Thursday 19 & 26 April 2018 7.30–9.50pm Barbican Hall

LSO SEASON CONCERT SIR

Helen Grime Woven Space (world premiere) * Interval WOVEN Mahler Symphony No 9

Sir Simon Rattle conductor

* Commissioned for the LSO and SPACE Sir Simon Rattle by the Barbican 26 April generously supported by Baker McKenzie

Welcome LSO News Online

Fanfares and Woven Space were THE LSO’S 2018/19 SEASON YOUTUBE LIVE STREAMS commissioned for the LSO and Sir Simon Rattle by the Barbican, and our sincere The LSO’s 2018/19 season is now on sale. If you can't make it to the Barbican, thanks go to them. Highlights include Music Director Sir Simon tune in to the LSO’s YouTube channel Rattle’s exploration of folk-inspired music on Sunday 24 June 2018 at 7pm to watch At the concert on Thursday 19 April we in his series Roots and Origins; the the LSO’s Principal Guest Conductor welcome the LSO’s wide family of supporters continuation of Gianandrea Noseda’s Gianandrea Noseda conduct Shostakovich's so that members of the can thank Shostakovich cycle; Artist Portraits Violin Concerto No 1 and Symphony No 10 them personally for their commitment with soprano and conductor live from the Barbican Hall. to our work. I add my thanks to theirs – and pianist Daniil Trifonov; and seven world you make our achievements possible premieres across the season. Full listings You can also watch back previous live In perfect harmony Welcome to this evening’s LSO concert at and we are immensely grateful. are available at lso.co.uk/201819season. streams at youtube.com/lso. BAKER MCKENZIE AND THE the Barbican, conducted by the Orchestra’s Music Director Sir Simon Rattle. Continuing Our concert on Thursday 26 April is LONDON SYMPHONY ORCHESTRA his focus on late works, Sir Simon conducts generously supported by Baker McKenzie. BMW CLASSICS AT TRAFALGAR SQUARE WLECOME TO OUR NEW MEMBERS Mahler’s Ninth Symphony, which was unheard I would like to take this opportunity to thank during the composer’s lifetime, paired with them for what is a landmark partnership Trafalgar Square will be transformed into A warm welcome to our two new Baker McKenzie has a passion for the Arts, which is the world premiere of Helen Grime’s that has endured for two decades. a giant free music stage for Sir Simon Rattle members Steve Doman and Carol Ella, why we are proud to have been official lawyers to the Woven Space. and the London Symphony Orchestra to who both join the Viola section. London Symphony Orchestra for the past two decades. I hope that you enjoy the performance, present BMW Classics on Sunday 1 July 2018. Eagle-eyed regulars might recognise Helen Grime first worked with the LSO in 2007 and that you are able to join us again soon. The concert is free to all, both in the both Steve and Carol as former participants as a member of the Orchestra’s programme On Thursday 17 and Sunday 20 May, we are Square and streamed live on YouTube. of LSO Discovery’s String Experience Scheme. for young composers, writing her first work joined by the LSO’s Conductor Laureate The programme will feature music on for full orchestra, Virga. It was during an for an all-Sibelius a theme of dance and ballet by Dvořák, LSO workshop that she was singled out for programme and Beethoven's Missa Solemnis Massenet, Tchaikovsky and Stravinsky. praise by and we have enjoyed with the . Visit lso.co.uk/bmwclassics for more details. seeing Helen Grime’s career go from strength to strength ever since. We look forward to Read our news, watch videos and more hearing the first performances ofWoven WELCOME TO TONIGHT’S GROUPS • lso.co.uk/news www.bakermckenzie.com Space, a work that includes Fanfares, which • youtube.com/lso opened Sir Simon Rattle’s first season as Kathryn McDowell CBE DL Tonight we are delighted to welcome • lso.co.uk/blog Baker & McKenzie LLP is a limited liability partnership registered in and Music Director in September 2017. Managing Director Mrs Adele Friedland & Friends Wales with registered number OC311297. Baker & McKenzie LLP is a member of Baker & McKenzie International, a global law firm with member law firms around the world. © 2018 Baker McKenzie 2 Welcome 19 & 26 April 2018 In perfect harmony BAKER MCKENZIE AND THE LONDON SYMPHONY ORCHESTRA

Baker McKenzie has a passion for the Arts, which is why we are proud to have been official lawyers to the London Symphony Orchestra for the past two decades.

