London Orchestra Living Music

Thursday 22 September 2016 7.30pm Barbican Hall

HAYDN CONCERTO

Debussy La mer London’s Symphony Orchestra Haydn Trumpet Concerto INTERVAL Shostakovich Symphony No 5

Gianandrea Noseda conductor Philip Cobb trumpet

Concert finishes approx 9.35pm

2 Welcome 22 September 2016

Welcome Living Music Kathryn McDowell In Brief

A warm welcome to the fourth concert of the LSO LIVE LATEST RELEASE: LSO’s 2016/17 season at the Barbican, with the RACHMANINOV SYMPHONY CYCLE Orchestra’s newly appointed Principal Guest Conductor, Gianandrea Noseda. This evening’s The final part of the LSO’s acclaimed Rachmaninov performance explores a varied programme of Symphony Cycle was released on 9 September. Debussy, Haydn and Shostakovich, three composers Coupling Rachmaninov’s First Symphony with united by the desire to break with convention Balakirev’s Tamara, the Orchestra’s performance and explore new ways of composing. was described as ‘full-blooded and engrossing’ by The Telegraph. We are especially pleased to feature Philip Cobb, the LSO’s Principal Trumpet, as a soloist this evening for lsolive.lso.co.uk the first concert in a series that sees the Orchestra’s Principal players take centre stage. Philip’s history with the LSO began when he took part in our Brass A WARM WELCOME TO TONIGHT’S GROUPS Academy at LSO St Luke’s and studied at the Guildhall School. We look forward to hearing him perform the The LSO offers great benefits for groups of 10+, Haydn Trumpet Concerto in the Barbican following including 20% discount on standard tickets. blistering performances on tour. Tonight we are delighted to welcome:

Thank you to our media partner Classic FM, which Redbridge & District U3A has supported and recommended tonight’s concert Adele Friedland & Friends and the LSO Principals series to its listeners. Farnham U3A Concert Club Wells Cathedral Music School I hope you enjoy tonight’s performance and that Ann Parrish & Friends you can join us at the Barbican again soon. Our next Richard Wimberley & Friends concert on Sunday, conducted by Daniel Harding, Royal Marines School of Music features Mahler’s Fourth Symphony and Sibelius’ Geraldine McEwan & Friends Violin Concerto, with Nikolaj Znaider as soloist. Woodford County High School

lso.co.uk/groups

Kathryn McDowell CBE DL Managing Director lso.co.uk Interview 3

In Conversation With … Philip Cobb

LSO Principal Trumpet Philip Cobb steps into the spotlight this evening as the soloist in Haydn’s Trumpet Concerto. We talk to him about the piece, performing with the LSO Brass Ensemble, and growing up with the UK brass band tradition.

What are you looking forward to the most about performing How does performing with the Ensemble differ to playing with this evening? the LSO?

I’m very excited about it. Just to stand at the front of an Orchestra such It’s a completely different ball game. Sitting at the back of the Orchestra as the LSO – it’s something I dreamt of as a kid. I’ve not done the Haydn and occasionally having melodies to play … obviously you’ve got a lot Trumpet Concerto all that much with a symphony orchestra, so even to more work to do in a brass quintet concert. It’s a very different mindset. play it through with the Orchestra will be fantastic. When did your journey as a performer start, and how did you What makes the Haydn Trumpet Concerto so special? reach the position of LSO Principal Trumpet?

It’s the most famous Trumpet Concerto, and it’s an extremely complete I started playing when I was three-and-a-half. My grandfather was a work. It’s pretty big in the history of the trumpet. It’s very much a piece player, my father is a player, my brother had just started – he’s three- that you know even before you go to college as an audition piece. and-a-half years older than me. When I was that sort of age, there were and cornets everywhere – the brass band tradition As well as performing with the Orchestra, you regularly in the UK is huge. play with the LSO Brass Ensemble. What have been some of your highlights? I came up through the fantastic tradition that is the Salvation Army, so I joined a youth band when I was about six-and-a-half. Later on I The trips to Japan have been fantastic. I think the first night a couple of graduated to the senior band, and in the process was involved in things years ago when we went, there were about two-and-a-half thousand like the National Youth Brass Band, and the local borough wind band, people in the audience. It can seem a little bit strange when you do a before taking part in the LSO Brass Academy scheme. show like that, and at the end you’ve got a couple of hundred people queueing up for autographs. It’s very flattering, I suppose! Read the full interview and more at lso.co.uk/blog 4 Programme Notes 22 September 2016

