London Symphony OrchestraLiving Music

London’s Symphony Orchestra

Sunday 24 May 2015 7.30pm Barbican Hall

LSO INTERNATIONAL VIOLIN FESTIVAL CHRISTIAN TETZLAFF

Beethoven Violin Concerto INTERVAL Brahms German Requiem

Daniel Harding conductor Christian Tetzlaff violin Dorothea Röschmann soprano Matthias Goerne baritone London Symphony Chorus Simon Halsey chorus director

Concert finishes approx 9.55pm

The LSO International Violin Festival is generously supported by Jonathan Moulds CBE

International Violin Festival Media Partner

2 Welcome 24 May 2015

Welcome Kathryn McDowell

Living Music In Brief

This evening we are pleased to welcome back the LSO’s Principal Guest Conductor Daniel Harding for a programme culminating in Brahms’ German Requiem. The London Symphony Chorus, led by the LSO’s Choral Director Simon Halsey, join Daniel Harding for his first performance of this work with the Orchestra.

The LSO International Violin Festival also continues tonight with a performance of Beethoven’s Violin Concerto by Christian Tetzlaff, who has worked with both the Orchestra and Daniel Harding on many occasions in the past, recently performing a BBC Radio 3 Lunchtime Concert at LSO St Luke’s.

We are grateful for Jonathan Moulds’ generous support of the Festival, and to our media partner The Strad, who continue to cover the Festival in print and online.

I would also like to take this opportunity to thank the musicians who played in this evening’s LSO Platforms recital, a chance for musicians from the Guildhall School to perform free pre-concert recitals on the Barbican stage.

Please join us again on 2 June when Daniel Harding and the Orchestra will be joined by Janine Jansen for a performance of the Mendelssohn Violin Concerto, following a short tour to Germany and Switzerland.

Kathryn McDowell CBE DL Managing Director

THE LSO AT THE BBC PROMS

The LSO returns to the BBC Proms this summer with Principal Conductor Valery Gergiev for a concert on 28 July showcasing all five of Prokofiev’s piano concertos. Joining the Orchestra on stage at the Royal Albert Hall will be soloists Daniil Trifonov, Sergei Babayan and Alexei Volodin. Tickets are now on sale through the Royal Albert Hall.

bbc.co.uk/proms

A WARM WELCOME TO TONIGHT’S GROUPS

The LSO offers great benefits for groups of ten or more, including 20% discount on standard tickets, a dedicated group booking phone-line, priority booking and, for larger groups, free hot drinks and the chance to meet LSO musicians at private interval receptions. Tonight, we are delighted to welcome:

The Gerrards Cross Community Association Farnham U3A Concert Club Redbridge and District U3A University of Wisconsin Eventika Travel SRL The University of Minnesota, Morris Elizabeth Hayllar and Friends Ian Fyfe and Friends Swen Wiehen and Friends Annette Graves and Friends Edwin Poquette and Friends

lso.co.uk/groups

lso.co.uk LSO International Violin Festival 3

Coming soon LSO International Violin Festival

Thu 10 Oct 7.30pm HAITINK & AX Mozart Piano Concerto No 9 K271 Shostakovich Symphony No 4 Bernard Haitink conductor Emanuel Ax piano

Tue 15 Oct 7.30pm HAITINK & AX Mozart Piano Concerto No 27 K595 Shostakovich Symphony No 15 Bernard Haitink conductor Emanuel Ax piano

020 7638 8891 lso.co.uk/violinfestival

JANINE JANSEN

Tue 2 Jun 2015 7.30pm

Edward Rushton I nearly went, there*

Mendelssohn Violin Concerto

Mahler Symphony No 5

Daniel Harding conductor

Janine Jansen violin

* UK premiere

JAMES EHNES

Sun 7 Jun 2015 7.30pm

Bartók Divertimento for Strings

Korngold Violin Concerto

Rachmaninov Symphonic Dances

Marin Alsop conductor

James Ehnes violin

LSO Platforms

6pm – Korngold Chamber Music

performed by Guildhall School students

ALINA IBRAGIMOVA

Sun 14 Jun 2015 7.30pm

Mozart Violin Concerto No 3

Mahler Symphony No 1 (‘Titan’)

Bernard Haitink conductor

Alina Ibragimova violin

BBC RADIO 3 LUNCHTIME

CONCERTS AT LSO ST LUKE’S

Thu 11 Jun 2015 1pm

James Ehnes violin

Steven Osborne piano

Thu 18 Jun 1pm, LSO St Luke’s

Veronika Eberle violin

Michail Lifits piano

The LSO International Violin Festival is generously supported by Jonathan Moulds CBE

Is there a creamier, more ravishing violin timbre in the world today than that from Ehnes’ Strad? Add immaculate tuning, serene lyricism and an understated but unfaltering musicality, and it’s clear why the young Canadian is fast becoming the connoisseur’s fiddler-of-choice.

The Times

International Violin Festival Media Partner

PROGRAMME NOTE WRITER

LINDSAY KEMP is a senior

producer for BBC Radio 3, including

programming lunchtime concerts

from Wigmore Hall and LSO St Luke’s,

Artistic Director of the London

Festival of Baroque Music, and a

regular contributor to Gramophone

magazine.

4 Programme Notes 24 May 2015

Ludwig van Beethoven (1770–1827) Violin Concerto in D major Op 61 (1806)

ALLEGRO MA NON TROPPO

LARGHETTO

RONDO: ALLEGRO

CHRISTIAN TETZLAFF VIOLIN

Beethoven did not provide cadenzas for the premiere of his Violin Concerto, but he did compose cadenzas when he transformed the piece into a piano concerto a year later. In tonight’s performance, Christian Tetzlaff performs his own arrangements of those cadenzas.

For Beethoven, the concerto was not a form to be taken lightly. Like Mozart, the first great master of the Classical concerto, he composed concertos principally for his own instrument, the piano; whereas Mozart’s output of piano concertos ran to nearly 30, Beethoven completed only five, each of them a dynamic and virtuosic conflict between soloist and orchestra. It is not hard to picture him at the keyboard, challenging the orchestra to battle in the gigantic flourishes of the first movement of the ’Emperor’ Concerto, running it ragged in the fleet-footed games of the finale of the First, or coaxing it patiently into submission in the slow movement of the Fourth.

Compared to these dramas, his only completed violin concerto is a very different animal, a work of unprecedented warmth and serenity that its first audiences evidently found rather puzzling. ’The opinion of connoisseurs admits that it contains beautiful passages but confesses that the context often seems broken and that the endless repetition of unimportant passages produces a tiring effect’, ran one account of its first performance. Clearly, a little more action was expected.

