CZECH Thursday 24 October 2019 7.30–9.50pm Barbican

LSO SEASON CONCERT DVOŘÁK & SUK

Dvořák Cello Concerto Interval Suk Symphony No 2, ‘Asrael’

Sir John Eliot Gardiner conductor Truls Mørk cello

Recorded for broadcast on BBC Radio 3ROOTS

2 Welcome

Welcome Latest News

elcome to this LSO concert at the Barbican, for which we welcome back Sir John Eliot Gardiner

following the completion of his Schumann Symphony cycle with the LSO earlier this year. Drawing out the theme of ‘Roots and Origins’, which runs through the entire 2019/20 season, tonight’s concert explores music by two composers who were influenced by the history and traditions of their Czech homeland.

The programme opens with Dvořák’s Cello Concerto performed by Truls Mørk, who joins the Orchestra on tour to Frankfurt at the end of the month. This is followed by the Second Symphony of Josef Suk, a composer who studied with Dvořák in Prague. The two became close friends and later family when in 1898 Suk married Dvořák’s daughter

Otilie. Dvořák died in 1904, and the death of Otilie followed one year later. Suk completed his Second Symphony shortly after, and dedicated this work to their memory.

Thank you to our media partner BBC Radio 3, who will record tonight’s concert for future broadcast. I hope you enjoy the performance and that you will join us again soon. Next month we mark the 50th anniversary of Michael Tilson Thomas’ conducting career with the LSO in a trio of celebratory concerts, beginning with Berlioz’s radical interpretation of Romeo and Juliet on Sunday 10 November.

Kathryn McDowell CBE DL Managing Director

24 October 2019

WELCOME TO OUR GROUP BOOKERS

We are delighted to welcome Adele Friedland and friends to tonight’s concert.

Please ensure all phones are switched off. Photography and audio/video recording are not permitted during the performance.

WATCH THE LSO ON YOUTUBE

The LSO’s 2019/20 season opening concert with Sir Simon Rattle on Saturday 14 September was filmed and streamed on the LSO’s YouTube channel on Saturday 21 September, where the video is available to watch back for 90 days after the premiere. The all-British programme featured the world premiere of Emily Howard’s Antisphere, Colin Matthews’ Violin Concerto with soloist Leila Josefowicz and Walton’s Symphony No 1.

• youtube.com/lso

CELEBRATING 20 YEARS OF LSO LIVE

20 years ago the LSO became the first orchestra to start its own record label, LSO Live. To celebrate, we have launched a new initiative to bring the themes of our 2019/20 season to Apple Music via a series of artist-curated radio programming and playlists.

• lsolive.lso.co.uk • applemusic.com/lso

3Tonight’s Concert

Coming UpOn Our BlogPROGRAMME CONTRIBUTORS

Jan Smaczny is a Hamilton Harty Professor of Music at Queen’s University, Belfast. A well-known writer and broadcaster, he has recently published books on the repertoire of the Prague Provisional Theatre and Dvořák’s Cello Concerto.

Andrew Stewart is a freelance music journalist and writer. He is the author of The LSO at 90 and contributes to a wide variety of specialist classical music publications.

DENIS MATSUEV: ‘IT IS MAGIC!’

Looking forward to his performances of Prokofiev’s Second and Third Piano Concertos with the LSO this autumn, we caught up with pianist Denis Matsuev to talk about Russian composers, performing with Gianandrea Noseda and the magic of the stage.

AUTUMN’S CLASSIC FM RECOMMENDED CONCERTS

At the LSO, we are proud to have been Classic FM’s Orchestra in the City of London for over 17 years. Each season, a selection of our concerts come recommended by Classic FM. Here’s our round-up of autumn’s Classic FM recommended concerts and a look at where the music sits in the LSO’s history.