Claude Debussy (1862–1918) La mer (The Sea): Three Symphonic Sketches (1903–5)

1 DE L’AUBE À MIDI SUR LA MER backdrops, though sometimes very important ones; (FROM DAWN UNTIL NOON ON THE SEA) Debussy made them the central focus of his work. 2 JEUX DE VAGUES (THE PLAY OF THE WAVES) For once the term ‘’, rarely very 3 DIALOGUE DU VENT ET DE LA MER helpful when applied to music, makes some sense: (DIALOGUE OF THE WIND AND THE SEA) as with Monet and his colleagues there is a desire to experience and capture a scene just for its own Though we should not take very seriously his tongue- sake, a loving attention to ever-changing qualities in-cheek remark that if he had not been a composer he of texture, atmosphere and mood, and an ability through suggestive, unconventional touches to would have liked to be a sailor, there is no doubt that bring the scene alive. Debussy felt a lifelong fascination for the sea. The evocative power of La mer is uncanny: no other piece of music has so vividly recreated the sea in PROGRAMME NOTE WRITER The sea seems to have moved into the centre of his its infinite variety of moods and textures. The titles JEREMY THURLOW is a composer; compositional thoughts in his previous orchestral of the three movements suggest a progression his music ranges from string work, the Nocturnes, a set of three evocative which has been concisely summed up as ‘the sea quartets to video-opera, and he ‘sound-pictures’ of which the third and longest is awakening; the sea at play; the wild sea’, and within won the George Butterworth Award a seascape, Sirènes. But here and in other pieces these simple outlines the music suggests a thousand in 2007. The author of a book on such as L’isle joyeuse and La cathédrale engloutie, details, utterly compelling and ‘exact’ even when it Dutilleux, he broadcasts on BBC the sea remains a backdrop for mythological scenes; can be hard to put into words the sensation that has Radio 3 and is a Fellow of Robinson in La mer it comes into its own as the central and been so exactly recreated. But this paradox – music College, Cambridge. only character of the drama. that is so strongly suggestive, and yet so evasive with regard to what is suggested – is at the heart of ‘I was destined for the fine life of a Debussy’s achievement. When composing, he wrote, sailor … I still have a great passion his ‘innumerable memories [were] worth more than a reality which tends to weigh too heavily on the for the sea.’ imagination’. So we should not be surprised to learn that much of the work was written far from the sea.

As Simon Tresize has observed, orchestral excerpts In fact, Debussy was buffeted by storms of a from Wagner were much more commonly performed different kind, for the years 1903–5 in which he in at that time than the operas themselves, wrote La mer also saw the attempted suicide of his and may have inspired the highly original form of wife Lily, his elopement with singer , Debussy’s three ‘symphonic sketches’ – particularly later to become his second wife, and the ensuing the first which unfolds as a succession of different scandal (which included the rapid appearance evocative ‘scenes’. Wagner’s evocations of sea- of a highly successful play, closely and obviously storms and primeval rivers, forests and flames modelled on the affair). While we should avoid present gradually evolving textures of subtly layered imputing any direct correspondence, the tumult of orchestral sound. In his operas these serve as the third movement might be felt to bear a trace of lso.co.uk Composer Profile 5

Claude Debussy Composer Profile

Debussy’s own personal melodrama. But perhaps Despite an insecure family background (his father the most important stimulus here came from the was imprisoned as a revolutionary in 1871), Debussy visionary sea paintings of J M W Turner, described took piano lessons and was accepted as a pupil of by Debussy as ‘the finest creator of mystery in the Conservatoire in 1872, but failed to make the whole of art!’. In its originality of expression the grade as a concert pianist. The gifted musician and range of feeling, however, Debussy’s musical directed his talents towards composition, eventually seascape stands alone, encompassing the majesty winning the coveted Prix de Rome in 1884 and and delicacy, fury and stillness, effervescence and spending two years in Italy. During the 1890s he power of the sea in one of the great masterpieces lived in poverty with his mistress Gabrielle Dupont, of 20th-century music. eventually marrying the dressmaker Rosalie (Lily) Texier in 1899.