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It was not until one of the 19th century’s greatest violinists, Joseph Joachim, performed it in London in 1844 under Mendelssohn’s baton that the work came to be recognised as the sublime masterpiece that it is. Joachim was only twelve years old at the time, but later descriptions of his playing, which talked of artistic perfection with bravura as a secondary consideration, perhaps explain how it was that he was the first one to be able to put the concerto across; these qualities, after all, apply equally well to the work itself.

The circumstances of the first performance in Vienna in December 1806 sound somewhat less promising. Beethoven had rushed to complete the piece in time and the soloist, Franz Clement, was apparently forced to sight-read much of the music at the concert. This sounds hard to believe, but it is surely significant that the autograph contains many alterations to the solo part, perhaps made at Clement’s suggestion, after what one can only imagine was a somewhat hairy premiere. If Beethoven made things hard for his soloist, however, Clement did not show the concerto to its best advantage by playing the second and third movements at opposite ends of the concert from the first, and inserting some virtuoso showpieces in between (including one played with the violin upside down).

‘All its most famous strokes of genius are not only mysteriously quiet, but mysterious in radiantly happy surroundings.’

Donald Tovey on Beethoven’s Violin Concerto

lso.co.uk Programme Notes 5

Although Beethoven knew how to play the violin, it was not really his instrument, so we should not be too surprised that his concerto does not adopt the confrontational and virtuoso tone of the piano concertos. And unlike the piano, the violin cannot accompany itself, with the result that the orchestra has to play along almost all of the time. Beethoven does not fight against this. Instead he turns it to an advantage by writing a supremely conciliatory concerto in which the violin and orchestra are in agreement throughout. As Donald Tovey has said, ’all its most famous strokes of genius are not only mysteriously quiet, but mysterious in radiantly happy surroundings’.

FIRST MOVEMENT This is certainly true of the work’s unusual opening, where five gentle drum beats introduce the sublime first theme, and then proceed to dominate and unify the whole movement through repeating and recycling their insistent rhythm in different contexts. There is no menace in this (as well there might be), and when the solo violin first enters it is not to contradict the orchestra, or even to contribute any new themes of its own, but to enrich the music with soaring embellishments and eloquent refinements of the movement’s glorious melodic material.

SECOND MOVEMENT This non-aggressive attitude is even more noticeable in the placid slow movement, which seems to start out as a straightforward set of variations on the theme introduced right at the beginning on muted strings – so straightforward, indeed, that the music never leaves the key of G major and the solo violin at first offers no more than gentle accompanimental arabesques. After the third variation, however, (a loud restatement of the theme by the orchestra alone), the soloist introduces a brief but sonorous

BEETHOVEN on LSO LIVE

Symphonies

Nos 1–9

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‘A towering achievement.’

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new tune, which is then alternated with the main theme before a peaceful coda, a fanfare-like outburst from the strings and a short cadenza lead straight into the finale.

FINALE Here again, the form is simple – a rondo whose uncomplicated treatment may owe much to Beethoven’s haste to complete the concerto, but whose recurring theme is irresistible nevertheless. And there is real originality in the way in which the movement opens with the theme given out by the soloist over a bare, prompting accompaniment from the cellos and basses, and in the way that, just when you feel Beethoven has proved that he could carry on for ever, he wittily brings the concerto to an end.

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.

The Barbican shop will also be open.

Why not tweet us your thoughts on the first half of the

performance @londonsymphony, or come and talk to

LSO staff at the Information Desk on the Circle level?

6 Composer Profiles 24 May 2015

Beethoven showed early musical promise, yet reacted against his father’s attempts to train him as a child prodigy. The boy pianist attracted the support of the Prince- Archbishop, who supported his studies with leading musicians at the Bonn court. By the early 1780s Beethoven had completed his first compositions, all of which were for keyboard. With the decline of his alcoholic father, Ludwig became the family bread-winner as a musician at court.

Encouraged by his employer, the Prince-Archbishop Maximilian Franz, Beethoven travelled to Vienna to study with Joseph Haydn. The younger composer fell out with his renowned mentor when the latter discovered he was secretly taking lessons from several other teachers. Although Maximilian Franz withdrew payments for Beethoven’s Viennese education, the talented musician had already attracted support from some of the city’s wealthiest arts patrons. His public performances in 1795 were well received, and he shrewdly negotiated a contract with Artaria & Co, the largest music publisher in Vienna.

He was soon able to devote his time to composition or the performance of his own works. In 1800 Beethoven began to complain bitterly of deafness, but despite suffering the distress and pain of tinnitus, chronic stomach ailments, liver problems and an embittered legal case for the guardianship of his nephew, Beethoven created a series of remarkable new works, including the Missa solemnis and his late symphonies and piano sonatas. It is thought that around 10,000 people followed his funeral procession on 29 March 1827. Certainly, his posthumous reputation developed to influence successive generations of composers and other artists inspired by the heroic aspects of Beethoven’s character and the profound humanity of his music.

Ludwig van Beethoven Composer Profile

Johannes Brahms was born in Hamburg, the son of an impecunious musician; his mother later opened a haberdashery business to help lift the family out of poverty. Showing early musical promise he became a pupil of the distinguished local pianist and composer Eduard Marxsen and supplemented his parents’ meagre income by playing in the bars and brothels of Hamburg’s infamous red-light district.

In 1853 Brahms presented himself to Robert Schumann in Düsseldorf,

winning unqualified approval from the older composer. Brahms fell in love with Schumann’s wife, Clara, supporting her after her husband’s illness and death. The relationship did not develop as Brahms wished, and he returned to Hamburg; their close friendship, however, survived. In 1862 Brahms moved to Vienna where he found fame as a conductor, pianist and composer. The Leipzig premiere of his German Requiem in 1869 was a triumph, with subsequent performances establishing Brahms as one of the emerging German nation’s foremost composers. Following the long-delayed completion of his First Symphony in 1876, he composed in quick succession the Violin Concerto, the two piano Rhapsodies, Op 79, the First Violin Sonata and the Second Symphony. His subsequent association with the much-admired court orchestra in Meiningen allowed him freedom to experiment and de velop new ideas, the relationship crowned by the Fourth Symphony of 1884.