www.bakermckenzie.com

Baker & McKenzie LLP is a limited liability partnership registered in England and Wales with registered number OC311297. Baker & McKenzie LLP is a member of Baker & McKenzie International, a global law firm with member law firms around the world. © 2018 Baker McKenzie Tonight’s Concert / by Paul Griffiths Coming Up

elen Grime’s Woven Space is a The first movement, with its two-note falls PROGRAMME NOTE WRITERS Thursday 17 May 2018 7.30pm compact, brilliant and energetic inherited from Beethoven’s ‘Les Adieux’ Barbican Hall symphony that turns into music Sonata, seems to be singing ‘Farewell’ Paul Griffiths has been a critic for nearly the dynamism and fluidity of the landscape through much of its course. What follows is 40 years, including for The Times and SIBELIUS art of Laura Ellen Bacon, her great structures a dance medley, violently grotesque. Then The New Yorker, and is an authority on 20th of woven willow stems winding through this frantic dance is succeeded by a frantic and 21st-century music. Among his books Sibelius Violin Concerto space. The first movement, appropriately march, brilliant and black. Out of it comes are studies of Boulez, Ligeti and Stravinsky. Sibelius Symphonies Nos 6 & 7 called ‘Fanfares’, brings together contrasting a figure that will be the mainstay of the He also writes novels and librettos. kinds of exuberance. The second and concluding adagio, through hymn, Alpine Michael Tilson Thomas conductor biggest, sharing its title with the work as vision and final ebbing. • Stephen Johnson is the author of Bruckner Janine Jansen violin a whole, moves from mystery to luminous Remembered. He contributes regularly to exuberance. ‘Course’, the finale, vigorously BBC Music Magazine and The Guardian, Recommended by Classic FM pursues its winding way, piling in ideas from and broadcasts for BBC Radio 3, BBC Radio 4 earlier in the work as it comes towards its and the BBC World Service. exciting finish. Andrew Stewart is a freelance music Mahler’s Ninth Symphony, drafted during journalist and writer. He is the author Sunday 20 May 2018 7pm the composer’s summer break in Austria in of The LSO at 90, and contributes to Barbican Hall 1909 and completed during the following a wide variety of specialist classical New York concert season, was the last work music publications. MISSA SOLEMNIS he completed. Its prevailing atmosphere of leave-taking might therefore seem grimly Beethoven Missa Solemnis appropriate. However, even though Mahler was very much aware of his mortality, the Michael Tilson Thomas conductor farewells he was conveying came on behalf of Camilla Tilling soprano a whole musical culture he felt to be reaching Sasha Cooke mezzo-soprano its end: the culture of full-hearted Romantic Toby Spence tenor expression, of stable tonality, of the splendour Luca Pisaroni bass-baritone and the tawdriness of imperial Vienna. London Symphony Chorus chorus director

Generously supported by The Atkin Foundation

4 Tonight’s Concert 19 & 26 April 2018 Helen Grime in Profile b 1981

This disc was awarded ‘Editor's Choice’ • LSO SOUNDSCAPES: PIONEERS by Gramophone on its release and was nominated in the Contemporary category The LSO Soundscapes: Pioneers Scheme of the 2015 Gramophone Awards. In 2016 offered 26 early-career composers the her Two Eardley Pictures were premiered opportunity to write short works for at the BBC Proms and in Glasgow, winning inclusion in main season LSO concerts the prize for large-scale composition in at the Barbican between 2005 and 2009. the Scottish Awards for New Music and a nomination in the British Composer Awards For more information about the LSO’s the following year. composer development schemes, turn to page 8. Grime is Composer in Residence at Wigmore Hall for the 2016/17 and 2017/18 seasons. Highlights of this period include a day of concerts devoted to her music, as orn in 1981, Helen Grime studied As well as the LSO and the Barbican, Grime well as the premieres of a Piano Concerto at the has had works commissioned by ensembles for Huw Watkins and Birmingham with and Edwin and institutions including Music, Contemporary Music Group conducted Roxburgh (composition) and John Anderson Birmingham Contemporary Music Group, by , and a song cycle, Bright (oboe). She came to public attention in Britten Sinfonia, BBC Scottish Symphony Travellers, for soprano Ruby Hughes and 2003, when her Oboe Concerto won a British Orchestra, Chamber Music Society of Lincoln pianist Joseph Middleton. Composer Award. She went on to take part in Center and the Tanglewood Music Center. the LSO’s Soundscapes: Pioneers Scheme • Conductors who have performed her work In 2017 she was commissioned by the in 2007, premiering her short commission include Sir Simon Rattle, Pierre Boulez, Barbican to write a two-part work for Virga in July of the same year. In 2008 , Yan Pascal Tortelier, Sir Simon Rattle’s inaugural season as Music she was awarded a Oliver Knussen and Sir Mark Elder. Director of the London Symphony Orchestra, Fellowship to attend the Tanglewood with the first instalment,Fanfares , opening Music Center where she studied with John Between 2011 and 2015 Grime was Associate the 2017/18 season and the complete work, Harbison, Michael Gandolfi, Shulamit Ran Composer to the Hallé Orchestra. This Woven Space. She is currently working on and Augusta Read Thomas. Grime was a fruitful period resulted in a series of new a concerto for percussionist Colin Currie. • Legal and General Junior Fellow at the works and a recording of her orchestral Royal College of Music from 2007 to 2009. works released by NMC Recordings.

