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Home , Cello Concerto (Albert), Cello Concerto (Bates), Cello Concerto (Lalo), Cello Concerto (Ligeti), Cello Concerto (Muhly), Cello Sonata (Prokofiev)

London Symphony Living Music

Thursday 23 March 2017 7.30pm Barbican Hall

DAPHNIS AND CHLOÉ

London’s Symphony Orchestra Prokofiev Overture on Hebrew Themes Shostakovich No 1 INTERVAL Ravel Daphnis and Chloé

Alain Altinoglu conductor Gautier Capuçon cello chorus director

Concert finishes approx 9.45pm 2 Welcome 23 March 2017

Welcome Living Music Kathryn McDowell In Brief

Welcome to tonight’s LSO performance at the FRANÇOIS-XAVIER ROTH BECOMES Barbican. This evening we are delighted to be LSO PRINCIPAL GUEST CONDUCTOR joined by conductor Alain Altinoglu, who makes his LSO debut. He first became known to the Orchestra The LSO was delighted to announce on 7 March through his work with the Mediterranean Youth that François-Xavier Roth will join the LSO’s family Orchestra, with whom the LSO works closely each of conductors as Principal Guest Conductor from year as part of the Festival d’Aix-en-Provence, and September 2017, replacing , who is it is a great pleasure to see him join the Orchestra stepping down after ten years in the role. Read the in London for the first time. full news story on the LSO website:

Alain Altinoglu is joined for this concert by lso.co.uk/news fellow countryman Gautier Capuçon, a soloist with whom we are very pleased to perform with again this evening. LSO LIVE NEW RELEASE: THOMAS ADÈS

An interesting link between the pieces in this The LSO’s first recording of Thomas Adès’ music, programme is how performers have come to , & Polaris, was released on 3 March – influence the commissioning of new works. one of the very first albums to be recorded in Dolby’s We begin with Prokofiev’s Overture on Hebrew new ‘Atmos’ format. The album is available to buy Themes for Jewish ensemble Zimro, followed by online now. Shostakovich’s First Cello Concerto, dedicated to the virtuoso cellist . The lsolive.lso.co.uk concert concludes with a rare opportunity to hear Ravel’s complete ballet Daphnis and Chloé, written for the legendary Ballet Russes dance company. A WARM WELCOME TO TONIGHT’S GROUPS

I hope you enjoy tonight’s concert and that you Groups of 10+ receive a 20% discount on standard are able to join us at the Barbican again soon. tickets to LSO concerts, plus other exclusive benefits. On 30 March François-Xavier Roth will continue Tonight we are delighted to welcome: his After Romanticism series, his first performance since the announcement that he will become Jonathan Levene Music Scholarship LSO Principal Guest Conductor in September 2017. Hertford U3A Ian Fyfe & Friends Dorking Parting Outings Group Amanda Brace & Friends

lso.co.uk/groups Kathryn McDowell CBE DL Managing Director London Symphony Orchestra Season 2016/17

Simon Trpcˇ eski (30 Mar)

Spring 2017 Highlights

FRANÇOIS-XAVIER ROTH: : BBC RADIO 3 LUNCHTIMES: SIR MARK ELDER: AFTER ROMANTICISM LSO ARTIST PORTRAIT VOICE OF THE CELLO MODERN MASTERPIECES

Thu 30 Mar 7.30pm The final instalment in Janine Thu 6 Apr 1pm, LSO St Luke’s Sun 7 May 7pm Debussy Jeux Jansen’s critically acclaimed cello Mussorgsky arr Shostakovich Bartók Concerto No 3 LSO Artist Portrait. Pavel Kolesnikov piano Prelude to ‘’ Mahler Symphony No 1 (‘Titan’) Tchaikovsky Concerto Simon Trpcˇ eski piano Thu 6 Apr 7.30pm Thu 13 Apr 1pm, LSO St Luke’s Shostakovich Symphony No 15 Berg Tim Hugh cello Anne-Sophie Mutter violin Sun 23 Apr 7pm Mahler Symphony No 7 Rebecca Gilliver cello Supported by the Atkin Foundation Debussy Prélude à l’après-midi conductor d’un faune Janine Jansen violin Thu 27 Apr 1pm, LSO St Luke’s Thu 18 May 7.30pm Bartók Concerto Christian Poltéra cello Vaughan Williams Five Variants Bruckner Symphony No 4 Kathryn Stott piano of Dives and Lazarus Antoine Tamestit viola Brahms Double Concerto Thu 4 May 1pm, LSO St Luke’s Holst – Suite Alban Gerhardt cello Roman Simovic violin Steven Osborne piano Tim Hugh cello Ladies of the London lso.co.uk Symphony Chorus Simon Halsey chorus director 020 7638 8891 Supported by Baker McKenzie 4 Programme Notes 23 March 2017

Sergei Prokofiev (1891–1953) Overture on Hebrew Themes Op 34 (1919, orch 1934)

PROGRAMME NOTE WRITER Escaping from the chaos of the Revolution in , ANDREW HUTH is a musician, Prokofiev arrived in New York in September 1918, writer and translator who writes virtually penniless, and was based there for a year extensively on French, Russian and and a half. He earned money mainly by performing – Eastern European music. his steely, unromantic piano playing was much admired – but his main concern was the composition of his The Love for Three Oranges, which he hoped to have produced in Chicago.