In his final years, Brahms composed a series of profound works for the clarinettist Richard Mühlfeld, and explored matters of life and death in his Four Serious Songs. He died at his modest lodgings in Vienna in 1897, receiving a hero’s funeral at the city’s central cemetery three days later.

Composer Profiles © Andrew Stewart

Johannes Brahms Composer Profile

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.

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Artist Focus Christian Tetzlaff

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.

MOVEMENT ONE

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MOVEMENT THREE

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If note goes over a spread.

Last paragraph.

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Christian Tetzlaff plays a modern violin made by Stefan-Peter Greiner (b 1966). It is his third instrument by the German luthier, whose instruments he has played since 2002, when he gave up the Stradivarius he had been loaned. ‘If I were to play a Strad and a Guarneri in a double-blind test with my Greiner, I am sure that no one could tell which was the new instrument,’ he told The Strad in 2005. ‘When I play with orchestras, if they don’t know what I’m playing, they always ask if it’s a Strad or a Guarneri.’

According to Greiner, the violin was ‘based like all my instruments on a Guarneri model. I don’t make ‘strong copies’ based on a specific instrument, but Guarneri’s work gives us a great deal of freedom to develop our own models.’

Tetzlaff first appeared with the LSO in 2009. ‘I love performing with the LSO and I love being on tour with them,’ he says. ‘Its sheer fantastic quality aside, the LSO is also an orchestra that I just enjoy being with.’ The Beethoven Concerto, which he plays with the LSO for the first time tonight, has been an important work for him throughout his career. ‘I’ve reached around 280 performances of this piece! That might sound weird to somebody who is not doing it all the time, but it is a total joy, because it is a complex, big and difficult piece. The background of all those performances makes me freer than I have ever been. And also, of course, in those 280 times I’ve played it in so many different settings and with so many different conductors and orchestras that it’s a big part of me.’

Each performance of this concerto is different, even if you play it with the same orchestra on tour ten times. It’s about how your body works and how your heart is at that moment. You will always find different interpretations.

After performing it 280 times, people may think, ‘What’s the point for him?’ The point is to really convince this audience, on this night, of the total beauty of the piece, and that job never changes. The challenge is always the same.

Christian Tetzlaff on Beethoven’s Violin Concerto

LSO INTERNATIONAL VIOLIN

FESTIVAL: FIND OUT MORE

Get to know the soloists in the

LSO International Violin Festival

and find out more about their

instruments on our website,

featuring in-depth profiles,

interviews, live-streamed artist

conversations and more.

lso.co.uk/violinfestival

lso.co.uk LSO International Violin Festival 7

PROGRAMME NOTE WRITER

ANDREW HUTH is a musician,

writer and translator who writes

extensively on French, Russian and

Eastern European music.

8 Programme Notes 24 May 2015

Johannes Brahms (1833–97) German Requiem Op 45 (1865–68)

SELIG SIND, DIE DA LEID TRAGEN

(BLESSED ARE THEY THAT MOURN)

DENN ALLES FLEISCH ES IST WIE GRAS

(FOR ALL FLESH IS AS GRASS)

HERR, LEHRE DOCH MICH

(LORD, MAKE ME TO KNOW MINE END)

WIE LIEBLICH SIND DEINE WOHNUNGEN

(HOW LOVELY ARE THY DWELLINGS)

IHR HABT NUN TRAURIGKEIT

(AND YE NOW THEREFORE HAVE SORROW)

DENN WIR HABEN HIE

(FOR HERE HAVE WE NO CONTINUING CITY)

SELIG SIND DIE TOTEN

(BLESSED ARE THE DEAD)

DOROTHEA RÖSCHMANN SOPRANO

MATTHIAS GOERNE BARITONE

LONDON SYMPHONY CHORUS

SIMON HALSEY CHORUS DIRECTOR

Brahms was a questioning, subtle agnostic who could not accept any dogmatic form of religion. His German Requiem is not a liturgical work, nor even specifically Christian. There is no mention of sin or redemption, no vision of eternal judgement or plea for divine mercy. Instead, there is an almost pagan sense of inevitable fate, tempered by stoic endurance and a search for consolation and hope. The ‘German’ in the title has nothing to do with nationalism, but refers to the language: Brahms admired the poetry and wisdom to be found in many passages in the Bible and compiled his own texts from the Old and New Testaments and the Apocrypha in the venerable 16th-century translation by Martin Luther.

The immediate stimulus for the composition of the Requiem was the death of Brahms’ mother in February 1865, but its genesis goes back to the

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early 1850s when the 20-year-old Brahms first met Robert and Clara Schumann. They were amazed at this young genius, and shortly afterwards Schumann published the famous article which proclaimed Brahms to be the long-awaited Messiah who would bring to fulfilment all the best tendencies in German music. Within months Schumann’s mental health collapsed; he attempted suicide and was confined in an asylum, where he died in 1856. In the meantime, Brahms became closely attached to Schumann’s wife Clara, and the music from these years expresses much of the turmoil and stress he experienced.

In 1854 Brahms began a sonata for two pianos, which then turned into a projected symphony in D minor. The first movement of this, in its turn, eventually became the opening movement of the First Piano Concerto (1856–58), while the theme of a slow movement in the triple rhythm of a Sarabande became the basis of the second movement of the Requiem. The dark style of orchestration that Brahms devised for the Concerto certainly influenced the Requiem’s overall sound; and the Concerto’s slow movement marks the first appearance of a particular mood of resigned serenity that is so characteristic of the Requiem, the work which Brahms hoped would be worthy of Schumann’s prophecies and stand as a suitable memorial to him.

MARTIN LUTHER (1483–1546)

initiated the Protestant Reformation

by nailing his Ninety-Five Theses

to the door of Wittenberg Castle

Church in 1517. He argued that

the theological underpinnings

of Catholicism were flawed and

proposed a radical new interpretation

of scripture and faith that would

form the basis of all subsequent

Protestant denominations.

‘As far as the text is concerned, I confess that I would gladly omit even the word ‘German’ and instead use ‘Human’.

Brahms, writing to Carl Martin Reinthaler, Director of Music at the Bremen Cathedral

lso.co.uk Programme Notes 9

After a poorly rehearsed run-through of three movements in Vienna in December 1867, Brahms conducted the first performance on 10 April (Good Friday) 1868 in Bremen Cathedral, just a month before his 35th birthday. The Requiem then consisted of only six movements. Brahms soon added a seventh movement and in February 1869 the final form of the work was premiered under Carl Reinecke in Leipzig. Within a year it had received 20 performances in Germany and Switzerland, and soon made Brahms famous throughout Europe.