• lso.co.uk/more/blog

Thursday 31 October 7.30pm Barbican

SHOSTAKOVICH SIXTH SYMPHONY

Britten Four Sea Interludes and Passacaglia from ‘Peter Grimes’ Prokofiev Piano Concerto No 2 Shostakovich Symphony No 6

Gianandrea Noseda conductor Denis Matsuev piano

Sunday 10 November 7pm Barbican

TILSON THOMAS: 50TH ANNIVERSARY ROMEO AND JULIET

Berlioz Romeo and Juliet

Michael Tilson Thomas conductor Alice Coote mezzo-soprano Nicholas Phan tenor Nicolas Courjal bass London Symphony Chorus Simon Halsey chorus director

Supported by LSO Patrons

Wednesday 13 November 6.30pm Barbican

HALF SIX FIX PROKOFIEV FIFTH SYMPHONY

An early-evening concert with introductions from the conductor, a relaxed atmosphere and close-ups of the Orchestra on our large screens.

Prokofiev Symphony No 5

Michael Tilson Thomas conductor

Recommended by Classic FM

Thursday 14 November 7.30pm Barbican

TCHAIKOVSKY VIOLIN CONCERTO

Michael Tilson Thomas Agnegram Tchaikovsky Violin Concerto Prokofiev Symphony No 5

Michael Tilson Thomas conductor Nicola Benedetti violin

6pm Barbican: LSO Platforms Guildhall Artists, free pre-concert recital

Generously supported by The Atkin Foundation

Contributors

4 Programme Notes

Antonín Dvořák Cello Concerto in B minor Op 104 1895 / note by Jan Smaczny

1 Allegro 2 Adagio, ma non troppo 3 Finale: Allegro moderato

Truls Mørk cello

n 1892, Dvořák was thinking of writing a concerto, though at the time he speculated that it

would be for piano or violin. Two years later he was hard at work on what became his Second Cello Concerto (his first was an apprentice work from 1865 which remained in piano score), one of his most popular and paradoxically personal works. Where many of the compositions Dvořák wrote in America •, like the American String Quartet and the ‘New World’ Symphony, have an exuberant directness and structural simplicity, the Cello Concerto is both more experimental in form and heartfelt in expressive content.

Dvořák began work on the concerto in New York on 8 November 1894, and some of its material goes back to a time earlier in his stay in America when he was thinking of composing a sonata for cello. This was something of a new departure, since in his maturity Dvořák had doubts about writing a work for an instrument which he felt was ‘nasal’ at the top of its range and

‘grumbling’ in the bass. However, the dual stimuli of a request for a concerto from his friend, the Czech cellist Hanuš Wihan, with whom he had shared a concert tour just before leaving for America, and the encouragement of hearing Victor Herbert’s Second Cello Concerto in New York in 1894 persuaded him to embark on the piece. Work went well and the composition was completed three months later on 9 February 1895.

This was not, however, the end of the story. Later in 1895, Dvořák made an extensive revision to the end of the concerto and it was in this form that the work was premiered in London the following year and published. The reason for the revision throws fascinating light on Dvořák’s inner life. While working on the Adagio of the concerto in New York, he heard that his sister-in-law, Josefina Kaunitzová, was anxious and unwell – in the mid-1860s Josefina was a student of Dvořák’s, and the composer was almost certainly in love with her, and despite a rebuttal the two remained close. Dvořák responded to this news by including a reference to his song ‘Leave me alone’ Op 82 No 1 – a favourite of Josefina’s – as the central theme of the Adagio. A month after he returned to Bohemia with the completed score, Josefina died. As a tribute, Dvořák recomposed the end of the work to

include an affecting allusion to the song on flute, clarinets and solo violin.

The subdued opening of the concerto leads to a broad and impressive introduction which includes all the main material; full as it is, this magnificent prelude in no way compromises the drama of the soloist’s first entry. This comes with a stirring presentation of the main theme in the major mode. Of the many fascinating incidents in this first movement, the recapitulation is the most notable. The soloist prepares this extraordinary moment with a chromatic run leading straight into a triumphant full orchestral version of the second rather than the first main theme.

The Adagio begins delicately in a pastoral vein with woodwind. Before long, the soloist’s ruminations are interrupted by a stormy episode for full orchestra which frames the quotation of Josefina’s song; after a funereal presentation of the opening idea, the conclusion comes with affecting solos for the cello surrounded by some of Dvořák’s most exquisite writing for woodwind.

