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Home , Baiba Skride, Jean Sibelius, Kaija Saariaho, Steven Isserlis, The Oceanides

Sunday 15 April 2018 7–8.55pm Barbican Hall

LSO SEASON CONCERT SIBELIUS’ FIFTH

Patrick Giguère Revealing (world premiere, Panufnik commission*) Elgar Interval MÄLKKI Sibelius Symphony No 5 Susanna Mälkki conductor Daniel Müller-Schott cello

* Panufnik commission generously supported by Lady Hamlyn and The Helen Hamlyn Trust Welcome LSO News Online

We are also joined by Daniel Müller-Schott, THE LSO’S 2018/19 SEASON YOUTUBE LIVE STREAMS who in recent years has performed at both the Barbican and LSO St Luke’s. We are The LSO’s 2018/19 season is now on sale. If you can't make it to the Barbican, delighted that he returns as the soloist Highlights include Music Director Sir Simon tune in to our YouTube channel on Sunday for Elgar’s , a work that Rattle’s exploration of folk-inspired music 22 April 2018 at 7pm to watch the LSO’s holds special significance for the LSO, in his series Roots and Origins; Artist Portraits Music Director Sir conduct which gave the world premiere of the piece with soprano and conductor Mahler’s Symphony No 10 and Tippett’s under the baton of the composer in 1919. and pianist Daniil Trifonov; and eight The Rose Lake live from the Barbican Hall. premieres across the season. Full listings I hope that you enjoy the performance are available at lso.co.uk/201819season. Our last live stream (from Sunday 11 March), and that you can join us again soon. featuring Sir conducting A warm welcome to tonight’s LSO concert On 17 May LSO Conductor Laureate a programme of Schumann and Berlioz with at the Barbican. This evening it is a great continues our BMW CLASSICS AT TRAFALGAR SQUARE mezzo-soprano Ann Hallenberg, is also pleasure to be joined once again by exploration of Sibelius with the Sixth available to watch in full now. conductor Susanna Mälkki, who made and Seventh and the Trafalgar Square will be transformed into youtube.com/lso. her debut with the LSO last season. Concerto, joined by soloist Janine Jansen. a giant free music stage for Sir Simon Rattle The programme gives insight to her early and the London Symphony to musical inspirations, from a concerto for present BMW Classics on Sunday 1 July 2018. INTERVIEW: SUSANNA MÄLKKI her first instrument, the cello, to an iconic The concert is free to all, and will feature work from her native . music on a theme of dance and ballet On the LSO Blog, we talk to Susanna Mälkki by Dvořák, Massenet, Tchaikovsky and about her thoughts on Elgar, Sibelius and Tonight’s concert features the world Kathryn McDowell CBE DL Stravinsky. Visit lso.co.uk/bmwclassics contemporary music, and hear how she premiere of Revealing by Patrick Giguère. Managing Director for more details. made the transition from principal cellist This work was commissioned by the LSO to conductor. following the 2015 Panufnik Composers Scheme, an LSO Discovery initiative which WELCOME TO TONIGHT’S GROUPS provides invaluable experience to six emerging composers each year, supported Tonight we are delighted to welcome Read our news, watch videos and more by Lady Hamlyn and The Helen Hamlyn Trust. Adele Friedland & Friends, Witham • lso.co.uk/news As a great champion of contemporary music, Choral Society and Gerrards Cross • youtube.com/lso it is fitting that Susanna Mälkki conducts Community Association. • lso.co.uk/blog the first performance this evening.

