. The poem ends with • ALMA SCHINDLER (1879–1964) was an consolation – faith? But the affirmation the words ‘I live alone in my heaven, in my Austrian composer, writer and socialite. collapses under its own weight, and the love, in my song’; Mahler quotes the violin Her father was the landscape painter movement quickly fades into darkness. phrase that accompanies ‘in my love, in my Emil Schindler, and she grew up within song’ at the very end of the Adagietto. a wealthy, artistic society. As a young Third Movement composer, Alma desired to 'do something Now comes a surprise. The Scherzo bursts Finale truly remarkable'; she had ambitions to onto the scene with a wildly elated horn So human, rather than divine love provides write an opera, and studied composition fanfare. The character is unmistakably the true turning point in the Fifth Symphony – with Alexander Zemlinsky. However, she Viennese – a kind of manic waltz. Perhaps just as Mahler believed it had done for him abandoned her aspirations in 1901 on her some of Mahler’s feelings about his adopted in 1901. The finale is a vigorous, joyous engagement to Gustav Mahler, who claimed Viennese home went into this movement. contrapuntal display – genuine joy this time, that a relationship between two married Certainly there are parts of this movement it seems, not the Scherzo’s manic elation. composers would be 'ridiculous' and could where the gaiety sounds forced, even Even motifs from the Adagietto are drawn only lead to rivalry. downright crazy. Mahler himself wondered into the bustling textures. what people would say ‘to this primeval In 1910, Mahler discovered Alma's affair including Thomas Mann, music, this foaming, roaring, raging sea of Finally, after a long and exciting build-up, with the Bauhaus architect Walter Gropius. and Erich Wolfgang Korngold, among others. sound, to these dancing stars, to these breath- the second movement’s brass chorale In response to the crisis he assisted her in After Werfel's death in 1945 Alma moved to taking iridescent and flashing breakers?’ returns in full splendour, now firmly publishing a set of her songs. Following New York, where she died in 1964. anchored in D major, the symphony’s Mahler's death in 1911, Alma had an intense Fourth Movement ultimate home key: the triumph of faith, relationship with the artist Oskar Kokoschka, Alma had a significant influence on the Now comes the famous Adagietto, for hope and, above all, of love? Not everyone before marrying Gropius in 1915. The couple interpretation of Mahler's works. In 1924, strings and harp alone, and another finds this ending convincing; significantly divorced in 1920, after Gropius learned of she arranged for the publication of an profound change of mood. Mahler, the Alma Mahler had her doubts from the start. her affair with the novelist Franz Werfel, 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 to whom she was married from 1929. 10th Symphony. In 1940 she published her movement as a kind of love song without affirmation or as forced triumphalism – Memories and Letters of Gustav Mahler, words to his future wife, Alma. There and it still stirs. For all his apparent late- In 1938, Alma and Werfel (who was Jewish) followed by a second autobiography in is another significant clue here. At the Romanticism, Mahler was also a very left Nazi-occupied Austria for France, 1959/60. Her influence is still felt to this movement’s final climax Mahler invokes modern composer: even in his most positive emigrating to the US in 1940, where Alma day, although the reliability of her writings one of his greatest songs, Ich bin der Welt statements there is room for doubt. • became an influential figure in the artistic has been called into question. abhanden gekommen (I am lost to the world) life of , hosting emigrants

Programme Notes 7 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 Jean Sibelius, ‘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 conducting, 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

8 Composer Profile 5 October 2017 SHOSTAKOVICH PLUS Truls Mørk, Håvard Gimse, Trio Wanderer, Meta4 String Quartet, Alasdair Beatson

DEBUSSY & PIZZETTI Cédric Tiberghien & The BBC Singers

MICHAEL COLLINS & FRIENDS

ACADEMY OF ANCIENT MUSIC

Fridays, October 2017 to June 2018 LSO St Luke’s, 161 Old Street London EC1V 9NG lso.co.uk/lunchtimeconcerts Semyon Bychkov conductor

