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Home , Alina Ibragimova, Gordan Nikolitch, Karawane, Sofia Gubaidulina

Thursday 22 February 2018 7.30–9.35pm Barbican Hall

LSO SEASON CONCERT BRINGUIER & IBRAGIMOVA

Brahms Violin Interval Dutilleux Métaboles DAPHNIS & Ravel Daphnis and Chloé – Suite No 2

Lionel Bringuier conductor CHLOÉ violin Welcome LSO News On Our Blog

I hope that you enjoy this evening’s concert, THE LSO’S 2018/19 SEASON INTRODUCING LIONEL BRINGUIER and that you will be able to join us again soon. Following performances of this programme The LSO’s 2018/19 season is now on sale. Visit our blog to find out more about tonight’s in Bristol and Vienna, the will Highlights include Music Director Sir Simon conductor – from his early conducting give a Family Concert on 25 February, Rattle’s exploration of folk-inspired music success to making history in LA and his before a European tour and the opening in his series Roots and Origins; Artist Portraits collaborations with pianist Yuja Wang. of Sir ’s Schumann with soprano and conductor cycle at the Barbican on 11 and 15 March. and pianist Daniil Trifonov; and eight premieres across the season. ON YOUTUBE: MAHLER’S NO 2 Plus there’s much more to explore with Welcome to this evening’s LSO concert at LSO Discovery’s free lunchtime concerts, Watch Semyon Bychkov conduct Mahler’s the Barbican, which sets French music by Discovery and Singing Days, as well as Symphony No 2, recorded on Sunday Ravel and Dutilleux alongside Brahms’ Kathryn McDowell CBE DL BBC Radio 3’s concerts at LSO St Luke’s. 4 February 2018, on the LSO’s YouTube Violin Concerto. Tonight’s performance Managing Director channel. The broadcast will be available is a welcome opportunity for conductor Visit lso.co.uk/201819season for full listings. to watch back for 90 days. Lionel Bringuier, who has been building a significant reputation across Europe as Music Director of the Tonhalle Orchestra, and NEW ON LSO PLAY: DEBUSSY WELCOME TO TONIGHT'S GROUPS who has a special affinity for the music of PRÉLUDE À L’APRÈS-MIDI D’UN FAUNE Dutilleux, to make his debut with the LSO. Tonight we are delighted to welcome: Watch Principal Guest Conductor Queenswood School For Brahms’ Violin Concerto, we are pleased François-Xavier Roth conduct Debussy’s Waltham Forest Music Service to welcome back Alina Ibragimova. Alina has Prélude à l’après-midi d’un faune from Hertford U3A become a close friend of the Orchestra since multiple camera angles on our interactive making her debut with the LSO in the 2007 platform LSO Play. Available at play.lso.co.uk. BBC Proms, appearing regularly in subsequent Read our news, watch videos and more seasons. It is a pleasure to see her return for LSO Play is generously supported • lso.co.uk/news one of the great works of the violin repertoire. by Reignwood. • youtube.com/lso • lso.co.uk/blog

