London Symphony OrchestraLiving Music

London’s Symphony Orchestra

Thursday 29 October 2015 7.30pm Barbican Hall

JOHN ADAMS UK PREMIERE

Ravel Pavane pour une infante défunte Ravel Mother Goose – Ballet INTERVAL John Adams Scheherazade.2 (UK premiere)

John Adams conductor Leila Josefowicz violin

Concert finishes approx 9.45pm

2 Welcome 29 October 2015

Welcome Kathryn McDowell

Living Music In Brief

Welcome to this evening’s LSO concert. We are delighted to be joined by the prolific composer and conductor John Adams. The Orchestra has worked with Adams on many projects in recent years, from concerts at home and abroad to LSO Discovery activities at our education centre LSO St Luke’s. It is always a particular pleasure to collaborate with him on the realisation of his own works, tonight in the UK premiere of his new ‘dramatic symphony’ for violin and orchestra, Scheherazade.2, which re-imagines the famous character from 1,001 Nights.

Scheherazade.2 was written specifically for violinist Leila Josefowicz, who has performed the work in both the US and the Netherlands, and who joins us tonight. She has long been a champion of John Adams’ music, as LSO regulars will remember from their performance of his earlier work for violin and orchestra, The Dharma at Big Sur, in 2010.

Special thanks tonight to the City of London Corporation for its continued support of the LSO’s season in the Barbican Centre.

I hope that you enjoy tonight’s concert and can join us again soon. The LSO returns this weekend for Sound Unbound, a festival held at the Barbican, LSO St Luke’s and Milton Court exploring classical music through a variety of short concerts and events. We are grateful to Bowers & Wilkins for supporting our appearance at this festival.

Kathryn McDowell CBE DL Managing Director

SCRIABIN SYMPHONIES 3 & 4 ON LSO LIVE

Valery Gergiev’s final recording on LSO Live as Principal Conductor will be released on 30 October, a pairing of Scriabin’s Third and Fourth Symphonies recorded live at the Barbican in 2014. To celebrate the release, you can get a 20% discount on all of Gergiev’s releases on the label when you order through the LSO Live website.

lsolive.lso.co.uk

BRING YOUR FAMILY THIS AUTUMN

This evening a group of families took part in Reveal Ravel, a fun creative workshop before the concert which invited participants to make their own music with the help of LSO musicians and composer Michael Betteridge. Welcome to the families who now join us in the audience! There are plenty more events for families in the autumn, including an Alice in Wonderland-themed Family Concert on Sunday 8 November. Visit our website for more information.

lso.co.uk/families

A WARM WELCOME TO TONIGHT’S GROUPS

The LSO offers great benefits for groups of 10+ including 20% discount on standard tickets. At tonight’s concert, we are delighted to welcome: Enfield U3A Redbridge and District U3A London Business School – Sberbank Corporate University Executive Development Programme

lso.co.uk/groups

lso.co.uk Programme Notes 3

Maurice Ravel (1875–1937) Pavane pour une infante défunte (1899, orch 1910)

The title does not refer to any particular princess or historical occasion but is a Symbolist fantasy whose sonorous words evoke antique, courtly ceremony, idealised youth and loss. However, at one unguarded moment Ravel did allow himself to suggest that it was ‘an evocation of a pavane that a little princess might, in former times, have danced at the Spanish court’. Sentimentality is kept firmly in check; on hearing the piece played to him by young pianist Charles Oulmont, he remarked ‘dear boy, remember another time that I wrote a Pavane for a dead princess and not a dead Pavane for a princess.’

Ravel’s orchestration dates from 1910 and was given its first performance in Manchester by Sir Henry Wood in February 1911. The small orchestra is treated with characteristic delicacy and imagination, with the principal horn an unusual but unforgettable choice for the opening melody. Interestingly, Ravel asks for ‘2 cors simples’, suggesting natural horns without valves, again adding an unexpected tint of olden times.

