London Symphony OrchestraLiving Music

London’s Symphony Orchestra

Sunday 8 May 2016 7pm Barbican Hall

LSO ARTIST PORTRAIT

Leif Ove Andsnes Mozart Piano Concerto No 20 INTERVAL Bruckner Symphony No 3 (First Version of 1873, ed Nowak 1977)

Daniel Harding conductor Leif Ove Andsnes piano

Concert finishes approx 9.20pm

2 Welcome 8 May 2016

Welcome Kathryn McDowell

Living Music In Brief

This evening’s concert is the first in pianist Leif Ove Andsnes’ LSO Artist Portrait series. We are delighted that he returns as the soloist in three concerts – two with the Orchestra and one solo recital – beginning tonight with Mozart’s Piano Concerto No 20 in D minor, a special work in his repertoire as it was the first concerto that he ever performed with a full orchestra.

Following the interval, LSO Principal Guest Conductor Daniel Harding continues his ongoing exploration of Bruckner’s symphonies with the work that established the composer as an important new musical voice, the Symphony No 3.

A very warm welcome to the retired LSO players and their guests who join us tonight for their annual reunion. We are always delighted to see so many members of the LSO from years gone by, and are very pleased that they have this opportunity to hear the Orchestra perform.

I hope you enjoy this evening’s performance and will join us again for the next concerts in the series. On 12 May, Leif Ove Andsnes plays the Schumann Piano Concerto with LSO Principal Guest Conductor Michael Tilson Thomas, and on 10 June he gives a solo recital including Beethoven’s Piano Sonata No 18 (‘The Hunt’) and Chopin’s Ballade No 4 in F minor.

Kathryn McDowell CBE DL Managing Director

BMW LSO OPEN AIR CLASSICS 2016

The LSO is delighted to announce details of the 2016BMW LSO Open Air Classics concert on Sunday 22May at 6.30pm. Conducted by Valery Gergiev, theLSO will perform an all-Tchaikovsky programme inLondon’s Trafalgar Square, free and open to all, withthe Orchestra joined on stage by young musiciansfrom LSO On Track and students from the GuildhallSchool for a special arrangement of the composer’sSwan Lake Suite.

lso.co.uk/openair

LSO AT THE BBC PROMS 2016

The LSO will be returning to this year’s BBC Proms festival at the Royal Albert Hall for a performance of Mahler’s Symphony No 3 on 29 July. This will be conducted by Bernard Haitink, marking 50 years since his first appearance at the festival, and features mezzo-soprano Sarah Connolly as the soloist. Public booking is now open; for full details visit:

bbc.co.uk/proms

Join us as we continue to celebrate the musical artistry of Leif Ove Andsnes with a performance of Schumann’s Piano Concerto on 12 May, and a solo recital of Sibelius, Beethoven, Debussy and Chopin in June.

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 Iain Paterson bass 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 Chopin Impromptu in A-flat major; Étude in A-flat major; Nocturne in F major; Ballade 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 Zimmermann viola Clemens Hagen cello

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

London Symphony OrchestraLiving Music

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

PROGRAMME NOTE WRITER

LINDSAY KEMP is a senior

producer for BBC Radio 3, including

programming Lunchtime Concerts

from LSO St Luke’s, Artistic Director

of the London Festival of Baroque

Music, and a regular contributor to

Gramophone magazine.

4 Programme Notes 8 May 2016

Wolfgang Amadeus Mozart (1756–91) Piano Concerto No 20 in D minor K466 (1785)

ALLEGRO

ROMANCE

ALLEGRO ASSAI

LEIF OVE ANDSNES PIANO

The decade which Mozart spent in Vienna from 1781 until his death was when he truly found his own voice as a composer, and nowhere is this new maturity and individuality better shown than in his piano concertos of the period. Altogether he wrote 17 of them while in the Imperial capital, mostly for himself to play at the public and private concerts that helped to provide him with financial support, and as such they were the works with which he was most closely associated by his audiences. More importantly, it was with them that he established the piano concerto for the first time as a sophisticated means of personal expression rather than a vehicle for polite public display.

The high-point in the series came with the five concertos composed in the period of just over a year from the beginning of 1785. K466 – completed and first performed in February 1785 – is chronologically at the head of this group, but musically speaking it also stands out in many ways. The composer’s father Leopold, visiting Vienna at the time, heard the premiere, and a little over a year later was organising a performance by a local pianist back in Salzburg. He later described the occasion in a letter to his daughter: ‘Marchand played it from the score, and [Michael, brother of Joseph] Haydn turned over the pages for him, and at the same time had the pleasure of seeing with what art it is composed, how delightfully the parts are interwoven and what a difficult concerto it is. We rehearsed it in the morning and had to practise the rondo three times before the orchestra could manage it’.