2 Welcome 22 February 2018 Tonight’s Concert / by Jeremy Thurlow Coming Up

his concert is a tale of two cities, two By the 1960s the glorious heritage of Ravel Sunday 11 March 2018 7pm Sunday 8 April 2018 7pm traditions. By building his career in and Debussy had been radically contested Barbican Hall Barbican Hall Vienna, Brahms chose to work in the by a fiery young avant-garde. In his dazzling shadow of the great classical , Métaboles (1964) Henri Dutilleux found ways SCHUMANN AND BERLIOZ SHOSTAKOVICH SYMPHONY NO 8 Beethoven above all. Brahms’ Violin Concerto, to re-imagine the older composers’ ravishing written in the same key as Beethoven’s and refinement of and harmony, infusing Schumann Overture: Genoveva Beethoven Concerto No 4 programmed alongside that work by soloist it with some of the electrifying new ideas Berlioz Les nuits d’été Shostakovich Symphony No 8 Joseph Joachim at its premiere (1878), takes with which Paris was once again leading the Schumann Symphony No 2 Beethoven’s challenge head on. Early listeners musical world. Gianandrea Noseda conductor were struck by the darkness and drama – Sir John Eliot Gardiner conductor Nikolai Lugansky piano notably when the soloist first enters – Ann Hallenberg mezzo-soprano and the piece was famously dubbed Recommended by Classic FM ‘a concerto against the violin’. But it overflows Recommended by Classic FM with heartfelt too, and ends with Thursday 19 & 26 April 2018 7.30pm a finale bursting with gypsy high spirits. Barbican Hall PROGRAMME NOTE WRITERS As a cultural and artistic centre Paris Sunday 25 March 2018 7pm MAHLER SYMPHONY NO 9 already posed a formidable challenge to Jeremy Thurlow is a ; his music Barbican Hall Vienna, but it took a little longer to become ranges from string to video-opera Helen Grime Woven Space * Europe’s musical capital, a position it could and won the George Butterworth Award DEBUSSY AND BEYOND (world premiere) surely claim for much of the 20th century. 2007. Author of a book on Dutilleux, he Mahler Symphony No 9 A powerful boost came from Serge Diaghilev’s broadcasts on BBC Radio 3 and is a Fellow Boulez Livre pour cordes Ballets Russes, which commissioned and of Robinson College, Cambridge. Bartók Violin Concerto No 2 Sir conductor staged an astonishing series of masterpieces Ewan Campbell Frail Skies (world premiere) * throughout the first decades of the century. Andrew Huth is a musician, writer and Stravinsky Chant du rossignol * Commissioned for Sir Simon Rattle and the Initially somewhat overlooked, Ravel’s translator who writes extensively on French, Debussy La mer LSO by the Barbican sumptuous Daphnis and Chloé (1912) is Russian and Eastern European music. now cherished as his most richly imagined François-Xavier Roth conductor 26 April generously supported by Baker McKenzie depiction of an idyllic classical Neverland; Andrew Stewart is a freelance music Renaud Capuçon violin the second suite contains perhaps the journalist and writer. He is the author of The most sensual and exhilarating scenes of LSO at 90, and contributes to a wide variety * Panufnik commission generously supported by the whole ballet. of specialist classical music publications. Lady Hamlyn and the Helen Hamlyn Trust lso.co.uk/whatson

Tonight’s Concert 3 Violin Concerto in D major Op 77 1878 / note by Andrew Huth

1 Allegro non troppo there a clearly symphonic cast to the music, Joachim played, of course, and Brahms violin in which the composer left 2 Adagio but also the open lyricism that Brahms conducted. It was entirely Joachim’s it to the soloist to provide the expected 3 Allegro giocoso, ma non troppo vivace associated with the key of D major. Both decision, though, to begin the concert with ; tonight, Alina Ibragimova plays works were composed at the same lakeside the Beethoven Concerto, of which he was the cadenza written by Joachim. Alina Ibragimova violin village in Carinthia; coincidentally, 50 years the most famous player of the day. Brahms later Alban Berg would write his Violin didn’t care for the idea. ‘A lot of D major’, he After so symphonically conceived a first rahms didn’t play the violin, but Concerto on the shores of the same lake. commented, but his unspoken objection was movement, the other movements are his understanding of it was second that he always disliked inviting comparisons more relaxed in mood and structure. The only to that of his own instrument, Since Brahms tended to cover his tracks with Beethoven, who was a very different Adagio is coloured by the sound of the wind the piano. When he left his native and say little about the gestation and type of composer. The only real similarities instruments, the soloist weaving delicate for the first time, it was to accompany the composition of his music, we usually know between the two concertos are that they traceries around the main theme, but never Hungarian violinist Eduard Reményi on a very little about its background. It is quite are roughly equal in length and proportion, playing it in its full form. The rondo finale concert tour during which a famous episode possible that ideas for the concerto had with a first movement longer than the other pays tribute to Joachim’s own concerto demonstrated the 20-year-old composer’s been in his mind for some time; but during two together. ‘in the Hungarian style’, which he had astonishing musicianship: one evening he its composition there was a revealing dedicated to Brahms. • discovered that the only available piano correspondence with Joachim. We learn, for Brahms misses no opportunity to show off was tuned a semitone flat, and coolly example, that the concerto was originally to the essential character of the violin. There transposed Beethoven’s C minor up have had four movements rather than the is brilliance, power and lyricism in the solo into C-sharp in order to play it at the right expected three (an idea Brahms reserved for part, which makes enormous demands on pitch. It was through Reményi that Brahms his Second , composed three the player. For all its depth and subtlety of met the violinist Joseph Joachim, with whom years later). Joachim was himself a gifted construction, though, the overall form of the he formed one of the closest friendships of composer, and in the past Brahms had often concerto is almost obstinately traditional, his life, and whose playing was at the back sought his advice on compositional matters. ignoring the innovations of Mendelssohn of his mind whenever he composed for the Now it was the solo violin part that Brahms in his famous concerto or even those found violin. Joachim knew better than to pester sent to Joachim for his comments and in the later Beethoven concertos. the obstinate composer for a concerto, but technical help. Interestingly, he hardly ever Interval – 20 minutes must have known that it was only a matter actually took the advice his friend offered. The first movement is a spacious design, There are bars on all levels of the of time before one eventually appeared. He knew perfectly well what was effective with a long orchestral exposition. Although Concert Hall; ice cream can be bought and playable. the themes are not in themselves extensive, at the stands on Stalls and Circle level. It came in the summer of 1878, soon after they evolve from one another into long Visit the Barbican Shop on Level -1 to see the Second Symphony, with which it shares The first performance of the new concerto developments by soloist, orchestra, or both our new range of Gifts and Accessories. something of its character. Not only is was given in Leipzig on 1 January 1879. in partnership. This is the last of the great