J M W TURNER (1775–1851) His Prélude à l’après-midi d’un faune, although and the SEA PAINTINGS regarded as a revolutionary work at the time of its premiere in December 1894, soon found favour with concertgoers and the habitually conservative French COMPOSER PROFILE WRITER press. Late in the summer of the previous year he ANDREW STEWART had begun work on the only opera he completed, Pelléas et Mélisande, which was inspired by Mæterlinck’s play. It was an immediate success after its first production in April 1902. DEBUSSY ON LSO LIVE In 1904 he met Emma Bardac, the former wife of a successful financier, and moved into an apartment James Mallord William Turner was an English Romantic with her; his wife, Lily Texier, attempted suicide landscape and watercolour painter. He became known following their separation. Debussy and Bardac had a as the ‘painter of light’ because of his increasing daughter and were subsequently married in January interest in using brilliant colours for his land and 1908. The composer’s troubled domestic life did not seascapes. Marine art accounts for over two-thirds affect the quality of his work, with such magnificent of Turner’s works; he was so obsessed with the scores as La mer for large orchestra and the first set ever-changing and dramatic nature of the sea that of Images for piano produced during this period. he is said to have lashed himself to a mast, so that Prélude à l’après-midi d’un he could record the effects of a gale that blew up faune; La mer; Jeux Debussy’s ballet Jeux was first performed by the North Sea as he left Harwich Docks. Diaghilev’s Ballets Russes in May 1913, a fortnight conductor before the premiere of Stravinsky’s The Rite of Spring. Although suffering from cancer, he managed lsolive.lso.co.uk to complete the first three of a projected set of six instrumental sonatas. He died at his Paris home and was buried at . 6 Programme Notes 22 September 2016

Joseph Haydn (1732–1809) Trumpet Concerto in E-flat major (1796)

1 ALLEGRO Weidinger performed the work for the first time at a 2 ANDANTE concert in Vienna’s Burgtheater on 22 March 1800 – 3 ALLEGRO the long gap between composition and premiere being an indication, perhaps, of the difficulties PHILIP COBB TRUMPET involved in getting to grips with the new instrument – but after that the concerto seems to have been PROGRAMME NOTE WRITER Concertos never really held the fascination for Haydn forgotten until it was published for the first time LINDSAY KEMP is a senior that they did for Mozart. Mozart was a virtuoso in 1929. Since then it has held a regular place in producer for BBC Radio 3, including pianist and a pretty good violinist, but Haydn, by his the repertory, and has become the most popular programming Lunchtime Concerts own admission, was not a great performer on any concerto for the keyed trumpet’s successor, the from LSO St Luke’s, Artistic Director instrument, and it is hardly surprising that he failed modern valved trumpet. of the London Festival of to make quite as significant a contribution to the Baroque Music, and a regular genre’s development as his younger contemporary The potential of Weidinger’s new invention was not contributor to Gramophone magazine. and friend. But while Haydn’s concertos may not lost on Haydn. Naturally, he made full use of the display the forward-looking originality and character increased range of notes now available to him, but of his and string quartets, they still he also recognised the changes that had been made bear eloquent witness to his compositional skill to the instrument’s character, introducing a touch and workmanship, and in certain cases reach a of poetry which few at the time can have thought level of inspiration that few of his contemporaries possible in trumpet music. This novel approach is could match. Nowhere is this more true than in his evident right from the start of the first movement: delightful last concerto, composed for that relatively polished and urbane, its delicate scoring and elegant rare solo instrument, the trumpet. interplay between soloist and orchestra are a world away from the militaristic sound of the conventional Dating from 1796, it was written for Anton Weidinger, trumpet of the day (although Haydn does not ignore Until the mid-1800s, ORCHESTRAL a trumpeter in the Viennese court orchestra. In that aspect entirely). The slow movement is even PERFORMANCES IN VIENNA Haydn’s day, brass instruments such as the trumpet more revelatory, displaying the lyrical and chromatic were given by ad hoc ensembles, or horn were ‘natural’ in the sense that, without qualities of the new instrument in a lilting and often formed of musicians from the modern valve mechanisms, they were restricted expressive Andante which also enjoys the freedom orchestra of the Vienna Court Opera to a limited range of notes. Weidinger, however, to wander adventurously into some distant keys. (now known as the Vienna State had developed a new type of trumpet in which a The finale is a cheerful rondo with an irresistible Opera). It wasn’t until 1833 that system of holes and keys allowed every note to be returning theme, and is full of the wit and charm musicians from the Court Opera were played throughout the register, and it was for this typical of its composer. brought together in the precursor instrument, christened by Weidinger the ‘organisierte to the Vienna Philharmonic, the Trompete’, that Haydn composed his concerto. INTERVAL – 20 minutes Künstlerverein, which was formed There are bars on all levels of the Concert Hall; ice cream by German composer and conductor can be bought at the stands on Stalls and Circle level. Franz Lachner. Why not tweet us your thoughts on the first half of the performance @londonsymphony, or come and talk to LSO staff at the information point on the Circle level? lso.co.uk Composer Profiles 7