The Finale opens as a brisk, march-like rondo. But before long, the more contemplative side of the composer’s genius asserts itself and, for all the power

of the final bars, the end of the concerto is notable primarily for its gentle meditation on previous themes. •

• DVOŘÁK IN NEW YORK

In 1892 Dvořák began a three-year tenure as Director of the National Conservatory of Music of America in Manhattan, after being invited by the school’s founder, the philanthropist Jeannette Meyers Thurber.

Dvořák composed some of his best-loved music in this time, and contributed to the school’s aim of providing a musical education to all-comers, including women and students from diverse ethnic backgrounds.

While the Conservatory played a significant role in the training of musicians in the United States, it was forced to close following the Wall Street Crash of 1929, as philanthropic funds became scarce.

Interval – 20 minutes There are bars on all levels. Visit the Barbican Shop to see our range of Gifts and Accessories.

24 October 2019

5Composer Profile

Antonín Dvořák in Profile 1841–1904 / by Andrew Stewart

orn into a peasant family, Dvořák developed a love of folk tunes at an early age. His father inherited

the lease on a butcher’s shop in the small village of Nelahozeves, north of Prague. When he was twelve, Dvořák left school and was apprenticed to become a butcher, at first working in his father’s shop and later in the town of Zlonice. Here Dvořák learned German and also refined his musical talents to such a level that his father agreed he should pursue a career as a musician.

In 1857 he enrolled at the Prague Organ School during which time he became inspired by the music dramas of Wagner: opera was to become a constant feature of Dvořák’s creative life.

His first job was as a viola player, though he supplemented his income by teaching. In the mid-1860s he began to compose a series of large-scale works, including his Symphony No 1, ‘The Bells of Zlonice’, and first Cello Concerto. Two operas, his Second Symphony, many songs and chamber works followed before Dvořák decided to concentrate exclusively on composition. In 1873 he married one of his pupils, and in 1874 received a much-needed cash grant from the Austrian government. Johannes Brahms

lobbied the publisher Simrock to accept Dvořák’s work, leading to the publication of his Moravian Duets and a commission for a set of Slavonic Dances.

The nationalist themes expressed in Dvořák’s music attracted considerable interest beyond Prague. In 1883 he was invited to London to conduct a concert of his works, and he returned to England often in the 1880s to oversee the premieres of several important commissions, including his Seventh Symphony and Requiem Mass. Dvořák’s Cello Concerto in B minor received a world premiere in London in March 1896. His Ninth Symphony, ‘From the New World’, a product of his American years (1892–95), confirmed his place among the finest of late 19th-century composers. •

MORE DVOŘÁK IN 2019/20

Thursday 21 May 2020 7.30pm Barbican

ÁDÁM FISCHER

Haydn Symphony No 88 Mozart Violin Concerto No 2 Interval Dvořák Symphony No 9, ‘From the New World’

Ádám Fischer conductor Nikolaj Szeps-Znaider violin 6pm Barbican LSO Platforms: Guildhall Artists Free pre-concert recital

Recommended by Classic FM

lso.co.uk/201920

6 Programme Notes

Part One Andante sostenuto Andante Vivace

Part Two Adagio Adagio maestoso

n the early months of 1904 Josef Suk might reasonably have expected his somewhat charmed

life to continue. From 1892 he had forged a successful, if busy, career as the second violinist of the Bohemian (later Czech) Quartet. As a composer he was building a promising career with major works including the Serenade for Strings in E-flat major of 1892, the Elegy ‘under the influence’ of Julius Zeyer’s poem Vyšehrad of 1902 and, most personal of all, the incidental music to Zeyer’s play Radúz and Mahulena which his beloved teacher Dvořák described as ‘music from heaven’. His private life showed every sign of being blissfully happy. In 1898 he had married Dvořák’s oldest daughter, Otilie (who was always called Otilka by the family), who in December 1901 gave birth to their son, also called Josef.

On 1 May 1904 the first of two major family tragedies occurred. After some weeks of,

apparently, not very serious illness, Dvořák died. Not only was the loss of its greatest composer a major blow for the nation, it had major significance for Suk who held his father-in-law and former teacher in the highest respect and affection. At the time Suk was occupied with his symphonic poem Praga, but he began work on a major musical commemoration of Dvořák in January 1905 and continued to sketch four of the movements during a busy period of performance, much of it on tour with the Bohemian Quartet.

