London Symphony OrchestraLiving Music

London’s Symphony Orchestra

Sunday 31 January 2016 7pm Barbican Hall

A ROMAN TRILOGY

Rachmaninov Rhapsody on a Theme of Paganini INTERVAL Respighi Roman Trilogy (Fountains of Rome – Pines of Rome – Roman Festivals)

Sir Antonio Pappano conductor Alice Sara Ott piano

Concert finishes approx 9.10pm

Welcome Kathryn McDowell

Living Music In Brief

Welcome to this evening’s LSO concert at the Barbican. We are delighted to be joined by conductor Sir Antonio Pappano, a long-standing friend of the Orchestra, who returns to conduct a special programme featuring Respighi’s Roman Trilogy – a work which is particularly close to his heart.

The concert opens with Rachmaninov’s Rhapsody on a Theme of Paganini, for which the Orchestra will be joined by pianist Alice Sara Ott, who made her LSO debut in 2010 and has appeared with the Orchestra a number of times since then, as well as performing solo recitals at LSO St Luke’s as part of the BBC Radio 3 Lunchtime Concerts series.

Respighi’s Roman Trilogy forms the centrepiece of tonight’s concert, a triptych of works evoking images of the city of Rome, featuring some of the composer’s most well-known music.

I hope you enjoy the performance and can join us again for our next concert. On Wednesday 3 February the LSO String Ensemble, under the direction of the Orchestra’s Leader Roman Simovic, will perform a programme of British works for strings by Elgar, Vaughan Williams and Britten.

Kathryn McDowell CBE DL Managing Director

LSO 2016/17 SEASON ANNOUNCED

Full listings for the LSO’s 2016/17 season, taking place between September 2016 and July 2017, have now been announced. To browse the season visit the LSO website. Public booking opens online on Wednesday 10 February, with phone booking available from Wednesday 24 February.

lso.co.uk/201617season

PRIORITY BOOKING WITH THE LSO FRIENDS

LSO Friends gain a special insight into the Orchestra’s work with priority booking, regular events, updates about our work, and opportunities to meet the LSO’s musicians. Our Friends become part of a family of supporters who share a mutual love of music and a passion for the work of the LSO. For more information on how to join the LSO Friends visit the LSO website.

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A WARM WELCOME TO TONIGHT’S GROUPS

The LSO offers great benefits for groups of 10+, including a 20% discount on standard tickets. At tonight’s concert we are delighted to welcome:

Gerrards Cross Community Association Elizabeth Simpson and Friends Country Club UK Nicole Hu and Friends

2 Welcome 31 January 2016

‘Gianandrea Noseda whipped up a demonic storm.’The Independent

London Symphony OrchestraLiving Music

PROGRAMME NOTE AUTHOR

LINDSAY KEMP is a senior

producer for BBC Radio 3, including

programming lunchtime concerts

from LSO St Luke’s, Artistic Director

of the Lufthansa Festival of

Baroque Music, and a regular

contributor to Gramophone magazine.

A MIDSUMMER NIGHT’S DREAM

Tue 16 Feb 7.30pm Mendelssohn Symphony No 1; A Midsummer Night’s Dream

Sir John Eliot Gardiner conductor Monteverdi Choir Actors from the Guildhall School

MACBETH, RICHARD III & ROMEO AND JULIET Thu 25 Feb 7.30pm Smetana Richard III Liszt Piano Concerto No 2 Tchaikovsky Romeo and Juliet Strauss Macbeth

Gianandrea Noseda conductor Simon Trpceski piano

BERLIOZ’S ROMEO AND JULIET Sun 28 Feb 7pm Shostakovich Violin Concerto No 2 Berlioz Romeo and Juliet – Suite

Gianandrea Noseda conductor Janine Jansen violin

FAMILY CONCERT: PLAY ON, SHAKESPEARE! Sun 7 Feb 2.30pm Shakespeare needs the help of Puck and the LSO to get over his writer’s block. With music by Mendelssohn, Prokofiev, Walton, Sibelius and Shostakovich and actors from the Guildhall School.

