London Symphony Living Music

Thursday 9 June 2016 7.30pm Barbican Hall

DVORˇ ÁK SYMPHONY NO 8

Dvorˇák Overture: Othello London’s Symphony Orchestra Bartók Concerto No 1 INTERVAL Dvorˇák Symphony No 8

Daniel Harding conductor Lisa Batiashvili violin

Concert finishes approx 9.20pm 2 Welcome 9 June 2016

Welcome Living Music Kathryn McDowell In Brief

Welcome to tonight’s LSO concert at the Barbican, NEW RELEASE ON LSO LIVE: which also marks the 112th birthday of the SCRIABIN SYMPHONIES NOS 1 & 2 Orchestra. This evening we explore a programme of works by two of the greatest Czech and Following the highly acclaimed recording of Hungarian composers, Dvorˇák and Bartók. Scriabin's Symphonies Nos 3 and 4 on LSO Live, and the LSO bring their revelatory Following a performance of Mahler’s Second cycle to a close with the release of the First and Symphony with the LSO on Sunday, it is a pleasure Second Symphonies. Order your copy now for £9.99. to be joined once more by LSO Principal Guest Conductor Daniel Harding. He has a great affinity lsolive.lso.co.uk for Dvorˇák and has conducted many of the composer’s works with the Orchestra since the start of his tenure in 2007. We look forward to BBC PROMS LIVE BROADCAST JULY 2016 his reading of the Eighth Symphony and the Othello Overture, which marks 400 years since The LSO will be returning to this year’s BBC Proms the death of Shakespeare. We are also delighted Festival at the Royal Albert Hall for a performance to perform with violinist Lisa Batiashvili, who returns of Mahler’s Symphony No 3 on 29 July, which will with Bartók’s First . be broadcast live on BBC Four. The concert will be conducted by , who marks Sincere thanks to our media partner Classic FM, who 50 years since his first appearance at the Festival. have recommended tonight’s concert to their listeners. bbc.co.uk/proms I hope you enjoy the concert and that you can join us at the Barbican again soon. Tomorrow evening concludes A WARM WELCOME TO TONIGHT’S GROUPS this season's LSO Artist Portrait series with a solo recital exploring works by Sibelius, Debussy, The LSO offers great benefits for groups of ten or Beethoven and Chopin. more, including 20% discount on standard tickets, a dedicated group booking phone-line, priority booking and, for larger groups, free hot drinks. Tonight, we are delighted to welcome:

Redbridge & District U3A Kathryn McDowell CBE DL Richard Wimberley & Friends Managing Director University College Oxford – Young Univ

lso.co.uk/groups London Symphony Orchestra Living Music

Gianandrea Noseda opens the season with the Verdi Requiem, his first concerts as LSO Principal Guest Conductor

Sir concludes his Mendelssohn symphonies cycle

Two new commissions from Mark-Anthony Turnage receive their world and UK premieres

Janine Jansen performs in three concerts as part of her LSO Artist Portrait

François-Xavier Roth continues his After Romanticism series

Bernard Haitink conducts Bruckner, Mahler and Beethoven with

Lang Lang returns to close the season with Bartók’s Piano Concerto No 2

See the full listings, now on sale, at lso.co.uk/201617season 4 Programme Notes 9 June 2016

Antonín Dvorˇák (1841–1904) Overture: Othello Op 93 (1891–92)