However, on 6 July 1905 an even greater blow befell Suk with the death of Otilka at the age of 27 from a congenital heart condition. Her death prompted him to abandon the fourth movement on which he was working and compose two new ones thus dividing the symphony into two parts, the second of which was inscribed ‘to Otilka’.

Given the weight of tragedy under which Suk was labouring, it is unsurprising that the entire score was not complete until 4 October 1906. The premiere on 3 February 1907 in Prague, conducted by Karel Kovařovic – the chief conductor of the National Theatre – was a conclusive success and led to the sequence of major orchestral compositions, including A Summer’s Tale (Pohádka léta,

1909), Ripening (Zrání) (1917) and Epilog (1929), which comprise his greatest achievement. The symphony was dedicated to the ‘noble memory of Dvořák and Otilka’ and took its title, ‘Asrael’, from the Islamic angel whose attributes include helping the dying as they move from earth to the hereafter while consoling the bereaved who remain behind.

The musical fabric of Asrael is complex and allusive. In the second movement there is a quotation of the main motif of Dvořák’s Requiem and elsewhere there are frequent references to the incidental music of Radúz and Mahulena, a tale of constant love in the face of human connivance and a supernatural curse. Suk clearly identified himself and Otilka with the lovers Radúz and Mahulena and elements of the score are evident at key moments in the symphony.

The quiet start of the symphony is characteristically contemplative, but soon turns to aspiration. The rising and falling theme, which opens the work and shadows so much of the melodic material in the symphony, refers to a motif typifying the death of Radúz’s father and clearly had profound significance for Suk. The ensuing fast section surges toward an impressive climax before returning to the

subdued character of the opening. The second movement is a superbly sustained meditation on the chromatic motif that dominates Dvořák’s Requiem. The extensive scherzo that follows is both energetic and chillingly spectral; there is a strong sense of consolation in the central section, but the movement ends with a despairing quotation of the death theme from Radúz.

Notwithstanding the note of tragedy with which it begins, the slow fourth movement is suffused with a warmth born of Suk’s memories of Otilka. The mood of contented reminiscence is shattered at the beginning of the Finale by the timpani playing the death motif from Radúz fortissimo. The succeeding Allegro is turbulent, at times grotesquely playful, and frequently skirts the depths of despair. It leads to a cathartic resolution in which the death theme is transformed into an expressive chorale.

For all the length and variety that energise the symphony, Suk’s unerring control means the work is never in danger of collapsing under its own weight and passionate intensity. Suk himself was aware of the near superhuman effort it had cost and which, in his own words, was both a search for personal consolation and one which was also ‘destined to console others who suffer’. •

Josef Suk Symphony No 2 in C minor Op 27, ‘Asrael’ 1906 / note by Jan Smaczny

24 October 2019

7Composer Profile

osef Suk, like many of his fellow Czech musicians, was part of a musical dynasty. He studied organ,

piano and violin with his father, also Josef Suk (1827–1913), who was the schoolmaster in his home village of Křečovice. In 1885 he went on to the Prague Conservatory, graduating in 1891 after which he studied composition for a year with Dvořák. The two men remained close and in 1898 Suk married Dvořák’s daughter, Otilie.

Alongside composition, Suk was developing a career as a violinist, playing second violin from 1891 in the group that eventually became the Czech Quartet. Suk remained with the group until 1933, two years

before his death in 1935. His influence as a composer was further advanced when he began to teach composition at the Prague Conservatory in 1922, where he counted Martinů among his pupils.

Suk’s musical personality crystallised at an early stage and showed considerable individuality. It is a tribute to Dvořák’s teaching that Suk’s music is far from being an imitation of the older composer’s style. Even in such early works as the Serenade for Strings (1892) and his incidental music for Radúz and Mahulena (1898), Suk’s feeling for instrumental colour and affective, occasionally melancholy melody is abundantly apparent. A sequence of orchestral works, A Summer’s Tale (Pohádka léta) (1909), Ripening (Zrání) (1917) and Epilog (1929) along with the Second Symphony comprises his most substantial achievements.