LSO DISCOVERY DAY: BERLIOZ AND SHAKESPEARE Sun 28 Feb 10am–5pm, Barbican & LSO St Luke’s A morning open rehearsal and an afternoon of discussion and talks with guest speaker Julian Rushton.

LSO DISCOVERY: FREE LUNCHTIME CONCERT Fri 26 Feb 12.30pm, LSO St Luke’s Korngold Nine Shakespeare Songs Guildhall School MusiciansSupported by The Rothschild Charities Committee, Schroder Charity Trust and LSO Friends

‘Gianandrea Noseda whipped up a demonic storm.’The Independent

Shakespeare 400His words come to life in music

Part of

shakespeare400.org

4 Programme Notes 31 January 2016

ALICE SARA OTT PIANO

It wasn’t a tactful question. The years between 1917 and 1926 had been completely barren of new music; and since the first performances in 1927 of the Fourth Piano Concerto and the Three Russian Songs for chorus and orchestra there had been only the Variations on a Theme of Corelli for solo piano, composed in 1931.

In the summer of 1934, however, Rachmaninov at last produced another major work. On 19 August he wrote to his sister-in-law: ‘This work is rather a large one, and only yesterday, late at night, I finished it … This piece is written for piano and orchestra, about 20–25 minutes in length. But it is no concerto! It is called ‘Symphonic Variations on a Theme by Paganini’. Three weeks later, he was referring to it as a ‘Fantasia for piano and orchestra in the form of variations on a theme of Paganini.’

The premiere was given by the composer with the Philadelphia Orchestra and Leopold Stokowski on 7 November 1934 in Baltimore. It was such a success that Rachmaninov, always fastidious and self-critical, began to have doubts: if it was so popular, he wondered, might there be something wrong with it?

The famous theme comes from the last of the Twenty-Four Caprices for solo violin published in 1820 by Niccolò Paganini (1782–1840), and has attracted many composers besides Rachmaninov, among them Schumann, Liszt, Brahms, Szymanowski and Lutosławski. The theme is ideal for variation: it has simple harmony, a memorable melodic

shape, crisp and characteristic rhythms and regular phrasing. Any of these features can be varied, leaving the other elements clearly recognisable.

Rachmaninov’s Rhapsody consists of 24 continuous variations. Variation 1 precedes the theme, giving just its skeleton before the full theme is given by the violins, with the main notes picked out by the piano. Variations 2 to 10 are all in a quick tempo, apart from No 7 where the solo piano introduces another theme – the Dies irae, the medieval chant which pervades so much of Rachmaninov’s music as a symbol of mortality. It re-appears in the march-like Variation 10, at first in the piano, then as a brass fanfare.

Variation 11 is a slow, reflective piano cadenza. Variations 12 to 15 are all in triple time, beginning with a melancholy, slow minuet, while Variations 16 to 18 form a sort of slow movement, culminating in the ‘big tune’ of No 18, which consists of Paganini’s theme slowed down and turned upside-down. The final section resumes the quick tempo and begins a gradual acceleration to the final Variation 24, with its last reference to the Dies irae in the brass.

INTERVAL – 20 minutes

There are bars on all levels of the Concert Hall; ice cream

can be bought at the stands on Stalls and Circle level.

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?

Sergei Rachmaninov (1873–1943) Rhapsody on a Theme of Paganini Op 43 (1934)

In 1933, a newspaper interviewer asked the 60-year-old Rachmaninov if he’d given up composing.

PROGRAMME NOTE WRITER

ANDREW HUTH is a musician,

writer and translator who writes

extensively on French, Russian and

Eastern European music.

