London Symphony OrchestraLiving Music

London’s Symphony Orchestra

Thursday 5 March 2015 7.30pm Barbican Hall

DANCE OF THE GYPSY VIOLIN

Brahms arr Schoenberg Piano Quartet in G minor INTERVAL Kodály Háry János – Suite Weiner Fox Dance Traditional arr Haanstra Deux Guitares Vladimir Cosma Le Grand Blond John Williams Schindler’s List Csampai / Bihari Memory of Bihari / Hejre Kati

Kristjan Järvi conductor Roby Lakatos violin László Bóni violin Kálmán Cséki Jr piano Jenö Lisztes cimbalom László Balogh guitar László ‘Csorosz’ Lisztes bass

Concert finishes approx 10.30pm

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2 Welcome 5 March 2015

Welcome Kathryn McDowell

Living Music In Brief

Welcome to this evening’s concert with the LSO, the next instalment in conductor Kristjan Järvi’s Eclectica at the Barbican series, which explores different musical genres and cultures through diverse collaborations. Following a first half dedicated to the orchestral arrangement of Brahms’ First Piano Quartet, with its vibrant ‘Rondo alla Zingarese’ finale, virtuoso violinist Roby Lakatos and his Ensemble join the LSO for a programme of Hungarian dances and gypsy-inspired tunes, melding classical, jazz and folk music.

Roby Latakos, celebrated as the ‘King of the Gypsy Violin’, is an old friend of the LSO, having previously performed several times with the Orchestra on the Barbican stage and in our UBS Soundscapes: Eclectica events at LSO St Luke’s. We are delighted to see him return tonight with his Ensemble.

I hope that you enjoy the performance. Join us again on 12 and 15 March as we celebrate the 70th birthday of Michael Tilson Thomas, the LSO’s Principal Guest Conductor, with two special concerts. These are followed by a tour to New York and the West Coast of America. The Orchestra’s London season will resume on 8 April with the first concert of the LSO International Violin Festival, featuring soloist Leonidas Kavakos.

Kathryn McDowell CBE DL Managing Director

BBC RADIO 3 LUNCHTIME CONCERTS

A new series of BBC Radio 3 Lunchtime Concerts begins at LSO St Luke’s this month, taking place every Thursday at 1pm. In Haydn Plus One, performers including the Endellion String Quartet, Ronald Brautigam, Meta4 String Quartet and the ATOS Trio examine influential works by Haydn, one of the truly pivotal figures in the history of chamber music, alongside complementary masterpieces by a range of later composers.

lso.co.uk/lunchtimeconcerts

THE LSO ON TOUR THIS MONTH

In celebration of LSO Principal Guest Conductor Michael Tilson Thomas’ 70th birthday, the Orchestra and MTT perform two concerts this month at the Barbican on 12 and 15 March, before heading to the US for an eleven-date tour. Keep up-to-date with the LSO’s travels and behind-the-scenes stories on our Facebook and Twitter pages.

facebook.com/londonsymphonyorchestra twitter.com/londonsymphony

A WARM WELCOME TO TONIGHT’S GROUPS

Groups of 10+ receive great benefits, including a 20% discount on standard tickets, a dedicated group booking hotline and, for larger groups, the chance to meet LSO musicians. This evening we are delighted to welcome Rachel Good & Friends and Simon Hewitt Jones & Friends.

lso.co.uk/groups

London Symphony OrchestraLiving Music

LSO International Violin Festival 12 Violin Superstars | 12 Amazing Concerts

April to June 2015

020 7638 8891 | lso.co.uk/violinfestival

MEDIA PARTNER

The LSO International Violin Festival is generously supported by Jonathan Moulds

IVF Colour.indd 1 16/02/2015 12:0305-03 Jarvi.indd 2 3/2/2015 11:14:25 AM

London Symphony OrchestraLiving Music

LSO International Violin Festival 12 Violin Superstars | 12 Amazing Concerts

April to June 2015

020 7638 8891 | lso.co.uk/violinfestival

MEDIA PARTNER

The LSO International Violin Festival is generously supported by Jonathan Moulds

IVF Colour.indd 1 16/02/2015 12:0305-03 Jarvi.indd 3 3/2/2015 11:14:25 AM

PROGRAMME NOTES WRITER

WENDY THOMPSON is

Executive Director of Classic Arts

Productions, a major supplier of

independent programmes to BBC

Radio 3, including Essential Classics.