orn in Leningrad (St Petersburg) operatic repertoire is broad. As Principal Orchestre de Paris. This was followed by in 1952, Semyon Bychkov was 20 Guest Conductor of Maggio Musicale a series of benchmark recordings with the when he won the Rachmaninov Fiorentino, he was awarded the Premio WDR Symphony Orchestra, made between Conducting Competition. Two years later, Abbiati for his productions of Janáček’s 1997 and 2010, including a complete cycle of having been denied his prize of conducting Jenůfa, Schubert’s Fierrabras, Puccini’s Brahms symphonies, and works by Strauss, the Leningrad Philharmonic Orchestra, he La bohème, Shostakovich’s Lady Macbeth Mahler, Shostakovich, Rachmaninov, Verdi, left the former Soviet Union. First studying of Mtsensk and Mussorgsky’s Boris Godunov. Detlev Glanert and York Höller. His recording piano, Bychkov was later selected to study Most recently, Semyon Bychkov conducted of Wagner's opera Lohengrin was voted BBC at the Glinka Choir School and received his Wagner’s Parsifal at Teatro Real Madrid Music Magazine’s Record of the Year in 2010. first conducting lesson at the age of 13. and the Vienna Staatsoper, and Mozart’s In October 2016, Decca released the first Four years later he enrolled at the Leningrad Così fan tutte at the Royal Opera House. CD of The Tchaikovsky Project, a long-term Conservatory where he studied conducting collaboration with the Czech Philharmonic with the legendary Ilya Musin. Bychkov began the 2016/17 season with the that will encompass all of the composer's launch of his series, The Tchaikovsky Project: symphonies. The first release featured the By the time Bychkov returned to St Petersburg Beloved Friend, with festivals in London with 'Pathétique' coupled with the Romeo and in 1989 as the Philharmonic’s Principal the BBC Symphony Orchestra, New York with Juliet Fantasy-Overture. Guest Conductor, he had enjoyed success the New York Philharmonic, and recordings in the US as Music Director of the Grand with the Czech Philharmonic. Bychkov Semyon Bychkov currently holds the Rapids Symphony Orchestra and the toured with the Orchestra Klemperer Chair of Conducting at the Royal Buffalo Philharmonic. His international to Vienna, Bratislava, Washington and New Academy of Music, and the Gunter Wand career took off when a series of high-profile York, as well as giving guest performances Chair with the BBC Symphony Orchestra, cancellations resulted in invitations to with the Munich Philharmonic, Orchestre with whom he appears annually at the BBC conduct the New York Philharmonic, National de France, Vienna Philharmonic, Proms. He was named 2015 Conductor of the SEMYON BYCHKOV IN 2017/18 Philharmonic and Royal Concertgebouw , Leipzig Gewandhaus Year by the International Opera Awards. • Orchestras. In 1989, he was named Music and Cleveland Orchestra. Sunday 4 February 2018 7pm, Barbican Director of the Orchestre de Paris; in 1997, MAHLER'S SECOND SYMPHONY Chief Conductor of the WDR Symphony Bychkov’s recording career began when he Orchestra Cologne; and, the following year, signed with Philips in 1986, a significant Semyon Bychkov conductor Chief Conductor of the Dresden Semperoper. collaboration that resulted in an extensive Christiane Karg, Anna Larsson soloists discography with the Berlin Philharmonic, London Symphony Chorus Widely recognised for his interpretations Bavarian Radio, Royal Concertgebouw, Simon Halsey chorus director of Strauss, Wagner and Verdi, Bychkov’s Philharmonia, London Philharmonic and

10 Artist Biographies 5 October 2017 Janine Jansen violin

ith an enviable international This season sees Janine perform a number of Janine has also released a number of reputation, violinist Janine Jansen recitals throughout Europe with pianists chamber music discs, including Schubert’s works regularly with the world’s Alexander Gavrylyuk, Elisabeth Leonskaja String Quintet, Schoenberg’s Verklärte most eminent orchestras and conductors. and . As part of her Perspectives Nacht, and sonatas by Debussy, Ravel This season she is Perspectives Artist at Series at Carnegie Hall she will perform and Prokofiev with pianist . Carnegie Hall New York, performing a variety Messiaen’s Quartet for the End of Time with of concerto and chamber music programmes Lucas Debargue, Torleif Thedéen and Martin Janine studied with Coosje Wijzenbeek, throughout the season, and will embark on Fröst. In this context she will also perform Philipp Hirshhorn and . She has tours with the LSO and conductors Semyon the US premiere of Michel van der Aa’s Violin won numerous prizes, including four Edison Bychkov and Michael Tilson Thomas; Royal Concerto with the Philadelphia Orchestra and Klassiek Awards, four ECHO Klassik awards, Concertgebouw Orchestra and ; Nézet-Seguin. Further concerts at Carnegie the Preis der Deutschen Schallplattenkritik, and Deutsche Kammerphilharmonie and Hall include a chamber programme with NDR Musikpreis for Outstanding Artistic Paavo Järvi. Jean-Yves Thibaudet and the Dover Quartet. Achievement and the Concertgebouw Prize. She was awarded the VSCD Klassieke Other highlights this season include Janine records exclusively for Decca Classics Muziekprijs for individual achievement engagements with the Berlin Philharmonic and has been extremely successful in the and the Royal Philharmonic Society and Paavo Järvi; Munich Philharmonic and digital music charts since her release of Instrumentalist Award for performances in Zubin Mehta; Staatskapelle Dresden and Vivaldi’s The Four Seasons in 2003. Her the UK. In September 2015 she received the Sir Antonio Pappano; Philadelphia Orchestra latest release, conducted by Sir Antonio Bremen MusikFest Award. and Rotterdam Philharmonic with Yannick Pappano, features Bartók’s Violin Concerto Nézet-Seguin; Czech Philharmonic and No 1 with the LSO and Brahms’ Violin In 2003 Janine founded the hugely Jakub Hrůŝa; Oslo Philharmonic and Concerto with the Orchestra dell’Accademia successful International Chamber Music Vienna Symphony with David Afkham; Nazionale di Santa Cecilia. Other highlights Festival in . After 13 years she JANINE JANSEN IN 2017/18 Royal Stockholm Philharmonic and Karina of her discography include a recording stepped down from her position as Artistic Canellakis; Iceland Symphony and Daniel of Prokofiev’s Violin Concerto No 2 with Director in June 2016 and named cellist Thursday 17 May 2018 7.30pm, Barbican Blendulf. She will also travel to the Far the London Philharmonic Orchestra and Harriet Krijgh as her successor. SIBELIUS VIOLIN CONCERTO East and Australia, performing with the , Beethoven and Britten Singapore, Sydney and New Zealand with Paavo Järvi, Mendelssohn and Bruch Janine Jansen plays the 1707 Stradivarius Michael Tilson Thomas conductor Symphony Orchestras, and join Mischa with , Tchaikovsky with 'Rivaz – Baron Gutmann' violin, kindly on Janine Jansen violin Maisky, , Itamar Golan and Daniel Harding, and an album of Bach loan from Dextra Musica. • Lily Maisky for a major European chamber Concertos with her own ensemble. music tour.