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2

3

One can well imagine the impression the piece made in the composer’s home town; there can be few clearer demonstrations of how far he had left Salzburg behind. D minor is a relatively unusual key for Mozart, and therefore a significant one. Later he would use it both for Don Giovanni’s damnation scene and for the Requiem, and there is something of the same grim familiarity with the dark side, a glimpse of the grave it seems, in the first movement of this concerto.

FIRST MOVEMENT The opening orchestral section contrasts brooding menace with outbursts of passion, presenting along the way most of the melodic material that will serve the rest of the movement. Even so, it is with a new theme, lyrical but searching and restless, that the piano enters; this is quickly brushed aside by the orchestra, but the soloist does not give it up easily, later using it to lead the orchestra through several different keys in the central development section. The movement ends sombrely, pianissimo.

JOHANN GEORG LEOPOLD

MOZART (1719–87) was Mozart’s

father and teacher, as well as a

highly regarded musician in his own

right, authoring a pedagogical work

on violin playing that still stands as

a credible source for 18th-century

performance practice.

‘Mozart’s Piano Concerto No 20 was the first concerto I ever performed with a professional orchestra, aged 14 in Stavanger. It is a piece which has become an old friend over the years and performing it always reminds me of that first overwhelming and unforgettable experience as a teenager.’

Leif Ove Andsnes

COMPOSER PROFILE

PAGE 7

lso.co.uk Programme Notes 5

SECOND MOVEMENT The slow second movement, in B-flat major, is entitled ‘Romance’, a vague term used in Mozart’s day to suggest something of a song-like quality. In fact this is a rondo, in which three appearances of the soloist’s artless opening theme are separated by differing episodes, the first a drawn-out melody for the piano floating aristocratically over gently throbbing support from the strings, and the second a stormy minor-key eruption of piano triplets, shadowed all the way by sustained woodwind chords.

FINALE Storminess returns in the finale, though this time one senses that it is of a more theatrical kind than in the first movement. This is another rondo, and although the main theme is fiery and angular, much happens in the course of the movement to lighten the mood, culminating after the cadenza in a turn to D major for the concerto’s final pages. A purely conventional ‘happy ending’ to send the audience away smiling? Perhaps so, but the gentle debunking indulged in by the horns and trumpets just before the end suggests that Mozart knew precisely what he was doing.

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 Point on the Circle level?

020 7638 8891 lso.co.uk

London Symphony Orchestra

MORE MOZART IN 2016/17: NOW ON SALE

Violinist and conductor Nikolaj Znaider directs the London Symphony Orchestra in a new two-season cycle of Mozart’s exquisite Violin Concertos alongside the dramatic final symphonies of Tchaikovsky.

Sun 18 Dec 2016 7pm Mozart Violin Concerto No 1 Mozart Violin Concerto No 4 Tchaikovsky Symphony No 4

Nikolaj Znaider conductor/violin

Sun 14 May 2017 7pm Mozart Violin Concerto No 5 Tchaikovsky Symphony No 5

Nikolaj Znaider conductor/violin

MOZART REQUIEM on LSO LIVE

‘Ritualistic, monumental and

thrillingly dramatic.’

The Guardian

Sir Colin Davis conductor

Available at

lsolive.lso.co.uk

in the Barbican

Shop or online at

iTunes & Amazon

London Symphony Orchestra

See the full listings, now on sale, at lso.co.uk/201617season

Living Music

Gianandrea Noseda opens the season with the Verdi Requiem, his first concerts as LSO Principal Guest Conductor

Sir John Eliot Gardiner concludes his Mendelssohn symphonies cycle

Two new commissions from Mark-Anthony Turnage receive their world and UK premieres

Janine Jansen performs in three concerts as part of her LSO Artist Portrait

François-Xavier Roth continues his After Romanticism series

Bernard Haitink conducts Bruckner, Mahler and Beethoven with Mitsuko Uchida

Lang Lang returns to close the season with Bartók’s Piano Concerto No 2

lso.co.uk Composer Profiles 7

Wolfgang Amadeus Mozart Composer Profile

Anton Bruckner Composer Profile

Anton Bruckner was bornin Ansfelden, near Linz, on4 September 1824, the eldest offive surviving children. He wastaught music by his schoolmasterfather and later by his godfather.After his father’s death, the boybecame a chorister at St Florian,an Augustinian monastery to thesouth-east of Linz. He later movedto the Upper-Austrian capital tostudy as a teacher and eventuallyreturned to teach at St Florian.