Joseph Haydn Composer Profile Composer Profile

Most general histories of music After early piano lessons with his emphasise Joseph Haydn’s mother, Shostakovich enrolled achievements as a composer of at the Petrograd Conservatoire instrumental works, a pioneer of in 1919. He announced his Fifth the string quartet genre and the Symphony of 1937 as ‘a Soviet so-called ‘father of the symphony’. artist’s practical creative reply to In short, he was one of the just criticism’. A year before its most versatile and influential premiere he had drawn a stinging composers of his age. After early attack from the official Soviet training as a choirboy at Vienna’s mouthpiece Pravda, in which St Stephen’s Cathedral and a Shostakovich’s initially successful period as a freelance musician, opera Lady Macbeth of Mtsensk Haydn became Kapellmeister was condemned for its ‘leftist to Count Morzin in Vienna and bedlam’ and extreme modernism. subsequently to the music-loving With the Fifth Symphony came and wealthy Esterházy family at acclaim from the Russian their magnificent but isolated estate at Eszterháza. Here he wrote a audience, and also from musicians and critics overseas. vast number of solo instrumental and chamber pieces, masses, motets, concertos and symphonies, besides at least two dozen stage works. Shostakovich lived through the first months of the German siege of Leningrad serving as a member of the auxiliary fire service. In July he In old age Haydn fashioned several of his greatest works, the oratorios began work on the first three movements of his Seventh Symphony, The Creation and The Seasons, his six Op 76 String Quartets and his completing the defiant finale after his evacuation in October and so-called ‘London’ Symphonies prominent among them. ‘I am forced to dedicating the score to the city. A micro-filmed copy was despatched remain at home … It is indeed sad always to be a slave, but Providence by way of Teheran and an American warship to the US, where it wills it thus,’ he wrote in June 1790. Haydn was by now tired of the was broadcast by the NBC Symphony Orchestra and Toscanini. In routine of being a musician in service. He envied his young friend 1943 Shostakovich completed his Eighth Symphony, its emotionally Mozart’s apparent freedom in Vienna, but was resigned to remaining at shattering music compared by one critic to Picasso’s Guernica. Eszterháza Castle. The death of Prince Nikolaus prompted unexpected and rapid changes in Haydn’s circumstances. His son and heir, Prince In 1948 Shostakovich and other leading composers, Prokofiev among Anton, cared little for what he regarded as the lavish and extravagant them, were forced by the Soviet cultural commissar, Andrey Zhdanov, indulgence of music. He dismissed all but a few instrumentalists and to concede that their work represented ‘most strikingly the formalistic retained the nominal services of Haydn, who became a free agent perversions and anti-democratic tendencies in music’, a crippling blow again and returned to Vienna. to Shostakovich’s artistic freedom that was healed only after the death of Stalin in 1953. Shostakovich answered his critics later that year with Haydn was enticed to England by the impresario Johann Peter Salomon, the powerful Tenth Symphony, in which he portrays ‘human emotions attracting considerable newspaper coverage and enthusiastic audiences and passions’, rather than the collective dogma of Communism. to hear his new works for London. Back in Vienna, Haydn, the son of a master wheelwright, was feted by society and honoured by the Composer Profiles © Andrew Stewart imperial city’s musical institutions. 8 Programme Notes 22 September 2016