4 Programme Notes 22 February 2018 Johannes Brahms in profile 1833–97 / by Andrew Stewart

ohannes Brahms was born while the relationship did not develop as him freedom to experiment and de­­v­el­op in Hamburg, the son of an Brahms wished, their close friendship did new ideas, the relationship crowned by the impecunious musician; his mother survive. In 1862 Brahms moved to Vienna premiere of his Fourth Symphony of 1884. later opened a haberdashery business to where he found fame as a conductor, pianist help lift the family out of poverty. Showing and composer and met In his later years, Brahms considered that he early musical promise he became a pupil of the following year. Brahms was appointed might retire from composing and began to the distinguished local pianist and composer to the position of conductor at the Vienna find companionship in escorting Alice Barbi, Eduard Marxsen, who had been a personal Singakademie. To the surprise of audiences a 28-year-old mezzo-soprano (to whom acquaintance of Beethoven and Schubert. his programming focused on early German he may have proposed marriage). Yet his In his early career Brahms supplemented music by J S Bach, Heinrich Schütz and fondness for a Meiningen clarinettist Richard his parents’ meagre income by playing other composers, including Giovanni Gabrieli. Mühlfeld drew him to compose a series of in the bars and brothels of Hamburg’s profound works which explored matters of infamous red-light district before he met In 1864 Brahms quit his conducting post in life and death in his Four Serious Songs. Hungarian violinist Eduard Reményi, who he order to devote more time to composing. accompanied in recital and who introduced He spent time in Lichtental where he In 1896 Brahms was diagnosed with liver him to the Hungarian ‘gypsy-style’ music worked on many of his most famous cancer, the same disease that had killed his which would form the inspiration for some compositions, including the German father Jakob 25 years earlier. He made his of his most popular compositions. Requiem. The Leipzig premiere in 1869 final public appearance to hear Hans Richter proved a triumph, with subsequent conduct his Fourth Symphony in March 1897 In 1853 Brahms presented himself to performances establishing Brahms as one and died at his modest lodgings in Vienna, Robert Schumann in Düsseldorf, winning of the emerging German nation’s foremost receiving a hero’s funeral at the city’s central unqualified approval from the older composers. Following the long-delayed cemetery three days later. • composer, who hailed him as ‘fated to give completion of his First Symphony in 1876, expression to the times in the highest and he composed in quick succession: the most ideal manner’. The elder composer’s majestic Violin Concerto; the two piano Friday 23 February 2018 1pm admiration led to the first publication of Rhapsodies Op 79; the First LSO St Luke’s Brahms’ work. After Schumann’s attempted in G major; and the Second Symphony. suicide in February 1854, Brahms decided MICHAEL COLLINS & FRIENDS to base himself in Düsseldorf where he Brahms was now firmly established as supported Schumann’s wife, Clara, during a major figure in the world of music. His Mozart Trio in E-flat major (‘Kegelstatt’) her husband’s illness and death. Brahms subsequent association with the much- Bruch Three Pieces for , and piano developed a deep affection for Clara, and admired court orchestra in Meiningen allowed Brahms Clarinet Sonata