PROGRAMME NOTE WRITER When Antonín Dvorˇák was invited to America in on the side of the most evocative of the alternatives – ALISON BULLOCK is a freelance 1892, to take up the position of Director of the new for even though Dvorˇák’s autograph notations were writer and music consultant whose National Conservatory of Music in New York, it was never intended for publication, we can use the title interests range from Machaut to final proof (if proof were needed) of his reputation as to conjure up our own story for the overture, which, Messiaen and beyond. A former one of the most important living composers in the however one looks at it, is absolutely one of Dvorˇák’s editor for the New Grove Dictionary Western world. Shortly after his arrival in New York, most brilliant, expressive orchestral works. of Music and the LSO, she is now he conducted a concert that included a new work, based in Oslo, Norway. a trilogy entitled Nature, Life and Love, comprising the overtures In Nature’s Realm (Op 91), Carnival WILLIAM SHAKESPEARE’S OTHELLO (1603) (Op 92) and Othello (Op 93). These three works are interconnected by the main musical theme that first DVORˇ ÁK’S OVERTURES appears in In Nature’s Realm, but while Carnival Dvorˇák had already composed a has become known as a separate piece, the other number of overtures by this point, two works are much less known, and they are rarely including the Vanda Overture played as a set. Dvorˇák’s intention with the three (1879), the Domov mu˚j Overture (My overtures was to depict the three great themes of Homeland, 1881), and the Husitská the trilogy’s title; the theme of love is treated in the Overture (1883), which was one final piece, Othello. of the pieces he conducted during Othello with Desdemona in bed asleep by Christian Köhler (1859) his first visit to England in 1884. Dvorˇák was well acquainted with Shakespeare’s However, Dvorˇák believed that the tragedy, and made reference in his manuscript Shakespeare’s tragedy is based on the story Nature, Life and Love trilogy showed to particular scenes from the play. However, these Un Capitano Moro (A Moorish Captain) written a different side to him as a composer, annotations indicate that his intention was probably by Italian Renaissance poet Cinthio around 1565. saying to his friend Emanuel Chvála, not to retell the entire play, but to use its references The play tells the story of Othello, a general of the ‘here I am a poet as well as a musician’. to create a more generalised picture of tragic love, Venetian army, who has secretly married Desdemona, including such elements as passion (‘They [Othello daughter of senator Brabantio. The senator disowns and Desdemona] embrace in silent ecstasy’), anger his daughter after learning of their union, and Othello (‘Othello murders her at the height of his wrath’), is ordered to sail for Cyprus, accompanied by his wife remorse (‘he considers his dreadful crime’) and the and some of his men. Through ruses planted by the final, tragic outcome (‘he kills himself’). jealous ensign Iago, Othello becomes suspicious of Desdemona, believing that she has been unfaithful Dvorˇák probably intended to paint a musical picture with the lieutenant Cassio. Enraged, Othello smothers of the ill-fated lovers, and the overture is full of little Desdemona, only to learn through Iago’s wife references, both from within the work and from Emilia that the handkerchief that served as the ‘proof’ other pieces (such as Dvorˇák’s own Requiem). of Desdemona’s affair was planted. Iago kills his But the composer was in severe doubt as to wife Emilia for revealing his plan, and is left to be whether the work should carry the title Othello, and punished by the Venetian state. Tormented by guilt, considered such alternatives as ‘The Tragic Overture’ Othello kills himself. or even ‘Eroica’. In the end, though, he came down lso.co.uk Composer Profile 5

Antonín Dvorˇák Composer Profile

COMPOSER PROFILE WRITER Born into a peasant family, Dvorˇák developed a love Symphony and Requiem Mass. Dvorˇák’s Cello ANDREW STEWART of folk tunes at an early age. His father inherited Concerto in B minor received its world premiere the lease on a butcher’s shop in the small village of in London in March 1896. His Ninth Symphony Nelahozeves, north of Prague. When he was twelve, (‘From the New World’), a product of Dvorˇák’s the boy left school and was apprenticed to become American years (1892–5), confirmed his place a butcher, at first working in his father’s shop and among the finest of late 19th-century composers. later in the town of Zlonice. Here Dvorˇák learned German and also refined his musical talents to such a level that his father agreed he should pursue a career as a musician. In 1857 he enrolled at the Prague Organ School, during which time he became inspired by the music dramas of Wagner: opera was to ‘The music of the people is like a become a constant feature of Dvorˇák’s creative life. rare and lovely flower growing