Dmitri Shostakovich (1906–75) Symphony No 5 in D minor Op 47 (1937)

1 MODERATO – ALLEGRO NON TROPPO highly dangerous position. It was in this nightmare 2 ALLEGRETTO atmosphere that Shostakovich composed his Fifth 3 LARGO Symphony, between April and July 1937. A conscious 4 ALLEGRO NON TROPPO attempt at rehabilitation, intended to re-establish his credentials as a Soviet composer, it represents ‘If they cut off both hands, I will a well-calculated combination of true expression compose music anyway holding with the demands of the State. Shostakovich calculated well. The premiere, given by the Leningrad the pen in my teeth.’ Philharmonic under the relatively unknown Yevgeny Mravinsky on 21 November 1937, was an unqualified Shostakovich in 1936 triumph, with scenes of wild enthusiasm which were repeated at the Moscow premiere the following PROGRAMME NOTE WRITER Political and artistic pressures coincided many January. The first performance outside Russia ANDREW HUTH is a musician, times in the course of Shostakovich’s career, but took place in Paris that June, and before long the writer and translator who writes never more intensely than in the year 1937, when Symphony had been performed all over the world extensively on French, Russian the Fifth Symphony was composed. Early in 1936 and was being held up as a model of what Soviet and Eastern European music. his opera Lady Macbeth of Mtsensk and the ballet music could and should be. The Limpid Stream had been officially condemned, and in consequence he felt obliged to withdraw his The Symphony certainly represents a break with MARSHAL TUKHACHEVSKY Fourth Symphony before its scheduled premiere. Shostakovich’s unruly musical past, for here the (1893–1937) was a prominent Soviet These works, which are full of a wayward, dissonant language is simplified, with few of the eccentricities Military leader, commanding the genius, made no concession to the official doctrine that had made him such a great satirist in the first Soviet Western Front in the Russo- of Socialist Realism, and the bleak endings of both decade of his career. The level of dissonance is lower Polish war of 1920–21 and serving opera and symphony directly contradicted the and the music is contained within a clear formal as chief of staff for the Red Army optimism then expected from Soviet artists. plan. There is not, however, any radical change of from 1925 to 1928. Tukhachevsky style. Shostakovich’s unmistakable fingerprints – was greatly interested in the arts, The crisis he faced was far more than a question of unexpected twists in melody and harmony, strange and became a great friend of musical style: it was quite literally a matter of scoring, sometimes eccentric or shrill, with writing in Shostakovich from 1925, intervening life or death. By 1936 the mechanism of Stalin’s the extremely high or low registers – are all present, on the composer’s behalf when Stalin Great Terror was lurching into motion, with show but now absorbed into a traditional four-movement condemned the opera Lady Macbeth trials, denunciations and disappearances. Few symphonic structure of great clarity and power. of Mtensk. The Marshal was arrested Russians remained untouched, particularly in the in May 1937 following Stalin’s orders composer’s own city of Leningrad. Shostakovich As he would later in the first movements of his to liquidate senior commanders of himself lost relatives, friends and colleagues. Eighth and Tenth Symphonies, Shostakovich the Red Army in a bid to remove immediately creates a sense of enormous space, all obstacles to achieving absolute A particularly serious blow was the arrest and both brooding and desolate, with a masterly control power. Along with eight Generals, execution in June 1937 of his highly-placed protector of slow pacing and pared-down orchestral textures. Tukhachevsky was tried for treason Marshal Tukhachevsky; association with such The first movement’s climax, reached after a and executed on 11 June 1937. an ‘enemy of the people’ put Shostakovich in a remorseless build-up of tension (from the moment lso.co.uk Programme Notes 9