Self-doubt and lack of confidencetroubled the talented young

musician, who reluctantly auditioned for, and was appointed to, the post of organist at Linz Cathedral. His composition skills were reinforced by prolonged private study of harmony and strict counterpoint, although he still felt ill-prepared to write symphonic works. In 1868 he became professor of harmony, counterpoint and organ at the Vienna Conservatory, and slowly developed his reputation as an outstanding symphonist. Although wounded by adverse criticism, the devoutly religious, deeply insecure Bruckner addressed issues of human existence and the mystery of creation within his nine monumental symphonies. He died in Vienna on 11 October 1896.

Composer Profiles © Andrew Stewart

Born in Salzburg on 27 January 1756, Mozart began to pick out tunes on his father’s keyboard before his fourth birthday. His first compositions were written down in the early months of 1761; later that year, the boy performed in public for the first time at the University of Salzburg. Mozart’s ambitious father, Leopold, court composer and Vice-Kapellmeister to the Prince-Archbishop of Salzburg, recognised the money-making potential of his precocious son and pupil, embarking on a series of tours across Europe.

In 1777 Wolfgang, now 21 and frustrated with life as a musician-in-service at Salzburg, left home, visiting the court at Mannheim on the way to Paris. The Parisian public gave the former child prodigy a lukewarm reception, and he struggled to make money by teaching and composing new pieces for wealthy patrons. A failed love affair and the death of his mother prompted Mozart to return to Salzburg, where he accepted the post of Court and Cathedral Organist.

In 1780 he was commissioned to write an opera, Idomeneo, for the Bavarian court in Munich, where he was treated with great respect. However, the servility demanded by his Salzburg employer finally provoked Mozart to resign in 1781 and move to Vienna in search of a more suitable position, fame and fortune. In the last decade of his life, he produced a series of masterpieces in all the principal genres of music, including the operas The Marriage of Figaro (1785), Don Giovanni (1787), Così fan tutte and The Magic Flute, the Symphonies Nos 40 and 41 (‘Jupiter’), a series of sublime piano concertos, a clarinet quintet and the Requiem, left incomplete at his death on 5 December 1791.

PROGRAMME NOTE WRITER

STEPHEN JOHNSON is the author

of Bruckner Remembered (Faber).

He also contributes regularly to BBC

Music Magazine and The Guardian,

and broadcasts for BBC Radio 3

(Discovering Music), BBC Radio 4

and the BBC World Service.

8 Programme Notes 8 May 2016

Anton Bruckner (1824–96) Symphony No 3 in D minor (First Version of 1873, ed Nowak 1977)

GEMÄSSIGT (MODERATE), MISTERIOSO

ADAGIO: FEIERLICH (SOLEMN)

SCHERZO: ZIEMLICH SCHNELL (RATHER FAST) –

TRIO: GLEICHES ZEITMASS (IN THE SAME TEMPO) – SCHERZO

FINALE: ALLEGRO

In September 1873, the 49-year-old Anton Bruckner at last met the man he revered as ‘The Master of all Masters’, Richard Wagner. He took with him two symphonies, the Second and the newly completed Third, in the hope that Wagner might accept the dedication of one of them. Apparently Wagner was initially dismissive, but with a mixture of charm and desperation Bruckner persuaded him to look at the manuscript scores. Returning later that day, Bruckner was thrilled to hear Wagner picking out the opening theme of the Third Symphony on the piano. ‘First of all he said nothing’, Bruckner recalled, ‘then he embraced me and kissed me again and again. Afterwards he pointed to a pile of music and said, ‘Look – nothing but dedications. But your work is a masterpiece; I am delighted and honoured that it’s intended for me’.

The approval of The Master should have been enough to settle all doubts, but for the desperately insecure Bruckner it had the opposite effect. The work he now proudly offered to the world as his ‘Wagner’ Symphony simply had to be perfect, and he made three substantial revisions before the first performance. The Symphony’s disastrous reception at its 1877 premiere, and its subsequent critical mauling from the Viennese press, knocked Bruckner’s confidence still further, and there were to be more revisions, some of them drastic, before the score we know as the ‘final’ version was published in 1889.