His first job was as a player, although he amidst encroaching weeds. supplemented his income by teaching. In the mid- Thousands pass it, while others 1860s he began to compose a series of large-scale works, including his Symphony No 1 ('The Bells trample it under foot, and thus of Zlonice'), and the Cello Concerto. Two operas, the chances are that it will a second symphony, many songs and chamber works followed, before Dvorˇák decided to perish before it is seen by the concentrate on composition. In 1873 he discriminating spirit who will mar­ried one of his pupils, and in 1874 received a much-needed cash grant prize it above all else. The fact from the Austrian government. that no one has yet arisen to lobbied the publisher make the most of it does not Simrock to accept Dvorˇák’s work, leading to the publication of his prove that nothing is there.’ Moravian Duets and a commission for a set of Slavonic Dances. Antonín Dvorˇák

The nationalist themes expressed in Dvorˇák’s music attracted considerable interest beyond Prague. In 1883 he was invited to London to conduct a concert of his works, and he returned to England often in the 1880s to oversee the premieres of several important commissions, including his Seventh 6 Programme Notes 9 June 2016

Béla Bartók (1881–1945) Violin Concerto No 1 (1907–08)

1 ANDANTE SOSTENUTO at times, seems remarkably futuristic. While there 2 ALLEGRO GIOCOSO; MENO ALLEGRO E RUBATO; are moments of full orchestral passion in this first TEMPO I; VIVO; MOLTO SOSTENUTO; TEMPO I part of the movement, presided over throughout by the solo violin, it is predominantly understated. LISA BATIASHVILI VIOLIN Wind instruments initiate the second part of the movement, leading to an impassioned climax, after PROGRAMME NOTE WRITER Until its premiere in 1958, by Paul Sacher and which the solo violin returns to lead the orchestra JAN SMACZNY is the Sir Hamilton Hansheinz Schneeberger, 13 years after the to a beautifully coloured close. Harty Professor of Music at Queen’s composer’s death, Bartók’s First Violin Concerto University, Belfast. A well-known was known only in an adapted version as the first The second movement is an extended rondo of writer and broadcaster, he of the orchestral Two Portraits Op 5, ‘One Ideal’. a predominantly brisk and rather jokey nature, specialises in the life and works of The concerto itself was composed in 1907 and 1908, particularly towards the end, where a fleeting canon Dvorˇák and Czech opera, and has at a time when Bartók was much engaged with for two commemorates a happy summer in published books on the repertoire folk-song. His interest was not confined to amassing which Bartók, Stefi and a friend enjoyed singing of the Prague Provisional Theatre collections, variously of Transylvanian, Slovak and canons of various kinds. Stefi’s motif in various and Dvorˇák’s Cello Concerto. Romanian songs and melodies, but also involved transformations still hovers over much of the incorporating their characteristics – harmonic, thematic material, notably in the yearning slower melodic and even formal – as a basis for his own sections. Stylistically there is much variety, some of classical musical language, in part as a means of it backward-looking, but above all this work signals escaping overwhelming late-Romantic influences, the modernist Bartók of the 1910s and 1920s. such as the music of .

The primary inspiration for the concert, however, was an intense infatuation with the young violinist STEFI GEYER (1888–1956) Stefi Geyer, a pupil of the great Hungarian teacher was a Swiss violinist of Hungarian Jeno˝ Hubay. Letters from the height of their relationship descent, and one of the foremost include discussions about religion, and it seems that violinists and violists of her Geyer’s horror of Bartók’s atheism was the main generation. As a child prodigy she reason for the end of any possibility of something travelled in Europe and to the US, closer, although they later renewed contact. Bartók’s before living in Vienna from 1911 to creative reaction was a haunting musical fragment, 1919, and marrying the composer a rising arpeggio which includes a major seventh, INTERVAL – 20 minutes and pianist Walter Schulthess in identified by the composer as Stefi’s motif. He used There are bars on all levels of the Concert Hall; ice cream Zürich in 1920. Bartók was not the it in one of the Fourteen Bagatelles Op 6, but it also can be bought at the stands on Stalls and Circle level. only composer infatuated by Geyer; dominates the concerto that he wrote for her. The Barbican shop will also be open. Othmar Schoeck was also in love with her, dedicating his Violin Sonata The solo violin opens the concerto with Stefi’s Why not tweet us your thoughts on the first half of the and later Violin Concerto to her. expressive melody. It is joined gradually by the performance @londonsymphony, or come and talk to orchestral in a contrapuntal dialogue which, LSO staff at the Information Desk on the Circle level? lso.co.uk Composer Profile 7