Although Suk was not hugely prolific, his music is always carefully considered and remarkable for its depth and colour. During his lifetime, he was regarded, alongside Vítězslav Novák, another Dvořák pupil, as the most significant Czech composer of the day. Both composers have been eclipsed by the huge rise in popularity of the music of Janáček, but perspectives are changing

largely as a result of the acceptance of ‘Asrael’ as one of the orchestral masterpieces of the early 20th century. It is possible to trace a number of influences in Suk’s work including Dvořák, Brahms, Strauss in the early 20th century, and in the late 1910s and 1920s, Debussy. Nevertheless, Suk’s music has at nearly every stage in his career a distinctive profile and is viewed increasingly as a major contribution to the Czech tradition. •

Josef Suk in Profile 1874–1935 / by Jan Smaczny

8 Artist Biographies 24 October 2019

ir John Eliot Gardiner is an international leader in today’s musical life, respected as one of

the world’s most innovative and dynamic musicians, constantly at the forefront of enlightened interpretation. His work as Artistic Director of his Monteverdi Choir, English Baroque Soloists and Orchestre Révolutionnaire et Romantique has marked him out as a central figure in the early music revival and a pioneer of historically informed performance. As a regular guest of the world’s leading symphony orchestras, such as the Symphonieorchester des Bayerischen Rundfunks, Royal Concertgebouw Orchestra and Gewandhausorchester Leipzig, Gardiner conducts repertoire from the 17th to the 20th century.

The extent of Gardiner’s repertoire is illustrated in his catalogue of award-winning recordings with his own ensembles and leading orchestras for major labels (including Decca, Philips, Erato and 30 recordings for Deutsche Grammophon), and ranges from Mozart, Schumann, Berlioz, Elgar and Kurt Weill to works by Renaissance and Baroque composers. Since 2005 the Monteverdi Choir and Orchestras have recorded on their independent label, Soli Deo Gloria, established to release the live recordings made during Gardiner’s Bach Cantata

Pilgrimage in 2000, for which he received Gramophone’s 2011 Special Achievement Award and a Diapason d’or de l’année 2012. His many recording accolades include two Grammy awards and more Gramophone Awards than any other living artist.

Gardiner’s long relationship with the LSO encompasses complete symphony cycles and recordings on LSO Live, most recently of Mendelssohn and Schumann. Other guest conducting highlights this season include the Symphonieorchester des Bayerischen Rundfunks, Royal Concertgebouw Orchestra, Orchestra dell’Accademia Nazionale di Santa Cecilia. He returned in 2016 to the Berliner Philharmoniker for semi-staged performances of Stravinsky’s Oedipus Rex.

Gardiner and the Monteverdi Choir and Orchestras perform regularly at the world’s major venues and festivals, in Salzburg, Berlin and Lucerne, the Lincoln Center in New York and the BBC Proms, where Gardiner has performed over 60 times. In 2017 they celebrated the 450th anniversary of the birth of Monteverdi, when Gardiner was named Conductor of the Year at the Opernwelt Awards. Gardiner has conducted opera at the Wiener Staatsoper, Teatro alla Scala, Milan, Opéra national de Paris and Royal Opera House, Covent Garden, where

he has appeared regularly since his debut in 1973. From 1983 to 1988 he was artistic director of Opéra de Lyon, where he founded its new orchestra.

Gardiner’s book, Music in the Castle of Heaven: A Portrait of Johann Sebastian Bach, was published in October 2013 by Allen Lane and in 2014 Gardiner became the first ever President of the Bach-Archiv Leipzig. Among numerous awards in recognition of his work, Sir John Eliot Gardiner holds honorary doctorates from the Royal College of Music, New England Conservatory of Music, the universities of Lyon, Cremona, St Andrews and King’s College, Cambridge where he himself studied. He is also an Honorary Fellow of the British Academy and an Honorary Member of the Royal Academy of Music, he became the inaugural Christoph Wolff Distinguished Visiting Scholar at Harvard University in 2014/15 and was awarded the Concertgebouw Prize in January 2016. Gardiner was made Chevalier de la Légion d’honneur in 2011 and in the UK he was made a Commander of the British Empire in 1990. He was awarded a knighthood for his services to music in the 1998 Queen’s Birthday Honours List.