NICCOLÒ PAGANINI (1782–1840)

was an Italian violinist, guitarist

and composer. He was the most

celebrated violinist of his day and

spent much of his career on tour

around Europe as a travelling

virtuoso. He contributed prolifically

to the development of modern violin

technique, greatly expanding the

timbral and technical possibilities of

the instrument.

lso.co.uk Composer Profile 5

Sergei Rachmaninov Composer Profile

‘Melody is music,’ wrote Rachmaninov, ‘the basis of music as a whole, since a perfect melody implies and calls into being its own harmonic design.’ The Russian composer, pianist and conductor’s passion for melody was central to his work, clearly heard in his Rhapsody on a Theme of Paganini.

Although the young Sergei’s father squandered much of the family inheritance, he at first invested wisely in his son’s musical education. In 1882 the boy received a scholarship to study at the St Petersburg Conservatory, but further disasters at home hindered his progress and he moved to study at the Moscow Conservatory. Here he proved an outstanding piano pupil and began to study composition.

Rachmaninov’s early works reveal his debt to the music of Rimsky-Korsakov and Tchaikovsky, although he rapidly forged a personal, richly lyrical musical language, clearly expressed in his Prelude in C-sharp minor for piano of 1892. His First Symphony of 1897 was savaged by the critics, which caused the composer’s confidence to evaporate. In desperation he sought help from Dr Nikolai Dahl, whose hypnotherapy sessions restored Rachmaninov’s self-belief and gave him the will to complete his Second Piano Concerto, widely known through its later use as the soundtrack for the classic film Brief Encounter. Thereafter, his creative imagination ran free to produce a string of unashamedly romantic works divorced from newer musical trends.

He left Russia shortly before the October Revolution in 1917, touring as pianist and conductor and buying properties in Europe and the United States.

COMPOSER PROFILE WRITER

ANDREW STEWART

BBC RADIO 3 LUNCHTIME CONCERTS AT LSO ST LUKE’S

ELGAR UP CLOSE

Four concerts exploring Elgar’s moving chamber and solo music for strings

Thu 14 Apr 1pm, LSO St Luke’s Jennifer Pike and Peter Limonov perform a recital of works for violin and piano by Elgar and Vaughan Williams

Thu 21 Apr 1pm, LSO St Luke’s The LSO String Ensemble and director Roman Simovic perform music by Elgar, Vaughan Williams and Britten

Thu 28 Apr 1pm, LSO St Luke’s The Elias String Quartet are joined by pianist Huw Watkins for Elgar and Stravinsky

Thu 5 May 1pm, LSO St Luke’s The Elias String Quartet conclude the series with a programme pairing Elgar and Purcell

Book now lso.co.uk/lsostlukes

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6 Programme Notes 31 January 2016

PROGRAMME NOTE WRITER

DAVID GALLAGHER is a music

producer for BBC Radio 3 and music

writer specialising in Italian music

of the early 20th century. He is

currently editing the writings of

the late English musicologist John

C G Waterhouse for publication by

Toccata Press.

Ottorino Respighi (1879–1936) Roman Trilogy (1916–28)

FOUNTAINS OF ROME

THE FOUNTAIN OF THE VALLE GIULIA AT DAWN

THE TRITON FOUNTAIN IN THE MORNING

THE TREVI FOUNTAIN AT NOON

THE VILLA MEDICI FOUNTAIN AT SUNSET

PINES OF ROME

THE PINES OF THE VILLA BORGHESE

THE PINES NEAR A CATACOMB

THE PINES OF THE JANICULUM

THE PINES OF THE APPIAN WAY

ROMAN FESTIVALS

CIRCUSES

JUBILEE

OCTOBER FESTIVAL

THE EPIPHANY

After the human scale of his native Bologna, he reckoned that in Rome ‘a metre has several extra centimetres’. Yet in this trilogy of symphonic poems he created one of the greatest of all musical tributes to the Italian capital, its twelve scenes running the gamut of Rome’s history, painted in some of the most vivid orchestral colours ever composed.