Composer Profile 5 Helen Grime Woven Space (world premiere) 2017–18 / note by Paul Griffiths

1 Fanfares will with time become firmer, as successive full restoration of brilliance in a melding comes with a brass chorale. Then everything 2 Woven Space performances discover its strengths. of the musical principles that initiated begins to interweave, to interconnect, 3 Course Another is that woven space, in music, the movement. The ending, though, is and to strengthen in doing so, until the must be woven time. again withdrawn. growing tension is released in bright triplet elen Grime wrote her first energy, coming first from high woodwind orchestral piece, Virga, for the — and celeste. Slower music persists on LSO just over a decade ago, music ‘I am simply fascinated by Helen’s music … other levels, but the exuberance bounds of spectral luminescence and captivating on. As woodwind solos and duets come mystery, suitably named after an upper-sky She came up through the LSO’s young composers programme forward, the movement arrives at its close, phenomenon, of shafts of rain that seem to and I was immediately taken by her work.’ with alternations between steady melodic hang in the air, never reaching ground level, Sir Simon Rattle winding and triplet speed. because they will have evaporated away. Now, in this bigger composition, her thinking — The finale also takes its title, ‘Course’, from turns from nature to art – though not all the a work of Bacon’s, a channel of woven willow way, for Woven Space takes its title from The first movement, ‘Fanfares’, was written ‘Woven Space’, the title the big central made to snake down into the river in the a structure by Laura Ellen Bacon •, whose for the Orchestra’s opening concert of movement shares with the whole work, was grounds of Hall Place, in Bexley. ‘Driven’ is work, exploding the notion of basketry, is the 2017/18 season, back in September. also the name of a structure Bacon created the marking, for music that maintains its done with fresh willow twigs wound into ‘Bright, dance-like’ is the marking at the within Chatsworth Garden in Derbyshire in swirling motion of lines upon lines, speeds forms that might echo those of plant growth start, aptly describing the characters of the 2009, an enclosure in an enclosure, made upon speeds, through a central sequence or water flow. In her choices of both material two kinds of music set in motion and how of curving walls of interlaced willow twigs in which the drive recedes into the distance and structure, therefore, Bacon is an artist they interact: clangs from tuned percussion within the spaces of an ancient yew. for a focus on woodwind solos. When the of the natural, which would be one reason with rushing woodwind scales are inter-cut energy comes forward again, impelled by for Grime to find her work sympathetic. with, then combined with, a springing drive Grime’s music may similarly give a sense at trumpets, something is held in reserve. What Bacon does with withies, Grime from strings, harp and celeste. times of enfolding the listener. Its opening Then, with earlier ideas rushing back, accomplishes with lines of notes: shapes is mysterious, a resonance of bells and tam the music can be let fly. • them into curves, balances their strains, Trumpets and horns, hitherto mostly in tam sustained by muted brass and lower weaves them. the background, spill forwards at an initial strings as background for lines winding climax and stay involved, up to a point down in groups of second violins. To these Interval – 20 minutes One big difference, of course, is that where where the music becomes ‘Submerged, the firsts respond with defined figures, Bacon’s pieces, often made for specific distant’. The cor anglais sets out a line that thus re-establishing, in a very different Woven Space was commissioned for outdoor locations, are bound to disintegrate is threaded through what follows, along atmosphere, the contrast that sparked Sir Simon Rattle and the London Symphony within a few years, a musical composition with reminiscences, until there comes a off ‘Fanfares’. A third item is due, and it Orchestra by the Barbican.