Composer Profile 5 Henri Dutilleux Métaboles 1959–64 / note by Jeremy Thurlow

1 Incantatoire the piece was commissioned by conductor movement is drawn with brilliance and 2 Linéaire George Szell • for his dazzling Cleveland clarity, from the bright, harsh ritual of 3 Obsessionnel Orchestra, and when Dutilleux mentioned ‘Incantatoire’ through ‘Linéaire’, where 4 Torpide that he particularly admired the orchestra’s the strings’ shimmering lines combine 5 Flamboyant woodwind players, Szell encouraged him to to form swirling sound-masses. use four of each – large forces that Dutilleux he mid-20th century saw the birth put to good use. The first four movements The nervy, agile ‘Obsessionel’ cocks a snook of a new genre: the concerto for are designed to throw the limelight on each at modernist obsessions of the time by orchestra. To composers as diverse section of the orchestra in turn (woodwind, transforming its twelve-tone theme into as Hindemith, Bartók, Lutosławski and Tippett strings, brass, percussion) while the fifth a kind of scherzo, before lapsing into the it offered an opportunity to write something brings them all together in a glorious display mesmerising lethargy of ‘Torpide’, whose substantial without having to take on the of orchestral virtuosity. deadpan chorale seems almost to yawn. increasingly uncomfortable obligations of the symphony, and an invitation to revel in the — • GEORGE SZELL unparalleled colouristic possibilities of the ‘The rhetorical term Métaboles reveals my intention: to present one or modern symphony orchestra. Having braved Hungarian-born American conductor and the disapproval of avant-garde colleagues to several ideas in a different order and from different angles, until, by composer George Szell conducted the write two magnificent himself, successive stages, they are made to change character completely.’ Cleveland Orchestra from 1946 until his Dutilleux had reached a point in the early Henri Dutilleux death in 1970. Szell was well-known for 1960s where his cautious but far-reaching his autocratic leadership style and his response to the new ideas and sounds of — rehearsals were famous for their intensity – such works as Schoenberg’s Five Orchestral total perfection was demanded from every Pieces and the music of Berg (which were Dutilleux’s title is a Greek word meaning Just as the movement sinks into complete player. During the decade after he took up still new territory for many musicians at this gradual, incremental change, a process immobility we hear the first flickers of the the post, the Cleveland Orchestra underwent time) meant that he too needed to find a which is at first unnoticeable, but in due finale, ‘Flamboyant’, which soon becomes a significant transformation, with high new genre to work in. course produces a total transformation. a whirlwind of heat and light. Ever more turnover of members. By 1960, however, Thus the five movements cover an exhilarating, the music ends in a blaze of many critics believed that the conductor’s Effectively, Métaboles was his own concerto audaciously wide range of moods and sound which is quite unforgettable. • work had paid off and began to rank the for orchestra, and its exuberant array of ideas, but run together into one continuous orchestra alongside the best in the US. thrilling orchestral soundscapes has made sequence, with each movement starting it one of his most popular and acclaimed from an idea already introduced in the works. Composed between 1959 and 1964, previous one. The character of each