2 Welcome 15 April 2018 Tonight’s Concert Coming Up

n this evening’s programme PROGRAMME NOTE WRITERS Thursday 19 & 26 April 2018 7.30pm Thursday 17 May 2018 7.30pm Susanna Mälkki leads us on a Barbican Hall Barbican Hall journey through her personal Jo Kirkbride is a freelance writer on classical inspirations – from the much-loved to the music, whose broad roster of clients includes MAHLER’S NINTH SIBELIUS SYMPHONIES brand new, the British Isles to her native the London Sinfonietta, Britten Sinfonia, Finland. We begin with the world premiere Aldeburgh Productions, Cheltenham Festival Helen Grime Woven Space * Sibelius of a new work by Patrick Giguère. Mälkki is and the Scottish Chamber Orchestra. She (world premiere) Sibelius Symphony No 6 a specialist in contemporary music, regularly holds a masters from Cambridge University Mahler Symphony No 9 Sibelius Symphony No 7 leading premieres around the world. ‘In order and a doctorate from Durham University. to make sure that in the future there will also Sir Simon Rattle conductor Michael Tilson Thomas conductor be music from our time, we have to give this Andrew Stewart is a freelance music Janine Jansen violin music a chance to exist,’ she says. ‘I think it’s journalist and writer. He is the author * Commissioned for Sir Simon Rattle and the wonderful that the LSO is doing this kind of of The LSO at 90, and contributes to LSO by the Barbican programme with young composers.’ a wide variety of specialist classical Sunday 20 May 7pm music publications. 26 April generously supported by Baker McKenzie Barbican Hall We then hear a work that is loved by British audiences: Elgar’s Cello Concerto. Lewis Foreman is best-known for his MISSA SOLEMNIS For Mälkki, who began her career as a cellist, biography of and Oh My Horses!: her love of the piece goes way back. ‘It’s an Elgar and the Great War, and is the author/ Beethoven Missa Solemnis incredible concerto, it’s beautiful. We are – editor of many books on music. He advises Sunday 22 April 2018 7pm I say ‘we’ as a cellist – very lucky to have it.’ record companies, notably Dutton Epoch, on Barbican Hall Michael Tilson Thomas conductor But as a Finn, Sibelius holds a special place in British repertoire and his CD booklet notes Camilla Tilling soprano her heart. ‘It’s almost like my mother tongue and session photographs are well-known. MAHLER’S TENTH Sasha Cooke mezzo-soprano musically.’ And how does the Fifth Symphony Toby Spence tenor fit into Sibelius’ own journey as a composer? Stephen Johnson is the author of Bruckner Tippett The Rose Lake * Luca Pisaroni bass-baritone ‘It’s interesting that this piece came after the Remembered. He contributes regularly to Mahler comp Cooke Symphony No 10 London Symphony Chorus Fourth Symphony which was very different in BBC Music Magazine and The Guardian, chorus director character and much darker and reflective. It’s and broadcasts for BBC Radio 3, BBC Radio 4 Sir Simon Rattle conductor part of a very natural development if you look and the BBC World Service. at everything he wrote. I think it fits perfectly * Supported by Resonate, a PRS Foundation initiative lso.co.uk/whats-on right where it is. It’s definitely a work of a in partnership with the Association of British , mature composer who knows his language.’ BBC Radio 3 and the Boltini Trust

Tonight’s Concert 3 Patrick Giguère Revealing (world premiere) 2017 / note by Jo Kirkbride

— intense, more authentic.’ Thus, when we • PANUFNIK COMPOSERS SCHEME ‘Fragile, yet determined’: the first words in Giguère’s score tell us much return to the opening , it is with a sense of renewed stability, the fragments Patrick Giguère was a participant of the about what the work has in store. now linked together – made more ‘authentic’ – 2015 Panufnik Composers Scheme, which — amidst the full breadth of the orchestra. • offers emerging composers the opportunity to write for the LSO, guided by composer his is music about exposure Giguère admits to being ‘much more Colin Matthews. Each year the Scheme and disclosure, of layers being interested in how musical material is • THE SERGE GARANT PRIZE commissions two of its six participating gradually stripped away and of presented, put together, underlined composers to create works for inclusion the determination and confidence that this and performed than in revolutionising Serge Garant was a Canadian composer and in the LSO’s main Barbican season, with process demands. ‘The piece is not about the material itself’, and in its shadowy, champion of contemporary music, born two commissions from the 2016 Scheme ‘revealing’ in the most basic sense’, says cumulative design Revealing artfully in Québec City in 1929. Garant was also a receiving premieres in the 2018/19 season. Giguère, ‘but about ‘revealing’ in a more encapsulates this approach, as though professor at the Université de Montréal personal, intimate sense.’ In other words, spontaneously and instinctively created. (1967–86), the host of Radio-Canada’s The Panufnik Composers Scheme was what is unravelled within Revealing is not Musique de notre siècle (1971–85) and a devised by the Orchestra in association the musical material but Giguère himself. And yet, from the tentative fragility of the co-founder of the Société de musique with Lady Panufnik in memory of her opening, with its fractured melodies and contemporaine du Québec (SMCQ). He died late husband, the composer Sir Andrzej Giguère’s Panufnik • commission comes muted dynamics grows a work of enormous in 1986, and was honoured in 1991 by the Panufnik, and is generously supported by at a turning point in his career. Having warmth. As each fragment expands, little Émile-Nelligan Foundation who founded Lady Hamlyn and The Helen Hamlyn Trust. grown in strength and stature as a composer by little, the orchestra swells in size, and the Serge Garant Prize, which is awarded since winning the Serge Garant Prize • in with the gradually thickening texture, so every three years. 2015, Giguère has seen his style evolve and the dynamics expand incrementally too, the STILL TO COME: mature too. As he began work on the score strings permitted to play just a little more PANUFNIK WORLD PREMIERES for Revealing, he allowed himself ‘space, expressively as the music grows louder. IN 2018/19 freedom and courage’ to explore the creative While the music never rises beyond mezzo process – and this approach shines through forte (this, after all, is a moment of intimacy Sunday 24 March 2019 6pm, Barbican Hall in his assured and unshowy score. There is and not of grandeur), it becomes warmer, DONGHOON SHIN no sense of hype or drama here, rather it the orchestra fleshed out and emboldened François-Xavier Roth conductor is a work of understatement and touching when the opening material returns. ‘If you modesty. ‘It was a really special moment,’ reveal who you are to somebody else’, says Sunday 9 June 2019 7pm, Barbican Hall says Giguère. ‘The composing process was Giguère, ‘you become more vulnerable, LIAM MATTISON very intense and fulfilling.’ but you also make the relationship more Elim Chan conductor