It was conceived for solo piano and first performed by his close friend Ricardo Viñes in April 1902, and its grave simplicity of melody and accompaniment stands in stark contrast to the shimmering, intricate ‘impressionist’ textures that Ravel was beginning to explore around this time.

The Pavane quickly became a hit, but Ravel soon went off it, embarrassed by what he felt was the glaring influence of Chabrier, and by the work’s ‘threadbare formal design’. It’s true that the piece alternates between its beautiful main theme and more flowing episodes in a slightly abrupt fashion, without the refined transitions that Ravel certainly could have devised, but this seems to be all of a piece with its austere, plain and deliberately old-fashioned character.

PROGRAMME NOTE WRITER

JEREMY THURLOW is a composer;

his music ranges from chamber

and orchestral music to video-

opera and won the George

Butterworth Award. Author of

a book on Dutilleux, he broadcasts

on BBC Radio 3 and is a Fellow

of Robinson College, Cambridge.

Written in 1899 when the composer was still studying at the Paris Conservatoire with Fauré, Ravel’s Pavane pour une infante défunte (Pavane for a Deceased Princess) is one of his earliest works never to have left the repertoire.

A PAVANE is a courtly dance that

originated in 16th-century Italy.

The steps are slow and processional,

so it was often performed first at

ceremonial balls to act as a platform

for the ladies and gentlemen to show

off their elegant dress to one another,

before diving into the livelier galliard

(another dance) which followed.

‘It is not a funeral lament for a dead child, but rather an evocation of a pavane that a little princess might, in former times, have danced at the Spanish court.’

Ravel on the idea behind the title Pavane pour une infante défunte

MORE RAVEL THIS SEASON

PIANO CONCERTO IN G MAJOR

Thu 19 Nov 7.30pm, Barbican

Written after a trip to the US and a powerful encounter

with 1920s jazz, Ravel’s Piano Concerto in G major is

filled with the genre’s idioms and harmonies.

with Hélène Grimaud piano

Manfred Honeck conductor

4 Programme Notes 29 October 2015

Maurice Ravel Mother Goose – Ballet (1908–10, orch 1911)

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frame of an over-arching main plot. The new music added – the prelude, the spinning-wheel scene, and the interludes between all the remaining movements – is extraordinarily delicate and inventive in its sonorities and its evocative storytelling. Ravel loved being among children and no work shows better than this how he could inhabit their wonder and mischief as an equal.

PRELUDE AND DANCE After an evocative prelude, Princess Florine skips into an enchanted garden where an old woman sits at her spinning-wheel. Her carefree dance comes to an abrupt stop when she stumbles and is pricked by the wheel’s sharp spindle. The old woman calls for help, various attendants try vainly to revive the princess, then they remember the fairies’ curse and prepare her for her hundred-year sleep.

SLEEPING BEAUTY’S PAVANE During the grave and simple Pavane the princess falls asleep, and is gently laid in the old woman’s chair. The old woman throws off her grubby cape and reveals herself as the Good Fairy; she summons two boys to guard Florine and entertain her during her long slumber. They present to the sleeping princess a series of fairy tales, unfurling before each one a banner showing its title.

BEAUTY AND THE BEAST To begin, ‘Beauty and the Beast’. Beauty is at first horrified by the Beast, but when she sees his sensitivity and suffering she softens, and offers her hand when he falls to the ground – at which point he is released from his spell and transformed by a harp glissando into a prince more handsome than Love himself. All this in an enchanting waltz, clarinet and contra bassoon taking the principal parts.