The first movement, with divided violas and cellos but no violins or clarinets, establishes a prevailing mood; each of the following movements has its own distinct colouring, its own particular shade of objectivity or intimacy, resulting in an overall arch-like structure.

The solo baritone in the third and sixth movements, and the soprano in the fifth, sing passages which are among the most deeply expressive and personal utterances in all of Brahms’ music. It is the chorus, though, that bears the burden of the Requiem, conveying the inner meaning of the words that Brahms had so carefully chosen to express his deepest thoughts on life and death. Not that Brahms himself ever tried to explain in words what he was doing. Whenever he was asked what lay behind his music he would turn away questions with the sort of gruffness he seems to have inherited from his father. After the Bremen premiere of the Requiem, which reduced many in the audience to tears, old Jakob Brahms was discovered taking snuff outside the cathedral, simply muttering ‘It didn’t sound too bad’.

BRAHMS on LSO LIVE

Brahms

German

Requiem

£8.99

lsolive.lso.co.uk

Valery Gergiev conductor

‘The LSO sound is immaculate’

Classical Music Sentinel

London Symphony Orchestra

LSO SING – SUMMER EVENTS

LSO COMMUNITY SINGING DAY:

AFRICAN AMERICAN JOURNEY

Sat 20 Jun 10.30am–4.30pm, LSO St Luke’s

Come along to this inspiring Singing Day and explore

how gospel music originated from African spirituals

and the European hymn tradition.

David Lawrence conductor

2014/15 CLOSING CONCERT:

RATTLE AND LSO DISCOVERY

Sun 5 Jul 7.30pm, Barbican

A new children’s opera from Jonathan Dove,

The Monster in the Maze, followed by Walton’s

First Symphony, played by students from the

Guildhall School side-by-side with LSO musicians.

Sir Simon Rattle conductor

LSO Discovery Junior and Senior Choirs

LSO Community Choir

Guildhall Symphony Orchestra

020 7638 8891 lso.co.uk

10 Texts 24 May 2015

Johannes Brahms German Requiem: Texts

1 Seilig sind, die da Leid tragen Selig sind, die da Leid tragen, denn sie sollen getröstet werden.

Die mit Tränen säen, werden mit Freuden ernten. Sie gehen hin und weinen und tragen edlen Samen, und kommen mit Freuden und bringen ihre Garben. Seilig sind, die da Leid tragen …

2 Denn alles Fleisch es ist wie GrasDenn alles Fleisch es ist wie Gras und alle Herrlichkeit des Menschen wie des Grases Blumen. Das Gras ist verdorret und die Blume abgefallen.

So seid nun geduldig, lieben Brüder, bis auf die Zukunft des Herrn. Siehe, ein Ackermann wartet auf die köstliche Frucht der Erde und ist geduldig darüber, bis er empfahe den Morgenregen und Abendregen. So seid geduldig. So seid geduldig. Denn alles Fleisch es ist wie Gras …

Aber des Herrn Wort bleibet in Ewigkeit.

Die Erlöseten des Herrn werden wieder kommen, und gen Zion kommen mit Jauchzen; ewige Freude wird über ihrem Haupte sein; Freude und Wonne werden sie ergreifen und Schmerz und Seufzen wird weg müssen.

Blessed are they that mournBlessed are they that mourn, for they shall be comforted.

They that sow in tears shall reap in joy. They that go forth and weep, bearing precious seed, shall doubtless come again with rejoicing, bringing their sheaves with them. Blessed are they that mourn …

For all flesh is as grass For all flesh is as grass, and all the glory of man as the flower of grass. The grass withers, and the flower thereof falleth away.

Be patient therefore, brethren, unto the coming of the Lord. Behold, the husbandman waiteth for the precious fruit of the earth, and has long patience for it, until he receive the morning and evening rain. So be ye patient.

For all flesh is as grass…

But the word of the Lord endureth for ever.

And the ransomed of the Lord shall return, and come to Zion with songs and everlasting joy upon their heads: they shall obtain joy and gladness, and sorrow and sighing shall flee away.

Matthew 5:4

Psalm 126:5,6

1 Peter 1:24

James 5:7

1 Peter 1:25

Isaiah 35:10

lso.co.uk Texts 11

3 Herr, lehre doch michHerr, lehre doch mich, daß ein Ende mit mir haben muß, und mein Leben ein Ziel hat, und ich davon muß. Siehe, meine Tage sind einer Hand breit vor dir, und mein Leben ist wie nichts vor dir.

Ach, wie gar nichts sind alle Menschen, die doch so sicher leben. Sie gehen daher wie ein Schemen, und machen ihnen viel vergebliche Unruhe; sie sammeln und wissen nicht wer es kriegen wird.

Nun Herr, wess soll ich mich trösten? Ich hoffe auf dich.

Der Gerechten Seelen sind in Gottes Hand und keine Qual rühret sie an.

4 Wie lieblich sind deine WohnungenWie lieblich sind deine Wohnungen, Herr Zebaoth! Meine Seele verlanget und sehnet sich nach den Vorhöfen des Herrn; mein Leib und Seele freuen sich in dem lebendigen Gott. Wohl denen, die in deinem Hause wohnen, die loben dich immerdar.

5 Ihr habt nun TraurigkeitIhr habt nun Traurigkeit; aber ich will euch wiedersehen und euer Herz soll sich freuen und eure Freude soll niemand von euch nehmen.

Ich will euch trösten, wie Einen seine Mutter tröstet. Sehet mich an: Ich habe eine kleine Zeit Mühe und Arbeit gehabt und habe großen Trost funden.

Lord, make me to know mine endLord, make me to know mine end, and the measure of my days, what it is: that I may know how frail I am. Behold, thou hast made my days as an handbreadth; and mine age is as nothing before thee.

Surely every man walketh in a vain show: surely they are disquieted in vain: he heaps up riches, and knows not who shall gather them.

And now, Lord, what wait I for? My hope is in thee.

The souls of the righteous are in the hand of God, and there shall no torment touch them.

How lovely are thy dwellingsHow lovely are thy dwellings, O Lord of hosts! My soul longs, yea, even faints for the courts of the Lord: my heart and my flesh cries out for the living God. Blessed are they that dwell in thy house: they will always be praising thee.

And ye now therefore have sorrow And ye now therefore have sorrow; but I will see you again, and your heart shall rejoice, and your joy no man taketh from you.

As one whom his mother comforts, so will I comfort you.