Newspapers reported a generous audience reception for the first performance of Fountains of Rome in 1917, and the premiere of Pines of Rome at the end of 1924 effectively earned him honorary citizenship. The political climate was propitious: Mussolini, who usurped power in 1922, cultivated the myth that his Fascist regime would revive the glories of the ancient

Roman Empire, and the more bombastic parts of the trilogy resonate strongly with Fascism’s cult of romanità – ‘Roman-ness’. Elsa maintained (and no one has yet disproved her claim) that Respighi never joined the Fascist party, which would have made him all but unique among Italian composers by the time of his death in 1936 – though perhaps, as the American expert on the period Harvey Sachs has suggested, ‘Respighi did not attempt to ingratiate himself with the regime because he was the one composer of his generation whom the regime backed without being asked’. Nevertheless, there is no doubting the sincerity of Respighi’s musical response to his adopted home city.

FOUNTAINS OF ROME Each of the symphonic poems has four named sections, running without a break. First we visit four Fountains of Rome, north and east of the city centre, over the course of a day – each at the time Respighi found it most evocative. Misty dawn finds us in the Giulia valley to the north, with a fountain (actually a matching pair) whose water spurts from the mouths of eight turtles around the basin – constructed just a few years before Respighi wrote his music, in an area apparently still rural enough for him to conjure up flocks of sheep.

Later that morning, with a blast of horns, we’re amid the urban bustle at the Triton Fountain, designed in the 1640s by the great Baroque sculptor Bernini: supported on the tails of four dolphins, the Triton sea-god blows water high into the air from a conch shell. At midday an upsurging theme sweeps us down the road to where Neptune’s chariot is drawn by giant sea-horses – the extravagantly rococo Trevi Fountain, made still more internationally famous half a century later by Anita Ekberg’s nocturnal frolics in Fellini’s film La dolce vita (The Good Life).

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Respighi seems to have had something of a love-hate relationship with Rome. His wife Elsa Olivieri-Sangiacomo, a Roman native, recounts how Respighi felt the city’s grandeur deeply, but was disturbed by it too.

lso.co.uk Programme Notes 7

By sunset, a peaceful woodwind melody finds us in the hilltop garden of the 16th-century Villa Medici, whose beautifully simple fountain, made from an ancient Roman vase, enjoys a celebrated view over rooftops to the dome of St Peter’s; bells toll as night falls.

PINES OF ROME Bordering the Villa Medici gardens to the northeast is the extensive Villa Borghese park, whose pines inspired the opening of Respighi’s second postcard collection: his Roman children relish the freedom of noisily rushing around under the sunlit trees (just as they do today), until a car horn interrupts their games. A cinematic cut, and we’re among pine trees guarding the entrance to one of Rome’s many catacombs – ancient Christian burial grounds, with echoes of solemn psalm-singing.

Rippling piano figures carry us up the Janiculum Hill that looms above the River Tiber west of the city centre; a solo clarinet outlines the pine trees in the clear light of a full moon, and a nightingale sings: Respighi specifies that its song be played from a recording (probably, in the early 1920s, the first time anyone had ever done that). Night dissolves into another misty dawn, and tramping feet draw ever nearer on the pine-lined Appian Way – ancient Rome’s most important trade route, the ‘Queen of Roads’ – as a victorious army returns in triumph to the Imperial capital. A year or two before Respighi was composing, another ‘March on Rome’ by thousands of Fascists (travelling mainly by train, in reality!) had intimidated the elected government and King Victor Emmanuel III into handing the reins of power to Mussolini.

ROMAN FESTIVALS Roman Festivals opens on a public holiday in the ancient city’s Circus Maximus: the crowd bays for blood as Christian martyrs are thrown to the lions (historical accuracy is another victim). By the second section, Rome is the centre of the Christian world: weary, plodding strings evoke pilgrims converging for the Jubilee, a special period of forgiveness; multitudinous pealing bells mark their first glimpse of the Holy City from its highest hill, Monte Mario.