4 Programme Notes 15 April 2018 Patrick Giguère in Profile b 1987 / by Jo Kirkbride

natural that I drifted from being a pianist in Generation2018, a series of workshops to being a composer.’ and performances run by l’Ensemble Contemporain de Montréal, and in January For Giguère, composing is a spontaneous he became general manager of Codes and exploratory journey, a process of d’accès, an organisation run and dedicated discovery rather than one of calculation. to emerging composers and performers of ‘A creative process is full of surprise, of tries new music. This direct engagement with and errors, of wrong turns, of doubts. I think performers and with life beyond the score is, that the freshness, the interesting material he says, key to his success as a composer. comes from accepting these surprises, ‘Really being part of the music shaped the these errors.’ His musical influences are composer I am now. My thinking is much firmly rooted in the European tradition – more oriented toward the performance of Ligeti, Messiaen, Berio, Sciarrino – but in music than the philosophy or the rhetoric recent years he admits to having drifted behind it.’ But above all, he has learned towards other more experimental and to follow his instincts and this has been often cross-cultural composers too – perhaps the most important lesson of or many composers, being born Howard Skempton, , all: ‘I’ve learned to trust the process of into a musical family plays a key Tōru Takemitsu. His style, however, is very composing itself, instead of planning role when it comes to pursuing a much his own. ‘Being fresh, being myself, or organising it like a scientist would. career in music. But for Quebec-born Patrick being authentic is much more important I’ve learned how to live with the ‘anxiety Giguère, it was little more than luck. Not than being new, original or ground-breaking of art’ as Feldman would call it.’ coming from a musical background, he was for me’, he says. 15 before he first began to study music, Patrick has been supported by the after his mother persuaded him to begin A conductor and curator as well as a Canada Council for the Arts travel grant. • lessons with a local teacher. It was composer, Giguère has worked with love from the very start and just two years Le Nouvel Ensemble Moderne, later he was accepted into one of Quebec’s Contemporary Music Group, EXAUDI and most prestigious music schools. From there, the Bozzini Quartet, among others, and his the transition from pianist to composer was music has earned him numerous awards, instinctive. ‘I was creative before I started including the 2015 Serge Garant Prize for playing the piano’, he says, ‘designing and his work Le sel de la terre. This year, he building stuff all the time. I think it is only was one of four composers to take part