the piano enters), bursts out into a grotesque march, The main outline of the post-Beethoven Romantic followed by a sense of numb exhaustion. The second symphony, opening in conflict and arriving at a movement, a type of sardonic scherzo, preserves triumphant apotheosis, certainly allows an orthodox some of the qualities of the earlier Shostakovich interpretation of the Symphony as a description in its shrill scoring, use of wry parody and vulgar of the creation of Soviet Man, and it was in these march and dance elements, an important part of his terms that Shostakovich spoke of it at the time: GUSTAV MAHLER (1860–1911) inheritance from Mahler. ‘I saw man with all his experiences in the centre of greatly influenced the music of the composition … In the finale, the tragically tense Shostakovich. Mahlerian melodies The brooding Largo is the expressive heart of the impulses of the earlier movements are resolved in and themes can be heard echoed symphony. Listeners who had until then known only optimism and joy of living’. But in Testimony, the throughout Shostakovich’s prolific the witty or irreverent side of Shostakovich would reminiscences attributed by Solomon Volkov to the symphonic output, particularly in the have been surprised by the depth of feeling here: sick and embittered composer towards the end of Fourth Symphony, which was inspired many at the premiere were reduced to tears by its his life, this is all turned upside-down. ‘I think that by Mahler’s style of orchestration, as controlled anguish. Much of the emotional power it is clear to everyone what happens in the Fifth … well as incorporating funereal themes is due to the long, sustained melodic lines and it’s as if someone were beating you with a stick and so similar to those exploited by the restrained instrumentation. The brass instruments saying ‘Your business is rejoicing, your business is Austrian composer. Shostakovich are all silent, even the quietly sustaining horns. rejoicing,’ and you rise, shakily, and go off muttering later said in his memoir Testimony, ‘Our business is rejoicing, our business is rejoicing’’. ‘studying Mahler changed many Most of the controversy surrounding the symphony things in my tastes as a composer’. is concerned with the real significance of the finale DMITRI SHOSTAKOVICH ON LSO LIVE and particularly of its last few minutes, blatant with D major brass fanfares and battering drums. There is SHOSTAKOVICH no doubt about the overwhelming sense of musical Symphony No 5 resolution here, but most verbal commentary has conductor done little but confuse the issue. A constant problem £8.99 with Shostakovich is that his own remarks should never be taken too seriously, for he notoriously SHOSTAKOVICH said what people wanted to hear. The façade he Symphony No 11 – ‘The Year 1905’ presented was that of a cool professional, an Mstislav Rostropovich conductor efficient servant of the Soviet State, and on the £8.99 occasion of the Moscow premiere he quoted an unnamed Soviet critic to the effect that his Fifth SHOSTAKOVICH Symphony was ‘the practical creative answer of a Chamber Symphony in C Minor Soviet artist to just criticism’, a phrase that was for LSO String Ensemble many years accepted in the West as the composer’s Roman Simovic leader own subtitle. £8.99