4 Programme Notes 5 March 2015

Tonight’s Concert Dance of the Gypsy Violin

played; and thirdly, ‘It is always played badly, because the better the pianist, the louder he plays, and you hear nothing from the strings. I wanted just once to hear everything, and this I achieved’. Schoenberg went on to say that his orchestration would be strictly in the style of Brahms, going no further than Brahms would have gone ‘had he been alive today’. In fact, Schoenberg’s vibrant orchestration intensifies the drama of the piece and gives it a modern twist, while retaining the rich, string-heavy sound of the Romantic era.

Although the first two movements – a large-scale Allegro, which unwinds with concentrated intensity, and an intermezzo-like Scherzo with an animated trio in the major key – belong firmly to the concert hall, the music of the street intrudes in the broadly lyrical slow movement in the form of a jaunty episode in military-style dotted rhythms. The contrasting tempos of the episodes – slow or extremely fast – in the final ‘Rondo alla zingarese’ clearly derive from the gypsy verbunkos or csárdás tradition. The percussion section comes into its own here, with a xylophone, punctuated by tambourine, imitating the traditional cimbalom. Schoenberg cleverly distributes Brahms’ brilliant piano passage-work between violins and a solo flute, while several of the slow episodes, especially the last, which features solo strings and a wailing clarinet, evoke the sound of a klezmer band.

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?

JOHANNES BRAHMS (1833–97) PIANO QUARTET NO 1 IN G MINOR OP 25 ARR FOR ORCHESTRA BY ARNOLD SCHOENBERG (1874–1951)

ALLEGRO

INTERMEZZO: ALLEGRO

ANDANTE CON MOTO

RONDO ALLA ZINGARESE: PRESTO

Tonight’s concert brings the alluring and exotic sounds of Central Europe to the Barbican in a celebration of the iconic musical instrument of the Austro-Hungarian Empire – the violin. The characteristic sound of the gypsy fiddle – soulful, intense, virtuosic, its plangent melodies derived both from the folk music of the Danube plains and from Jewish klezmer bands – percolated throughout the squares, cafés and beer gardens of the Empire, infusing popular dance music and the orchestral and chamber works of the concert hall alike.

As a youthful virtuoso pianist of 20, Brahms toured with the Hungarian violinist Eduard Reményi, whose fiery playing owed much to the gypsy style. Brahms’ own Hungarian Dances, begun at the same period, translated Reményi’s alla zingarese style to the keyboard, while his Piano Quartet in G minor, written in the early 1860s, bottles its essence within the formal constraints of chamber music.

In 1937 Arnold Schoenberg, who had recently moved from the Berlin of the Third Reich to Los Angeles, arranged the Quartet for orchestra at the instigation of the conductor Otto Klemperer, who conducted the premiere with the Los Angeles Philharmonic. A fervent admirer of Brahms, Schoenberg said that he had made the arrangement for three reasons: firstly, he liked the piece; secondly, it was seldom

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THE VERBUNKOS is an 18th and

19th-century Hungarian dance,

characterised by the alternation

of slow and fast sections, dotted

rhythms, virtuosic melodies and

the clicking of spurs. A ‘recruiting

dance’ performed by members of

the Hungarian light cavalry, it was

designed to encourage patriotism

among those watching and to

encourage young men in the

villages to join the army.

THE CSÁRDÁS is a 19th-century

Hungarian dance derived from the

verbunkos, which was particularly

popular in aristocratic circles. Like

the verbunkos, it alternates tempos,

beginning slowly and ending at a very

fast (or ‘friss’, meaning ‘fresh’) speed.

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lso.co.uk Programme Notes 5

ZOLTÁN KODÁLY (1882–1967) HÁRY JÁNOS – SUITE

PRELUDE: THE TALE BEGINS

VIENNESE MUSICAL CLOCK

SONG

THE BATTLE AND DEFEAT OF NAPOLEON

INTERMEZZO

ENTRANCE OF THE EMPEROR AND HIS COURT

Zoltán Kodály was one of several 20th-century Hungarian composers who fertilised western genres with Magyar and gypsy folk idioms. From 1905 onwards he began to collect and record folk songs in collaboration with his friend, the composer Béla Bartók, with whom he shared a vision of ‘an educated Hungary, reborn from the people’.