PROKOFIEV ON LSO LIVE Among the many fellow-Russians he met during this period were the six players who made up the PROKOFIEV AND THE ZIMRO ENSEMBLE Zimro Ensemble: , piano and string quartet. The Zimro Ensemble took its name from the Hebrew Their ultimate aim was to found a conservatory in word for ‘singing’. It was organised by the Society Jerusalem, though Prokofiev wondered how they for Jewish Folk Music in January 1918, with a view could ever achieve this when they could barely feed to promoting Jewish musical folklore and literature themselves. As he remembered, ‘They asked me to through arrangements and original compositions. write an overture for six instruments for them and The Ensemble was made up of musicians Semion gave me a notebook of Jewish melodies. At first, I Bellison (both clarinet and the Ensemble’s leader, who didn’t want to take it because I was accustomed to would later become Principal Clarinet of the New York using my own themes. But finally I kept it and one Philharmonic), Yakov Mestechkin (first violin), Grigoriy evening I chose a couple of attractive melodies from Bezrodnïy (second violin), Kapel Moldavan (viola), Iosif it and began to improvise on them on the piano’. Chernyavsky (cello), and Lev Berdichevsky (piano), all £9.99 of whom were also former fellow students of Prokofiev The two melodies he chose were an instrumental at the St Petersburg Conservatory. The Zimro Ensemble Prokofiev Romeo and Juliet dance tune and a Yiddish wedding song. In a couple began by performing in and around St Petersburg in conductor of days he worked them up into a clear sonata structure the early months of 1918, before embarking on a tour with many features of a traditional Klezmer style spiced en route and arriving in the US in September 1919. Disc of the Year up in his own manner, and played the piano part The Ensemble first performed in the United States Best Orchestral Recording himself at the first performance in January 1920. in Chicago on 17 September 1919 for the closing of BBC Music Magazine Awards 2011 a Zionist convention, before appearing in New York’s In its chamber-ensemble form the overture was Carnegie Hall in November 1919. The Ensemble Buy now | lsolive.lso.co.uk given many performances and was always well disbanded in 1921 after only three years. received. In 1934, when he was seriously thinking of a permanent return to Russia, Prokofiev decided to make an orchestral version. This was first heard in a radio broadcast on 30 November 1934, where it provided some relatively easy listening before the far more challenging Second and Second Symphony. lso.co.uk Composer Profile 5

Sergei Prokofiev Composer Profile

Prokofiev was born in the Ukraine and from an early age showed a prodigious ability as both composer and pianist. He gained a place at the St Petersburg Conservatory at the age of 13 and shortly thereafter acquired a reputation for the uncompromising nature of his music. According to one critic, the audience at the 1913 premiere of the composer’s Second Piano Concerto were left ‘frozen with fright, hair standing on end’. He left Russia after the 1917 Revolution, but decided to return to Moscow with his wife and family 19 years later, apparently unaware of Stalin’s repressive regime.

Before he left for exile, Prokofiev completed his A SPRING ‘Classical’ Symphony, a bold and appealing work that revived aspects of 18th-century musical form, AWAKENING COMPOSER PROFILE BY clarity and elegance. He received commissions from 9 April 2017, 7pm ANDREW STEWART arts organisations in the United States and France, composing his sparkling opera The Love for Three Carlos Miguel Prieto Conductor Oranges for the Chicago Opera Company in 1919–20. Sheku Kanneh-Mason Soloist His engagements as a recitalist and concerto soloist (BBC Young Musician 2016) brought Prokofiev to a wide audience in Europe and A totally teenage musical the US, and he was in great demand to perform his adventure featuring own Piano Concerto No 3. Shostakovich’s Cello Concerto Photo: Glen Thomas No.1 alongside his awesome The ballet Romeo and Juliet and the score for Symphony No.5. Feinzimmer’s film Lieutenant Kijé were among Prokofiev’s first Soviet commissions. Both scores were subsequently cast as concert suites, which £5 FOR have become cornerstones of the orchestral UNDER repertoire. The Fifth Symphony was intended as ‘a 25S* hymn to free and happy Man, to his mighty powers, his pure and noble spirit’. Prokofiev’s comments, In association with written in 1944 as the Russian army began to march

towards , reflected his sense of hope in the isNYO a registered charity No. 290598

future. Sadly, his later years were overshadowed *£3 booking fee per online transaction, £4 by phone. by illness and the denunciation of his works No fee when tickets are as ‘formalist’ by the Central Committee of the booked in person. Communist Party in 1948. 6 Programme Notes 23 March 2017

Dmitri Shostakovich (1906–75) Cello Concerto No 1 in E-flat major Op 107 (1959)