Behold with your eyes, how that I have but little labour and have gotten unto me much rest.

Psalm 39:4–7

Wisdom of Solomon 3:1

Psalm 84:1,2,4

John 16:22

Isaiah 66:13

Ecclesiasticus 51:27

12 Texts 24 May 2015

Johannes Brahms German Requiem: Texts (continued)

6 Denn wir haben hieDenn wir haben hie keine bleibende Statt, sondern die zukünftige suchen wir.

Siehe, ich sage euch ein Geheimnis: Wir werden nicht alle entschlafen, wir werden aber alle verwandelt werden; und dasselbige plötzlich, in einem Augenblick, zu der Zeit der letzten Posaune. Denn es wird die Posaune schallen, und die Toten werden auferstehen unverweslich, und wir werden verwandelt werden.

Dann wird erfüllet werden das Wort, das geschrieben steht: der Tod is verschlungen in den Sieg. Tod, wo ist dein Stachel? Hölle, wo ist dein Sieg?

Herr, du bist würdig, zu nehmen Preis und Ehre und Kraft, denn du hast alle Dinge erschaffen, und durch deinen Willen haben, sie das Wesen und sind geschaffen.

7 Selig sind die TotenSelig sind die Toten, die in dem Herren sterben von nun an. Ja, der Geist spricht, daß sie ruhen von ihrer Arbeit; denn ihre Werke folgen ihnen nach.

For here have we no continuing cityFor here have we no continuing city, but we seek one to come.

Behold, I show you a mystery; we shall not all sleep, but we shall all be changed, in a moment, in the twinkling of an eye, at the last trump: for the trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed.

Then shall be brought to pass the saying that is written, Death is swallowed up in victory. O death, where is thy sting? O grave, where is thy victory?

Thou art worthy, O Lord, to receive glory and honour and power: for thou hast created all things, and for thy pleasure they are and were created.

Blessed are the deadBlessed are the dead which die in the Lord, from henceforth: yea, says the Spirit, that they may rest from their labours; and their works do follow them.

Hebrews 13:14

1 Corinthians

15:51,52,54,55

Revelation 4:11

Revelation 14:13

lso.co.uk 2015/16 Highlights 13

LSO Season 2015/16 Highlights Concerts at the Barbican

020 7638 8891 lso.co.uk

2015/16 SEASON OPENING with Bernard Haitink

Bruckner Symphony No 7

Tue 15 Sep 2015

Mahler Symphony No 4

Sun 20 Sep 2015

Brahms Symphony No 1

Wed 23 Sep 2015

CREATIVE GENIUSES with Sir Simon Rattle

Debussy Pelléas et Mélisande

directed by Peter Sellars

Sat 9 & Sun 10 Jan 2016

Ravel, Dutilleux and Delage

with Leonidas Kavakos

Wed 13 Jan 2016

Bruckner Symphony No 8

Thu 14 Apr 2016

MAN OF THE THEATRE with Valery Gergiev

Stravinsky The Firebird

Fri 9 Oct 2015

Stravinsky The Rite of Spring

Sun 11 Oct 2015

Bartók The Miraculous Mandarin

Sun 18 Oct 2015

SHAKESPEARE 400 with Sir John Eliot Gardiner

and Gianandrea Noseda

Mendelssohn

A Midsummer Night’s Dream

Tue 16 Feb 2016

Berlioz Romeo and Juliet

Sun 28 Feb 2016

London’s Symphony Orchestra

The LSO at full tilt is a terrifying, glamorous beast.The Times on the LSO with Daniel Harding

14 Artist Biographies 24 May 2015

Daniel Harding Conductor

‘Daniel Harding conducted with total conviction.’ The Times

Born in Oxford, Daniel Harding began his career assisting Sir Simon Rattle at the City of Birmingham Symphony Orchestra, with which he made his professional debut in 1994. He went on to assist Claudio Abbado at the Berlin Philharmonic and made his debut with the Orchestra at the 1996 Berlin Festival.

He is Music Director of the Swedish Radio Symphony Orchestra, Principal Guest Conductor of the London Symphony Orchestra and Music Partner of the New Japan Philharmonic. He is Artistic Director of the Ohga Hall in Karuizawa, Japan and was recently honoured with the lifetime title of Conductor Laureate of the Mahler Chamber Orchestra. His previous positions include Principal Conductor and Music Director of the Mahler Chamber Orchestra (2003–11), Principal Conductor of the Trondheim Symphony Orchestra (1997–2000), Principal Guest Conductor of Sweden’s Norrköping Symphony Orchestra (1997–2003) and Music Director of the Deutsche Kammerphilharmonie Bremen (1997–2003).

He is a regular visitor to the Vienna Philharmonic, Dresden Staatskapelle, Royal Concertgebouw, Bavarian Radio Symphony, Leipzig Gewandhaus and Orchestra Filarmonica della Scala. Other guest conducting engagements have included the Berlin Philharmonic, Munich Philharmonic, Orchestre National de Lyon, Oslo Philharmonic, London Philharmonic, Royal Stockholm Philharmonic, Orchestra of the Age of Enlightenment, Rotterdam Philharmonic, Frankfurt Radio Orchestras and the Orchestre des Champs-Élysées. US orchestras with which he has performed include the New York Philharmonic, Philadelphia Orchestra, Boston Symphony Orchestra, Los Angeles Philharmonic and Chicago Symphony Orchestra.

His operatic experience includes Strauss’ Ariadne auf Naxos, Mozart’s Don Giovanni and The Marriage of Figaro at the Salzburg Festival with the Vienna Philharmonic, Britten’s The Turn of the Screw and Berg’s Wozzeck at the Royal Opera House, Covent Garden, Mozart’s Die Entführung aus dem Serail at the Bayerische Staatsoper, Munich, and Wozzeck at the Theater an der Wien. Closely associated with the Aix-en-Provence Festival, he has conducted a number of new productions there, including Mozart’s Così fan tutte and Don Giovanni, Britten’s The Turn of the Screw, Tchaikovsky’s Eugene Onegin and Verdi’s La Traviata.

His recent recordings for Deutsche Grammophon, Mahler’s Symphony No 10 with the Vienna Philharmonic Orchestra and Orff’s Carmina Burana with the Bavarian Radio Symphony Orchestra, have both won widespread critical acclaim. For Virgin/EMI he has recorded Mahler’s Symphony No 4 with the Mahler Chamber Orchestra; Brahms’ Symphonies Nos 3 and 4 with the Deutsche Kammerphilharmonie Bremen; Billy Budd with the LSO (winner of a Grammy Award for best opera recording); Don Giovanni and The Turn of the Screw, both with the Mahler Chamber Orchestra; works by Lutosławski with Solveig Kringelborn and the Norwegian Chamber Orchestra; and works by Britten with Ian Bostridge and the Britten Sinfonia.