6 Programme Notes 19 & 26 April 2018 • LAURA ELLEN BACON

Laura Ellen Bacon (b 1976) is a British sculptor. She crafts, weaves and knots raw, natural materials – particularly willow – by hand to create large-scale, site-specific works, which engulf and merge with existing structures, from buildings to trees. She says, ‘I began making my early works upon dry stone walls and evolved to work within trees, riverbanks and hedges, allowing the chosen structure (be it organic or man-made) to become host. I am still powerfully driven to create spaces of some kind and over a decade into my work, my passions continue to merge creatively with architecture.’

She has created and exhibited work for Somerset House, the Saatchi Gallery, Bloomberg and the Holbourne Museum, among others. Woven Space (pictured) was created within Chatsworth Garden in Derbyshire, at the invitation of the Duke and Duchess of Devonshire and the Chatsworth House Trust. It was built on site around an old yew tree, and exhibited between 2010 and 2015.

Image courtesy of Chatsworth House Trust

Programme Notes 7 The LSO’s Composer Schemes

he LSO runs three world-leading artist development programmes 220 composers aimed at promoting the next generation of composers. In the past 15 years, the Orchestra has supported over 1,068 minutes 220 early career composers, by developing a platform for them to collaborate as well of new music as providing access to vital resources, mentoring and support from world-class musicians and industry professionals. 5 British Composer PANUFNIK COMPOSERS SCHEME Award Winners in 2017

The Panufnik Composers Scheme offers Emma-Jean Thackray (28 Apr) six emerging composers each year the opportunity to write for the LSO. LSO SOUNDHUB LSO JERWOOD COMPOSER+ Saturday 28 April 2018 8.30pm LSO St Luke’s Guided by composer , Based at LSO St Luke’s, LSO Soundhub LSO Jerwood Composer+ is an innovative participants are able to experiment over provides a flexible environment where four new programme that supports two early- LONDON JAZZ X LSO PART 1: time, develop their orchestral writing skills composers can explore, collaborate and career composers per year in programming, JERWOOD COMPOSER+ SHOWCASE and build collaborative relationships with experiment, with access to vital resources, curating, planning and delivering two LSO players. The resulting pieces are publicly support from industry professionals and LSO chamber-scale concerts at LSO St Luke’s. Electronics, jazz, classical textures and workshopped with the Orchestra and members and staff, culminating in a summer Over the course of a 16-month placement, roaring improvisation collide as members Principal Guest Conductor François-Xavier Roth showcase. The scheme’s 96 associate they receive mentoring from key LSO of the London Symphony Orchestra, each spring at LSO St Luke’s. 75 composers composers also receive access to Soundhub staff, learn entrepreneurial skills and Emma-Jean Thackray and artists from have taken part in the scheme since 2005. events as well as LSO rehearsals and concerts. showcase their own work developed the London jazz scene blur boundaries through the scheme. and break down beats. The Panufnik Composers Scheme is LSO Soundhub is generously supported by generously supported by Lady Hamlyn Susie Thomson, Northwood Charitable Trust, LSO Jerwood Composer+ is generously Tickets £7 (£5 concessions) and The Helen Hamlyn Trust. Garrick Charitable Trust and RVW Trust. supported by Jerwood Charitable Foundation. lso.co.uk/londonjazz 020 7638 8891

8 LSO Composer Schemes 19 & 26 April 2018 in Profile 1860–1911

ahler’s early experiences of music 1860 BORN Kalischt, Bohemia were influenced by the military bands and folk singers who passed 1875–9 STUDIES Vienna Conservatory & Vienna University by his father’s inn. He received formal piano lessons from local musicians, gave his first 1884–88 FIRST SYMPHONY, ‘TITAN’ recital in 1870 and, five years later, applied to the Vienna Conservatory. 1888–94 SECOND SYMPHONY, ‘RESURRECTION’

After graduation, Mahler supported himself 1893–96 THIRD SYMPHONY by teaching, before accepting a succession of posts, culminating in the 1897–1907 VIENNA Director, Vienna Hofoper position of Resident Conductor and then Director of the prestigious Vienna Hofoper. 1899–1900 FOURTH SYMPHONY The demands of both conducting and administration meant that he could only 1901–02 FIFTH SYMPHONY & MARRIAGE TO ALMA SCHINDLER devote the summer months to composition. Working in the Austrian countryside he 1903–06 SIXTH SYMPHONY, ‘TRAGIC’ completed his nine symphonies, and a series of eloquent, often poignant songs. 1904–05 SEVENTH SYMPHONY