Hunting horns welcome us to the October grape harvest festival in the hills southeast of Rome, famous for their wines and medieval castles – though Respighi dedicates his musical portrait most of all to their young lovers, all swooning strings and mandolins. Finally shrieking clarinets announce the night before Epiphany in the very heart of the city, the Piazza Navona square (itself home to three famous fountains), and Respighi lets his hair down in a riotous festive finale, cramming together popular dances and barrel organ tunes, raucous trumpets and drunken trombones.

RESPIGHI’S ROME

Images of some of the locations

referenced in Respighi’s Roman

Trilogy (from the top): The Appian

Way, the gardens at Villa Borghese,

and the Trevi Fountain.

8 Composer Profile 31 January 2016

Ottorino Respighi Composer Profile

Born in Bologna on 9 July 1879, Ottorino Respighi received his earliest instruction in piano and violin from his music teacher father. The boy pursued studies in violin and composition at Bologna’s Liceo Musicale. Respighi became principal viola in the St Petersburg Opera Orchestra for the duration of the Italian opera season in 1900. He studied for five months with Rimsky-Korsakov in St Petersburg, gaining invaluable experience in the techniques of orchestration.

Respighi moved to Rome in 1913 to become professor of composition at the Liceo (later Conservatorio) di Santa Cecilia. In 1924 he was appointed director of the Conservatorio but resigned two years later to concentrate on composition and performing. Respighi toured the United States as a conductor and pianist in 1925–26 and again in 1932.

The sights and sounds of Rome, in particular those associated with its Imperial past, richly charged Respighi’s imagination. In 1916 he completed the first of a triptych of symphonic poems for large orchestra, Fontane di Roma (Fountains of Rome). Ten years later followed Pini di Roma (Pines of Rome); the third Roman work, Feste Romane (Roman Festivals), was completed in 1928. All three pieces possess an abundance of evocative melodies and boldly colourful orchestrations.

During the final decade of his life, Respighi turned his energies to the composition of opera. His most successful stage work, however, is generally acknowledged to be La bella dormente nel bosco, originally written for a Roman marionette theatre (1922) and later adapted for child mimes (1934). Respighi died in Rome on 18 April 1936.

COMPOSER PROFILE WRITER

ANDREW STEWART

020 7638 8891 lso.co.uk

London Symphony Orchestra

COMPOSER FOCUS

THOMAS ADÈSOne of Britain’s most innovative composers conducts the LSO in performances of his works alongside pieces that inspired their creation by Brahms, Sibelius and Franck

Wed 9 Mar 2016 7.30pm Thomas Adès Polaris Brahms Violin Concerto Thomas Adès Brahms Thomas Adès Tevot

with Anne-Sophie Mutter violin and Samuel Dale Johnson baritone Supported by the Atkin Foundation

Wed 16 Mar 2016 7.30pm Thomas Adès Asyla Sibelius Violin Concerto Franck Symphony in D minor

with Christian Tetzlaff violin

lso.co.uk Artist Biographies 9

Music Director

Royal Opera House Covent Garden

Music Director

Accademia Nazionale di Santa Cecilia

One of today’s most sought-after conductors, acclaimed for his charismatic leadership and inspirational performances in both symphonic and operatic repertoire, Sir Antonio Pappano has been Music Director of the Royal Opera House Covent Garden since 2002, and Music Director of the Orchestra dell’Accademia Nazionale di Santa Cecilia in Rome since 2007. Nurtured as a pianist, repetiteur and assistant conductor at many of the most important opera houses of Europe and North America, including at the Lyric Opera of Chicago and several seasons at the Bayreuth Festival as musical assistant to Daniel Barenboim, Pappano was appointed Music Director of Oslo’s Den Norske Opera in 1990, and from 1992–2002 served as Music Director of the Théâtre Royal de la Monnaie in Brussels. From 1997–99 he was Principal Guest Conductor of the Israel Philharmonic Orchestra.