Composer Profile 5 Cello Concerto in Op 85 1919 / note by Lewis Foreman

1 Adagio – Moderato external evidence. It was a terrible time for cellists championed it, but it was Pablo decision during this evening’s performance. 2 Lento – Allegro molto so many, and particularly painful for Elgar, Casals’ performance in November 1936, A motto for our discussion is that of the 3 Adagio when so much of the world he had known under Sir , that announced the tempo marking used almost uniquely by 4 Allegro ma non troppo and loved was irrevocably changed. work’s final acceptance, in spite of much Elgar: nobilmente (nobly). On looking at the score of the Cello Concerto, one’s first Daniel Müller-Schott cello — surprise is that he marks the opening with ‘If you’re ever walking on the Malvern Hills and hear it, this instruction. What can he mean – for this n the latter part of 1917 and early is far from the grand, even grandiloquent part of 1918, Elgar was constantly don’t be frightened – it’s only me.’ manner associated with this mood in some ill and eventually it was decided — of his other music? to remove his tonsils, the operation taking Edward Elgar, speaking on his deathbed to William H Reed place on 15 . This was successful We have a four-movement concerto and on 22 March, the night before returning with a break between the second and home, he wrote a theme which we now know The Cello Concerto received its premiere grumbling, characteristic of that time, that third movements. The shape of the as the opening theme of the Cello Concerto. in the opening concert of the LSO’s a non-British cellist could not understand it. first movement is simpler than in many The Elgars soon decamped to ‘Brinkwells’, Queen’s Hall Winter 1919/20 season. The Concerto is dedicated to Sidney and . Here, after the soloist’s resonant their Sussex cottage. However, there was no When Elgar arrived to rehearse the concerto Francis Colvin, two of Elgar’s literary friends. introductory chords, the main theme in immediate mention of any Cello Concerto, the day before the concert, Albert Coates, Sidney Colvin was Director of the Fitzwilliam 9/8 metre is repeated six times in various and indeed, when he resumed composing, who was conducting the remainder of the Museum at Cambridge, Keeper of Prints colourings and treatments, before the it was to write the , quickly programme, kept him waiting for over an and Drawings at the British Museum and romantic middle section, which develops the followed by the . The actual hour, so the concerto’s rehearsal became a President of the Literary Society. It was 9/8 theme and sends the cello into flights composition of the Cello Concerto seems brief scramble: in the half-hour remaining he who had successfully interested Elgar of reminiscent romantic fantasy. The main to have taken place in the spring and early it can have been little more than a play- in setting Binyon’s poems in what 9/8 theme was first sketched in March 1918, summer of 1919. through. On the day of the concert, Coates became the three-part wartime choral which perhaps gives us a first clue to its did it again, and only because the band work The Spirit of England. wartime provenance. Its elegiac character is Although there had been a major tradition volunteered to stay for an extra half-hour, reinforced when it returns for four further of new concertos for both violin and piano unpaid, was it possible to have any rehearsal Although Elgar made no overtly repetitions and the mood becomes more during the 30 years before , there at all. Not surprisingly, it had mixed reviews. programmatic claims about this work, and more autumnal. The music runs on into were practically no British cello concertos many have argued that it is an elegy for a scherzo, which begins with a since Sullivan’s youthful effort in the 1860s. Until well into World War II the Cello Concerto World War I. This is a persuasive assertion, version of the opening chords. Then, after It is undeniable that Elgar’s concerto grew remained something of a connoisseur’s vindicated for the commentator by internal slow questioning phrases, it whirls away out of the war, but there is little direct piece. Gradually a number of celebrated evidence. You might like to make your own in a torrent of thistledown semiquavers.