An anti-Semitic campaign in the Viennese 1906–07 EIGHTH SYMPHONY Known as the ‘Symphony of a Thousand’ press threatened Mahler’s position at the Hofoper, and in 1907 he accepted an invitation 1907 ILLNESS Mahler’s daughter Maria dies from scarlet fever and diphtheria. to become Principal Conductor of the Mahler learns of the heart disease that would ultimately lead to his death. Metropolitan Opera. In 1911 he contracted a bacterial infection and returned to Vienna. 1907–11 NEW YORK Metropolitan Opera and New York Philharmonic When he died a few months before his 51st birthday, Mahler had just completed part of 1908–09 & NINTH SYMPHONY his Tenth Symphony and was still working on sketches for other movements. 1911 DIED Vienna, Austria

Profile by Andrew Stewart 1960s & 70s TENTH SYMPHONY Performing version published by Deryck Cooke

Composer Profile 9 Gustav Mahler Symphony No 9 1908–9 / note by Stephen Johnson

1 Andante comodo A Farewell Symphony? But we should be careful about accepting The Tenth Symphony is full of pointers to (A leisurely walking pace) There were good reasons why Mahler should this reading unconditionally. Mahler may possible ways ahead. Im tempo eines gemächlichen Ländlers – have been possessed by thoughts of death have been shaken by the discovery of his 2 Etwas täppisch und sehr derb at this time. He was approaching 50 when heart problem, but it wasn’t until the last Still, when Berg wrote of the presence (In a leisurely Ländler tempo – he completed his Ninth Symphony, and a year of his life that he began to slacken the of death in the Ninth Symphony, he Rather awkward and coarse) 50th birthday is an important milestone on pace of his frantically busy life. In 1909, wasn’t simply giving voice to a personal 3 Rondo-Burleske: Allegro assai – the road from birth to death. But Mahler the year after the ominous diagnosis, he interpretation; the music is full of details Sehr trotzig (Very fast – Defiant) also had serious health worries. In 1908, accepted a three-year contract to conduct that reinforce his words. From very early 4 Adagio – Sehr langsam a doctor had diagnosed a heart lesion, the New York Philharmonic (his first season on, almost from the opening bars, the first (Very slow) a condition which could only get worse. included an astonishing 46 concerts). movement is dominated by a two-note falling figure, like a sigh (first heard on hen Gustav Mahler died in 1911, — violins). In the finale this figure returns, not quite 51 years old, he left two It is ‘the expression of an exceptional fondness for this earth, but it now falls by two steps – clearly works complete but unperformed: spelling out the leading motif from the symphonic song-cycle Das Lied von der the longing to live in peace on it, to enjoy nature to its depths – Beethoven’s Piano Sonata ‘Les adieux’ Erde (The Song of the Earth) and the purely before death comes. For he comes irresistibly. The whole movement (The Farewells), a work Mahler had played orchestral Ninth Symphony. When these is permeated with premonitions of death’. in his student days. Beethoven marked his works were heard for the first time, in the motif ‘Lebe wohl’ (Farewell). year following Mahler’s death, listeners Alban Berg were struck by their intense preoccupation — First Movement with mortality – clear enough in the texts of In the first movement the two-note sigh Das Lied von der Erde, and unmistakable in The previous year his elder daughter, Maria, And in 1910 he had begun, and very nearly emerges after a short passage in which the expressive tone of the Ninth Symphony. had died of scarlet fever. All this was well- completed, a Tenth Symphony – another big cellos and low horn spell out a strange, Alban Berg, who adored Mahler, described known in musical Vienna when the Ninth orchestral symphony, beginning where the faltering rhythm, which the conductor the first movement as ‘the expression of Symphony was first performed. Before long, Ninth left off, but finding its way to a very Leonard Bernstein compared to Mahler’s an exceptional fondness for this earth, the a story was in circulation: Mahler had known different, more affirmative conclusion. It faltering heartbeat. The exquisite long violin longing to live in peace on it, to enjoy nature he was going to die, and the Ninth Symphony could be that Mahler thought that his days melody, which grows from the first sighing to its depths – before death comes. For he was his ‘Farewell to Life’ – the title his teacher in the shadow of death were over, for the figures, returns many times during the comes irresistibly. The whole movement is Bruckner had given to the last movement of moment at least, and that he could now look course of this long movement. Between its permeated with premonitions of death’. his own (incomplete) Ninth Symphony. forward to exploring new musical directions. appearances there are contrasting episodes:

10 Programme Notes 19 & 26 April 2018 impassioned, frantic, resigned, eerie by Third Movement sparsely scored passages – more skeletal • SYMPHONY NO 9 ON LSO LIVE turns. One passage introduced by the All this is brusquely thrust aside by the sounds. Eventually the ‘Farewell’ theme ‘faltering heart’ rhythm on horns, followed Rondo – or ‘Burleske’ as Mahler subtitled builds to a massive, desperate climax, which by sinister drum taps, is clearly a funeral it. Brilliantly, sometimes garishly scored, seems to be striving for the transcendent march. Towards the end of the movement this is the movement in which Mahler glory of the Eighth Symphony (there’s even comes a sinister, skeletally scored passage, shows off his contrapuntal skills; but a a quotation from it on horns). The striving in which Mahler treats his large orchestra lot of it has a sarcastic tone: confirmed by is in vain, and the rich textures thin out into as though it were a much smaller chamber Mahler’s dedication of this movement ‘To the near-emptiness of the final bars: the ensemble. But it is the sense of the my brothers in Apollo’– a raspberry directed silences between the slow, quiet phrases sweetness of life which prevails in the final at the academics who found fault with his are almost unbearably poignant. At last the bars, the orchestration wonderfully delicate compositional techniques. At the heart of this music fades into nothingness. • and imaginative to the very last note. movement is an extraordinary bittersweet episode, introduced by a syrupy slow tune Second Movement on a solo trumpet. But the movement ends After this, the second movement is a as it began, full of sound and fury. surprise. Suddenly we are transported to an Austrian beer-garden, with coarse, heavy- Finale footed dance tunes. In fact three kinds of Finally comes the Adagio. In placing the Mahler Symphony No 9 Ländler (country cousin to the sophisticated slow movement last, Mahler may have Viennese Waltz) alternate in this movement: been thinking of Tchaikovsky’s ‘Pathétique’ conductor the ‘leisurely’ first theme, a faster, rough- symphony, or again of Bruckner’s Ninth – London Symphony Orchestra edged dance tune, and a gentle, sentimental both works are overshadowed by thoughts slow waltz, leading off with a return of the of death. But what he achieves is utterly ‘The LSO’s playing is inspirational, first movement’s ‘two-note sigh’. Comical personal. The first theme (full strings) spells both individually and corporately … though a lot of this music is, there is out Beethoven’s ‘Farewell’ theme in full, and virtually beyond criticism. ’ something disquieting about it, especially there’s also a passing echo of the once- International Record Review so in the coda, where the first Ländler tune popular funeral hymn ‘Abide with me’, which takes on a more sinister expression. Mahler might have heard on one of his visits Available to purchase at lsolive.lso.co.uk to New York. This richly sonorous music for and Amazon or to stream on Spotify and the full strings alternates with weird, Apple Music

Programme Notes 11 SEASON OPENING CONCERT BRAHMS, DEBUSSY, ENESCU , JOHN ADAMS Sir Simon Rattle HARRISON BIRTWISTLE, HOLST, with violin 1 May 2019 MARK-ANTHONY TURNAGE, BRITTEN 16 & 18 December 2018 16 September 2018 BERLIOZ 150 HALF SIX FIX: SIBELIUS 5 May 2019 DVOŘÁK, JANÁČEK, BRITTEN with Barbara Hannigan soprano 18 September 2018 9 January 2019 BRITTEN, MAHLER 8 May 2019 JANÁČEK, SZYMANOWSKI, SIBELIUS SIBELIUS, ABRAHAMSEN, NIELSEN with Janine Jansen violin with Barbara Hannigan soprano 19 September 2018 10 January 2019 VAUGHAN WILLIAMS, GRAINGER, BRUCKNER with Guildhall School musicians 20 June 2019