Pappano made his debut at the Vienna Staatsoper in 1993, replacing Christoph von Dohnànyi at the last minute in a new production of Wagner’s Siegfried, his debut at the Metropolitan Opera New York in 1997 with a new production of Eugene Onegin, and in 1999 he conducted a new production of Lohengrin at the Bayreuth Festival. Highlights of recent seasons include his operatic debut at the Salzburg Festival (Don Carlo) and the Teatro alla Scala (Les Troyens). At the Royal Opera the 2014/15 season saw him leading new productions of Guillaume Tell, Andrea Chenier and Szymanowski’s Król Roger, and productions in the 2015/16 season and beyond include new stagings of Boris Godunov, Cavalleria Rusticana and I Pagliacci, and Norma, and revivals of Werther, Der Ring des Nibelungen, Manon Lescaut and Die Meistersinger von Nürnberg.

Sir Antonio Pappano Conductor

Pappano has appeared as a guest conductor with many of the world’s most prestigious orchestras, including the Berlin, Vienna, New York and Munich Philharmonic Orchestras, the Royal Concertgebouw Orchestra, the Chicago and Boston Symphonies, the Philadelphia and Cleveland Orchestras and the Orchestre de Paris. Recent highlights include his debut with the London Philharmonic at the Aldeburgh Festival, and performances at the BBC Proms and Bucharest Festival with the Accademia Nazionale di Santa Cecilia, and future appearances include his debuts with the Chamber Orchestra of Europe, the Verbier Festival Orchestra and the Staatskapelle Dresden, return visits to the Cleveland Orchestra, Berlin Philharmonic, Royal Concertgebouw Orchestra and Staatskapelle Berlin, and tours of Europe, Asia and South America with the Accademia Nazionale di Santa Cecilia.

Antonio Pappano was born in London to Italian parents, and moved with his family to the United States at the age of 13. His awards and honours include Gramophone’s ‘Artist of the Year’ in 2000, the 2003 Olivier Award for Outstanding Achievement in Opera, the 2004 Royal Philharmonic Society Music Award, and the Bruno Walter prize from the Académie du Disque Lyrique in Paris. In 2012 he was named a Cavaliere di Gran Croce of the Republic of Italy, and a Knight of the British Empire for his services to music, and in 2015 he was the 100th recipient of the Royal Philharmonic Society’s Gold Medal, the body’s highest honour. He has also developed a notable career as a speaker and presenter, and has fronted several critically acclaimed BBC Television documentaries including Opera Italia, Pappano’s Essential Ring Cycle and Pappano’s Classical Voices.

10 Artist Biographies 31 January 2016

German-Japanese pianist Alice Sara Ott has gained critical acclaim for her performances at major concert halls worldwide and has established herself as one of the most exciting musical talents of today. The Guardian, commenting on her 2010 performance with the London Symphony Orchestra, said that she ‘gave the kind of gawp-inducing bravura performance of which legends are made.’

Alice has worked with the world’s leading conductors, including Paavo Järvi, Neeme Järvi, James Gaffigan, Sakari Oramo, Osmo Vänskä, Vasily Petrenko, Myung-Whun Chung, Hannu Lintu and Robin Ticciati.

Recently Alice has debuted with the Los Angeles Philharmonic (Gustavo Dudamel), Chicago Symphony (Pablo Heras-Casado), Indianapolis (Krzysztof Urbanski) and Toronto (Cristian Macelaru) Symphony Orchestras. She also returned to Symphonieorchester des Bayerischen Rundfunks (Esa-Pekka Salonen) and toured with the Philharmonia Orchestra in China (Vladimir Ashkenazy) and the NHK Symphony Orchestra in Japan (John Storgårds).