6 Programme Notes 15 April 2018 Edward Elgar in Profile 1857–1934

This is the world of Elgar’s youth, complete as if Elgar has woken from his reverie, we and premiered in 1898, brought the composer with a brief, swaggering romantic extension. have the return of the opening flourish, and recognition beyond his native city. They combine and Elgar is brought back to the curt eight orchestral bars of dismissal. present realities, perhaps musing on what At the end of March 1891 the Elgars were might have been. At the end, all are playing together almost invited to travel to Bayreuth for that for the first time, as if the composer is summer’s festival of Wagner’s operas, The Adagio is not only the shortest and brusquely saying, ‘well that’s enough of all a prospect that inspired Edward immediately most concentrated movement in the that’. In his own list of works, Elgar wrote to compose three movements for string concerto, but also requires a smaller against this concerto ‘Finis RIP’: his age orchestra, the . The Variations on orchestra than the others. It is framed indeed had passed. • an Original Theme, ‘Enigma’ (1898–99) and by eight exquisite bars of yearning phrases his oratorio The Dream of Gerontius (1900) for the soloist, and then Elgar’s cello • ELGAR AND THE LSO cemented his position as England’s finest sings elegiacally, with a wonderfully ever- composer, crowned by two further oratorios, extending line, for a world that has been By the time the London Symphony Orchestra a series of ceremonial works, two symphonies lost. At the beginning of the finale it is was established in 1904, Elgar was a major and concertos for violin and cello. linked by a recitative – a sort of cadenza – figure in British musical life. His 'Enigma' lgar’s father, a trained piano-tuner, to the apparently extrovert finale, which Variations were performed in the LSO’s first ran a music shop in Worcester Elgar, who was knighted in 1904, became is again marked nobilmente as Elgar concert and he first conducted the Orchestra in the 1860s. Young Edward, the the LSO’s Principal Conductor in 1911 and strides out into the world once more. in 1905. From 1911/12 he was Principal fourth of seven children, showed musical premiered many of his works with the But the bravado is short-lived, and the Conductor and he continued to appear with talent but was largely self-taught as a player Orchestra. Shortly before the end of World more introspective music underlines the the Orchestra after this. A number of Elgar’s and composer. During his early freelance War I, he entered an almost cathartic period fact that this is the final ghost of a world most important works were premiered by career, which included work conducting the of chamber-music composition, completing that has passed. the LSO including his Introduction & Allegro staff band at the County Lunatic Asylum the peaceful slow movement of his String and the Cello and Violin Concertos. in Powick, he suffered many setbacks. Quartet soon after Armistice Day. The Towards the end Elgar springs the surprise He was forced to continue teaching long Piano Quintet was finished in February 1919 of a new slow theme, a passage of after the desire to compose full-time and reveals the composer’s deep nostalgia Interval – 20 minutes unprecedented chromaticism, focusing all had taken hold. A picture emerges of for times past. In his final years he recorded There are bars on all levels of the his pathos and autumnal feeling, a cry of a frustrated, pessimistic man, whose many of his works with the LSO and, concert hall; ice cream can be bought anguish if ever there was one. This is merged creative impulses were restrained by despite illness, managed to sketch at the stands on Stalls and Circle level. with the wraith of the slow movement, his circumstances and apparent lack movements of a Third Symphony. • Visit the Barbican Shop on Level -1 and see giving the effect of a despairing mourner of progress. The cantata Caractacus, our new range of Gifts and Accessories. refusing to accept events. Then suddenly, commissioned by the Leeds Festival Composer Profile by Andrew Stewart

Programme Notes 7 Symphony No 5 in E-flat major Op 82 1914–19 / note by Stephen Johnson

1 Tempo molto moderato – that clearly evokes ‘life’s ’ in grinding to determine what kind of picture it was’. But then Sibelius was struck by a Allegro moderato (ma poco a poco dissonances and abrasive orchestration. To those who admire the organic continuity magnificent idea – why not make the stretto) – Presto – Più Presto This isn’t the only passage in the Fifth of Sibelius’ symphonies this may come as a scherzo emerge from the Tempo molto 2 Andante mosso, quasi allegretto Symphony where shadows fall across the surprise. A symphony like the Fifth seems moderato, as though it were a continuation 3 Allegro molto music: the long plaintive solo, to grow inexorably from its musical seed of the first movement rather than a separate (a distinctive motif that appears to set the entity? So another elemental crescendo — process in motion) to the final triumphant begins; the original horn motif (the ‘seed’) ‘Today at ten to eleven I saw 16 . One of my greatest experiences! flowering; and yet here is Sibelius telling returns brilliantly on , then – us that he only discovers that ideal organic almost imperceptibly at first – the music Lord God, what beauty! They circled over me for a long time. Disappeared into logic by moving the parts around. However, starts to accelerate. By the time we reach the solar haze like a gleaming solar ribbon. Their call the same woodwind type if you compare the familiar final version of the final Più Presto, the energy and pace are as that of cranes. The -call closer to the … Nature mysticism and the Fifth Symphony with its original 1915 hair-raising. And yet the whole process is version (now available in a fine commercial seamless – like a speeded-up film of a plant life’s Angst! The Fifth Symphony’s finale-theme: Legato in the trumpets!’ recording) you can hear that this is exactly growing from seed to full flower. It’s hard to — what he did. The way a piece of music believe that this could have been achieved appears to ‘think’ should not be confused by the moving around of musical ‘tiles’. ew composers have responded so heard through weird whispering string with the way its composer himself thought vividly to the sounds of nature as figurations in the first movement is another as he wrote it down. The two processes On the surface, the Andante mosso, quasi Jean Sibelius. Birdcalls (particularly unsettling inspiration. Certainly it isn’t all can be strikingly different. allegretto is more relaxed. Broadly speaking those of swans and cranes), the buzzing of solar glory. But that only makes the final it is a set of variations on the folk-like theme insects, the sounds of wind and water all triumphant emergence of what Sibelius The Fifth Symphony begins with a splendid heard at the beginning (pizzicato string and fascinated him; at times he seems to have persisted in calling his ‘Swan Hymn’ all the example of a Sibelian musical ‘seed’: a motif ). But there are tensions below that heard something mystical in them. The more convincing: the symphony has had to led by horns rises then falls expectantly. surface, momentarily emerging in troubled sight and sound of swans inspired the most struggle to achieve it. Two huge crescendos grow organically from string tremolandos or in the menacing famous theme in Sibelius’ Fifth Symphony, this, each one culminating in a thrilling brass writing towards the end. There are as he recorded in his diaries, not long after In another diary entry from around this time two-note trumpet call. Then shadows begin also subtle hints of themes to come in the he began sketching the symphony. Sibelius tries to understand the composing to fall, and we hear the plaintive bassoon finale – again added in the later revised process as he experiences it: ‘Arrangement solo and eerily rustling strings mentioned version of the symphony. Tension is In fact the finale theme doesn’t appear of the themes. This important task, which above. In the symphony’s first version (1915) released as action in the final movement, on the trumpets until near the end of the fascinates me in a mysterious way. It’s as if the first movement came to a strangely which begins as a fleet-footed airborne symphony, where it is marked nobile (noble). God the Father had thrown down the tiles of premature ending not long after this, to dance for high strings and continues into It inaugurates the long final crescendo a mosaic from heaven’s floor and asked me be followed by a faster scherzo. the ‘Swan Hymn’ (swaying horn figures