Artist Biographies 11 London Symphony Orchestra on stage tonight

Leader Second Flutes Horns Timpani LSO String Experience Scheme Roman Simovic David Alberman Tim Hugh Gareth Davies Timothy Jones Antoine Bedewi 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 Patricia Moynihan Alexander Edmundson Percussion from the London music conservatoires at Carmine Lauri Matthew Gardner Noel Bradshaw Jonathan Lipton Neil Percy the start of their professional careers to gain Clare Duckworth Belinda McFarlane Eve-Marie Caravassilis Piccolo Alberto Menendez David Jackson work experience by playing in rehearsals Ginette Decuyper Iwona Muszynska Daniel Gardner Sharon Williams Jonathan Durrant Sam Walton and concerts with the LSO. The musicians Gerald Gregory Andrew Pollock Hilary Jones Jason Koczur Tom Edwards are treated as professional ‘extra’ players Maxine Kwok-Adams Paul Robson Victoria Simonsen (additional to LSO members) and receive Harriet Rayfield Ingrid Button Steffan Morris Steven Hudson Trumpets Harp fees for their work in line with LSO section Colin Renwick Siobhan Doyle Deborah Tolksdorf Rosie Jenkins Philip Cobb Susan Blair players. The Scheme is supported by The Sylvain Vasseur Katerina Nazarova Gerald Ruddock Polonsky Foundation, Lord and Lady Lurgan Rhys Watkins Lucy Jeal Double Basses Cor Anglais Niall Keatley Trust, Barbara Whatmore Charitable Trust William Melvin Eva Thorarinsdottir Colin Paris Christine Pendrill Neil Fulton and The Thistle Trust. Alain Petitclerc Eugenio Sacchetti Patrick Laurence David Geoghegan Helen Paterson Matthew Gibson Clarinets Benjamin Roskams Thomas Goodman Andrew Marriner Trombones Hazel Mulligan Edward Vanderspar Joe Melvin Chris Richards Dudley Bright Takane Funatsu Malcolm Johnston Jani Pensola Jernej Albreht Peter Moore Anna Bastow Paul Sherman James Maynard Regina Beukes Jeremy Watt Bass Clarinet Editor Julia O'Riordan Christelle Pochet Bass Trombone Edward Appleyard | [email protected] Robert Turner Paul Milner Fiona Dinsdale | [email protected] Heather Wallington E-Flat Clarinet Editorial Photography Jonathan Welch Jernej Albreht Tuba Ranald Mackechnie, Chris Wahlberg, Carol Ella Peter Smith Harald Hoffmann, Marco Borggreve, David Vainsot Bassoons Chris Christodoulou Caroline O'Neill Rachel Gough Print Cantate 020 3651 1690 Stephanie Edmundson Dominic Tyler Advertising Cabbells Ltd 020 3603 7937

Contra Bassoon Details in this publication were correct Dominic Morgan at time of going to press.

12 The Orchestra 5 October 2017