Highlights of the 2015/16 season include concerts with the Wiener Symphoniker (Pablo Heras-Casado), the National Arts Centre in Ottawa (Alexander Shelley) and Münchner Philharmoniker (Nikolaj Znaider). Alice will also tour with the Royal Philharmonic Orchestra (Charles Dutoit), hr-Sinfonieorchester (Andrés Orozco-Estrada), Sinfonie Orchester Basel (Dennis Russell Davies) and Tonkünstler Orchestra (Yutaka Sado).

Recording exclusively for Deutsche Grammophon since 2008, Alice has since released albums of works by Beethoven, Liszt and Mussorgsky, among others. Her album of Chopin’s complete waltzes, which entered the German and US Classical iTunes charts at No 1, won Alice the ECHO Klassik Young Artist of the Year Award. Her debut concerto album – works by Tchaikovsky and Liszt with the Münchner Philharmoniker and Thomas Hengelbrock – was named Editor’s Choice in both International Piano and Classic FM magazines.

Alice has recently worked on two unique collaboration projects. With pianist Francesco Tristano she released the album Scandale on Deutsche Grammophon in September 2014 and performed it at leading venues in Europe, including the Festspielhaus Baden-Baden, Philharmonie Luxembourg, the Queen Elizabeth Hall and Berliner Philharmonie, as well as touring with it in Japan, South Korea and Australia. Alice’s latest CD, The Chopin Project, with Icelandic composer Ólafur Arnalds, was released in March 2015 on Mercury Classics. The album reached No 1 in the Official UK Classical Chart and the iTunes chart in 25 other countries. They took the project on a European tour in September 2015, including performances in Copenhagen, Hamburg, Moscow, St Petersburg, Frankurt, Paris and London.

Alice Sara Ott Piano

lso.co.uk The Orchestra 11

London Symphony Orchestra On stage

Editor Edward Appleyard edward.appleyard@lso.co.uk

Photography Benjamin Ealovega, Ranald Mackechnie, Özgür Albayrak, Musacchio & Ianniello, Mausiko Tsusuki

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Nat Gorohova Mahler 5 last movement was like an espresso shot (and I’m normally sceptical re joyful music!). Can’t sleep & a meeting 8am! @londonsymphony

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The Scheme is supported by Help Musicians UK The Barbara Whatmore Charitable Trust The Idlewild Trust The Lefever Award The Polonsky Foundation

LSO STRING EXPERIENCE SCHEME

Established in 1992, the LSO String Experience Scheme enables young string players at the start of their professional careers to gain work experience by playing in rehearsals and concerts with the LSO. The scheme auditions students from the London music conservatoires, and 15 students per year are selected to participate. The musicians are treated as professional ’extra’ players (additional to LSO members) and receive fees for their work in line with LSO section players.

FIRST VIOLINS Roman Simovic Leader Carmine Lauri Lennox Mackenzie Clare Duckworth Nigel Broadbent Ginette Decuyper Gerald Gregory Jörg Hammann Maxine Kwok-Adams Claire Parfitt Laurent Quenelle Harriet Rayfield Ian Rhodes Sylvain Vasseur Rhys Watkins Eleanor Fagg

SECOND VIOLINS David Alberman Thomas Norris Miya Väisänen David Ballesteros Richard Blayden Matthew Gardner Julian Gil Rodriguez Naoko Keatley Belinda McFarlane Iwona Muszynska Andrew Pollock Paul Robson Hazel Mulligan Helena Smart

VIOLAS Hungwei Huang Gillianne Haddow Malcolm Johnston Lander Echevarria Anna Bastow Robert Turner Jonathan Welch Michelle Bruil Elizabeth Butler Philip Hall Melanie Martin Anna Dorothea Vogel

CELLOS Tim Hugh Alastair Blayden Jennifer Brown Noel Bradshaw Eve-Marie Caravassilis Daniel Gardner Hilary Jones Amanda Truelove James Barralet Miwa Rosso