1 ALLEGRETTO the Prokofiev re-appear in Shostakovich’s Concerto, 2 MODERATO although completely transformed and absorbed into 3 CADENZA his own inimitable style. 4 FINALE: ALLEGRO CON MOTO One of the first things a composer has to consider GAUTIER CAPUÇON CELLO when writing for cello and orchestra is the tricky problem of balance, of giving the soloist prominence PROGRAMME NOTE WRITER In the mid-1950s Mstislav Rostropovich frequently even when playing in lower registers where the STEPHEN JOHNSON is the played Shostakovich’s 1934 Cello Sonata with the cello is in danger of being overwhelmed by other author of Bruckner Remembered composer, and was naturally dying to get him to instruments. In fact this Concerto uses the smallest (Faber). He also contributes compose another cello work. He knew, though, orchestra of any of Shostakovich’s major works. regularly to BBC Music Magazine, that he could not ask Shostakovich directly, but There are pairs of woodwind but the brass section and broadcasts for BBC Radio 3 would just have to wait and see if the unpredictable consists of only two horns, the first of which plays (Discovering Music), Radio 4 composer would ever take his many hints. an important solo role in its own right. Given and the World Service. His patience was rewarded in the summer of 1959, the relatively small forces and modest duration when without any previous warning Shostakovich (just over 25 minutes), this is not a monumental, sent him out the score of a new concerto. As soon epic work like the Tenth or Eleventh Symphonies; as he received it, Rostropovich learned the work but although generally more extrovert than the in four days and played it through to Shostakovich, darker, brooding Second Cello Concerto, written who was delighted and deeply moved. seven years later (also for Rostropovich), it is one of Shostakovich’s most deeply personal works, The First Cello Concerto was premiered in Leningrad with nervous energy and black humour in the outer on 4 October 1959. The first London performance, movements, shy tenderness and intense brooding AND on 21 September 1960, was the occasion of in the slow movement. An indication of its importance MSTISLAV ROSTROPOVICH Shostakovich’s first meeting with . for the composer himself is the fact that the main Rostropovich entered the Moscow Rostropovich acted as matchmaker between the theme of the first movement is prominently quoted Conservatory in 1943, where he two, and carefully nurtured what became one of in the third movement of the autobiographical became a pupil of Shostakovich, the 20th-century’s great musical friendships. Eighth String Quartet (1960). who had begun teaching in Moscow earlier that year. When Shostakovich Just as Brahms is said to have remarked, on hearing The solo cello leads from the very beginning, was dismissed from his post in Dvorˇák’s concerto, ‘if I’d known it was possible to powerfully and energetically, with a variant of the 1948 after the Zhdanov decree, the write a cello concerto like that, I’d have done it composer’s DSCH musical monogram (D, E-flat, C, 21-year-old Rostropovich quit the myself long ago’, so Shostakovich seems to have B-natural in German musical notation). The orchestral conservatory in protest. The two been stimulated not only by Rostropovich’s playing, strings are kept somewhat in the background, musicians became close friends, but also by the example of Prokofiev’s Symphony- with the first horn at times becoming the leading with Rostropovich inspiring both Concerto, a re-working for Rostropovich, made in player in a wild, even demented, wind band. Sudden Shostakovich’s First and Second 1952, of his earlier 1938 Cello Concerto. This is one timpani thumps punctuate the movement, eventually Cello . of Prokofiev’s works most admired by Shostakovich, bringing it to an abrupt close. and several features of cello technique found in lso.co.uk Programme Notes 7

Dmitri Shostakovich Composer Profile

The moderato is introduced by the orchestral After early piano lessons with his mother, Shostakovich strings, who contrast the frantic activity of the first enrolled at the Petrograd Conservatory in 1919. movement with the sense of breadth and space He supplemented his family’s meagre income from to be found in many of Shostakovich’s symphonic his earnings as a cinema pianist, but progressed slow movements; the solo cello’s cantilena, in its to become a composer and concert pianist following most expressive register, is tender and intimate, the critical success of his First Symphony in 1926 recalling perhaps the style of a lullaby. The movement and an ‘honourable mention’ in the 1927 Chopin leads seamlessly, phrase by phrase, to a powerful International Piano Competition in Warsaw. orchestral climax, after which the lullaby theme is recalled by the cello in high, ghostly harmonics, Shostakovich announced his Fifth Symphony of with dreamy touches from the celesta. 1937 as ‘a Soviet artist’s practical creative reply to just criticism’. A year before its premiere he had The third movement is amongst the most drawn a stinging attack from the official Soviet challenging passages in the entire cello repertory: mouthpiece Pravda, in an article headed ‘Muddle an unaccompanied solo cadenza of supreme instead of music’. When the Fifth Symphony was technical virtuosity, it combines expressive depth premiered in Leningrad, the composer’s reputation with a closely worked development of previously COMPOSER PROFILE BY and career were rescued. Acclaim came not only heard musical ideas. ANDREW STEWART from the Russian audience, who gave the work a 40-minute ovation, but also from musicians and The climax spills over into the finale, where again critics overseas. In July 1941 he began work on the the woodwind lead, shrill, anxious and energetic. first three movements of his Seventh Symphony, A sardonic touch comes from a slipped in quotation SHOSTAKOVICH IN 2017/18 completing the defiant finale after his evacuation in of one of Stalin’s favourite tunes, and the brutal October and dedicating the score to the city. timpani thumps are among many features recalled LSO Principal Guest Conductor from the first movement. Gianandrea Noseda continues In 1948 Shostakovich and other leading composers, his cycle of all 15 of Shostakovich’s were forced by the Soviet cultural commissar, symphonies. Andrey Zhdanov, to concede that their work represented ‘the formalistic perversions and anti- Sun 8 Apr 2018 7pm democratic tendencies in music’, a crippling blow Shostakovich Symphony No 8 to Shostakovich’s artistic freedom that was healed only after the death of Stalin in 1953. Shostakovich Sun 24 Jun 2018 7pm answered his critics later that year with the powerful INTERVAL – 20 minutes Shostakovich Violin Concerto No 1 Tenth Symphony, in which he portrays ‘human There are bars on all levels of the Concert Hall; ice cream Shostakovich Symphony No 10 emotions and passions’, rather than the collective can be bought at the stands on Stalls and Circle level. with Nicola Benedetti violin dogma of Communism. A few years before the The Barbican shop will also be open. completion of his final and bleak String Quartet No 15, Book now Shostakovich suffered his second heart attack and Tweet us your thoughts on the first half of the lso.co.uk/alwaysmoving the onset of severe arthritis. Many of his final works performance @londonsymphony. are preoccupied with the subject of death. 8 Programme Notes 23 March 2017