8 Programme Notes 15 April 2018 Jean Sibelius in Profile 1865–1957 and a chant-like theme for high woodwind). • SIBELIUS ON LSO LIVE The Finns swiftly adopted Sibelius and After a short development and a hushed his works as symbols of national pride, return of both themes, the tempo broadens particularly following the premiere of the and the mood darkens. But then the overtly patriotic in 1900, composed Swan Hymn returns, in a slower tempo, on a few months after Finland’s legislative trumpets, initiating a long, slow crescendo. rights had been taken away by Russia. For a moment, ‘life’s Angst’ seems to ‘Well, we shall see now what the new prevail; but it’s only for a moment. Finally century brings with it for Finland and us we hear a series of sledgehammer chords Finns,’ Sibelius wrote on New Year’s Day punctuated by long silences – the music 1900. The public in Finland recognised the seems to hold its breath, then a brusque idealistic young composer as a champion two-note cadence brings the symphony of national freedom, while his tuneful to an abrupt close. • Finlandia was taken into the repertoire of orchestras around the world. In 1914 Sibelius visited America, composing a bold new work, Sibelius Symphonies Nos 1–7 s a young boy, Sibelius made , for the celebrated Norfolk rapid progress as a violinist and Music Festival in Connecticut. Sir conductor composer. In 1886 he abandoned London Symphony Orchestra law studies at University, enrolling Although Sibelius lived to the age of 91, London Symphony Chorus at the Helsinki Conservatory and later taking he effectively abandoned composition lessons in and . The young almost 30 years earlier. Heavy drinking, Available to buy at LSO Live and Amazon, composer drew inspiration from the Finnish illness, relentless self-criticism and financial or to stream on Spotify and Apple Music ancient epic, the , a rich source of problems were among the conditions that Finnish cultural identity. These sagas of the influenced his early retirement. He was, lsolive.co.uk remote region greatly appealed to however, honoured as a great Finnish hero Sibelius, especially those concerned with long after he ceased composing, while his the dashing youth Lemminkäinen and the principal works became established as an bleak landscape of , the kingdom of essential part of the orchestral repertoire. • death – providing the literary background for his early tone-poems, beginning with the Composer Profile by Andrew Stewart mighty choral symphony in 1892.