HALF SIX FIX: JAZZ ROOTS BARTÓK, BRUCKNER Generously supported by Baker McKenzie with Katia & Marielle Labèque pianos 13 & 20 January 2019 12 December 2018 RAMEAU, RAVEL, , POULENC BARTÓK, SZYMANOWSKI, with Daniil Trifonov piano JANÁČEK'S STRAVINSKY, GOLIJOV, BERNSTEIN 17 February 2019 27 & 29 June 2019 2018/19 Season with Katia & Marielle Labèque pianos Produced by LSO and Barbican 13 December 2018 Part of LSO 2018/19 Season and Barbican Presents

lso.co.uk/201819season 020 7638 8891 SEASON OPENING CONCERT BRAHMS, DEBUSSY, ENESCU HARRISON BIRTWISTLE, JOHN ADAMS Sir Simon Rattle HARRISON BIRTWISTLE, HOLST, with Leonidas Kavakos violin 1 May 2019 MARK-ANTHONY TURNAGE, BRITTEN 16 & 18 December 2018 16 September 2018 BERLIOZ 150 HALF SIX FIX: SIBELIUS 5 May 2019 DVOŘÁK, JANÁČEK, BRITTEN with Barbara Hannigan soprano 18 September 2018 9 January 2019 BRITTEN, MAHLER 8 May 2019 JANÁČEK, SZYMANOWSKI, SIBELIUS SIBELIUS, ABRAHAMSEN, NIELSEN with Janine Jansen violin with Barbara Hannigan soprano 19 September 2018 10 January 2019 VAUGHAN WILLIAMS, GRAINGER, BRUCKNER with Guildhall School musicians 20 June 2019

HALF SIX FIX: JAZZ ROOTS BARTÓK, BRUCKNER Generously supported by Baker McKenzie with Katia & Marielle Labèque pianos 13 & 20 January 2019 12 December 2018 RAMEAU, RAVEL, BETSY JOLAS, POULENC BARTÓK, SZYMANOWSKI, with Daniil Trifonov piano JANÁČEK'S THE CUNNING LITTLE VIXEN STRAVINSKY, GOLIJOV, BERNSTEIN 17 February 2019 27 & 29 June 2019 2018/19 Season with Katia & Marielle Labèque pianos Produced by LSO and Barbican 13 December 2018 Part of LSO 2018/19 Season and Barbican Presents

lso.co.uk/201819season 020 7638 8891 Join Sir Simon Rattle on a voyage through the music of Haydn.

Available now Hybrid SACD | Digital

lsolive.co.uk AN IMAGINARY ORCHESTRAL JOURNEY Sir Simon Rattle conductor

ir Simon Rattle was born in also broken new ground with the education London, Europe and the US, initially working and studied at the programme Zukunft@Bphil, earning closely with the . the Comenius Prize in 2004, the Schiller Orchestra and Boston Symphony , Special Prize from the city of Mannheim and more recently with the Philadelphia From 1980 to 1998, Sir Simon was Principal in May 2005, the Golden Camera and the Orchestra. He regularly conducts the Vienna Conductor and Artistic Adviser of the City of Urania Medal in Spring 2007. He and the Philharmonic, with which he has recorded Birmingham Symphony Orchestra and was Philharmonic were also appointed the complete Beethoven symphonies and appointed Music Director in 1990. In 2002 International UNICEF Ambassadors in the piano concertos (with ) and is he took up his current position of Artistic same year – the first time this honour has also a Principal Artist of the Orchestra of the Director and Chief Conductor of the Berlin been conferred on an artistic ensemble. Age of Enlightenment and Founding Patron Philharmonic where he will remain until of Birmingham Contemporary Music Group. 2018. In September 2017 he became Music In 2013, Sir Simon and the Director of the London Symphony Orchestra. took up a residency at the Baden-Baden In September 2017, Sir Simon opened his Osterfestspiele performing Mozart’s The first season as Music Director of the London Sir Simon has made over 70 recordings for Magic Flute. Past seasons have included Symphony Orchestra with a programme of EMI record label (now Warner Classics), Puccini’s Manon Lescaut and Peter Sellars’ British music, a concert performance of and has received numerous prestigious ritualisation of Bach’s St John Passion, Berlioz’s The Damnation of Faust, and the international awards for his recordings on Strauss’s Der Rosenkavalier, Berlioz’s The Stravinsky ballets. In November, he toured various labels. Releases on EMI include Damnation of Faust and Wagner’s Tristan Asia with the Berlin Philharmonic Orchestra, Stravinsky’s Symphony of Psalms, Berlioz’s and Isolde. For the Salzburg Osterfestspiele with soloists and Seong-Jin Cho. Symphonie fantastique, Ravel’s L’enfant et Rattle conducted staged productions of The rest of the 2017/18 season will take les sortilèges, Tchaikovsky’s Nutcracker Suite Beethoven’s , Mozart’s Così fan Sir Simon on a European and US tour with and Mahler’s Symphony No 2. Sir Simon’s tutte, Britten’s Peter Grimes and Debussy’s the LSO and to Munich with the Bayerische most recently released recordings in 2017 Pelléas et Mélisande. He also conducted Rundfunk Orchestra. This season he returned (Debussy’s Pelléas et Mélisande and Ravel, Wagner’s complete Ring Cycle with the to Baden-Baden with the Berlin Philharmonic Dutilleux and Delage on Blu-Ray and DVD) Berlin Philharmonic for the Aix-en-Provence for a production of Wagner’s Parsifal. were released on LSO Live. Festival and Salzburg Osterfestspiele and most recently at the Deutsche Oper, Berlin Sir Simon Rattle was knighted in 1994 and in As well as fulfilling a taxing concert schedule and the Wiener Staatsoper. the 2014 New Year’s Honours he received the in Berlin, Sir Simon regularly tours within from Her Majesty the Queen. • Europe, North America and Asia. His Sir Simon has strong, long-standing partnership with the Berlin Philharmonic has relationships with the leading orchestras in