Maurice Ravel (1875–1937) Daphnis and Chloé – Complete Ballet (1912)

1 SCENE ONE Ravel’s long-drawn out difficulty completing the final 2 SCENE TWO riotous danse générale, which in the end took him 3 SCENE THREE almost a year. Initially scheduled for the 1910 season, Daphnis was twice postponed and finally presented LONDON SYMPHONY CHORUS in May 1912. SIMON HALSEY CHORUS DIRECTOR SCENE ONE PROGRAMME NOTE WRITER Dance holds a treasured and central place in JEREMY THURLOW is a composer; Ravel’s music, from La valse and Boléro to the The scenario is adapted from an erotic pastoral his music ranges from chamber and many pavanes, minuets, waltzes, foxtrots and by the 2nd-century Greek writer Longus. From orchestral music to dance-scores tangos which pervade his instrumental and operatic the hushed beauty of the opening bars Ravel evokes and video-opera, and won the music. The hour-long ballet Daphnis and Chloé ‘the Greece of his dreams’ in shimmering perfection, George Butterworth Award. Author makes a strong claim to be his greatest work; conjuring an enchanted vision of the pastures of a book on Dutilleux, he broadcasts Ravel called it a ‘choreographic symphony’, of Lesbos where young men and women bring on BBC Radio 3, and is a Fellow of indicating his pride at the way its kaleidoscopic offerings for the nymphs whose statues guard Robinson College, Cambridge. moods, colours and dance-rhythms are integrated the spot. Naïve Daphnis and clumsy Dorcon compete into a compelling musical and dramatic arc. for a kiss from Chloé (beautiful, but no less naïve) which sends the victorious Daphnis into ecstacies, COMPOSER PROFILE The impresario commissioned so that he is in no mood for an attempted seduction PAGE 10 the new piece for his in 1909, by Lyceion, which merely disturbs and confuses bringing together an impressive creative team: him. (In Longus’ original she is more successful, Vaslav Nijinsky and Tamara Karsavina dancing and teaches him the arts of love. In general, the title roles; Mikhail Fokine as choreographer; it is noteworthy how the stage scenario for this Léon Bakst as designer; and to sumptuously sensual score avoids love-scenes; conduct Ravel’s new score. Things did not go against all expectations, there is not even smoothly, however, particularly between Ravel and a pas-de-deux for Daphnis and Chloé. The music, Fokine. Each spoke almost nothing of the other’s however, more than makes up for this!) At this language, and their artistic visions differed too. moment pirates attack and Chloé is kidnapped. Daphnis curses the powers who failed to protect her, Ravel, in his own words, aimed ‘to compose a vast and swoons. Magically the nymphs descend from musical fresco in which I was less concerned with their pedestals, dance around Daphnis, and lead him archaism than with reproducing faithfully the Greece to a rock which transforms into a vast image of Pan. of my dreams, very like that imagined by French artists at the turn of the 18th century’. It did not SCENE TWO prove easy to reconcile this with Fokine’s vision of the ‘archaic dancing painted in red and black on As darkness descends we hear distant voices as Attic vases’, and when arguments also broke out the curtain rises on the second tableau, a rough between Fokine and Nijinsky, Diaghilev came close coast where the pirates are raucously celebrating to calling the whole thing off. The last straw was their success. Forced to dance, Chloé tries feebly lso.co.uk Programme Notes 9

RAVEL ON LSO LIVE to escape, only to be carried off by the pirate leader Bryaxis. But mysterious sounds and apparitions intrude, and suddenly Pan himself appears, as the pirates run in terror.

SCENE THREE

The third and final tableau falls into three broad sequences. In the first, dawn steals over the cave where Daphnis wakes, and he is reunited with Chloé; this glorious scene is one of Ravel’s most sumptuous LES BALLETS RUSSES AND SERGEI DIAGHILEV inspirations, both exquisite and powerful as it evokes Born into a wealthy Russian family, Sergei Diaghilev the babbling stream, the rising sun and the lovers’ was a patron and supporter of the arts. After staging £8.99 rapturous emotions. In the second sequence the exhibitions and concerts in Paris from 1905, he lovers show their gratitude to the gods by enacting embarked on his most successful venture in 1909 – Ravel Daphnis and Chloé Pan’s seduction of Syrinx, to a long and infinitely Les Ballets Russes. The opening night was highly Ravel Boléro seductive flute solo which is another highpoint of the successful, and featured the best young dancers Ravel Pavane work. Finally, forgetting their roles, the lovers fall into in Russia, including Anna Pavlova, Vaslav Nijinsky each other’s arms; everyone joins them in the final and Tamara Karsavina (both pictured above). Valery Gergiev conductor dance, a wild and wine-fuelled affair of sheer pagan The company’s impressive roster of choreographers joy and exhilaration. Ultimately Daphnis and Chloé is, included Michael Fokine (who left after his tumultuous ‘This Daphnis with the London more than a tale of two lovers, the celebration of an relationship with Diaghilev deteriorated in 1912), Symphony Orchestra has everything idyllic fantasy-world: his Classical Neverland inspired Nijinsky and his younger sister Bronislava Nijinska, one could want – atmosphere, Ravel to the richest and fullest expression of his art. and (later founder of the New York languor, superb wind playing.’ City Ballet). After their opening season the Ballets Financial Times Russes went on to work with leading composers of the era, staging the premieres of productions Buy now | lsolive.lso.co.uk including Rimsky-Korsakov’s Scheherazade (1910), Debussy’s Jeux (1913), and Stravinsky’s (1910), (1911) and (1913). Diaghilev also commissioned set designs and costumes from renowned artists including Matisse, Picasso and Kandinsky. The company’s groundbreaking and often controversial productions – The Rite of Spring famously provoked a riot – established them as the most influential dance company of the 20th century and a springboard for some of the most celebrated dancers and choreographers. 10 Composer Profile 23 March 2017