Sir John Eliot Gardiner conductor

9Artist Biographies

ruls Mørk performs with the most distinguished orchestras, including the Berlin Philharmonic,

Orchestre de Paris, Vienna Philharmonic, Royal Concertgebouw Orchestra, Münchner Philharmoniker, Philharmonia and Gewandhausorchester Leipzig. In North America he has appeared with the New York Philharmonic, The Philadelphia and Cleveland Orchestras, Boston Symphony Orchestra and Los Angeles Philharmonic. Conductor collaborations include Mariss Jansons, David Zinman, Manfred Honeck, Esa-Pekka Salonen, Gustavo Dudamel, Sir Simon Rattle and Christoph Eschenbach, amongst others.

During the 2019/20 season, engagements include the Boston and Cleveland Orchestras, Royal Concertgebouw Orchestra, and Rotterdam Philharmonic. Truls Mørk will give the Japanese premiere of Esa-Pekka Salonen’s Cello Concerto with the Philharmonia, conducted by the composer, following highly successful performances last season at the Royal Festival Hall, Lincoln Center and the Festival d’Aix-en-Provence. In collaboration with Klaus Mäkelä, he will also perform the Salonen Cello Concerto with the Philharmonique de Radio France and the Oslo Philharmonic Orchestra.

This season Truls Mørk will be Artist in Residence with the Swedish Radio Symphony Orchestra, performing the world premiere of Victoria Borisova-Ollas’ Cello Concerto conducted by Cristian Măcelaru with further performances with the Bergen Philharmonic, Royal Liverpool Philharmonic and the Gothenburg Symphony.

Truls Mørk continues to give recitals at major venues and festivals throughout the world. He has developed a collaboration with Behzod Abduraimov with highly successful tours in both the US and Europe. In 2020 they will perform Beethoven and Prokofiev at the Théâtre des Champs-Elysées in Paris and at London’s Kings Place.

With an impressive recording output, Truls Mørk has recorded many of the great cello concertos for Virgin Classics, EMI, Deutsche Grammophon, Ondine, Arte Nova and Chandos, many of which have won international awards including Gramophone, Grammy, Midem and ECHO Klassik awards. These include Dvořák’s Concerto (Mariss Jansons/ Oslo Philharmonic), Britten’s Cello Symphony and Elgar’s Concerto (Sir Simon Rattle/ CBSO), Miaskovsky’s Concerto and Prokofiev’s Sinfonia Concertante (Paavo Järvi/ CBSO), Dutilleux (Myung-Whun Chung/ Orchestre Philharmonique de Radio

Truls Mørk cello

France), CPE Bach (Bernard Labadie/ Les Violons du Roy) and Haydn’s Concertos (Iona Brown/ Norwegian Chamber Orchestra), Rautavaara’s Towards the Horizon (John Storgårds/ Helsinki Philharmonic Orchestra), as well as the complete Bach Cello Suites and Britten Cello Suites. His most recent recordings include Shostakovich’s Concertos with the Oslo Philharmonic Orchestra/ Vasily Petrenko, works for cello and orchestra by Massenet with the Orchestre de la Suisse Romande/ Neeme Järvi, and the Saint-Saëns Concertos together with the Bergen Philharmonic Orchestra/ Neeme Järvi.

Initially taught by his father, Truls Mørk continued his studies with Frans Helmerson, Heinrich Schiff and Natalia Schakowskaya. In his early career he won a number of competitions such as the Moscow Tchaikovsky Competition (1982), Cassado Cello Competition in Florence (1983), the Unesco Prize at the European Radio-Union competition in Bratislava, and the Naumberg Competition in New York. •

2019/20 with theLondon Symphony Orchestra

Sir Simon RattleBerg & Beethoven’s Seventh 16 January 2020

Beethoven: Christ on the Mount of Olives 19 January & 13 February 2020

Beethoven’s Ninth Symphony 16 February 2020

Bartók: Duke Bluebeard’s Castle 23 April 2020

Mahler’s Fourth Symphony 26 April 2020

Percy Grainger 4 June 2020 Produced by the LSO and Barbican. Part of the

LSO’s 2019/20 Season and Barbican Presents.