6 Programme Notes 22 February 2018 Henri Dutilleux in profile 1916–2013 / by Jeremy Thurlow

he great-grandson of painter didn’t stop a host of eminent conductors • DUTILLEUX'S PERFECTIONISM Constant Dutilleux, Henri Dutilleux and soloists from recognising music of was born in 1916. As a young man great beauty and depth, hence a string of Dutilleux was a renowned perfectionist he studied at the Douai Conservatory with prominent commissions and premieres. who spent many years on each piece, Victor Gallois before being admitted to the meticulously revising and reworking until it Paris Conservatoire at the age of 17. He went Dutilleux’s creative journey was continually met his almost impossibly high standards. on to win the fabled Prix de Rome in 1938 innovative, in its own way, and an So critical of his own work was he that his for his cantata L'anneau du roi. This brought extraordinarily refined sense of harmony output totals only a dozen or so major works significant acclaim and should have earned and orchestral timbre underlies all his work. in his lifetime. him four years in the Villa Medici, where In the 60s his music began to give a rather he would have been free to develop his art. ‘painterly’ prominence to the play of texture In an interview with The Guardian he said, In fact, World War II broke out after only and sonority, sometimes displacing the ‘I always doubt my work. I wrote of The a few months, and Dutilleux endured the dialogue of melodic motives altogether. Later Shadows of Time that it was ‘stained with miseries of the Occupation finding what work in his career an inter-cutting of contrasted pessimism’, and that is how I feel. I always he could as a medical orderly. He returned ‘shots’ suggested the language of cinema. have regrets. That’s why I revise my work to Paris in 1940 and worked as a music so much and, at the same time, I regret not teacher and pianist, conducting the Over the last 30 years Dutilleux’s creative being more prolific. But the reason I am not of the Paris Opera in 1942. He went on entanglement with his musical past has come more prolific is because I doubt my work to become head of Music Production for to be heard as a source of richness, part of and spend a lot of time changing it. It’s Radio France in 1945. what makes his music so many-layered, paradoxical, isn’t it?’ haunting and seductive. He was composing After the war Dutilleux, who was steeped until his death in 2013, at the age of 97. Dutilleux disowned and destroyed much of in the music of his elders, notably Ravel, Upon his death, the New York Times the work he had done before 1948. Some moved tentatively towards innovation. It remarked, ‘Mr Dutilleux’s position in French pieces did survive however, and despite his was a gradual, organic kind of renewal, which music was proudly solitary. Between Olivier objections, they continued to be performed did not find favour with some of his avant- Messiaen and in age, he was and recorded. His Sonatine for Flute and garde contemporaries. Over the following little affected by either, though he took Piano from 1943 quickly became part of the years Dutilleux slowly, but with remarkable an interest in their work … But his voice, standard repertoire for flute and it remains courage and consistency, trod a lonely road, marked by sensuously handled harmony the composer’s most recorded work. typically producing a couple of major works and colour, was his own.’ • per decade. For a long time the new music establishment took little interest, but that

Programme Notes 7 Maurice Ravel Daphnis and Chloé – Suite No 2 1909–12 / note by Jeremy Thurlow

1 Lever du jour (Daybreak) by French artists at the turn of the 18th 2 Pantomime century.’ It did not prove easy to reconcile 3 Danse générale this with Fokine’s vision of the ‘archaic dancing painted in red and black on Attic ance holds a treasured and central vases,’ and when arguments also broke out place in Ravel’s music, from La Valse between Fokine and Nijinsky, Diaghilev came and Boléro to the many pavanes, close to calling the whole thing off. The last minuets, waltzes, foxtrots and tangos that straw was Ravel’s long-drawn out difficulty pervade his instrumental and operatic music. completing the riotous ‘danse générale’, The hour-long ballet Daphnis and Chloé which in the end took him almost a year. makes a strong claim to be his greatest Initially scheduled for the 1910 season, work; Ravel called it a ‘choreographic Daphnis was twice postponed and finally symphony’, indicating his pride at the way presented in May 1912. its kaleidoscopic moods, colours and dance- are integrated into a compelling The scenario is taken from an erotic pastoral musical and dramatic arc. by the 2nd-century Greek writer Longus •. Daphnis and Chloé are childhood sweethearts Daphnis and Chloé painted by François Gérard in 1924 The great impresario Diaghilev commissioned in the idyllic hills of Lesbos; Chloé is abducted the new piece for his Ballets Russes in 1909, by pirates, then rescued by Pan and restored their gratitude to the gods by enacting Pan’s • AN UNKNOWN NOVELIST bringing together an impressive creative to safety. The second suite follows the seduction of Syrinx, to a long and infinitely team: Nijinsky and Karsavina dancing the course of the ballet’s final tableau, and seductive flute solo which is another Almost nothing is known about the life of title roles; Mikhail Fokine as choreographer; falls into three broad sequences. highpoint of the work. Finally, forgetting the 2nd-century author Longus (or Longos); Léon Bakst as designer; and Pierre Monteux their roles, the lovers fall into each other’s Daphnis and Chlóe appears to be his only to conduct Ravel’s new score. Things did not In the first, dawn steals over the cave arms; everyone joins them in the final dance, surviving work. It has been postulated that go smoothly, however, particularly between where Daphnis wakes, and he is reunited a wild and wine-fuelled affair of sheer pagan he may have come from Lesbos, the story’s Ravel and Fokine. Each spoke almost with Chloé; this glorious sequence is one joy and exhilaration. Ultimately Daphnis and island setting. If so, it is likely that he was nothing of the other’s language, and their of Ravel’s most sumptuous inspirations, Chloé is, more than a tale of two lovers, the a freedman of a Roman family which bore artistic visions differed too. As he said, Ravel both exquisite and powerful as it evokes celebration of an idyllic fantasy-world; his the name Longus as a ‘cognomen’ (a name aimed ‘to compose a vast musical fresco in the babbling stream, the rising sun and the Classical Neverland inspired Ravel to the taken in addition to the family name in which I was less concerned with archaism lovers’ rapturous emotions. In the second richest and fullest expression of his art. • order to identify a person’s particular branch than with reproducing faithfully the Greece tableau – the term ‘Pantomime’ has no of the family tree), as an indication of his of my dreams, very like that imagined slapstick connotations here – they show island heritage.