Maurice Ravel (1875–1937) Composer Profile

COMPOSER PROFILE WRITER Although born in the rural Basque village of Ciboure, completing La valse for Diaghilev and beginning work ANDREW STEWART Ravel was raised in Paris and positively encouraged on his second opera L’enfant et les sortilèges. by his engineer father to develop and refine his evident musical skills. First-rate piano lessons and From 1932 until his death, he suffered from the instruction in harmony and counterpoint ensured progressive effects of Pick’s Disease and was unable that the boy was accepted as a preparatory piano to compose. A shy and intensely private man, Ravel student at the Paris Conservatoire in 1889. As a full- reluctantly exposed his emotions almost exclusively time student, Ravel explored a wide variety of new through the medium of music. His emotional outbursts music and forged a close friendship with the Spanish are most powerful in his imaginative interpretations pianist Ricardo Vines. Both men were introduced of the unaffected worlds of childhood and animals, in 1893 to Chabrier, who Ravel regarded as ‘the and in the exotic, far-distant tales such as the Greek most profoundly personal, the most French of our lovers Daphnis and Chloé. Spain also influenced the composers’. Ravel also met and was influenced by composer’s creative personality, his mother’s Basque around this time. inheritance strongly reflected in a wide variety of works, together with his liking for the formal elegance In the decade following his graduation in 1895, of 18th-century French art and music. Ravel forged his reputation as an innovative composer and scored a notable hit with the Pavane pour une infante défunte for piano (later orchestrated). Even so his works were rejected several times by the backward-looking judges of the Prix de Rome for not satisfying the demands of academic counterpoint. In the early years of the 20th century he Music, I feel, must completed many outstanding works, including be emotional first and the evocative Miroirs for piano, his first opera, L’heure espagnole and the Introduction et allegro intellectual second. for harp and ensemble.

In 1909 Ravel was invited to write a large-scale work for Sergei Diaghilev’s Ballets Russes, completing Maurice Ravel the score to Daphnis and Chloé three years later. At this time he also met and first heard the expressionist works of . During the First World War, he enlisted with the motor transport corps, and returned to composition slowly after 1918, 29 & 30 Apr Sound Unbound 2017 The Barbican Classical Weekender

Chilly Gonzales / Alison Balsom / Iestyn Davies / Anna Meredith

Britten Sinfonia / LSO playing John Williams

BBC Symphony Orchestra / Academy of Ancient Music / Guildhall Artists Weekend tickets available barbican.org.uk

Sound Unbound LSO programme ad v2.indd 1 16/03/2017 17:30 12 Artist Biographies 23 March 2017

Alain Altinoglu Conductor

As Music Director of the prestigious Théâtre Royal de festivals in Bayreuth, Salzburg, Orange and Aix- la Monnaie, , Alain Altinoglu began his first en-Provence. Alongside his , Altinoglu full season with a Brahms symphonies cycle. 2016/17 maintains a strong affinity and command over the also marks the re-opening of La Monnaie’s iconic Lied repertoire. Regularly accompanying mezzo- opera house, following extensive renovation works. soprano Nora Gubisch, their most recent recording for Naïve includes folk songs by de Falla, Obradors, Highlights of the current season include Altinoglu’s Granados, Berio and Brahms. Other recordings debut at the Salzburg Festival conducting Sven-Eric together have included a disc of songs by Henri Bechtolf’s production of Mozart’s Don Giovanni with Duparc (Cascavelle) and Maurice Ravel (Naïve). the , and debut appearances Naïve have also released a recording of Henryk with the Boston Symphony and Cleveland . Gorecki’s Third Symphony with the , This season Altinoglu embarks on a tour with the and Tangy’s Cello Concerto with the Orchestra Gothenburg Symphony, Klaus Florian Vogt and Baiba National de France and Dusapin’s Perelà. Skride, and leads new productions at Barcelona’s Gran Teatre del Liceu (Massenet’s Werther), as Past releases include Lalo’s Fiesque with the well as Laurent Pelly’s new production of Rimsky- Orchestre National de Montpellier and Roberto Music Director Korsakov’s Le Coq d’Or and Stathis Livathinos’ Alagna for Deutsche Grammophon, and Liszt’s Théâtre Royal de la Monnaie new production of Verdi’s Aida in Brussels. Piano Concertos with the Berlin Radio Symphony Orchestra and Nareh Arghamanyan for PentaTone. Alain Altinoglu regularly conducts distinguished DVD recordings include Honegger’s Jeanne d’Arc orchestras, such as the Chicago Symphony, au bûcher which was released by Accord in 2007 , Orchestre National de France, and a recording of Wagner’s The Flying Dutchman, Orchestre de Paris, Orchestre Philharmonique released on Deutsche Grammophon in 2015. de Radio France, City of Birmingham Symphony Orchestra, Philharmonia Orchestra, Danish National Born in Paris in 1975, Alain Altinoglu studied at the Symphony Orchestra, Royal Stockholm Philharmonic Conservatoire National Supérieur de Musique de Orchestra, Staatskapelle Dresden, Staatskapelle Paris, where he now teaches conducting. Berlin, Berlin Radio Symphony Orchestra, Bavarian Radio Symphony Orchestra, Bamberg Symphony, Vienna Radio Symphony Orchestra and the Tonhalle Orchester Zürich.