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The result is a musicological nightmare: which of these versions should we take as authoritative? The true answer – alas – is probably all of them and none of them. It may not make life easy for conductors, but at the same time it poses a stimulating challenge to the would-be interpreter. How, in essence, did Bruckner’s idea of his Symphony No 3 change, and how can one best reflect it in performance?

For listeners who know Bruckner’s Symphony No 3 from the final 1889 or 1877 scores (the most frequently performed versions) there will be plenty of surprises in the original 1873 score. The sound of the music is purer, more austere than in the more obviously Wagnerian later versions. The effect can be like going from a romantically restored late-Gothic cathedral to an untouched, chaste Norman masterpiece. But if the 1873 score sounds less Wagnerian than the more familiar, later versions, there are clear tributes to Wagner, several of which Bruckner later removed.

As the Adagio builds to its grand final climax, trumpets and trombones play the choral theme ‘Gesegnet sollst du schreiten’ (‘Go forth with blessings’) from Act II of Wagner’s Lohengrin – perhaps a prayer for Wagner’s ‘blessing’ on his compositional calling. In the first movement, in the long hushed passage

Bruckner himself conducted this

symphony’s PREMIERE IN 1877

when the original conductor died a

month before the concert. Bruckner

had little experience conducting

an orchestra, and they rebelled.

Likewise many in the audience were

hostile to Bruckner’s music, walking

out during the performance and

leaving behind only a small group

of dedicated supporters including a

young Gustav Mahler.

COMPOSER PROFILE

PAGE 7

‘To the eminent Excellency Richard Wagner, the Unattainable, World-Famous, and Exalted Master of Poetry and Music, in Deepest Reverence Dedicated by Anton Bruckner.’The dedication for Bruckner’s Third Symphony

lso.co.uk Programme Notes 9

before the return of the opening theme, woodwind recall Isolde’s ‘Liebestod’ motif from Wagner’s Tristan and Isolde, after which widely spaced strings play Brünnhilde’s ‘Magic Sleep’ harmonies from Act III of Die Walküre. Two images of heroic women literally or metaphorically falling asleep! Could this have any connection with the fact that Bruckner also intended his Symphony No 3 – or at least parts of it – as a memorial to his mother? The touching sarabande-like (three-time) theme in the Adagio was described by Bruckner as an elegy for Theresia Bruckner – a strong-minded, highly musical woman and, like her son, prone to depression.

The Symphony’s opening remained more or less the same in all of Bruckner’s revisions. We begin with misty string figurations, through which emerges a striking trumpet theme (particularly admired by Wagner). The movement is laid out on a large scale: exposition (presentation of the themes), development and recapitulation, with the exposition arranged – typically for Bruckner – into three contrasted thematic groups. The music is sometimes animated, sometimes still and meditative, but in the background one may sense a slow and patient underlying pulse. If the listener can accept this slow background current as the ‘real’ tempo of the music, the stop-start foreground activity ceases to be frustrating, and one can enjoy the gradual build-up to the final outcome. However much Bruckner may have enriched the sound of the Symphony in his later revisions, he was unable to improve on this – in fact some would argue that in places the cuts he imposed on the structure considerably weakened it.

In the 1873 score the Adagio is significantly longer than in 1877 or 1889. Instead of a simple A–B–A layout, there’s a more elaborate A–B–A–B–A. Despite this spaciousness, and the relative plainness of some of the writing, the sense of steady growth to the great climax is particularly impressive in this version. The Scherzo on the other hand was to be the least-revised of the four movements. It has driving, dance energy, while the lighter Trio is strongly flavoured with rustic dance elements (somewhat smoothed out in later revisions) – a reminder that the younger Bruckner had supplemented his meagre teacher’s income by playing in Upper-Austrian village bands.

The finale sets out determinedly, with rushing string figures and a powerful forward-striding theme for brass. It rises in two great waves, but then the tempo drops and the second theme strikingly combines a lightweight polka theme (strings) with solemn chorale phrases on brass and woodwind. Once, when strolling through Vienna at night, Bruckner noticed dance music coming from a nearby house, while across the road the body of a famous architect lay in state. ‘That’s life’, he observed. ‘That’s what I wanted to show in my Third Symphony. The polka represents the fun and joy in the world, the chorale its sadness and pain.’ At the end of the Symphony however it is joy that triumphs, as the Symphony’s opening trumpet theme returns, radiantly transfigured in the major key.