Kodály’s comic opera Háry János, a Hungarian folk opera with spoken dialogue, was performed in Budapest in 1926. The eponymous hero is a veteran soldier who fought with the Austrian army in the early 19th century. He now sits in the village pub regaling his listeners with fantastic tales of derring-do, such as winning the love of Napoleon’s wife, the Empress Marie-Louise, and single-handedly defeating Napoleon’s armies, before retreating back to his own village with his sweetheart.

Kodály said of his fantasist hero: ‘The stories released by his imagination are an inextricable mixture of realism and naivety, of comic humour and pathos … Though on the surface he seems to be just boasting, he is actually a natural visionary and poet. His stories may be untrue, but that is irrelevant, for they spring from a lively imagination which seeks to create an enchanted dream world for himself and others’.

Kodály later extracted a six-movement orchestral suite from the opera, which was first performed at the Liceo Theatre in Barcelona on 24 March 1927. It uses a large orchestra, including a cimbalom.

The first movement, The Tale Begins, opens with a famous orchestral ‘sneeze’. Kodály said that, ‘according to Hungarian superstition, if someone sneezes after hearing a statement, it is taken to mean that the statement is true. The Suite begins with a sneeze of this kind!’ In the next movement, Viennese Musical Clock, Háry admires the famous musical clock in the imperial palace. Bells chime, and a procession of wooden soldiers marches round and round to a cheerful military-sounding tune. The following Song is a vivid expression of homesickness, coloured by the sound of the cimbalom, and introduced by a melancholy solo viola.

Then comes The Battle and Defeat of Napoleon. Jaunty trombones sound a call to arms, but the opening French victory march proves premature, and subsides into a funeral dirge led by a mournful saxophone. The fifth movement, Intermezzo, is a spirited csárdás starring the cimbalom, its trio featuring horns and woodwind solos, while the Suite ends with the Entrance of the Emperor and his Court, strutting and preening with comical exaggeration.

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‘If I were to name the composer whose works are the most perfect embodiment of the Hungarian spirit, I would answer, Kodály. His work proves his faith in the Hungarian spirit.’

Bartók writing about Kodály in 1928

THE CIMBALOM is a Hungarian

dulcimer – a musical instrument, like

a zither, with strings set across a

trapezoid-shaped box that are struck

by hammers or beaters. Kodály’s use

of the cimbalom in his Háry János

Suite is one of the instrument’s most

famous appearances in classical

works, but composers like Liszt,

Stravinsky, Bartók and Sir Peter

Maxwell Davies have also included

it in their compositions.

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6 Programme Notes 5 March 2015

Tonight’s Concert Dance of the Gypsy Violin continued

Cosma’s vast output includes over 300 film soundtracks, most notably Diva (1980), for which he won a César Award. Throughout his career he has worked particularly closely with the director Yves Robert, and another of his best-known film scores is for Robert’s 1973 film Le grand blond avec une chaussure noire (The tall fair-haired man with a black shoe), a comedy in which an unsuspecting musician becomes entangled in the net of the French Secret Service.

The theme tune of Le grand blond glitters with the sound of the cimbalom, ubiquitous in both Romanian and Hungarian folk music.

JOHN WILLIAMS (b 1932) SCHINDLER’S LIST: THEME

The significance of the violin in Central European folk music – in the intertwined gypsy and Jewish traditions – is underlined in John Williams’ multi-award-winning score for Steven Spielberg’s 1993 film Schindler’s List, in which a haunting violin solo seems to encapsulate the tragic fate of European Jews during the Holocaust.

LEÓ WEINER (1885–1960) FOX DANCE

Among Kodály’s professorial colleagues at the Budapest Academy of Music was the composer Leó Weiner. Although Weiner himself did not collect folk music, his own work is permeated with Hungarian idioms. In this scintillating arrangement of his work Fox Dance, originally written for solo piano, Roby Lakatos is accompanied here by his ensemble of violin, cimbalom, guitar, double bass and piano.

TRADITIONAL ARR HAANSTRA DEUX GUITARES

Some well-known Roma melodies have been passed down through an oral tradition, and cannot be attributed to a definite composer. One such is the much loved Deux Guitares, which probably originated in Russia. Roby Lakatos simulates the flamenco-style strumming of the guitars with a virtuoso display of continuous pizzicato.

VLADIMIR COSMA (b 1940) LE GRAND BLOND

Gypsy style has permeated many different types of music, not least film scores. The Romanian composer Vladimir Cosma, who studied at the Bucharest Conservatoire and then in Paris with Nadia Boulanger, has assimilated elements of jazz, French chanson and Central European folk idioms, as well as the classical tradition, into his music.