A regular guest at the world’s leading opera houses, Altinoglu appears at the , Royal Opera House, the Teatro Colon Buenos Aires, Wiener Staatsoper, Opernhaus Zürich, the Deutsche Oper Berlin, the Staatsoper unter den Linden, the Bayerische Staatsoper München and all three opera houses in Paris. He has also appeared at the lso.co.uk Artist Biographies 13

Gautier Capuçon Cello

Performing each season with many of the world’s , , , foremost conductors and instrumentalists, Frank Braley, Renaud Capuçon, Jérôme Ducros, Gautier Capuçon is also founder and leader of , Katia and Marielle Labèque, the ‘Classe d’Excellence de Violoncelle’ at the , Jean-Yves Thibaudet and the Fondation Louis Vuitton in Paris – based in the Artemis and Ebène Quartets. Recent highlights stunning new designed by . include an extensive European recital tour of He is acclaimed internationally for his deeply Beethoven Sonatas with Frank Braley, supporting expressive musicianship and virtuosity, as well as for the international release of an album featuring the glorious sonority of his 1701 Matteo Goffriller cello. the same repertoire.

During 2016/17 he returns to such orchestras as Capuçon records exclusively for Erato (Warner Classics) the Philharmonia, , Russian and has won multiple awards. His National Orchestra, Staatskapelle Dresden, most recent releases include Beethoven’s complete Philharmonic, Chicago Symphony Orchestra, Los Sonatas for Cello and Piano with Frank Braley, Angeles Philharmonic and – Shostakovich’s Cello Concertos with the Mariinsky and has been re-invited for concerts in Japan, China Orchestra and Valery Gergiev, and Schubert’s String and Korea. In recent seasons he has performed with Quatuor Ebène. Prior to that he won with the Royal Concertgebouw Orchestra, Vienna plaudits for a recital disc of music by Schubert, Philharmonic, Gewandhausorchester Leipzig, Schumann, Debussy, Britten and Carter with Frank Tonhalle-Orchester Zürich, Chamber Orchestra of Braley, and Saint-Saëns’ First Cello Concerto and La Europe, New York Philharmonic, NHK Symphony, muse et le poète with the Orchestre Philharmonique Sydney Symphony and Mariinsky Orchestras, as well de Radio France and Lionel Bringuier. He has also as with all of the major orchestras across France. recorded with Martha Argerich, Nicholas Angelich, Renaud Capuçon and Gabriela Gautier Capuçon continues to work regularly Montero, and in 2013 Deutsche Grammophon with conductors such as , Semyon released a DVD featuring Capuçon as soloist with Bychkov, Valery Gergiev, , Lionel the Berlin Philharmonic and Gustavo Dudamel in a Bringuier, , Christoph Eschenbach, live performance of Haydn’s Cello Concerto No 1. Andrés Orozco-Estrada and Yannick Nézet-Séguin. He collaborates with contemporary composers Born in Chambéry in 1981, Capuçon began including, amongst others, Lera Auerbach, Karol playing the cello at the age of five. He studied Beffa, Esteban Benzecry, Nicola Campogrande, at the Conservatoire National Supérieur in Paris Qigang Chen, Jerome Ducros, Thierry Escaich, with Philippe Muller and Annie Cochet-Zakine, Philippe Manoury, Bruno Mantovani, Krzysztof and later with Heinrich Schiff in Vienna. The winner Penderecki and Wolfgang Rihm. of various first prizes in many leading international competitions, including the International André A regular recital and chamber musician, Capuçon Navarra Prize, Capuçon was named ‘New Talent appears annually in the major halls and festivals of the Year’ by Victoires de la Musique in 2001. worldwide alongside artists such as Nicholas Angelich, 14 Artist Biographies 23 March 2017