Artist Biographies 15 London Symphony Orchestra on stage tonight

Leader Second Violins Cellos Flutes Contra Bassoon Timpani LSO String Experience Scheme Roman Simovic David Alberman Tim Hugh Gareth Davies Dominic Morgan Nigel Thomas Since 1992, the LSO String Experience Thomas Norris Alastair Blayden Adam Walker Scheme has enabled young string players First Violins Sarah Quinn Jennifer Brown Alex Jakeman Horns Percussion from the London music conservatoires Lennox Mackenzie Miya Väisänen Noel Bradshaw Julian Sperry Timothy Jones Neil Percy at the start of their professional careers Clare Duckworth David Ballesteros Eve-Marie Caravassilis Angela Barnes David Jackson to gain work experience by playing in Ginette Decuyper Matthew Gardner Daniel Gardner Piccolo Alexander Edmundson Sam Walton rehearsals and concerts with the LSO. Gerald Gregory Julian Gil Rodriguez Hilary Jones Patricia Moynihan Jonathan Lipton Tom Edwards The musicians are treated as professional (19 Apr) Naoko Keatley Amanda Truelove James Pillai ‘extra’ players (additional to LSO members) Maxine Kwok-Adams Belinda McFarlane Miwa Rosso Oboes Harps and receive fees for their work in line with Claire Parfitt William Melvin Deborah Tolksdorf Olivier Stankiewicz Trumpets Bryn Lewis LSO section players. Elizabeth Pigram Iwona Muszynska Juliana Koch Philip Cobb Manon Morris (26 Apr) Andrew Pollock Double Basses Rosie Jenkins David Elton (19 Apr) The Scheme is supported by: Laurent Quénelle Paul Robson Colin Paris Gerald Ruddock Fiona Clifton-Welker The Polonsky Foundation Harriet Rayfield Alix Lagasse Patrick Laurence Cor Anglais Niall Keatley (26 Apr) Barbara Whatmore Charitable Trust Colin Renwick Matthew Gibson Christine Pendrill The Thistle Trust Sylvain Vasseur Violas Thomas Goodman Trombones Celeste Idlewild Trust Rhys Watkins Edward Vanderspar Joe Melvin Clarinets Dudley Bright Catherine Edwards Angus Allnatt Charitable Foundation Julian Azkoul Gillianne Haddow Jani Pensola Andrew Marriner Peter Moore Derek Hill Foundation Laura Dixon Malcolm Johnston Simon Oliver Chris Richards James Maynard Shlomy Dobrinsky Anna Bastow Simo Väisänen Sonia Sielaff Hazel Mulligan German Clavijo Bass Trombone Editor Stephen Doman E-Flat Clarinet Paul Milner Edward Appleyard | [email protected] Lander Echevarria Chi-Yu Mo Fiona Dinsdale | [email protected] Carol Ella Tuba Editorial Photography Julia O’Riordan Bass Clarinet Ben Thomson Ranald Mackechnie, Amy Barton Robert Turner Laurent Ben Slimane Print Cantate 020 3651 1690 Heather Wallington Advertising Cabbells Ltd 020 3603 7937 Cynthia Perrin Bassoons Rachel Gough Details in this publication were correct Daniel Jemison at time of going to press. Joost Bosdijk

16 The Orchestra 19 & 26 April 2017