In 2002 he was awarded the title Chevalier de l’Ordre des Arts et des Lettres by the French Government, and in 2012 he was elected a member of The Royal Swedish Academy of Music.

Principal Guest Conductor

London Symphony Orchestra

Music Director

Swedish Radio Symphony Orchestra

Music Partner

New Japan Philharmonic

Artistic Director

Ohga Hall

Conductor Laureate

Mahler Chamber Orchestra

lso.co.uk Artist Biographies 15

Christian Tetzlaff Violin

‘There are few violinists to match him.’ The Guardian

Equally at home in Classical, Romantic and contemporary repertoire, Christian Tetzlaff sets standards with his interpretations of the Violin Concertos of Beethoven, Brahms, Tchaikovsky, Berg and Ligeti, and is renowned for his innovative chamber music projects and performances of Bach.

Christian regularly works with many of today’s leading conductors, and the 2014/15 season sees performances with Daniel Harding (London and Swedish Radio Symphony Orchestras, Orchestre Philharmonique de Radio France), Robin Ticciati (Rotterdam Philharmonic Orchestra, Wiener Symphoniker, Scottish Chamber Orchestra) and Paavo Järvi (The Deutsche Kammerphilharmonie Bremen). He is the Artist-in-Residence with the Berliner Philharmoniker, where he works with Sir Simon Rattle and performs in a variety of programmes. He also appears with the Wiener Philharmoniker (Christoph Eschenbach), Münchner Philharmoniker (Pablo Heras-Casado), Royal Concertgebouw Orchestra (Marc Albrecht) and Boston Symphony Orchestra (Andris Nelsons). Chamber music activities include recitals with regular duo partner Lars Vogt in Berlin, London, Toronto, Melbourne and a number of US cities, and performances with the Tetzlaff Quartett in London, Salzburg, Bonn, Tokyo, Osaka and Seoul.

Christian’s recordings have received numerous prizes and awards, including the Diapason d’Or and Edison, Midem Classical and ECHO Klassik awards, as well as several Grammy nominations. His discography includes the Violin Concertos of Dvorák, Mozart, Lalo, Sibelius, Tchaikovsky and Beethoven. He has also recorded Mark-Anthony Turnage’s Mambo Blues and Tarantella under Vladimir Jurowski, Bartók’s Sonatas for violin and piano with Leif Ove Andsnes, Violin Sonatas by

Mozart, Schumann and Brahms with Lars Vogt, and Bach’s complete solo Sonatas and Partitas. Ondine recently released an album featuring Jörg Widmann’s Violin Concerto with the Swedish Radio Symphony Orchestra (Daniel Harding), while his latest recording, of Shostakovich’s Violin Concertos with the Helsinki Philharmonic Orchestra (John Storgårds), appeared on the label in autumn 2014.

Born in Hamburg in 1966, Christian Tetzlaff studied at the Lübeck Conservatory with Uwe-Martin Haiberg and in Cincinnati with Walter Levin. He has been Artist-in-Residence with Carnegie Hall, Wigmore Hall, Tonhalle-Orchester Zürich and hr-Sinfonieorchester, and was Musical America’s 2005 Instrumentalist of the Year. He plays a violin made by German violinmaker Peter Greiner and teaches regularly at the Kronberg Academy near Frankfurt.

16 Artist Biographies 24 May 2015

Dorothea Röschmann Soprano

Matthias Goerne Baritone

Born in Flensburg, Germany, Dorothea Röschmann made a critically acclaimed debut at the 1995 Salzburg Festival as Susanna with Harnoncourt and has returned to the Festival many times to sing Donna Elvira, Countess Almaviva, Ilia, Servilia, Nannetta, Pamina and Vitellia, with conductors such as Abbado, Harding, Mackerras and von Dohnányi.

At the Metropolitan Opera she has sung Susanna, Pamina, Elvira and Ilia with Levine and, at the

Royal Opera House, Covent Garden her roles have included Pamina and Fiordiligi with Sir Colin Davis and Countess Almaviva with Sir Antonio Pappano. At La Scala, Milan she has sung the Countess and has also sung Donna Elvira with the company at the Bolshoi with Barenboim. At the Vienna Staatsoper she has appeared as the Countess and Susanna, and also as Marschallin with Sir Simon Rattle. At the Bayerische Staatsoper, Munich she has sung Zerlina, Susanna, Ännchen, Marzelline, Anne Trulove and Rodelinda. She is also closely associated with the Deutsche Staatsoper, Berlin, where her roles include Ännchen with Mehta; Nannetta with Abbado; Eva, Elsa, Pamina, Fiordiligi, Susanna, Zerlina, Micäela, Donna Elvira and the Countess with Barenboim. She has also appeared at La Monnaie, Brussels as Norina and at the Bastille, Paris as the Countess and as Pamina.

Her recordings include Countess Almaviva with Harnoncourt; Pamina and Nannetta with Abbado; Puccini’s Suor Angelica with Pappano; Strauss’ Four Last Songs with Nézet-Séguin; Brahms’ Requiem with Rattle (winner of a Grammy and Gramophone Award); Mahler’s Symphony No 4 with Harding; Handel’s Nine German Arias with the Akademie für Alte Musik Berlin; Messiah with McCreesh; Pergolesi’s Stabat Mater with David Daniels and Fabio Biondi; and a disc of Schumann songs with Ian Bostridge and Graham Johnson. In 2014 Sony Classical released Dorothea’s debut recital CD, Portraits.

Matthias Goerne is one of the most internationally sought-after vocalists and a frequent guest at renowned festivals and concert halls. He has collaborated with leading orchestras all over the world. Conductors of the first rank as well as eminent pianists are among his musical partners.

Matthias Goerne has appeared on the world’s principal opera stages, including the Royal Opera House, Covent Garden; Teatro Real in Madrid; Paris National Opera; Vienna State Opera; and the

Metropolitan Opera in New York. His carefully chosen roles range from Wagner’s Wolfram, Amfortas, Kurwenal, Wotan and Orest to the title roles in Alban Berg’s Wozzeck, Béla Bartók’s Duke Bluebeard’s Castle, and Paul Hindemith’s Mathis der Maler.