BRUCKNER on LSO LIVE

Discover Bruckner’s Symphonies

Nos 4, 6 and 9 on LSO Live, including

Bernard Haitink’s version of the

Ninth, named Album of the Week in

The Sunday Times and Editor’s Choice

in Gramophone.

Available at

lsolive.lso.co.uk

in the Barbican

Shop or online at

iTunes & Amazon

10 Artist Biographies 8 May 2016

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

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, Mozart’s The Magic Flute at the Wiener Festwochen and Berg’s Wozzeck at the Theater an der Wien. Recent and future guest engagements include the world premiere of Olga Neuwirth’s Masaot/Clocks Without Hands with the Vienna Philharmonic Orchestra in Vienna, Cologne and Luxembourg; a European tour with the Royal Concertgebouw Orchestra; and a return to the US to conduct the Los Angeles Philharmonic.

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; Britten’s Billy Budd with the London Symphony Orchestra (winner of a Grammy Award for best opera recording); Mozart’s Don Giovanni and Britten’s 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.

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.

From September 2016 he will become the Music Director of the Orchestre de Paris and will continue to carry out his roles as 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 MCO (2003–11), Principal Conductor of the Trondheim Symphony (1997–2000), Principal Guest Conductor of Sweden’s Norrköping Symphony (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, Berlin Philharmonic, the Bavarian Radio, Leipzig Gewandhaus and the Orchestra Filarmonica della Scala. Other guest conducting engagements have included the Munich Philharmonic, Orchestre National de Lyon, Oslo Philharmonic, London Philharmonic, Royal Stockholm Philharmonic, Santa Cecilia Orchestra of Rome, Orchestra of the Age of Enlightenment, Rotterdam Philharmonic, Frankfurt Radio Orchestra and the Orchestre des Champs-Elysées. US orchestras he has performed with include the New York Philharmonic, Philadelphia Orchestra, Boston Symphony Orchestra, Los Angeles Philharmonic and Chicago Symphony Orchestra.

Daniel Harding Conductor

lso.co.uk Artist Biographies 11

Leif Ove Andsnes Piano

With his commanding technique and searching interpretations, the celebrated Norwegian pianist Leif Ove Andsnes has won acclaim worldwide. He gives recitals and plays concertos in the world’s leading concert halls and with its foremost orchestras, besides being an active recording artist. An avid chamber musician, he served as co-artistic director of the Risor Festival of Chamber Music for nearly two decades, and was music director of California’s 2012 Ojai Music Festival. He was inducted into the Gramophone Hall of Fame in July 2013.

Highlights of the current season include major European and North American solo recital tours with a programme of Beethoven, Debussy, Chopin and Sibelius, as well as Schumann and Mozart concerto collaborations in the US with the Chicago, Cleveland and Philadelphia orchestras. In Europe Andsnes performs with the Bergen Philharmonic, Zurich Tonhalle, Leipzig Gewandhaus and Munich Philharmonic and this season he will also tour Brahms’ Three Piano Quartets with his frequent musical partner, Christian Tetzlaff, together with Tabea Zimmermann and Clemens Hagen.

Andsnes now records exclusively for Sony Classical. His previous discography comprises more than 30 discs for EMI Classics – solo, chamber and concerto releases, many of them bestsellers – spanning repertoire from the time of Bach to the present day. He has been nominated for eight Grammy awards and received many international prizes, including six Gramophone Awards. His recordings of the music of his compatriot Edvard Grieg have been especially celebrated: the New York Times named Andsnes’ 2004 recording of Grieg’s Piano Concerto with Mariss Jansons and the Berlin Philharmonic ‘Best CD of the Year,’ the Penguin Guide awarded it a coveted ‘Rosette,’ and both that album and his disc

of Grieg’s Lyric Pieces won Gramophone Awards. His recording of Mozart’s Piano Concertos Nos 9 and 18 was another New York Times ‘Best of the Year’ and Penguin Guide ‘Rosette’ recipient. He won yet another Gramophone Award for Rachmaninov’s Piano Concertos Nos 1 and 2 with Sir Antonio Pappano and the Berlin Philharmonic. A series of recordings of Schubert’s late sonatas, paired with Lieder sung by Ian Bostridge, inspired lavish praise, as did the pianist’s world premiere recordings of Marc-André Dalbavie’s Piano Concerto and Bent Sørensen’s The Shadows of Silence, both of which were written for him.