Béla Bartók Composer Profile London Symphony Orchestra

Born in 1881 in Nagyszentmiklós, Hungary (now Sinnicolau Mare, Romania), Béla Bartók began VIRTUOSO VIOLINISTS piano lessons with his mother at the age of WITH THE LSO IN 2016/17 five. From 1899 to 1903 he studied piano and composition at the Royal Academy of Music in Budapest, where he created a number of works that echoed the style of Brahms and Richard Strauss.

After graduating he discovered Austro-Hungarian and Slavic folk music, travelling extensively with his friend Zoltán Kodály and recording countless ethnic songs and dances which began to influence his own compositions. His compositions were also influenced by the works of Debussy, to which he Sun 16 & Thu 20 Oct 2016 was introduced by Kodály in 1907, the year in which MENDELSSOHN VIOLIN CONCERTO he became Professor of Piano at the Budapest Alina Ibragimova violin COMPOSER PROFILE WRITER Conservatory. Bartók established his mature style Sir John Eliot Gardiner conductor ANDREW STEWART with such scores as the ballet The Miraculous Mandarin (1918–19, completed 1926–31) and his Thu 24 Nov 2016 opera Duke Bluebeard’s Castle (1911, completed 1918). BRUCH VIOLIN CONCERTO He revived his career as a concert pianist in Roman Simovic violin 1927 when he gave the premiere of his First Piano Sir conductor Concerto in Mannheim. Thu 8 Dec 2016 JOHN ADAMS SCHEHERAZADE.2 Bartók detested the rise of fascism and in October Leila Josefowicz violin 1940 he quit Budapest and travelled to the US. John Adams conductor At first he concentrated on ethno-musicological research, but eventually created a significant group Wed 14 Dec 2016 of ‘American’ works, including the Concerto for SHOSTAKOVICH VIOLIN CONCERTO NO 1 Orchestra and his Third Piano Concerto. Bartók James Ehnes violin continued to collect and transcribe folk-songs of Fabien Gabel conductor many countries, a commitment that brought little Sun 18 Dec 2016 recognition but one which he regarded as his most MOZART VIOLIN CONCERTOS NOS 1 & 4 important contribution to music. He also declined Nikolaj Znaider director/violin the security of a composition professorship during his final years in America, although he did accept the post of Visiting Assistant in Music at Columbia 020 7638 8891 University from March 1941 to the winter of 1942 lso.co.uk until ill health forced his retirement. 8 Programme Notes 9 June 2016

Antonín Dvorˇák Symphony No 8 Op 88 (1889)