lsolive.lso.co.uk 10 Artist Biographies 22 September 2016

Gianandrea Noseda Conductor

Widely recognised as one of the leading conductors Gianandrea Noseda has a long-standing relationship of his generation, Gianandrea Noseda is the 2016 with the Metropolitan Opera, New York, which International Opera Awards Conductor of the dates back to 2002. He has conducted many new Year and Musical America’s Conductor of the Year productions and the two most recent ones were 2015. He was recently appointed Principal Guest widely praised operas not seen at the Met in a Conductor of the London Symphony Orchestra, century: Borodin’s Prince Igor, available on Deutsche while from the 2017/18 season he will become Grammophon, and Bizet’s Les pêcheurs de perles, Music Director of the National Symphony Orchestra soon available on Warner Classics, both DVDs. at the Kennedy Center in Washington DC. Highlights of the 2016/17 season include substantial Music Director of the Teatro Regio Torino since tours with the London Symphony Orchestra, 2007 his initiatives have propelled the Teatro Regio concerts with the Israel Philharmonic, the National Torino onto the global stage, where it has become Symphony Orchestra and the Philadelphia Orchestra, one of Italy’s most important cultural ambassadors. in addition to his return to the Verbier Festival. He Under his leadership it has recorded with the leading will also return to the Met with a new production singers of our time and embarked on tours to of Roméo et Juliette by Gounod and conduct for Principal Guest Conductor Austria, China, France, Germany, Japan, Russia the first time at the Operhaus Zurich for a new London Symphony Orchestra and the United States, including a recent visit to production of The Fiery Angel staged by Calixto Beito. the Hong Kong and Savonlinna Festivals. Music Director Gianandrea Noseda’s discography includes over Teatro Regio Torino Gianandrea Noseda is also Principal Guest 50 CDs, many of which have been celebrated by Conductor of the Israel Philharmonic Orchestra, critics and received awards. His Musica Italiana Principal Guest Conductor Principal Conductor of the Orquestra de Cadaqués project, which he initiated over ten years ago, has Israel Philharmonic Orchestra and Artistic Director of the Stresa Festival (Italy). chronicled under-appreciated Italian repertoire of the He was at the helm of the BBC Philharmonic from 20th century. Conducting the Vienna Philharmonic Principal Conductor 2002 to 2011, and in 1997 he was appointed the first Orchestra and the Orchestra Teatro Regio Torino he Orquestra de Cadaqués foreign Principal Guest Conductor of the Mariinsky has recorded albums with Ildebrando d’Arcangelo, Theatre, a position he held for a decade. , and Rolando Villazón. Artistic Director His recordings are also available on LSO Live, Helicon Stresa Festival Gianandrea Noseda works regularly with the world’s Classics and Foné. leading orchestras such as the NHK Symphony in Music Director Designate Japan, the Pittsburgh, Cleveland and Philadelphia A native of Milan, Maestro Noseda is Cavaliere National Symphony Orchestra Orchestras in North America and the Orchestre de Ufficiale al Merito della Repubblica Italiana, marking Paris, Orchestra of Santa Cecilia, Filarmonica della his contribution to the artistic life of Italy. Scala and Wiener Symphoniker in Europe. In May 2015 he made his debut with the Berlin Philharmonic. lso.co.uk Artist Biographies 11

Philip Cobb Trumpet

Philip Cobb was appointed joint Principal Trumpet Prior to leaving the Guildhall School, Philip was with the London Symphony Orchestra in July 2009 already working with orchestras such as the London while he was only 21 years of age. Philharmonic, London Chamber and BBC Symphony Orchestras, and by the time he had completed Philip is a fourth generation Salvationist and comes his music degree he had secured his current from a family that is intrinsically linked with Salvation post in the London Symphony Orchestra. Philip Army music-making at its highest level. From a has also appeared as guest principal at the Royal young age, Philip regularly featured as a cornet Concertgebouw Orchestra. soloist, appearing alongside his brother Matthew and father Stephen, accompanied by his mother Despite his busy schedule with the Orchestra, Elaine. However, in the ensuing years he found Philip continues to maintain his solo career and himself making more regular appearances as a a continued interest in brass bands, and has just soloist in his own right. In 2000 he gained a place released his second solo CD, Songs from the Heart, in the National Youth Brass Band of Great Britain, accompanied by the Salvation Army’s International where he became Principal Cornet on a number Staff Band. of courses and won the prestigious Harry Mortimer Award on four occasions. He is also actively involved with the recently formed Superbrass, Eminence Brass and Barbican Brass As a student at the Guildhall School in London, ensembles. One of his other passions is film music; Philip studied with Paul Beniston (Principal Trumpet he enjoys pursuing this area of music-making with of the London Philharmonic Orchestra) and trumpet the LSO and as a freelance trumpet player. Recent soloist Alison Balsom. In 2006 he took part in the soundtracks on which Philip can be heard include: prestigious Maurice André International Trumpet Twilight: New Moon, The Pirates, Shrek, A Better Life Competition and was awarded one of the major and Rise of the Guardians. He was also featured in prizes as the Most Promising Performer. While the Opening and Closing ceremonies of the 2012 studying, Philip played in the Salvation Army’s London Olympic and Paralympic Games. International Staff Band and also released his debut solo CD, Life Abundant, in 2007, accompanied by the Cory Band and organist Ben Horden. The following year he received the Candide Award at the London Symphony Orchestra’s Brass Academy, and also played with the European Union Youth Orchestra as Principal Trumpet. 12 The Orchestra 22 September 2016