Goerne’s artistry has been documented on numerous recordings, many of which have received prestigious awards, including four Grammy nominations, an ICMA award, and only recently the Diapason d’or arte. For harmonia mundi, he has recorded a Schubert series across eleven CDs (The Goerne/Schubert Edition).

From 2001 through 2005, Matthias Goerne taught as an honorary professor of song interpretation at the Robert Schumann Academy of Music in Düsseldorf. In 2001, he was appointed an Honorary Member of the Royal Academy of Music in London. A native of Weimar, he studied with Hans-Joachim Beyer in Leipzig, and later with Elisabeth Schwarzkopf and Dietrich Fischer-Dieskau. Highlights in the 2014/15 season include a tour with the Vienna Philharmonic, concerts with the Chicago Symphony, Boston Symphony, Dallas Symphony, and Czech Philharmonic Orchestras, the Orchestre de Paris and the Accademia di Santa Cecilia, as well as song recitals with Piotr Anderszewski, Leif Ove Andsnes and Christoph Eschenbach in London, Vienna, Berlin and at La Scala in Milan.

lso.co.uk Artist Biographies 17

Choral Director

London Symphony Orchestra

London Symphony Chorus

Chorus Director

City of Birmingham Symphony

Orchestra Choruses

Principal Conductor

Rundfunkchor Berlin

Artistic Director

Berlin Philharmonic

Youth Choral Programme

Director

BBC Proms Youth Choir

Simon Halsey Chorus Director

Simon Halsey is Professor and Director of Choral Activities at the University of Birmingham, where he directs a postgraduate course in Choral Conducting, in association with the CBSO. Halsey is in great demand as a teacher at other universities and has presented masterclasses at top universities such as Princeton and Yale. In 2011 Schott Music published his book and DVD on choral conducting, Chorleitung: Vom Konzept zum Konzert, as part of its ‘Master Class’ series.

Halsey has worked on numerous recording projects, many of which have won major awards, including the Gramophone Award, Diapason d’Or and Echo Klassik. He has won three Grammy Awards for his recordings with the Rundfunkchor Berlin: 2007, 2008 (Best Choral Performances) and 2011 (Best Opera Performance). As part of a new relationship with Deutsche Grammophon, Halsey and the Rundfunkchor Berlin recorded Spheres with violinist Daniel Hope, as well as Morgenlicht, a choir-only recording of German hymns, both released in 2013. Highlights of his discography with the CBSO Chorus on EMI Classics include Elgar’s The Dream of Gerontius with the CBSO, Sir Simon Rattle, Dame Janet Baker and John Shirley-Quirk; Beethoven’s Ninth Symphony with the Vienna Philharmonic and Sir Simon Rattle; and Mahler’s Symphony No 2 with the CBSO, Sir Simon Rattle, Dame Janet Baker and Arleen Auger.

Born in London, Simon Halsey sang in the choirs of New College, Oxford, and of King’s College, Cambridge, before studying conducting at the Royal College of Music in London. Halsey was awarded The Queen’s Medal for Music 2014 for his influence on the musical life of the UK, the Officer’s Cross of the Order of Merit of the Federal Republic of Germany in 2011, and holds three honorary doctorates.

Simon Halsey is a sought-after conductor of choral repertoire at the very highest level and an ambassador for choral singing across the world. Since 2001 he has been Principal Conductor of the Rundfunkchor Berlin, the permanent partner of the Berliner Philharmonic In the UK, Halsey has been Chorus Director of the City of Birmingham Symphony Orchestra Choruses for over 30 years and, in 2012, was appointed Choral Director of the London Symphony Orchestra and London Symphony Chorus. In this position, Halsey leads choral activities across the LSO’s performance and education programmes.

Simon Halsey is also Artistic Director of the Berliner Philharmoniker’s Youth Choral Programme, as well as Director of the BBC Proms Youth Choir. Since 2014 he has been Artistic Advisor of the Choir Academy of the Schleswig-Holstein Musik Festival. Making singing a central part of these world-class institutions, Halsey has been instrumental in changing the level of symphonic singing across Europe.

Since becoming Choral Director of the London Symphony Orchestra and London Symphony Chorus in 2012, Halsey has been credited with bringing about a ‘spectacular transformation’ (London Evening Standard) of the LSC. In 2014/15 the LSO and LSC performed Schumann’s Das Paradies und die Peri with Sir Simon Rattle. In addition to its work with the LSO, the choir joined the Gewandhausorchester Leipzig and Alan Gilbert for a performance of Beethoven’s Ninth Symphony at the BBC Proms, and the BBC Philharmonic and Juanjo Mena for Beethoven’s Fidelio in Manchester. In 2014 Halsey also conducted the LSC in a series of a cappella concerts across the UK, including Tallis’ Spem in alium and Rachmaninov’s Vespers.

18 London Symphony Chorus 24 May 2015

London Symphony Chorus On stage

BASSES Simon Backhouse Bruce Boyd Andy Chan Steve Chevis Ed Curry Thomas Fea Ian Fletcher Robert Garbolinski * Gerald Goh John Graham Owen Hanmer * Christopher Harvey Alex Kidney Thomas Kohut Gregor Kowalski * Georges Leaver Hugh McLeod Tim Riley Alan Rochford Zachary Smith Rod Stevens Gordon Thomson Robin Thurston Anthony Wilder

* denotes council member

SOPRANOS Kerry Baker Faith Baxter Louisa Blankson Evaleen Brinton Carol Capper * Laura Catala-Ubassy Jessica Collins Shelagh Connolly Harriet Crawford Rebecca Dent Lucy Feldman Isobel Hammond Emma Harry Jenna Hawkins Emily Hoffnung * Josefin Holmberg Debbie Jones Luca Kocsmarszky Mimi Kroll Marylyn Lewin Jane Morley Meg Makower Maggie Owen Isabel Paintin Andra Patterson Frances Pope Kate Powell Carole Radford Liz Reeve Mikiko Ridd Ploen Sopitpongstorn Rachael Twyford Laura Ubassy Lizzie Webb Becky Wheaton Miji Yi

ALTOSElizabeth Boyden Gina Broderick Jo Buchan * Jenni Butler Lizzy Campbell Sarah Castelton Maggie Donnelly Linda Evans Lydia Frankenburg * Tina Gibbs Rachel Green Yoko Harada Amanda Holden Jo Houston Ginger Hunter Ella Jackson Christine Jasper Jill Jones Vanessa Knapp Gilly Lawson Belinda Liao * Anne Loveluck * Etsuko Makita Dorothy Nesbit Helen Palmer Susannah Priede Lucy Reay Maud Saint-Sardos Sarah Scott Lis Smith Jane Steele Claire Trocme Kathryn Wells