1 ALLEGRO CON BRIO for the whole work, and is followed by a birdcall 2 ADAGIO heard in the . With these two melodies we 3 ALLEGRETTO GRAZIOSO find ourselves immersed in the forests and folklore 4 ALLEGRO MA NON TROPPO of Bohemia; they also provide the building blocks for many of the symphony’s later themes. PROGRAMME NOTE WRITER By 1889 Antonín Dvorˇák had achieved his dream ALISON BULLOCK of being an internationally recognised composer. The second movement is more contemplative What is more, he was recognised as a Czech and quite serious in nature, with a stern outburst composer, having decided in 1885, after a crisis towards the end. The mood is broken by a gentle, of indecision, that his musical home lay in his native folk-song-like tune that appears in different parts land and not in Vienna, the city that had given him of the orchestra, at times catching the atmosphere his musical breakthrough. Dvorˇák was particularly of a village fête. Dvorˇák’s third movement waltz popular in London, where his works had been praised is a graceful and voluptuously melancholic piece, DVORˇ ÁK ON LSO LIVE by Edward Elgar, among others. And it was to interrupted by a sprightly trio. The final movement, Symphonies Nos 6–9 London that he turned when he finally became fed however, is Dvorˇák’s pièce de résistance, ushered in up with the money-making tricks of his Berlin-based by a bright fanfare. This is a wild romp of a variation Sir conductor publisher Simrock, who had made a small fortune movement based on a march-like theme that sums £14.99 out of Dvorˇák’s Slavonic Dances and who was not up much of the symphony in its jolly (but also really interested in publishing symphonies that crookedly chromatic) lines. We expect the symphony ‘A winning would not sell as widely as short chamber works. to end in triumph; however, just before the end combination When his Eighth Symphony was completed and Dvorˇák turns inward for a moment of contemplation, of Davis’ Simrock again demurred, Dvorˇák, retorting that as if quietly considering his achievements, before heart-warming he composed according to God’s will and not his the jubilant final cadence. direction, the publisher’s, sold it to the London publisher Novello, LSO’s refulgent earning the symphony the nickname ‘the English’ ANTONÍN DVORˇ ÁK IN ENGLAND virtuosity and seductive phrasing, on the Continent. Dvorˇák was first invited to England in 1883 by the and first-rate engineering’ Royal Philharmonic Society. The composer travelled Classic FM Despite this moniker, the Eighth Symphony is to London to conduct his Stabat Mater in the Royal undoubtedly Dvorˇák’s most Czech symphony. It was Albert Hall on 13 March 1884, and conducted two lsolive.lso.co.uk written between 26 August and 8 November 1889, further concerts at St James’ Hall and the Crystal and the composer set out to write a work different Palace. Dvorˇák’s works were already known in from his other symphonies, with individual musical England by this time – his Slavonic Dances and ideas worked out in a new manner. It is without Rhapsodies as well as his Sixth Symphony had been doubt his most unusual symphony, as he turned conducted by August Manns between 1879 and 1882 – away from the traditional (Viennese) symphonic form but for the British musical world this visit cemented and filled his work with tunes, making the form fit the Dvorˇák’s reputation as one of the foremost Czech melodies and not the other way around. The broad, composers. This first set of performances gave rise to noble cello tune that opens the first movement (and eight further visits to England, and a period free from serves to anchor it down at key points) sets the tone the strain of financial difficulty for the composer. London Symphony Orchestra Living Music

LSO Discovery Summer 2016

LSO DISCOVERY SHOWCASE: PEACEMAKERS SIR PETER MAXWELL DAVIES’ SUMMER LSO DISCOVERY SHOWCASES Thu 16 Jun 2016 7.30pm, Barbican THE HOGBOON CHILDREN'S OPERA AT LSO ST LUKE'S with LSO On Track Foyer Takeover from 6.45pm Sun 26 Jun 2016 7pm, Barbican Sun 19 Jun 2016 7pm Tippett Five Spirituals from ‘Child of Our Time’ Peter Maxwell Davies The Hogboon SOUNDHUB SHOWCASE Vaughan Williams Dirge for Two Veterans from (world premiere, LSO commission) Music by LSO Soundhub composers Yasmeen Ahmed, ‘Dona nobis pacem’ Berlioz Symphonie fantastique Ben Gaunt, Oliver Leith and Lee Westwood, Karl Jenkins Healing Light – A Celtic Prayer from performed by LSO chamber ensembles. ‘The Peacemakers’ Sir conductor Holst Jupiter from ‘The Planets’ LSO Discovery Choirs Tue 19 Jul 2016 7pm Howard Moody Vaishnava* London Symphony Chorus LSO BRASS ACADEMY SHOWCASE (world premiere, LSO Discovery commission) Simon Halsey choral director Talented brass players from across the UK Guildhall School Musicians showcase the results of a week of masterclasses Elim Chan conductor | Howard Moody conductor* London Symphony Orchestra with LSO musicians. Francesca Chiejina, Bianca Andrew, Eduard Karen Gillingham stage director Mas Bacardit, Joan Miquel Muñoz Socias soloists Rhiannon Newman Brown designer Sun 31 Jul 2016 7.30pm LSO On Track Next Generation* DIGITAL TECHNOLOGY GROUP CONCERT LSO Community Choir Generously supported by David HS Hobbs An evening of music with members of the LSO St Luke's Guildhall School Orchestral Artistry Students Digital Technology Group and LSO musicians, curated London Symphony Orchestra by LSO Soundhub composer James Moriarty.