PRELUDE

DANCE WITH THE SPINNING-WHEEL

SLEEPING BEAUTY’S PAVANE

CONVERSATIONS BETWEEN BEAUTY AND THE BEAST

TOM THUMB

LAIDERONNETTE, EMPRESS OF THE PAGODAS

THE FAIRY GARDEN

Between 1908 and 1910 Ravel wrote the five exquisite pieces of his suite for piano duet Ma Mère l’Oye (Mother Goose) for the two children of his good friends the Godebskis. Towards the end of 1911 he orchestrated the suite, and almost immediately received a commission from the director of the Théâtre des Arts to expand this orchestral version into a continuous ballet score. The music added for the ballet almost doubled the length of the original suite and was written remarkably quickly for the painstakingly perfectionist Ravel. The completed ballet was premiered on 29 January 1912.

The original five fairy-tale pieces are separate vignettes, so it required some ingenuity to join them in a satisfying narrative. Ravel devised his own scenario for the ballet, which ingeniously contrives for several miniature stories to be told within the

PROGRAMME NOTE WRITER

JEREMY THURLOW

CIPA AND IDA GODEBSKI, two

of Ravel’s closest friends, were a

Polish couple living in Paris, where

they regularly welcomed many of

the city’s artistic luminaries to their

Sunday-evening salons. Ma mère

l’Oye was written for their two

children, Mimi and Jean. In 1938,

Mimi recalled: ‘Ravel wanted us to

give the first public performance …

My brother, being less timid and

more gifted on the piano, coped quite

well. But despite lessons from Ravel

I used to freeze to such an extent

that the idea had to be abandoned.’

‘There are few of my childhood memories in which Ravel does not find a place … There was a childish side to Ravel, and a warmth of feeling which remained almost invisible beneath his primness.’

Mimi Godebska, one of the dedicatees of Ravel’s original piano work, writing in 1938

lso.co.uk Programme Notes 5

TOM THUMB Next, Tom Thumb, who tries to lead the woodcutter’s children out of the forest – but the trail of crumbs he has left to show the way has been eaten by the birds, whose chirrupping can be heard as Tom wanders sadly to and fro. The final banner unfurls to a cadenza for harp and celesta which presents some of the most unearthly sounds in this score packed with marvels of sonority.

LAIDERONNETTE AND THE FAIRY GARDEN The final tale is set in a tinkling Chinese neverland where Laideronnette, empress of the tiny ‘Pagodes’, meets a green serpent and they dance. After that, the boys dissolve the scene and Florine sleeps alone, until, to the hushed and tender music of the final ‘Fairy Garden’, Prince Charming steals in and sees the princess, who wakes as dawn breaks. As the orchestra reaches a final blaze of innocent joy, the Good Fairy blesses the couple.

INTERVAL – 20 minutes

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

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

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

performance @londonsymphony, or come and talk to

LSO staff at the Information Point on the Circle level?

RAVEL on LSO LIVE

Ravel

Daphnis et Chloé;

Pavane pour une

infante défunte;

Boléro

£7.19

lsolive.lso.co.uk

Valery Gergiev conductor

‘Gergiev generates a frisson

in everything he conducts …

This Daphnis with the London

Symphony Orchestra has everything

one could want – atmosphere,

languor, superb wind playing.’

Financial Times

‘She undressed herself and went into the bath.The pagodes and pagodines began to sing and play on instruments. Some had oboes made of walnut shells and others had violas made of almond shells – for they had to have instruments that were of their own small proportions.’

Ravel, in a preface to the final movement in the original piano version

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London Symphony Orchestra

LSO SECTIONS UP CLOSE

LSO PERCUSSION ENSEMBLE Fri 30 Oct 2015 6.30pm, LSO St Luke’s

A rush-hour concert focusing on the music of Steve Reich, featuring marimbas, vibraphone, bass drums, crotales, tam-tam, piano, synth and more. Generously supported by Bowers & Wilkins

LSO BRASS ENSEMBLE Thu 26 Nov 7.30pm, Barbican

The heroes of the LSO brass section take centre stage in an evening of fanfares, original works and arrangements for ten-piece brass.