TENORS David Aldred Paul Allatt Steven Berryman Daniel Ehrlich John Farrington Matt Fernando Simon Goldman Warwick Hood John Marks John Moses * Daniel Owers Stuart Packford Chris Riley Peter Sedgwick Brad Warburton Robert Ward *

President Emeritus André Previn KBE

Vice President Michael Tilson Thomas

Patron Simon Russell Beale

Chorus Director Simon Halsey

Deputy Chorus Director & Accompanist Roger Sayer

Assistant Directors Neil Ferris and Matthew Hamilton

Chairman Lydia Frankenburg

lsc.org.uk

The London Symphony Chorus was formed in 1966 to complement the work of the London Symphony Orchestra. The partnership between the LSC and LSO was developed and strengthened in 2012 with the joint appointment of Simon Halsey as Chorus Director of the LSC and Choral Director for the LSO.

The LSC also partners other major orchestras and has worked internationally with the Berlin and Vienna Philharmonics, Boston Symphony and the European Union Youth Orchestra. The LSC tours extensively throughout Europe and has visited North America, Israel, Australia and South East Asia.

The Chorus has recorded extensively; recent releases include Britten’s War Requiem with Gianandrea Noseda, Haydn’s The Seasons, Walton’s Belshazzar’s Feast, Verdi’s Otello, and the world premiere of James MacMillan’s St John Passion all under the late Sir Colin Davis; and with Valery Gergiev, Mahler’s Symphonies Nos 2, 3 and 8.

Last season the Chorus undertook critically acclaimed performances of, among other works, Verdi’s Rigoletto, Sir Peter Maxwell Davies’ Tenth Symphony, Berlioz’s The Damnation of Faust and Romeo and Juliet, and Haydn’s The Creation. This season has included the world premiere of Sally Beamish’s Equal Voices and Schumann’s Das Paradies und die Peri with the LSO, the Chorus’ own concert at the Barbican, which included Rachmaninov’s Vespers, and Mahler’s Symphony No 2 with the Berlin Philharmonic, Sir Simon Rattle and the CBSO Chorus.

If you would like to arrange an audition, contact Aoife McInerney on aoife.lsc@gmail.com for further details.

London Symphony Orchestra On stage

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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.

London Symphony Orchestra Barbican Silk Street London EC2Y 8DS

Registered charity in England No 232391

Details in this publication were correct at time of going to press.

The Scheme is supported by Help Musicians UK The Garrick Charitable Trust The Lefever Award The Polonsky Foundation

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

Photography Igor Emmerich, Kevin Leighton, Bill Robinson, Alberto Venzago

Print Cantate 020 3651 1690

Advertising Cabbell Ltd 020 3603 7937

London Symphony Orchestra On stage

Your views Inbox

FIRST VIOLINSRoman Simovic Leader Lennox Mackenzie Ginette Decuyper Gerald Gregory Jörg Hammann Maxine Kwok-Adams Laurent Quenelle Harriet Rayfield Colin Renwick Ian Rhodes Sylvain Vasseur Rhys Watkins David Worswick Alain Petitclerc Alina Petrenko Helena Smart

SECOND VIOLINS David Alberman Thomas Norris Sarah Quinn Miya Väisänen Richard Blayden Matthew Gardner Naoko Keatley Belinda McFarlane William Melvin Iwona Muszynska Andrew Pollock Paul Robson Gordon MacKay Hazel Mulligan

VIOLAS Edward Vanderspar Gillianne Haddow Malcolm Johnston Regina Beukes German Clavijo Anna Bastow Julia O’Riordan Robert Turner Heather Wallington Jonathan Welch Caroline O’Neill Alistair Scahill

CELLOS Rebecca Gilliver Minat Lyons Alastair Blayden Jennifer Brown Noel Bradshaw Eve-Marie Caravassilis Daniel Gardner Hilary Jones Amanda Truelove Morwenna Del Mar

DOUBLE BASSES Nikita Naumov Nicholas Worters Patrick Laurence Matthew Gibson Thomas Goodman Joe Melvin Jani Pensola Sebastian Pennar

Cristian Grajner de Sa @londonsymphony just keep getting better and better. Amazing Tchaikovsky 5 with Bychkov this evening! on the LSO with Semyon Bychkov on 7 May

Charles Zogheib @londonsymphony One word: wow. #Tchaikovsky #violin #Brilliant on the LSO with Valery Gergiev and Nikolaj Znaider on 12 May

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.

London Symphony Orchestra Barbican Silk Street London EC2Y 8DS

Registered charity in England No 232391

Details in this publication were correct at time of going to press.

The Scheme is supported by Help Musicians UK The Garrick Charitable Trust The Lefever Award The Polonsky Foundation

Taking part in both the rehearsals and the performance of this concert were Chieri Tommi, Jamie Kenny, and Paloma Cueto-Felgueroso Mejias.

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

Photography Igor Emmerich, Kevin Leighton, Bill Robinson, Alberto Venzago

Print Cantate 020 3651 1690

Advertising Cabbell Ltd 020 3603 7937

lso.co.uk The Orchestra 19

name messageRay Pering Had a fantastic evening last night, thanks @TheStradMag. @londonsymphony, @SemyonBychkov and Isabelle Faust were a joy to watch. on the LSO with Semyon Bychkov on 7 May

name messageDavid Nottage Amazing night @BarbicanCentre with @londonsymphony doing an incredible Shostakovich 15. Loved it, loved it, loved it! #London #culture on the LSO with Valery Gergiev and Nikolaj Znaider on 12 May

FLUTESGareth Davies Alex Jakeman

PICCOLO Sharon Williams

OBOES Christopher Cowie Rosie Jenkins

CLARINETS Chris Richards Chi-Yu Mo

BASSOONS Rachel Gough Joost Bosdijk

CONTRA BASSOON Dominic Morgan

HORNS Timothy Jones Angela Barnes Alexander Edmundson Jonathan Lipton Tim Ball

TRUMPETS Nicholas Betts Gerald Ruddock

TROMBONES Peter Moore Emma Bassett

BASS TROMBONEPaul Milner

TUBA Patrick Harrild

TIMPANI Antoine Bedewi

HARPS Bryn Lewis Hugh Webb

London Symphony OrchestraLondon’s Music

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