London Symphony Chorus On stage

The London Symphony Chorus was formed in 1966 to complement SOPRANOS ALTOS TENORS BASSES the work of the London Symphony Orchestra, and last year celebrated Anneke Amalie Liz Boyden Jorge Aguilar Chris Bourne Frankie Arnull Gina Broderick Paul Allatt * Gavin Buchan its 50th anniversary. The partnership between the LSC and LSO was Faith Baxter Jo Buchan * Robin Anderson Andy Chan strengthened in 2012 with the appointment of Simon Halsey as joint Laura Catala-Ubassy Lizzy Campbell Jack Apperley Matthew Clarke Chorus Director of the LSC and Choral Director for the LSO. Elaine Cheng Sarah Clowry Erik Azzopardi Giles Clayton Emma Craven Liz Cole Raymond Brien Damian Day Katharine Elliot Maggie Donnelly Oliver Burrows Thomas Fea The LSC has partnered many other major orchestras and has performed Lucy Feldman Linda Evans Michael Delany Robert Garbolinski * Elisa Franzinetti Victoria Forsey Matt Fernando Bryan Hammersley nationally and internationally with the Berlin and Vienna Philharmonic Joanna Gueritz Rachel Green Andrew Fuller * Owen Hanmer * orchestras, and the Leipzig Gewandhaus Orchestra. Championing the Isobel Hammond Kate Harrison Patrizio Giovannotti J-C Higgins * musicians of tomorrow, it has also worked with both the NYO and the Emily Hoffnung Lis Iles Simon Goldman Anthony Howick Denise Hoilette Ella Jackson Euchar Gravina Alex Kidney EUYO. The Chorus has toured extensively throughout Europe and has Claire Hussey * Christine Jasper Anthony Madonna Thomas Kohut also visited North America, Israel, Australia and South East Asia. Debbie Jones Jill Jones John Marks Gaetano Lo Coco Jessica Kirby Vanessa Knapp Alastair Matthews George Marshall Luca Kocsmarszky Gilly Lawson Daniel Owers Hugh McLeod Much of the LSC’s repertoire has been captured in its large catalogue Junelle Kwon Belinda Liao * Oli Perkins Alan Rochford of recordings, which have won nine awards including five Grammys. Debbie Lee Anne Loveluck * Chris Riley Rod Stevens Marylyn Lewin Caroline Mustill Brais Romero-Breijo Richard Tannenbaum In June 2015 the recording of Sir ’ Symphony Aine Macdonald Dorothy Nesbit Peter Sedgwick Robin Thurston No 10, commissioned by the LSO and recorded by the LSO and the Rebecca McKimm Susannah Priede * Richard Street * Liam Velez LSC with Sir , won a prestigious South Bank Sky Arts Hannah McNaboe Maud Saint-Sardos Malcolm Taylor Jez Wareing Jane Morley Lis Smith James Warbis Tyler Wert award in the Classical category. Emily Norton Claire Trocmé Robert Ward * Anthony Wilder Jessica Norton Kathryn Wells Highlights from last season included Haydn’s The Seasons with Rattle, Maggie Owen Zoe Williams Andra Patterson Alice Young Elgar’s The Dream of Gerontius with Sir Mark Elder, and Sir Peter Maxwell Carole Radford Davies’ The Hogboon. In 2016/17 the LSC celebrated its 50th Mikiko Ridd Alison Ryan anniversary with performances of Verdi’s in London and Jasmine Spencer New York, followed by Ligeti’s with Sir , Deborah Staunton and concludes with Bruckner’s Te Deum under . Giulia Steidl Winnie Tse

President Sir Simon Rattle OM CBE LSC Associate Director for Ravel’s Daphnis and Chloé Matthew Hamilton President Emeritus KBE Vice President * denotes LSC council member Patrons Simon Russell Beale CBE and Howard Goodall CBE Chorus Director Simon Halsey CBE The London Symphony Chorus is generously supported by: Associate Directors Neil Ferris and Matthew Hamilton The John S Cohen Foundation, The Helen Hamlyn Trust, The Revere Charitable Trust, Chorus Accompanist Benjamin Frost The Welton Foundation, LSC Friends, Members of the LSC Chairman Owen Hanmer LSO Sing is generously supported by: Sir Siegmund Warburg’s Voluntary Settlement, Barnett & Syliva Shine No 2 Want to sing with the LSC? Find out more about life in one of London’s Charitable Trust, John S Cohen Foundation, Slaughter and May Charitable Trust, leading choirs, and how to apply, at lsc.org.uk/join-us LSO Friends, Garfield Weston Foundation and The Patron’s Fund. lso.co.uk Artist Biographies 15

Simon Halsey Chorus Director

Simon Halsey holds positions across the UK and Simon Halsey became Choral Director of the London Europe as Choral Director of the London Symphony Symphony Orchestra and Chorus in 2012. Highlights Orchestra and Chorus; Chorus Director of the City with the LSO in 2016/7 have included the Verdi of Birmingham Symphony Orchestra Chorus; Artistic Requiem in London and at the White Director of Orfeó Català Choirs and Artistic Adviser Lights festival with Gianandra Noseda; El Niño with of Palau de la Música, Barcelona; Artistic Director of in London and Paris; and Ligeti’s Le grand Berliner Philharmoniker Youth Choral Programme; macabre with Sir Simon Rattle in London and Berlin. Director of the BBC Proms Youth Choir; Artistic In June 2016, the LSO Discovery Choirs and London Advisor of Schleswig-Holstein Musik Festival Choir; Symphony Chorus performed the world premiere of Conductor Laureate of the Rundfunkchor Berlin; The Hogboon, the late Sir Peter Maxwell Davies’ new and Professor and Director of Choral Activities at children’s opera, with Sir Simon Rattle and students University of Birmingham. from the Guildhall School. In summer 2017, the LSO Discovery Choirs and Community Choir will premiere Simon Halsey is the trusted advisor on choral singing a new opera by Andrew Norman, which Rattle and to the world’s greatest conductors, orchestras Halsey will also take to Berlin to perform with the and choruses, and a teacher and ambassador for Berlin Philharmonic and their youth choir. choral singing to amateurs of every age, ability and background. Making singing a central part of the Born in London, Simon Halsey sang in the choirs world-class institutions with which he is associated, of New College, Oxford, and of King’s College, he has been instrumental in changing the level of Cambridge and studied conducting at the Royal symphonic singing across Europe. He is also a highly College of Music in London. In 1987, he founded he respected teacher and academic, nurturing the next City of Birmingham Touring Opera with Graham Vick. generation of choral conductors on his post-graduate He was Chief Conductor of the Netherlands Radio course in Birmingham and through masterclasses at Choir from 1997 to 2008 and Principal Conductor of Princeton, Yale and elsewhere. He holds three honorary the Northern Sinfonia’s Choral Programme from 2004 doctorates from universities in the UK, and in 2011 to 2012. From 2001 to 2015 he led the Rundfunkchor Schott Music published his book and DVD on choral Berlin (of which he is now Conductor Laureate); conducting, Chorleitung: Vom Konzept zum Konzert. under his leadership the Chorus gained a reputation internationally as one of the finest professional Halsey has worked on nearly 80 recording projects, choral ensembles. While there Halsey also initiated many of which have won major awards, including innovative projects in unconventional venues and the Gramophone Award, Diapason d’Or, Echo Klassik, interdisciplinary formats. and three Grammy Awards with the Rundfunkchor Berlin. He was made Commander of the British Empire in 2015, was awarded The Queen’s Medal for Music in 2014, and received the Officer’s Cross of the of the Federal Republic of Germany in 2011 in recognition of his outstanding contribution to choral music in Germany. 16 The Orchestra 23 March 2017