LSO STRING ENSEMBLE Wed 3 Feb 7.30pm, Barbican

The string players of the LSO, led by director and LSO Leader Roman Simovic, perform music by some of this country’s finest composers – Elgar, Vaughan Williams and Britten

A series of concerts showcasing the virtuosity

and musicianship of the LSO’s players

6 Programme Notes 29 October 2015

Maurice Ravel Composer Profile

Although born in the rural Basque village of Ciboure, Ravel was raised in Paris. First-rate piano lessons and instruction in harmony and counterpoint ensured that the boy was accepted as a preparatory piano student at the Paris Conservatoire in 1889. As a full-time student, Ravel explored a wide variety of new music and forged a close friendship with the Spanish pianist Ricardo Viñes. Both men were introduced in 1893 to Chabrier, who Ravel regarded as ‘the most profoundly personal, the most French of our composers’. Ravel also met and was influenced by Erik Satie around this time.

In the decade following his graduation in 1895, Ravel scored a notable hit with the Pavane pour une infante défunte for piano (later orchestrated). Even so, his works were rejected several times by the backward-looking judges of the Prix de Rome for not satisfying the demands of academic counterpoint. In the early years of the 20th century he completed many outstanding works, including the evocative Miroirs for piano and his first opera, L’heure espagnole. In 1909 Ravel was invited to write a large-scale work for Serge Diaghilev’s Ballets Russes, completing the score to Daphnis et Chloé three years later. At this time he also met Stravinsky and first heard the works of Arnold Schoenberg.

From 1932 until his death, he suffered from the progressive effects of Pick’s Disease and was unable to compose. His emotional expression is most powerful in his imaginative interpretations of the unaffected worlds of childhood and animals, and in exotic tales such as the Greek lovers Daphnis et Chloé. Spain also influenced the composer’s creative personality, his mother’s Basque inheritance strongly reflected in a wide variety of works, together with his liking for the formal elegance of 18th-century French art and music.

COMPOSER PROFILE BY

ANDREW STEWART

020 7638 8891 lso.co.uk/lunchtimeconcerts

London Symphony Orchestra

BBC RADIO 3 LUNCHTIME CONCERTS AT LSO ST LUKE’S

Thu 5 Nov 2015 1pm

Chopin Ballade No 1 in G minor; Fantaisie in F minor Bartók Suite Op 14 Liszt Après une lecture de Dante

Ashley Wass piano

Thu 26 Nov 2015 1pm

Liszt * Vallée d’Obermann; Gnomenreigen Chopin † Three Nocturnes Op 9; Two Nocturnes Op 27 Bartók *† Piano duet

Maria João Pires †, Ashot Khachatourian * piano

Tickets £12 (£10 concessions) plus booking fee

CHOPIN, LISZT & BARTÓK

Music to inspire the intrepid with the London Symphony Orchestra

Thu 19 Nov A whole new world Ravel and Dvorák’s musical postcards from America

Sun 6 Dec Majestic Bruckner A symphony of hunting calls and forest sounds

Wed 16 Dec (Un)finished Symphony 120 years in the making – Bruckner’s final masterpiece

lso.co.uk/findmeaconcert

8 Programme Notes 29 October 2015

PROGRAMME NOTE WRITER

JOHN ADAMS

John Adams (b 1947) Scheherazade.2 (UK premiere) (2014)

TALE OF THE WISE YOUNG WOMAN –

PURSUIT BY THE TRUE BELIEVERS

A LONG DESIRE (LOVE SCENE)

SCHEHERAZADE AND THE MEN WITH BEARDS

ESCAPE, FLIGHT, SANCTUARY

LEILA JOSEFOWICZ VIOLIN

The impetus for this piece was an exhibition at the Institut du Monde Arabe in Paris detailing the history of the Arabian Nights and of Scheherazade, and how this story has evolved over the centuries. The casual brutality toward women that lies at the base of many of these tales prodded me to think about the many images of women oppressed or abused or violated that we see today in the news on a daily basis. In the old tale Scheherazade is the lucky one who, through her endless inventiveness, is able to save her life. But there is not much to celebrate here when one thinks that she is spared simply because of her cleverness and ability to keep on entertaining her warped, murderous husband.