8 Programme Notes 22 February 2018 Maurice Ravel in profile 1875–1937 / by Andrew Stewart

lthough born in the rural Basque In 1909 Ravel was invited to write a large- • WATCH ON LSO LIVE village of Ciboure, Ravel was raised scale work for Serge Diaghilev’s Ballets in Paris and positively encouraged Russes, completing the score to Daphnis by his engineer father to develop and refine and Chloé three years later. At this time he his evident musical skills. First-rate piano also met and first heard the lessons and instruction in harmony and expressionist works of Arnold Schoenberg. counterpoint ensured that the boy was During World War I he enlisted with the accepted as a preparatory piano student at motor transport corps, and returned to the Paris Conservatoire in 1889. As a full- composition slowly after 1918, completing time student, Ravel explored a wide variety La Valse for Diaghilev and beginning work on of new music and forged a close friendship his second opera L’enfant et les sortilèges. with the Spanish pianist Ricardo Vines. Both men were introduced in 1893 to From 1932 until his death, he suffered from Chabrier, who Ravel regarded as ‘the most the progressive effects of Pick’s Disease and profoundly personal, the most French of was unable to compose. A shy and intensely our composers’. Ravel also met and was private man, Ravel reluctantly exposed his influenced by Erik Satie around this time. emotions almost exclusively through the medium of music. His emotional outbursts In the decade following his graduation in are most powerful in his imaginative Ravel Le tombeau de Couperin 1895, Ravel forged his reputation as an interpretations of the unaffected worlds of Ravel Daphnis and Chloé – Suite No 2 innovative composer and scored a notable childhood and animals, and in the exotic, Dutilleux L’arbre de songes hit with the Pavane pour une infante défunte far-distant tales such as the Greek lovers Dutilleux Métaboles for piano (later orchestrated). Even so his Daphnis and Chloé. Spain also influenced Delage Four Hindu Poems works were rejected several times by the the composer’s creative personality, his backward-looking judges of the Prix de mother’s Basque inheritance strongly Sir Simon Rattle conductor Rome for not satisfying the demands of reflected in a wide variety of works, together violin academic counterpoint. In the early years with his liking for the formal elegance of Julia Bullock soprano of the 20th century he completed many 18th-century French art and music. • outstanding works, including the evocative Filmed at the Barbican in January 2016. Miroirs for piano, his first operaL’heure espagnole and the Introduction et allegro Blu-ray and DVD available to purchase at for harp and ensemble. lsolive.lso.co.uk