London Symphony Orchestra Your views On stage Inbox

FIRST VIOLINS VIOLAS HORNS SUN 18 SEP 2016 – VERDI REQUIEM WITH GIANANDREA NOSEDA Carmine Lauri Leader Edward Vanderspar Gareth Davies Nicolas Fleury Lennox Mackenzie Malcolm Johnston Alex Jakeman Vittorio Schiavone Clare Duckworth Anna Bastow Angela Barnes Shoko Tsuge It was wonderful. Congratulations for the Nigel Broadbent German Clavijo PICCOLO Alexander Edmundson opening and new exciting season! Ginette Decuyper Julia O’Riordan Sharon Williams Jonathan Lipton Gerald Gregory Robert Turner Jörg Hammann Heather Wallington TRUMPETS Ben Marcato That was a #VerdiRequiem of great intensity Olivier Stankiewicz Maxine Kwok-Adams Jonathan Welch Philip Cobb Marc Lachat & sincerity. Kudos to all performers, above all the wonderful Claire Parfitt Stephen Doman David Elton Rosie Jenkins Laurent Quenelle Carol Ella Paul Beniston @NosedaG Gerald Ruddock Harriet Rayfield Felicity Matthews Daniel Newell Colin Renwick Caroline O’Neill Christine Pendrill Millie Lihoreau Utterly in awe of @londonsymphony‘s Verdi Sylvain Vasseur Robin Totterdell Rhys Watkins CELLOS Requiem tonight,1st time in my life I’ve had goosebumps Shlomy Dobrinsky Tim Hugh Andrew Marriner Dudley Bright throughout a concert. Stunning. #bravo Helena Smart Alastair Blayden Chris Richards Peter Moore Jennifer Brown Chi-Yu Mo SECOND VIOLINS Noel Bradshaw James Maynard Bob Joles Thoroughly enjoying the @londonsymphony Thomas Norris Eve-Marie Caravassilis E-FLAT BASS performing Verdi’s Requiem LIVE on YouTube. Magnificent Miya Väisänen Daniel Gardner Chi-Yu Mo Paul Milner David Ballesteros Hilary Jones and stirring playing and singing!! Bravo! Matthew Gardner Amanda Truelove Daniel Jemison Julian Gil Rodriguez Steffan Morris Patrick Harrild Joost Bosdijk Naoko Keatley Miwa Rosso Lawrence O’Donnell Belinda McFarlane DOUBLE BASSES Nigel Thomas William Melvin CONTRA Colin Paris Antoine Bedewi Iwona Muszynska Dominic Morgan Andrew Pollock Patrick Laurence PERCUSSION Paul Robson Matthew Gibson Neil Percy Hazel Mulligan Thomas Goodman David Jackson Alain Petitclerc Joe Melvin Sam Walton Robert Yeomans Jani Pensola Simon Oliver Nicholas Worters HARPS Bryn Lewis Lucy Wakeford

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 Fidelio Charitable Trust Silk Street [email protected] work experience by playing in rehearsals N Smith Charitable Settlement London and concerts with the LSO. The scheme Lord and Lady Lurgan Trust EC2Y 8DS Cover Photography auditions students from the London music The Lefever Award Ranald Mackechnie, featuring LSO conservatoires, and 15 students per year LSO Patrons Registered charity in England No 232391 Members with 20+ years’ service. are selected to participate. The musicians Visit lso.co.uk/1617photos for a full list. Details in this publication were correct are treated as professional ’extra’ players at time of going to press. Photography (additional to LSO members) and receive fees Ranald Mackechnie, Alberto Venzago for their work in line with LSO section players. Advertising Cabbell Ltd 020 3603 7937 Print Cantate 020 3651 1690