Thinking about what a Scheherazade in our own time might be brought to mind some famous examples of women under threat for their lives, for example the ‘woman in the blue bra’ in Tahrir Square, dragged through the streets, severely beaten, humiliated and physically exposed by enraged, violent men. Or the young Iranian student, Neda Agha-Soltan, who was shot to death while attending a peaceful protest in Tehran. Or women routinely attacked and even executed by religious fanatics in any number of countries – India, Pakistan, Afghanistan, wherever. The modern images that come to mind certainly aren’t exclusive to the Middle East – we see examples, if not quite so graphic nonetheless profoundly disturbing, from everywhere in the world including in my own country and even on its university campuses.

So I was suddenly struck by the idea of a ‘dramatic symphony’ in which the principal character role is taken by the solo violin – and she would be Scheherazade. While not having an actual story line or plot, the symphony follows a set of provocative images: a beautiful young woman with grit and personal power; a pursuit by ‘true believers’; a love scene (who knows … perhaps her lover is also a woman?); a scene in which she is tried by a court of religious zealots (‘Scheherazade and the Men with Beards’), during which the men argue doctrine among themselves and rage and shout at her only to have her calmly respond to their accusations; and a final ‘escape, flight and sanctuary’, which must be the archetypal dream of any woman importuned by a man or men.

I composed the piece specifically for Leila Josefowicz who has been my friend and a champion of my music (and many other composers) for nearly 15 years. Together we’ve performed my Violin Concerto and my concerto for amplified violin, The Dharma at Big Sur, many times. This work is a true collaboration and reflects a creative dialogue that went back and forth for well over a year and that I expect will continue long after the first performance. I find Leila a perfect embodiment of that kind of empowered strength and energy that a modern Scheherazade would possess.

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‘She loves, she struggles, she fights, she embraces, she gets above the fray … she gets in the thick of it.’

Leila Josefowicz

The story of SCHEHERAZADE

appears in Arabian Nights or

One Thousand and One Nights,

collections of tales that, in the story,

Scheherazade used to captivate her

husband the king, prolonging her life

for 1,001 nights. The character has

inspired countless artists and writers,

including the composer Rimsky-

Korsakov in his famous 1888 tone

poem bearing her name.

lso.co.uk Artist Biographies 9

John Adams Conductor

‘If American music has a living epitome, it is John Adams.’ The Sunday Times

Composer, conductor, and creative thinker – John Adams occupies a unique position in the world of music. His works stand out among contemporary classical compositions for their depth of expression, brilliance of sound, and the profoundly humanist nature of their themes. Works spanning more than three decades are among the most performed of all contemporary classical music, including Harmonielehre, Shaker Loops, the Violin Concerto, Chamber Symphony, Doctor Atomic Symphony and Short Ride in a Fast Machine.

His stage works, all in collaboration with director Peter Sellars, include Nixon in China, The Death of Klinghoffer, El Niño, and most recently The Gospel According to the Other Mary, with the English National Opera presenting the world stage premiere of this work in November 2014. In the same year, the Metropolitan Opera presented The Death of Klinghoffer, directed by Tom Morris.

Adams’ latest work, Scheherazade.2, a dramatic symphony for violin and orchestra written for Leila Josefowicz, was premiered by the New York Philharmonic under Alan Gilbert. Among the recent recordings are Absolute Jest with the San Francisco Symphony, conducted by Michael Tilson Thomas, and the Grammy-winning City Noir and Saxophone Concerto with the St Louis Symphony under David Robertson. John Adams is currently working on a new opera based on the California Gold Rush.