DOUBLE BASSES Colin Paris Patrick Laurence Matthew Gibson Jani Pensola Benjamin Griffiths Paul Sherman Simo Väisänen Nicholas Worters

FLUTES Gareth Davies Patricia Moynihan

PICCOLO Sharon Williams

OBOES Olivier Stankiewicz Rosie Jenkins

COR ANGLAIS Christine Pendrill

CLARINETS Chris Richards Chi-Yu Mo James Burke

BASS CLARINET Lorenzo Iosco

E-FLAT CLARINET Chi-Yu Mo

BASSOONS Rachel Gough Joost Bosdijk

CONTRA BASSOON Dominic Morgan

HORNS Vittorio Schiavone Angela Barnes Antonio Iezzi Jonathan Lipton Jocelyn Lightfoot

TRUMPETS Philip Cobb Gerald Ruddock Daniel Newell Simon Cox

TROMBONES Dudley Bright James Maynard Rebecca Smith

BASS TROMBONE Paul Milner

TUBA Patrick Harrild

TIMPANI Nigel Thomas

OFF-STAGE TRUMPETS Christopher Deacon Robin Totterdell Joe Sharp

OFF-STAGE TROMBONES Rebecca Smith Emma Bassett Daniel Jenkins Matthew Knight

21 JAN: FRANÇOIS-XAVIER ROTH – AFTER ROMANTICISMTIMPANI Nigel Thomas

PERCUSSION Neil Percy David Jackson Sam Walton Antoine Bedewi Helen Edordu Benedict Hoffnung Tom Lee Paul Stoneman Oliver Yates

HARPS Bryn Lewis Susan Blair

PIANO Catherine Edwards

CELESTE Caroline Jaya-Ratnam

ORGAN Richard Pearce

MANDOLIN James Ellis

MOZART PIANO CONCERTO NO 20

Sun 8 May 2016 7pm Mozart Piano Concerto No 20 Bruckner Symphony No 3

Daniel Harding conductor Leif Ove Andsnes piano London Symphony Orchestra

SCHUMANN PIANO CONCERTO Thu 12 May 7.30pm Schumann Piano Concerto Beethoven Symphony No 9

Michael Tilson Thomas conductor Leif Ove Andsnes piano Lucy Crowe soprano Christine Rice mezzo-soprano Toby Spence tenor London Symphony Chorus Simon Halsey chorus director London Symphony Orchestra Supported by Baker & McKenzie LLP

LEIF OVE ANDSNES SOLO RECITAL Fri 10 Jun 7.30pm Sibelius Three Pieces (‘Kyllikki’); The Birch; The Spruce; Spring Vision; The Forest Lake; Song in the Forest Beethoven Piano Sonata No 18 in E-flat major Debussy La soirée dans Grenade; Three Études; Étude in A-flat major Chopin Impromptu in A-flat major; Nocturne in F major; Ballad No 4 in F minor

Leif Ove Andsnes piano

LEIF OVE ANDSNES & FRIENDS Sat 28 May 7pm, Milton Court Brahms Piano Quartet No 1 in G major Piano Quartet No 2 in A major Piano Quartet No 3 in C minor

Leif Ove Andsnes piano Christian Tetzlaff violin Tabea Zimmerman viola Clemens Hagen cello

Produced by the Barbican, not part of the LSO Season. Visit barbican.org.uk for details.

London Symphony OrchestraLiving Music

PROGRAMME NOTE AUTHOR

LINDSAY KEMP is a senior

producer for BBC Radio 3, including

programming lunchtime concerts

from LSO St Luke’s, Artistic Director

of the Lufthansa Festival of

Baroque Music, and a regular

contributor to Gramophone magazine.

lso.co.uk 020 7638 8891

‘I have no choice but to make music. I love music so much, it is just so much a part of me, that I just have to do it.’

Leif Ove Andsnes

Leif Ove AndsnesLSO Artist Portrait