Gershwin, Ives, Harris & Bernstein 6 June 2020

Michael Tilson Thomas: 50th Anniversary

Berlioz: Romeo and Juliet 10 November 2019

HALF SIX FIX Prokofiev: Symphony No 5 13 November 2019

Michael Tilson Thomas, Tchaikovsky & Prokofiev 14 November 2019

Artist Portrait: Antoine Tamestit

Jörg Widmann’s Viola Concerto with Daniel Harding 19 April 2020

Berio Voci with François-Xavier Roth 11 June 2020

Walton Viola Concerto with Alan Gilbert 14 June 2020

BBC Radio 3 Lunchtime Concerts: Antoine Tamestit & Friends 8 & 15 May, 5 & 26 June 2020 LSO St Luke’s

Gianandrea NosedaShostakovich’s Sixth 31 October 2019

Tchaikovsky’s Fifth 3 & 28 November 2019

Shostakovich’s Seventh 5 December 2019

Shostakovich’s Ninth 30 January & 9 February 2020

James MacMillan: St John Passion 5 April 2020

LSO Chamber OrchestraRameau, Purcell, Handel 15 December 2019 Milton Court Concert Hall

Explore the season at lso.co.uk/201920season

Editorial Photography Ranald Mackechnie, Chris Wahlberg, Harald Hoffmann, Marco Borggreve, Sim Canetty-Clarke Print Cantate 020 3651 1690 Advertising Cabbells Ltd 020 3603 7937

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

12 The Orchestra 24 October 2019

LSO String Experience Scheme Since 1992, the LSO String Experience Scheme has enabled young string players from the London music conservatoires at the start of their professional careers to gain work experience by playing in rehearsals and concerts with the LSO. The musicians are treated as professional ‘extra’ players (additional to LSO members) and receive fees for their work in line with LSO section players. The Scheme is supported by: The Polonsky Foundation Derek Hill Foundation Barbara Whatmore Charitable Trust Thistle Trust Angus Allnatt Charitable Foundation

Leader Carmine Lauri

First Violins Clare Duckworth Laura Dixon Gerald Gregory William Melvin Laurent Quenelle Harriet Rayfield Colin Renwick Sylvain Vasseur Rhys Watkins Julian Azkoul Doriane Gable Lyrit Milgram Mariam Nahapetyan Hilary Jane Parker Patrick Savage

Second Violins David Alberman Thomas Norris Sarah Quinn Miya Väisänen Matthew Gardner Julián Gil Rodríguez Naoko Keatley Alix Lagasse Iwona Muszynska Csilla Pogany Andrew Pollock Caroline Frenkel Gordon MacKay Patrycja Mynarska

Violas Gillianne Haddow Malcolm Johnston German Clavijo Robert Turner Michelle Bruil Luca Casciato May Dolan Nancy Johnson Cynthia Perrin Shiry Rashkovsky Jill Valentine Heather Wallington

Cellos Rebecca Gilliver Alastair Blayden Noel Bradshaw Eve-Marie Caravassilis Daniel Gardner Hilary Jones Amanda Truelove Victoria Harrild Helen Rathbone Peteris Sokolovskis

Double Basses Sam Loeck Colin Paris Patrick Laurence Matthew Gibson Joe Melvin José Moreira Benjamin Griffiths Nicholas Worters

Flutes Gareth Davies Jack Welch

Piccolo Patricia Moynihan

Oboes Juliana Koch Rosie Jenkins

Cor Anglais Stéphane Suchanek

Clarinets Chris Richards Chi-Yu Mo

Bass Clarinet Davide Lattuada

Bassoons Daniel Jemison Susan Frankel

Contra Bassoon Dominic Morgan

Horns Zora Slokar Angela Barnes Estefanía Beceiro Vazquez David McQueen Fabian van de Geest Alexander Willett Jake Bagby

Trumpets Niall Keatley Catherine Knight Kaitlin Wild John Young

Trombones Blair Sinclair James Maynard

Bass Trombone Paul Milner

Tuba Ben Thomson

Timpani Antoine Bedewi

Percussion Neil Percy Sam Walton

Harps Lucy Wakeford Fiona Clifton-Welker

London Symphony Orchestra on stage