Composer Profile 9 Susanna Mälkki conductor

much sought-after artist on conducting two concerts included in the Teatro alla Scala, Milan (2011), later returning the international conducting Berliner Festspiele. She recently returned in 2014. Other past opera highlights include circuit, Susanna Mälkki’s to San Francisco (where she also returns Janáček’s The Makropolous Case at the versatility and broad repertoire have taken in 2018), Cleveland, Chicago Symphony Opéra national de Paris, Strauss’ Der her to symphony and chamber orchestras, and Swedish Radio Symphony orchestras, Rosenkavalier and Mozart’s The Marriage contemporary music ensembles and opera and in March 2017 she made her debut of Figaro with the Finnish National Opera, houses around the world. with the London Symphony Orchestra, and her debut at Staatsoper stepping in for . Other recent conducting a revival of Jenůfa. The 2017/18 season marks Mälkki’s debut engagements include returns to the year as Principal Guest Conductor of the Philharmonic and Gothenburg A former student at the , and includes such Symphony orchestras, and in May she makes Mälkki studied with and Leif works as Berlioz’s Symphonie fantastique, her Czech Philharmonic Orchestra debut. Segerstam. Prior to her conducting studies, Mendelssohn’s complete She has previously worked with the New she had a successful career as a cellist and to A Midsummer Night’s Dream and Strauss’ World Symphony, Bayerischer Rundfunk, from 1995 to 1998 was one of the principals An Alpine Symphony. Mälkki also enters her London Sinfonietta, Philharmonic and of the Gothenburg Symphony. In June second season as Chief Conductor of the Philadelphia orchestras, BBC Symphony 2010 she was elected a Fellow of the Royal Helsinki Philharmonic Orchestra, continuing Orchestra (BBC Proms), Chamber Orchestra Academy of Music in London and she is also the orchestra’s survey of Mahler’s symphonies of Europe and Teatro La Fenice. a member of the Royal Swedish Academy of in performances of Nos 5 and 9. The season Music. In 2011, Mälkki was awarded the Pro programme also includes works by Bartók A renowned opera conductor, Mälkki recently Finlandia Medal of the Order of the Lion of and Mozart, among others, as well as a made her debut at the Wiener Staatsoper in Finland, which is one of Finland’s highest concert tour to Salzburg and Paris with 2018 in Gottfried von Einem’s Dantons Tod, honours, and in January 2016 was made a Norwegian cellist Truls Mørk. 2017 marked directed by Josef Ernst Köpplinger. December Chevalier of the Légion d’honneur in France. the conclusion of Mälkki’s four-year 2016 marked her critically acclaimed debut In October 2016 she was named Musical tenure as Principal Guest Conductor at The , conducting its America’s 2017 Conductor of the Year, and of the Gulbenkian Orchestra. She was premiere of ’s L’Amour de loin; in November 2017 she was awarded the previously Music Director of the Ensemble she also returned to the Opéra national de Nordic Council Music Prize. • Intercontemporain (2006–13). Paris in spring 2017 for the world premiere of Francesconi’s new opera Trompe-la- As a guest conductor at the highest level Mort. Mälkki previously collaborated with worldwide, Mälkki began the 2017/18 season Francesconi on Quartett, and was the with a return to the , first woman to conduct a production at