The SCHINDLER’S LIST

soundtrack is one of film composer

John Williams’ best-loved film scores,

winning Academy, BAFTA and Grammy

Awards in 1993 when the film was

released. Its main theme features

a moving, poignant melody on solo

violin, which was originally played by

legendary violinist Itzhak Perlman.

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IVO CSAMPAI / JÁNOS BIHARI (1764–1827) MEMORY OF BIHARI / HEJRE KATI

Roby Lakatos was born into the legendary dynasty of Gypsy musicians descended from the ‘Napoleon of the fiddle’, János Bihari, a Hungarian violinist, bandleader and composer, who achieved widespread fame and success with his Ensemble. Like his contemporary Niccolò Paganini, Bihari’s astonishing technique seemed to possess a supernatural quality. The young Liszt was enchanted by his dazzling performances, while other listeners described him as ‘the incarnation of the musical demon of fiery imagination’.

Bihari may have invented the spirited Hungarian dance known as the verbunkos, and some of the best-known csárdás melodies have been ascribed to him, including Hejre Kati (Come Here, Katie), with its typical alternation of slow and fast sections. Csampai’s piece pays homage to the memory of a truly remarkable musician.

lso.co.uk Programme Notes 7

‘The tones sung by his magic violin flow on our enchanted ears like the tears.’

Franz Liszt on János Bihari

JÁNOS BIHARI

London Symphony Orchestra

2015/16 SEASON

VALERY GERGIEV: MAN OF THE THEATRE

Fri 9, Sun 11 & Sun 18 Oct 2015

Valery Gergiev brings a wealth of theatrical

experience to dramatic ballet scores by

Stravinsky and Bartók, including The Firebird,

The Rite of Spring and The Miraculous Mandarin.

CREATIVE GENIUSES

Sat 9 & Sun 10 Jan 2016

Sir Simon Rattle collaborates with Peter Sellars on

this semi-staged performance of Debussy’s opera

Pelléas et Mélisande.

SHAKESPEARE 400

Thu 16, Thu 25 & Sun 28 Feb 2016

Celebrate one of the most iconic figures in English

literary history in concerts dedicated to music

inspired by his oeuvre.

020 7638 8891 lso.co.uk/201516season

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8 Events Coming Soon 5 March 2015

Coming Soon LSO Concerts at the Barbican

020 7638 8891 lso.co.uk

MICHAEL TILSON THOMAS

70th Birthday Gala Concert

Shostakovich Symphony No 5

Thu 12 Mar 2015

Sibelius Symphony No 2

Sun 15 Mar 2015

VIOLIN SUPERSTARS

Leonidas Kavakos:

Shostakovich Violin Concerto No 1

Wed 8 Apr

Gil Shaham: Britten Violin Concerto

Sun 12 Apr

BERNARD HAITINK

Mahler Symphony No 1 (‘Titan’)

Sun 14 Jun 2015

Beethoven Symphony No 9

(‘Choral’)

Sun 21 Jun 2015

SIR SIMON RATTLE

Brahms and Dvorák

Thu 2 Jul 2015

with Krystian Zimerman piano

Walton Symphony No 1;

New Children’s Opera by

Jonathan Dove

Sun 5 Jul 2015

London’s Symphony Orchestra

For over 40 years, my relationship with the LSO has been a joy and an inspiration.

Michael Tilson Thomas, LSO Principal Guest Conductor

05-03 Jarvi.indd 8 3/2/2015 11:14:26 AM

lso.co.uk Artist Biographies 9

Kristjan Järvi Conductor

Järvi works with some of today’s brightest creative minds, from film directors Tom Tykwer and the Wachowskis, to composers and artists Arvo Pärt, Steve Reich, Tan Dun, Hauschka, Dhafer Youssef, Anoushka Shankar and Esa-Pekka Salonen, with whom he started his career as Assistant Conductor at the Los Angeles Philharmonic.

Born in Estonia, Kristjan Järvi emigrated to the United States as a child and grew up in New York City. He is an accomplished pianist and graduated from the Manhattan School of Music, following this with conducting studies at the University of Michigan.

Kristjan Järvi has ‘earned a reputation as one of the canniest, and most innovative, programmers on the classical scene’ (Reuters), with his original, genre-fusing projects proclaimed as a ‘life-enhancing experience’ by The Herald Scotland.