As conductor, Adams leads the world’s major orchestras in programmes that combine his own works with repertoire ranging from Beethoven and Mozart to Ives, Carter, Zappa, Glass and Ellington. This season he returns to the Seattle and Baltimore symphony orchestras and is a key contributor to the Sound Unbound festival here at the Barbican

Centre, which strives to present classical music in a non-traditional context. Continuing his role as Creative Chair with the Los Angeles Philharmonic, he conducts concerts in each of the orchestra’s Green Umbrella and subscription series.

Last season, Adams made his debut with the Vienna Symphony Orchestra and returned to the San Francisco, Atlanta and Cincinnati Symphony orchestras. He has also previously conducted the Cleveland Orchestra, the Spanish National Orchestra and the Chicago, Pittsburgh, Houston, Toronto and BBC Symphony orchestras, among others.

Born and raised in New England, Adams learned the clarinet from his father and played in marching bands and community orchestras during his formative years. He began composing at the age of ten and his first orchestral pieces were performed while just a teenager.

Adams has received honorary doctorates from Yale, Harvard, Northwestern, Cambridge and the Juilliard School. A provocative writer, he is author of the highly acclaimed autobiography Hallelujah Junction and is a frequent contributor to the New York Times Book Review.

Creative Chair

Los Angeles Philharmonic Orchestra

HEAR JOHN ADAMS AGAIN THIS

WEEKEND AT SOUND UNBOUND

Sun 1 Nov 6pm & 8pm

John Adams will conduct two

concerts with the London Symphony

Orchestra as part of the Barbican’s

Classical Weekender Sound Unbound,

including his landmark orchestral

work Harmonielehre.

Find out more and buy tickets at:

barbican.org.uk/soundunbound

10 Artist Biographies 29 October 2015

Leila Josefowicz Violin

Leila Josefowicz’s passionate advocacy of contemporary music for the violin is reflected in her diverse programmes and enthusiasm for performing new works. She frequently collaborates with leading composers, and works with orchestras and conductors at the highest level around the world. In 2008 she was awarded a prestigious MacArthur Fellowship, joining prominent scientists, writers and musicians who have made unique contributions to contemporary life.

Highlights of Josefowicz’s 2015/16 season include engagements with the Royal Concertgebouw, Tokyo Metropolitan Symphony and Sydney Symphony orchestras, the National Orchestra of Spain and the Finnish Radio Symphony Orchestra, including on tour to Vienna, Salzburg and Innsbruck. In North America, Josefowicz performs with the Cleveland and Toronto Symphony orchestras, the Los Angeles Philharmonic, Seattle Symphony, St Louis Symphony, and Washington DC’s National Symphony orchestras. Josefowicz also appears in recital at New York’s Zankel Hall as well as in Berkeley and Denver.

Violin concertos have been written especially for Leila Josefowicz by composers including John Adams, Esa-Pekka Salonen, Colin Matthews and Steven Mackey. Scheherazade.2 was given its world premiere by Josefowicz in March 2015 with the New York Philharmonic conducted by Alan Gilbert. Luca Francesconi’s concerto Duende – The Dark Notes, also written for Josefowicz, was given its world premiere by her in 2014 with the Swedish Radio Symphony Orchestra and Susanna Mälkki, before being performed by Josefowicz, Mälkki and the BBC Symphony Orchestra at the BBC Proms in July 2015.

Recent highlights include performances with the Chicago Symphony, Cincinnati Symphony, Baltimore Symphony and Melbourne Symphony orchestras, Ottawa’s National Arts Centre Orchestra, the Orchestre Philharmonique de Radio France, the Cologne Gürzenich, Zurich Tonhalle, La Scala Philharmonic and Lucerne Symphony orchestras.