The LSO wishes to thank the following organisations for their support: Sir Siegmund Warburg's Voluntary Settlement, Rothschild Charities Committee, Slaughter & May, The Barnett & Sylvia Shine No 2 Charitable Trust and LSO Patrons (LSO Sing); Mizuho, Clore Duffield Foundation, Hedley Foundation lso.co.uk and LSO Friends (LSO On Track Next Generation); Help Musicians UK, Angus Allnatt Charitable Foundation and LSO Friends (Brass Academy); Finsbury Educational Foundation (Digital Technology Group); and the Esmée Fairbairn Foundation and Hinrichsen Foundation (LSO Soundhub). 020 7638 8891 10 Artist Biographies 9 June 2016

Daniel Harding Conductor

Born in Oxford, Daniel Harding began his career His operatic experience includes Strauss’ Ariadne assisting Sir Simon Rattle at the City of Birmingham auf Naxos, Mozart’s Don Giovanni and The Marriage Symphony Orchestra, with which he made his of Figaro at the Salzburg Festival with the Vienna professional debut in 1994. He went on to assist Philharmonic, Britten’s The Turn of the Screw and at the and made Berg’s Wozzeck at the Royal Opera House, Covent his debut with the Orchestra at the 1996 Berlin Festival. Garden, Mozart’s Die Entführung aus dem Serail at the Bayerische Staatsoper, , Mozart’s From September 2016 he will become the Music The Magic Flute at the Wiener Festwochen and Director of the Orchestre de Paris and will continue Berg’s Wozzeck at the Theater an der Wien. Recent to carry out his roles as Music Director of the and future guest engagements include the world Swedish Radio Symphony Orchestra, Principal Guest premiere of Olga Neuwirth’s Masaot/Clocks Without Conductor of the London Symphony Orchestra and Hands with the Vienna Philharmonic Orchestra in Music Partner of the New Japan Philharmonic. He Vienna, Cologne and Luxembourg; a European tour is Artistic Director of the Ohga Hall in Karuizawa, with the Royal Concertgebouw Orchestra; and a return Japan and was recently honoured with the lifetime to the US to conduct the Los Angeles Philharmonic. title of Conductor Laureate of the Mahler Chamber Principal Guest Conductor Orchestra. His previous positions include Principal His recent recordings for , London Symphony Orchestra Conductor and Music Director of the MCO (2003–11), Mahler’s Symphony No 10 with the Vienna Principal Conductor of the Trondheim Symphony Philharmonic Orchestra, and Orff’s Carmina Burana Music Director (1997–2000), Principal Guest Conductor of Sweden’s with the Bavarian Radio Symphony Orchestra, have Swedish Radio Symphony Orchestra Norrköping Symphony (1997–2003) and Music both won widespread critical acclaim. For Virgin/EMI Director of the Deutsche Kammerphilharmonie he has recorded Mahler’s Symphony No 4 with the Music Partner Bremen (1997–2003). Mahler Chamber Orchestra; Brahms’ Symphonies New Japan Philharmonic Nos 3 and 4 with the Deutsche Kammerphilharmonie He is a regular visitor to the Vienna Philharmonic, Bremen; Britten’s Billy Budd with the London Artistic Director Dresden Staatskapelle, Royal Concertgebouw, Symphony Orchestra (winner of a Grammy Award Ohga Hall Berlin Philharmonic, the Bavarian Radio, Leipzig for best opera recording); Mozart’s Don Giovanni and Gewandhaus and the Orchestra Filarmonica della Britten’s The Turn of the Screw, both with the Mahler Conductor Laureate Scala. Other guest conducting engagements have Chamber Orchestra; works by Lutosławski with Mahler Chamber Orchestra included the , Orchestre Solveig Kringelborn and the Norwegian Chamber National de Lyon, Oslo Philharmonic, London Orchestra; and works by Britten with Ian Bostridge DANIEL HARDING IN 2016/17 Philharmonic, Royal Stockholm Philharmonic, Santa and the Britten Sinfonia. Cecilia Orchestra of Rome, Orchestra of the Age of Sun 25 Sep 2016 7pm Enlightenment, Rotterdam Philharmonic, Frankfurt In 2002 he was awarded the title Chevalier de l’Ordre Mahler Symphony No 4 Radio Orchestra and the Orchestre des Champs- des Arts et des Lettres by the French Government Elysées. US he has performed with and in 2012 he was elected a member of The Royal Wed 15 Feb 2017 7.30pm include the , Philadelphia Swedish Academy of Music. Rachmaninov Symphony No 2 Orchestra, Boston Symphony Orchestra, Los Angeles Philharmonic and Chicago Symphony Orchestra. lso.co.uk Artist Biographies 11