He realises his pioneering ideas with his four ensembles: as Music Director of the MDR Leipzig Radio Symphony Orchestra and the Gstaad Festival Orchestra, as Founder-Conductor of his New York-based classical-hip-hop-jazz group Absolute Ensemble, and as Founder and Music Director of the Baltic Sea Youth Philharmonic, the cornerstone of the Baltic Sea Music Education System. An entrepreneur by nature and a passionate educator, Kristjan Järvi leads both the oldest Radio Orchestra in Europe and the newest Youth Orchestra. Ongoing guest conducting engagements include concerts with the Orchestre National de France, Orchestre de Paris, Accademia Nazionale di Santa Cecilia Rome, National Symphony Orchestra (Washington DC), the Minnesota Orchestra, and NHK Symphony Japan. In 2012 he made his debut with the Berlin Philharmonic Orchestra.

As a recording artist Järvi has more than 60 albums to his credit, from Hollywood soundtracks such as Cloud Atlas and award-winning albums on Sony and Chandos, to his eponymous series on Naïve Classique, the Kristjan Järvi Sound Project. Launched in 2014, the series features projects across all of Järvi’s ensembles and is characterised by the conductor’s unmistakable approach in taking a fresh look at the old, with concepts and presentation that transcend the borders of classical music.

Music Director

MDR Leipzig Radio Symphony

Orchestra

Music Director

Gstaad Festival Orchestra

Founder-Conductor

Absolute Ensemble

Founder & Music Director

Baltic Sea Youth Philharmonic

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Roby Lakatos Violin

10 Artist Biographies 5 March 2015

Roby Lakatos has performed at the great halls and festivals of Europe, Asia and America. This is his fourth performance with the LSO. He first collaborated with the Orchestra in March 2004 as part of the Genius of the Violin festival, appearing on the Barbican stage alongside Maxim Vengerov. His last concert with the LSO, The Devil’s Fiddler, took place in June 2009 and saw Roby and his Ensemble perform their characteristic and dazzling mix of classical, jazz and Hungarian folk music.

Born in 1965 into the legendary family of gypsy violinists descended from János Bihari, ‘King of Gypsy Violinists’, Roby Lakatos was introduced to music as a child, making his public debut at the age of nine as first violin in a gypsy band. His musicianship evolved not only within his own family but also at the Béla Bartók Conservatory of Budapest, where he won the first prize for classical violin in 1984. Between 1986 and 1996, he and his ensemble delighted audiences at Les Atéliers de la grande Ile, a restaurant in Brussels, their musical home throughout this period. He has collaborated with Vadim Repin and Stéphane Grappelli, and his playing was greatly admired by Sir Yehudi Menuhin, who always made a point of visiting the club in Brussels to hear Lakatos.

Roby Lakatos is not only a scorching virtuoso, but is also a musician of extraordinary stylistic versatility. Equally comfortable performing classical music as he is playing jazz and in his own Hungarian folk idiom, Lakatos is a rare musician who defies definition. He is referred to as a gypsy violinist or a ‘devil’s fiddler’, a classical virtuoso, a jazz improviser, a composer and arranger, and a 19th-century throwback, and he is actually all of these things at once. He is the kind of universal musician so rarely encountered in our time – a player whose strength as an interpreter derives from his activities as an improviser and composer.

‘This was a display of virtuoso skill and sensitivity rounded out with fine lyrical swooping and quick-fire double-handed pizzicato. Not gypsy music as we know it now, this was the kind of well-bred but dazzling playing that excited 19th-century listeners, Brahms among them, and still gets audiences on their feet.’

The Independent on Roby Lakatos with the LSO

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lso.co.uk Artist Biographies 11

Roby Lakatos Ensemble

LÁSZLÓ BÓNI (second violin) was born in Budapest in 1968 and studied with Roby Lakatos’ father, playing in his orchestra and earning a soloist’s diploma as a Gypsy violinist in 1987. He then spent six months in Japan, performing with a Gypsy trio that subsequently toured Europe. He worked in Antwerp from 1991 to 1994, and is Roby Lakatos’ oldest collaborator.

KÁLMÁN CSÉKI JR (piano) was born in Budapest in 1982. He studied classical music at the Aladár Tóth Music School. Later he moved on to the Léo Weiner Music Conservatory. Kálmán Cséki Jr is the son of Kálmán Cséki Sr, Roby’s previous pianist who now teaches piano in Mexico.