Josefowicz has released several recordings, notably for Deutsche Grammophon, Philips/Universal and Warner Classics, and was featured on Touch Press’ acclaimed iPad app, The Orchestra. Her latest recording, Esa-Pekka Salonen’s Violin Concerto with the Finnish Radio Symphony Orchestra conducted by the composer, was nominated for a Grammy Award in 2014.

lso.co.uk The Orchestra 11

London Symphony Orchestra On stage

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FIRST VIOLINS Roman Simovic Leader Carmine Lauri Lennox Mackenzie Clare Duckworth Nigel Broadbent Gerald Gregory Jörg Hammann Maxine Kwok-Adams Elizabeth Pigram Ian Rhodes Sylvain Vasseur Rhys Watkins David Worswick Michael FoyleHelena Smart Eleanor Fagg SECOND VIOLINS David Alberman Thomas NorrisSarah QuinnMiya Väisänen David Ballesteros Iwona Muszynska Andrew Pollock Paul Robson Laurent Quenelle Hazel Mulligan Samantha Wickramasinghe Sophie RosaStephen Rowlinson

VIOLAS Heather AtkinsMalcolm JohnstonGerman Clavijo Lander Echevarria Anna Bastow Robert Turner Heather Wallington Jonathan Welch Caroline O’Neill Richard Holttum Elizabeth Butler Francis Kefford CELLOS Rebecca GilliverAlastair BlaydenJennifer Brown Noel Bradshaw Daniel Gardner Hilary Jones Miwa RossoPeteris Sokolovskis Orlando Jopling Penny Driver DOUBLE BASSES Edicson RuizColin ParisPatrick Laurence Matthew Gibson Thomas Goodman Joe Melvin Jani Pensola Simo Väisänen

FLUTES Gareth Davies Alex Jakeman

PICCOLO Sharon Williams

OBOES Olivier Stankiewicz Rosie Staniforth

COR ANGLAIS Thomas Davey

CLARINETS Chris Richards Chi-Yu Mo

BASS CLARINET Lorenzo Iosco

BASSOONS Rachel Gough Joost Bosdijk

CONTRA BASSOON Dominic Morgan

HORNS Vittorio Schiavone Angela Barnes Paul Gardham Jonathan Lipton Stephen Craigen

TRUMPETS Nicholas Betts Gerald Ruddock

TROMBONES Dudley Bright James Maynard

BASS TROMBONE Paul Milner

TIMPANI Antoine Bedewi

PERCUSSION Neil Percy Tom Edwards Tom Lee Oliver Yates

HARPS Bryn Lewis Celine Saout

CELESTE John Alley

CIMBALOM Christopher Bradley

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 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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Julia Besnard Beautiful Final Concert for Valery Gergiev @londonsymphony. London is going to miss you … on the LSO with Valery Gergiev on 18 October 2015

James Humphries What a night @londonsymphony That Bartók was edgy in the fast tempo and sublime in the slow. Heard stuff not heard before. on the LSO with Valery Gergiev on 18 October 2015

Cat Jackson What a beautiful and inspiring @londonsymphony concert for Gergiev to finish on. I loved every note! on the LSO with Valery Gergiev on 18 October 2015

Heather Young Very much enjoying the @londonsymphony playing Bartók and Stravinsky this evening. A rousing end to the weekend! #music on the LSO with Valery Gergiev on 18 October 2015

London Symphony OrchestraSeason 2015/16

The LSO’s biennial festival of contemporary music

9–13 Mar 2016, Barbican & LSO St Luke’s Featuring Adès, Berio, Ligeti and Schoenberg, plus new works from LSO Soundhub & Panufnik Scheme composers Darren Bloom and Elizabeth Ogonek

LSO FUTURES THOMAS ADÈS

The London Symphony Orchestra gratefully acknowledges support from

PRS for Music Foundation, Britten-Pears Foundation and The Helen Hamlyn Trust

Book now lso.co.uk | 020 7638 8891

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Wed 16 Mar 2016, Barbican

Thomas Adès Asyla Sibelius Violin Concerto Franck Symphony in D minor

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