Lisa Batiashvili Violin

Lisa Batiashvili, Musical America’s 2015 Instrumentalist Nazionale di Santa Cecilia (with Sir Antonio Pappano). of the Year, is this season’s Artist-in-Residence She and her husband, François Leleux, also with the Tonhalle-Orchester Zürich. Praised by premiered ’s Concerto for Violin audiences and fellow musicians for her virtuosity and with the NDR Sinfonieorchester Hamburg and ‘profound sensitivity’ (Financial Times), and New York Philharmonic under Alan Gilbert, the Georgian violinist has developed long-term as part of her residencies with both orchestras. relationships with some of the world’s leading orchestras, including the New York Philharmonic, Recording exclusively for Deutsche Grammophon, with whom she was Artist-in-Residence last season. Lisa’s most recent release is an album dedicated to works by JS and CPE Bach, featuring, among Highlights in Lisa’s 2015/16 season have included others, François Leleux, and performances with the London Philharmonic Kammerorchester des Bayerischen Rundfunks. Orchestra (under Yannick Nézet-Séguin), Orchestre Earlier recordings include the Brahms Violin Concerto de Paris (with Paavo Järvi), Vienna Philharmonic with Staatskapelle Dresden (under Christian (with Esa-Pekka Salonen), and New York Philharmonic Thielemann), also on DVD, and Shostakovich’s (with Semyon Bychkov), as well as a European tour Violin Concerto No 1 with Symphonieorchester des with the Royal Stockholm Philharmonic Orchestra Bayerischen Rundfunks (with Esa-Pekka Salonen). (with ). She also performed in a series She has also recorded the Beethoven, Sibelius and of recitals with Gautier Capuçon, , Lindberg concertos for Sony. Valery Sokolov and Gérard Causse, celebrating the 100th anniversary of Henri Dutilleux’s birth at the A student of Ana Chumachenko and Mark Lubotski, Wigmore Hall, London; Concertgebouw, Amsterdam; Lisa gained international recognition at the age Musikverein, Vienna; Philharmonie 2, Paris; and of 16 as the youngest ever competitor in the Tonhalle Zürich. Later this month she will perform Sibelius Competition. She has been awarded two with the Berlin Philharmonic under Yannick Nézet- ECHO Klassik awards, the MIDEM Classical Award, Séguin, including the annual open air concert at the Choc de l’année, the Accademia Musicale Waldbühne; and in July she returns to Berlin for Chigiana International Prize, the Schleswig-Holstein another open air concert with Music Festival’s Award and the and at the Bebelplatz. Beethoven-Ring.