10 Artist Biographies 15 April 2018 Daniel Müller-Schott cello

ith technical brilliance and The 2017/18 season sees Müller-Schott Recording for Orfeo, Müller-Schott’s 2016 authority, with intellect and perform as soloist with the Bournemouth release, Duo Sessions, with Julia Fischer emotional esprit, Daniel Müller- Symphony and James Fedeck, Barcelona (featuring duos of Kodály, Schulhoff, Ravel Schott has been a guest soloist with the Symphony and Andrew Grams, Oslo and Halvorsen) has won numerous awards, Berlin Philharmonic under Alan Gilbert, Philharmonic and Arvid Eigegård, Dresden not least the ICMA 2017 () and the Boston Philharmonic and Michael Sanderling, Award. For his most recent release Cello Symphony Orchestra under Charles Dutoit, Sydney Symphony and , Reimagined (January 2018), Daniel Müller- and the National Symphony Orchestra and Polish National Radio Symphony and Schott has arranged concertos by C P E and Washington under Christoph Eschenbach. Leonard Slatkin. J S Bach, Haydn and Mozart for the cello. The Orchestra l’arte del mondo and their He is also a regular guest of the City Both in Munich and on tour to Hamburg’s leader Werner Ehrhardt accompany him. of Birmingham Symphony Orchestra, Elbphilharmonie and New York’s Carnegie Philharmonia Orchestra, London Hall, Müller-Schott performs Brahms’ Double Müller-Schott received the 2013 Aida Stucki Philharmonic Orchestra, BBC Proms, Concerto with long-time collaborator Julia Award and also benefited early on from Leipzig Gewandhaus Orchestra, the Radio Fischer and the Bavarian State Orchestra sponsorship by the Anne-Sophie Mutter Orchestras of Berlin, Munich, Frankfurt, under the baton of Kirill Petrenko. He Foundation. Through this support he Stuttgart and Hamburg, and in the US also returns to the US with the Vancouver was taught privately by the late Mstislav with the orchestras of Cleveland, Chicago Symphony and Joshua Weilerstein, and Rostropovich for a year. Müller-Schott and Philadelphia. He also performs with and Michael Francis. also studied with Walter Nothas, Heinrich the NHK Symphony Orchestra, National Schiff and Steven Isserlis. In 1992 Müller- Symphony Orchestra Taiwan, Sydney As a chamber music performer, this Schott won first prize at the International Symphony and Seoul Philharmonic. season he tours as a trio with Igor Levit Tchaikovsky Competition, Moscow. and Ning Feng to the Ruhr Piano Festival, He works with conductors including Schwarzenberg and , He plays the ‘Ex Shapiro’ Matteo Goffriller Thomas Dausgaard, Iván Fischer, Gustavo where he will also appear as a duo with cello, Venice, 1727. • Gimeno, , Neeme Järvi, Simon Trpčeski. He also performs as Dmitrij Kitajenko, Jun Märkl, , a duo with Francesco Piemontesi, and Gianandrea Noseda, Andrés Orozco-Estrada, tours to Germany as a trio with harpist , André Previn and Krzysztof Xavier de Maistre and . Urbański. Daniel Müller-Schott has premiered concertos dedicated to him by Sir André Previn and Peter Ruzicka.

Artist Biographies 11 London Symphony Orchestra on stage tonight

Leader Second Flutes Horns LSO String Experience Scheme Zsolt-Tihamér Visontay Thomas Norris Rebecca Gilliver Adam Walker Alexander Edmundson Nigel Thomas Since 1992, the LSO String Experience Sarah Quinn Alastair Blayden Alex Jakeman Angela Barnes Scheme has enabled young string players First Violins Miya Väisänen Jennifer Brown James Pillai Percussion from the London music conservatoires at John Mills Matthew Gardner Noel Bradshaw Piccolo Jonathan Lipton Neil Percy the start of their professional careers to gain Clare Duckworth Julian Gil Rodriguez Eve-Marie Caravassilis Julian Sperry Jason Koczur David Jackson work experience by playing in rehearsals Maxine Kwok-Adams Naoko Keatley Daniel Gardner and concerts with the LSO. The musicians Claire Parfitt Belinda McFarlane Hilary Jones Trumpets are treated as professional ‘extra’ players Laurent Quenelle William Melvin Amanda Truelove Olivier Stankiewicz David Elton (additional to LSO members) and receive Harriet Rayfield Paul Robson Victoria Simonsen Rosie Jenkins Gerald Ruddock fees for their work in line with LSO section Colin Renwick Helena Smart Peteris Sokolovskis Niall Keatley players. The Scheme is supported by Sylvain Vasseur Monika Chmielewska David Geoghegan The Polonsky Foundation, Barbara Rhys Watkins Cassandra Hamilton Double Basses Christine Pendrill Whatmore Charitable Trust, The Thistle Morane Gordon MacKay Colin Paris Trust, Idlewild Trust and Angus Allnatt Cohen-Lamberger Katerina Nazarova Patrick Laurence Dudley Bright Charitable Foundation. Laura Dixon Matthew Gibson Chris Richards James Maynard Dániel Mészöly Thomas Goodman Ben Aldren Hazel Mulligan David Quiggle Joe Melvin Thomas Lessels Bass Hilary Jane Parker Gillianne Haddow Nicholas Franco Paul Milner Benjamin Roskams Malcolm Johnston José Moreira Anna Bastow Paul Sherman Daniel Jemison Tuba Julia O’Riordan Joost Bosdijk Adrian Miotti Editor Robert Turner Dominic Morgan Edward Appleyard | [email protected] German Clavijo Fiona Dinsdale | [email protected] Alistair Scahill Editorial Photography Cynthia Perrin Ranald Mackechnie, Trevor Taylor, Uwe Arens, Fiona Dalgliesh Simon Fowler Philip Hall Print Cantate 020 3651 1690 David Vainsot Advertising Cabbells Ltd 020 3603 7937

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12 The Orchestra 15 April 2018