London Symphony Orchestra Your views On stage Inbox

FIRST FLUTES TUE 14 MAR – GALA CONCERT IN AID OF THE LORD MAYOR’S APPEAL Dragan Sredojevic Krzysztof Chorzelski Adam Walker Philip Cobb AT ST PAUL’S CATHEDRAL Leader Gillianne Haddow Alex Jakeman David Carstairs Lennox Mackenzie Malcolm Johnston Patricia Moynihan Niall Keatley Clare Duckworth Anna Bastow Robin Totterdell Chris Terry @citylordmayor @StPaulsLondon PICCOLO Nigel Broadbent Regina Beukes @londonsymphony incredible concert! Choristers Ginette Decuyper Julia O’Riordan Sharon Williams Gerald Gregory Robert Turner Peter Moore magnificent, orchestra & soloist stunning. London panache! Jörg Hammann Samuel Burstin James Maynard Rosie Jenkins Maxine Kwok-Adams Carol Ella Christopher Cowie BASS Claire Parfitt Nancy Johnson Benjamin Ashby Astonishingly beautiful concert Paul Milner Elizabeth Pigram Caroline O’Neill @StPaulsLondon for the Lord Mayor’s Appeal with Laurent Quenelle Shiry Rashkovsky Christine Pendrill @londonsymphony orchestra. This is one I’ll remember. Harriet Rayfield Patrick Harrild Colin Renwick Sylvain Vasseur Rebecca Gilliver Chris Richards TIMPANI Anna Keay Wonderful concert this balmy eve Alastair Blayden Sarah Thurlow Nigel Thomas Rhys Watkins @StPaulsLondon. @londonsymphony divine & Lord Mayor Martyn Jackson Jennifer Brown Noel Bradshaw E-FLAT CLARINET PERCUSSION on the organ! SECOND VIOLINS Eve-Marie Caravassilis Chi-Yu Mo Neil Percy David Alberman Daniel Gardner David Jackson Thomas Norris Hilary Jones Sam Walton Katy Ayling Sarah Quinn Amanda Truelove Mick Doran Benedict Hoffnung Miya Väisänen Judit Berendschot Tom Lee Matthew Gardner Victoria Harrild Daniel Jemison Glyn Matthews Julian Gil Rodriguez Joost Bosdijk DOUBLE BASSES Paul Stoneman Naoko Keatley Dominic Tyler Belinda McFarlane Graham Mitchell Oliver Yates William Melvin Colin Paris CONTRA HARPS Iwona Muszynska Patrick Laurence Dominic Morgan Bryn Lewis Andrew Pollock Matthew Gibson Alison Martin Paul Robson Thomas Goodman HORNS Joe Melvin Phillip Eastop Ingrid Button PIANO Jani Pensola Angela Barnes Hazel Mulligan John Alley Simo Väisänen Alexander Edmundson Jonathan Lipton Jocelyn Lightfoot

LSO STRING EXPERIENCE SCHEME

Established in 1992, the LSO String Experience The Scheme is supported by London Symphony Orchestra Editor Edward Appleyard Scheme enables young string players at the Barbara Whatmore Charitable Trust, Barbican [email protected] start of their professional careers to gain Help Musicians UK, The Polonsky Foundation, Silk Street work experience by playing in rehearsals Charitable Trust, N Smith Charitable London Photography Ranald Mackechnie, Marco and concerts with the LSO. The scheme Settlement, Lord and Lady Lurgan Trust EC2Y 8DS Borggreve, Jean Baptiste Millot, Gregory auditions students from the London music and LSO Patrons. Batardon, Matthias Heyde, Lubè Saveski Registered charity in No 232391 conservatoires, and 15 students per year Cover photography Ranald Mackechnie, are selected to participate. The musicians Performing in tonight’s concert are Details in this publication were correct featuring LSO Members with 20+ years’ service. are treated as professional ’extra’ players Rosa Hartley (First Violin) and Naoka Aoki at time of going to press. Visit lso.co.uk/1617photos for a full list. (additional to LSO members) and receive fees (Second Violin). for their work in line with LSO section players. Advertising Cabbell Ltd 020 3603 7937 Print Cantate 020 3651 1690