Andsnes has received Norway’s distinguished honour, Commander of the Royal Norwegian Order of St Olav. In 2007, he received the prestigious Peer Gynt Prize, awarded by members of parliament to honour prominent Norwegians for their achievements in politics, sports and culture. He is the recipient of the Royal Philharmonic Society’s Instrumentalist Award and the Gilmore Artist Award, and, saluting his many achievements, Vanity Fair named Andsnes one of its ‘Best of the Best’ in 2005.

Leif Ove Andsnes was born in Karmøy, Norway in 1970, and studied at the Bergen Music Conservatory under the renowned Czech professor Jirí Hlinka. He has also received invaluable advice from the Belgian piano teacher Jacques de Tiège who, like Hlinka, has greatly influenced his style and philosophy of playing. He is currently an Artistic Adviser for the Prof Jirí Hlinka Piano Academy in Bergen where he gives an annual masterclass to participating students.

Andsnes lives in Bergen and in 2010 achieved one of his proudest accomplishments to date, becoming a father for the first time. His family expanded in 2013 with the welcome arrival of twins.

12 The Orchestra 8 May 2016

London Symphony Orchestra On stage

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FIRST VIOLINS Carmine Lauri Leader Lennox MackenzieClare DuckworthNigel Broadbent Ginette Decuyper Gerald Gregory Jörg Hammann Maxine Kwok-Adams Claire Parfitt Colin Renwick Ian Rhodes Sylvain Vasseur Rhys Watkins Shlomy Dobrinsky Alain Petitclerc Jan Regulski

SECOND VIOLINS David AlbermanThomas Norris Sarah Quinn Miya Väisänen Matthew Gardner Julian Gil Rodriguez Naoko Keatley Belinda McFarlane William Melvin Andrew Pollock Paul Robson Ingrid Button Eleanor Fagg Hazel Mulligan

VIOLAS Krzysztof ChorzelskiGillianne Haddow Malcolm Johnston Anna Bastow Julia O’Riordan Robert Turner Jonathan Welch Elizabeth Butler Carol Ella Caroline O’Neill Alistair Scahill Martin Schaefer

CELLOS Rebecca GilliverAlastair Blayden Jennifer Brown Noel Bradshaw Eve-Marie Caravassilis Daniel Gardner Hilary Jones Amanda Truelove Victoria Simonsen

DOUBLE BASSES Colin Paris Patrick Laurence Matthew Gibson Thomas Goodman Joe Melvin Rodrigo Moro MartinSimo Väisänen Jeremy Watt

FLUTES Gareth DaviesAlex Jakeman

OBOES Cristina Gómez GodoyKatie Bennington

CLARINETSChris Richards Chi-Yu Mo

BASSOONS Rachel Gough Joost Bosdijk

HORNS Timothy Jones Angela Barnes Alexander Edmundson Jonathan Lipton Sarah Willis

TRUMPETS Philip CobbGerald Ruddock Daniel Newell Niall Keatley

TROMBONES Peter Moore James MaynardDudley Bright

BASS TROMBONEPaul Milner

TIMPANI Antoine Bedewi

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 Barbara Whatmore Charitable Trust The Idlewild Trust The Lefever Award The Polonsky Foundation

Taking part in rehearsals and performing in this concert were: Lasma Taimina (second violin), Bryony Gibson-Cornish (viola), Zoe Saubat (cello) and Ben Daniel-Greep (double bass).

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

Photography Igor Emmerich, Chris Aadland, Julian Hargreaves, Ranald Mackechnie, George Lange

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Peter D Smith Splendid Elgar Dream of Gerontius last night @LSChorus @londonsymphony Sir Mark Elder excellent.

Jeremy Grant Profound, spiritual and luminously performed Gerontius tonight, thanks @londonsymphony and Mark Elder, an Elgarian for our time

Mimi Doulton Gerontius had me weeping. What a piece. Resplendently sung and played.

24 APR: SIR MARK ELDER – ELGAR’S THE DREAM OF GERONTIUS

Andrew Mosley Brilliant debut with @londonsymphony by @TiberghienC tonight in Ravel Concerto for Left Hand. Can’t believe he was only using 5 fingers!

Katie Salt Had a wonderful evening at @BarbicanCentre experiencing the talent and generous hospitality of @londonsymphony. You truly fabulous lot

Benjamin Griffiths Haunting Vaughn Williams 3; amazing Ravel and just gorgeous La Mer from Mark Elder and @londonsymphony last night! Thank you!

28 APR: SIR MARK ELDER – BUTTERWORTH, VAUGHAN WILLIAMS, RAVEL & DEBUSSY