Recent and forthcoming invitations include Lisa lives in Munich and plays a Joseph Guarneri concerts at home and on tour with the Royal ‘del Gesu’ from 1739, generously loaned by a Concertgebouw Orchestra, Staatskapelle Dresden, private collector. Symphonieorchester des Bayerischen Rundfunks, Chamber Orchestra of Europe, Philadelphia Orchestra and Boston Symphony Orchestra. Last season Lisa performed with the Filarmonica della Scala and Staatskapelle Berlin (both under Daniel Barenboim), and Orchestra dell’Accademia 12 The Orchestra 9 June 2016

London Symphony Orchestra Your views On stage Inbox

FIRST VIOLINS FLUTES HORNS SUN 22 MAY – BMW LSO OPEN AIR CLASSICS AT TRAFALGAR SQUARE Roman Simovic Leader Rachel Roberts Adam Walker Tim Thorpe Carmine Lauri Malcolm Johnston Alex Jakeman Jonathan Lipton Sarah Owens Absolutely loved tonight’s Tchaikovsky Lennox Mackenzie Anna Bastow Alexander Edmundson at #BMWLSOopenair! Quality #classicalmusic Clare Duckworth Lander Echevarria Meilyr Hughes Nigel Broadbent Julia O’Riordan Sharon Williams Jocelyn Lightfoot @londonsymphony Ginette Decuyper Robert Turner Gerald Gregory Heather Wallington TRUMPETS Olivier Stankiewicz Jörg Hammann Jonathan Welch Martin Hurrell Leah Bae Had an amazing experience at #BMWLSOopenair. Rosie Jenkins Maxine Kwok-Adams Richard Holttum Gerald Ruddock Thanks @londonsymphony and @BMW for using music to Claire Parfitt Caroline O’Neill COR ANGLAIS TROMBONES make London feel like such a special place. Laurent Quenelle Christine Pendrill Peter Moore Harriet Rayfield CELLOS James Maynard Colin Renwick Tim Hugh CLARINETS Jacob C What an extraordinary performance. Thank you, Jennifer Brown Ian Rhodes Andrew Marriner BASS TROMBONE Noel Bradshaw such a joy! #BMWLSOopenair Sylvain Vasseur Chi-Yu Mo Paul Milner Rhys Watkins Eve-Marie Caravassilis Daniel Gardner BASS CLARINET TUBA SECOND VIOLINS Hilary Jones Laurent Ben Slimane Patrick Harrild SUN 29 MAY – SIR ANTONIO PAPPANO AND NIKOLAJ ZNAIDER Thomas Norris Amanda Truelove BASSOONS Sarah Quinn Miwa Rosso TIMPANI Daniel Jemison Chris Bush @londonsymphony Pappano Elgar 2 was Miya Väisänen Antoine Bedewi Joost Bosdijk David Ballesteros DOUBLE BASSES fantastic tonight PERCUSSION Matthew Gardner Rick Stotijn Neil Percy Julian Gil Rodriguez Colin Paris David Jackson Scarlett Serene beauty – #Beethoven violin concerto Belinda McFarlane Patrick Laurence Matthew Gibson William Melvin HARPS under the baton of #Pappano and the virtuosic performance Thomas Goodman Iwona Muszynska Bryn Lewis of #LSO #Znaider Joe Melvin Andrew Pollock Emma Ramsdale Paul Robson Jani Pensola Amy Z @londonsymphony seduced the audience with

Sir Antonio Pappano & @NikolajZnaider

LSO STRING EXPERIENCE SCHEME

Established in 1992, the LSO String Experience The Scheme is supported by: London Symphony Orchestra Editor Scheme enables young string players at the Help Musicians UK Barbican Edward Appleyard start of their professional careers to gain The Polonsky Foundation Silk Street [email protected] work experience by playing in rehearsals The Barbara Whatmore Charitable Trust London and concerts with the LSO. The scheme The Idlewild Trust EC2Y 8DS Photography auditions students from the London music The Lefever Award. Sammy Hart, Ranald Mackechnie, conservatoires, and 15 students per year Registered charity in England No 232391 Martin Lengemann, Julian Hargreaves are selected to participate. The musicians Details in this publication were correct Print Cantate 020 3651 1690 are treated as professional ’extra’ players at time of going to press. (additional to LSO members) and receive fees Advertising Cabbell Ltd 020 3603 7937 for their work in line with LSO section players.