Composer Profile 9 Lionel Bringuier conductor

rench conductor Lionel Bringuier Bringuier became Chief Conductor and by John Corigliano, Marc-André Dalbavie, collaborates frequently with the Music Director of the Tonhalle Orchestra Magnus Lindberg, Bruno Mantovani, world’s pre-eminent and Zurich in 2012, and is now in his seventh Sofia Gubaidulina and more. soloists, both in concert and on recordings. season. This year they will embark on a multi-city tour throughout Europe, joined Lionel collaborates frequently with During the 2017/18 season Bringuier is by pianist Igor Levit, and collaborate with renowned solo artists, including pianists Associate Artist with the Orchestre National the composer Brett Dean, following the Yuja Wang, Nelson Freire, Jean-Yves de Lyon, presenting three programmes landmark inauguration of the Creative Chair Thibaudet and Lang Lang; violinists with the ensemble including works by Initiative for the Tonhalle Orchestra Zurich in Lisa Batiashvili, Renaud Capuçon, Berlioz, Ravel and more. The 2017/18 Bringuier’s first season. The TOZ Artist-in- Leonidas Kavakos, Gil Shaham and season also includes engagements with the Residence Initiative has also been a highly Ray Chen; and cellist Gautier Capuçon. • Leipzig Gewandhaus Orchestra, Orchestre successful element of Bringuier’s leadership; Philharmonique de Radio France, Montreal previous artists include Yuja Wang, Symphony Orchestra, Finnish and Swedish Lisa Batiashvili and Martin Grubinger. Radio Symphony Orchestras, Gothenburg Symphony Orchestra, Orquesta Sinfónica Bringuier has appeared as a guest conductor de Castilla y León, Gulbenkian Symphony with the , Cleveland Orchestra and Malaysian Philharmonic. Orchestra, Munich Philharmonic, Simón Bolívar Symphony Orchestra of Venezuela, Bringuier made his debut with the Chicago and Israel Symphony Orchestra at the Ravinia Festival Philharmonic Orchestra. He has conducted in July 2017, with Brahms’ Piano Concerto No 1, numerous premieres, including the world with soloist Yuja Wang, and Mussorgsky’s premiere of Bernard Rands’ Concerto for Pictures at an Exhibition. He makes his annual Horn and Orchestra with soloist Robert return to the in Walters and the Cleveland Orchestra, the March with a programme including Dvořák’s world premiere of Esa-Pekka Salonen’s Symphony No 8. Further concerts this season Karawane with the Tonhalle Orchestra feature repertoire including Dutilleux’s Zurich, and the Swiss premiere of Kaija Symphony No 1, Lutosławski’s Les espaces Saariaho’s Trans for Harp and Orchestra de sommeil, Brett Dean’s Amphitheatre, in May 2017 with the Tonhalle Orchestra and works by Shostakovich, Ravel, Salonen, Zurich and harpist Xavier Maistre. He has Gruber, Varèse, Berlioz and more. also conducted regional premieres of works

10 Artist Biographies 22 February 2018 Alina Ibragimova violin

erforming music from the Baroque Symphony, Singapore Symphony, as well as Forthcoming highlights include a three- to new commissions on both a return visit to the Montreal Symphony. week tour of Japan and Korea, extensive modern and period instruments, She will perform with the Chamber Orchestra touring of North America, regular returns Alina Ibragimova has established a reputation of Europe and , Swedish to Wigmore Hall and a Berlin debut recital as one of the most accomplished violinists Radio Symphony and Daniel Harding, at the Boulez Saal. of her generation. This was illustrated in her Seattle Symphony, Bergen Philharmonic, prominent presence at the 2015 BBC Proms, Netherlands Radio Philharmonic and the Born in Russia in 1985, Alina studied at which included a symphonic concerto, Orchestra of the Age of Enlightenment. the Gnesin School before moving a performance with a Baroque ensemble Alina will also tour with Il Pomo d’Oro in with her family to the UK in 1995 where and two late-night recitals of the complete Amsterdam, Antwerp, Lisbon and Cologne, she studied at the School Bach Partitas and , for which and return to Australia for a major tour with and . She was also a The Guardian commented, ‘The immediacy the Australian Chamber Orchestra. member of the Kronberg Academy Masters and honesty of Ibragimova’s playing has programme. Alina’s teachers have included the curious ability to collapse any sense of As a recitalist, Alina has appeared at venues Natasha Boyarsky, and distance between performer and listener.’ including Wigmore Hall, the Christian Tetzlaff. Alina has been the recipient Amsterdam, Salzburg Mozarteum, Vienna’s of awards including the Royal Philharmonic Highlights among Alina’s recent Musikverein, Park Avenue Armory in New Society Young Artist Award 2010, the concerto engagements include her debut York, Carnegie Hall, Palais des Beaux-Arts Borletti-Buitoni Trust Award 2008, the performances with the Symphony, Brussels, Théâtre des Champs-Élysées, Classical BRIT Young Performer of the Year Montreal Symphony, Deutsches Symphonie- Vancouver Recital Series, San Francisco Award 2009, and was a member of the Orchester Berlin, Royal Stockholm Performances, and at the Salzburg, Verbier, BBC New Generation Artists Scheme 2005–7. Philharmonic, Hungarian National Gstaad, MDR Musiksommer, Manchester She was made an MBE in the 2016 New Year’s Philharmonic, Scottish Chamber and International, Lockenhaus, Lucerne, Mostly Honours List. Alina records for Hyperion and Tokyo Symphony Orchestras. Mozart New York and Aldeburgh Festivals. performs on a 1775 Anselmo Bellosio violin kindly provided by Georg von Opel. • Over the next two seasons her concerto Her long-standing duo partnership with engagements include debuts with the pianist Cédric Tiberghien has featured Symphonieorchester des Bayerischen highly successful cycles of the Beethoven Rundfunks with Robin Ticciati, Royal and Mozart violin sonatas at Wigmore Hall. Concertgebouw Orchestra with Sir John Eliot Their most recent release, the fourth volume Gardiner, Rundfunk-Sinfonieorchester Berlin of their Mozart Violin Sonata cycle on with , Tokyo Metropolitan Hyperion Records, attracted critical acclaim.