JENÖ LISZTES (cimbalom) was born in Budapest in 1986 and is the grandson of a famous cimbalom player. He was four when he started studying the classical cimbalom with Agnes Székely. He then studied classical and Gypsy music with Jenö Soros, winning the Racz Aladar Cimbalom Competition at the age of 12. He has been studying at the Franz Liszt Music Academy in Budapest since 2005.

LÁSZLÓ BALOGH (guitar) was born in Budapest in 1987, beginning his music studies at the age of six with Agnes Székely at the Aladár Tóth Music School. His first instrument was the cimbalom, but he switched to the guitar when he was 12. He went on to study at the Franz Liszt Music Academy, after which he became an apprentice in the Roby Lakatos Ensemble. He is now solo guitarist.

LÁSZLÓ ‘CSOROSZ’ LISZTES (bass) was born in 1988. Having begun his musical studies on the violin, at the age of nine he changed to double bass and entered the Aladár Tóth Music School, studying with Lajos Duduj. He later moved on to the Béla Bartók Academy, where he studied under Istvàn Lukàcshàzi. At present he is taking courses at the Pécs Conservatory as a postgraduate student.

Roby Lakatos Ensemble (L to R): László ‘Csorosz’ Lisztes, László Bóni, Kálmán Cséki Jr, Jenö Lisztes, László Balogh

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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

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Advertising Cabbell Ltd 020 3603 7937

12 The Orchestra 5 March 2015

London Symphony Orchestra On stage

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TRUMPETS Huw Morgan Gerald Ruddock Daniel Newell Christopher Deacon Simon Cox Joe Sharp

TROMBONES Dudley Bright James Maynard

BASS TROMBONE Paul Milner

TUBA Patrick Harrild

TIMPANI Nigel Thomas

PERCUSSION Neil Percy David Jackson Sam Walton Antoine Bedewi Oliver Yates Andrew Barclay

HARP Hugh Webb

PIANO Cliodna Shanahan

CELESTE Catherine Edwards

FIRST VIOLINS Roman Simovic Leader Carmine Lauri Tomo Keller Clare Duckworth Ginette Decuyper Jörg Hammann Maxine Kwok-Adams Elizabeth Pigram Claire Parfitt Harriet Rayfield Colin Renwick Ian Rhodes Sylvain Vasseur Gerald Gregory Rhys Watkins David Worswick

SECOND VIOLINS Thomas Norris Sarah Quinn Richard Blayden Matthew Gardner Julian Gil Rodriguez Belinda McFarlane Naoko Keatley William Melvin Iwona Muszynska Paul Robson

VIOLAS Paul Silverthorne Gillianne Haddow Malcolm Johnston Regina Beukes German Clavijo Anna Green Julia O’Riordan Robert Turner Jonathan Welch Richard Holttum

CELLOS Tim Hugh Minat Lyons Alastair Blayden Jennifer Brown Noel Bradshaw Eve-Marie Caravassilis Hilary Jones Amanda Truelove

DOUBLE BASSES Colin Paris Patrick Laurence Matthew Gibson Thomas Goodman Joe Melvin Jani Pensola

FLUTES Gareth Davies Alex Jakeman

PICCOLOS Sharon Williams

OBOES Timothy Rundle Katie Bennington Sarah Harper

CLARINETS Andrew Marriner Chi-Yu Mo

BASS CLARINET Paul Richards

SAXOPHONE Simon Haram

BASSOONS Rachel Gough Joost Bosdijk

CONTRA BASSOON Dominic Morgan

HORNS Timothy Jones Angela Barnes Jonathan Barrett Jonathan Lipton Tim Ball

Olivia McEwan Phenomenal performance from @londonsymphony with Roman Simovic last night. Mind blowing! on the LSO with Valery Gergiev & Roman Simovic (19 Feb)

Kristine Balanas Incredible playing by Roman Simovic, the encore was mind blowing! @londonsymphony #violin #virtuoso on the LSO with Valery Gergiev & Roman Simovic (19 Feb)

J Daniel Herron Tremendous show tonight @londonsymphony @NosedaG of Mahler’s 6th! @AliceSaraOtt triumphed performing Liszt’s 2nd piano concerto. Bravo! on the LSO with Gianandrea Noseda & Alice Sara Ott (15 Feb)

Richard Coleman @NosedaG @AliceSaraOtt @londonsymphony thank you all for stunning concert. Fireworks of Liszt followed by monumental drama of Mahler. Epic! on the LSO with Gianandrea Noseda & Alice Sara Ott (15 Feb)

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