Artist Biographies 11 London Symphony Orchestra on stage tonight

Leader Second Violins Cellos Flutes Contra LSO String Experience Scheme Stephanie Gonley Saskia Otto Tim Gill Adam Walker Dominic Morgan Nigel Thomas Since 1992, the LSO String Experience Sarah Quinn Alastair Blayden Julian Sperry Scheme has enabled young string players First Violins Miya Väisänen Jennifer Brown Horns Percussion from the London music conservatoires at Carmine Lauri Matthew Gardner Noel Bradshaw Piccolo Timothy Jones Sam Walton the start of their professional careers to gain Lennox Mackenzie Julian Gil Rodriguez Eve-Marie Caravassilis Patricia Moynihan Angela Barnes David Jackson work experience by playing in rehearsals Clare Duckworth Naoko Keatley Daniel Gardner Alexander Edmundson Tom Edwards and concerts with the LSO. The musicians Ginette Decuyper Belinda McFarlane Hilary Jones Jonathan Lipton Benedict Hoffnung are treated as professional ‘extra’ players Gerald Gregory Paul Robson Amanda Truelove Gareth Davies Stephen Craigen Paul Stoneman (additional to LSO members) and receive Maxine Kwok-Adams Ingrid Button Deborah Tolksdorf Oliver Yates fees for their work in line with LSO section Elizabeth Pigram Hazel Mulligan Victoria Harrild Jacob Brown players. The Scheme is supported by Claire Parfitt Greta Mutlu Kai Frömbgen Philip Cobb Emmanuel Joste The Polonsky Foundation, Barbara Harriet Rayfield Alain Petitclerc Double Basses Rosie Jenkins David Elton Barnaby Archer Whatmore Charitable Trust, The Thistle Colin Renwick Erzsebet Racz Colin Paris Ruth Contractor Gerald Ruddock Trust and Idlewild Trust. Sylvain Vasseur Helena Smart Patrick Laurence Niall Keatley Harps Rhys Watkins Matthew Gibson Bryn Lewis Laura Dixon Thomas Goodman Christine Pendrill Manon Morris Shlomy Dobrinsky Edward Vanderspar Jani Pensola Peter Moore Lulu Fuller Gillianne Haddow Josie Ellis James Maynard Celeste Malcolm Johnston Paul Sherman Andrew Marriner Elizabeth Burley Anna Bastow Nicholas Worters Chris Richards Bass Lander Echevarria Paul Milner Editor Julia O'Riordan E-Flat Clarinet Edward Appleyard | [email protected] Robert Turner Chi-Yu Mo Fiona Dinsdale | [email protected] Jonathan Welch Peter Smith Editorial Photography Ilona Bondar Ranald Mackechnie, Simon Pauly Michelle Bruil Katy Ayling Eva Vermandel, Joop van Bilsen, Roger Viollet Stephen Doman Print Cantate 020 3651 1690 Shiry Rashkovsky Advertising Cabbells Ltd 020 3603 7937 Daniel Jemison Joost Bosdijk Details in this publication were correct Christopher Gunia at time of going to press.

12 The Orchestra 22 February 2018