London Symphony OrchestraLiving Music

London’s Symphony Orchestra

Thursday 11 December 2014 7.30pm Barbican Hall

LSO ON FILM: THE MAGIC AND MAJESTY OF ALEXANDRE DESPLAT

Alexandre Desplat Love Theme from ‘The Twilight Saga: New Moon’ Girl with a Pearl Earring – Suite The Curious Case of Benjamin Button – Suite Stephen Frears – Suite (featuring ‘Philomena’ and ‘The Queen’) Ghost Writer – Suite The Grand Budapest Hotel

INTERVAL

Main titles from ‘Godzilla’ King’s Speech – Suite Dave Arch piano Pelléas et Mélisande: Sinfonia Concertante for Flute and Orchestra Gareth Davies flute Birth – Suite The Imitation Game Harry Potter and the Deathly Hallows – Suite

Alexandre Desplat conductor

Dominique Lemonnier artistic director Sol Rey & Ange Leccia videos Xavier Forcioli production coordinator Kraft Engel Management / Richard Kraft & Laura Engel concert associate producer

Concert finishes approx 9.45pm

2 Welcome 11 December 2014

Welcome Kathryn McDowell

Living Music In Brief

APPLICATIONS FOR THE 2015 PANUFNIK COMPOSERS SCHEME ARE NOW OPEN Once again the LSO will offer six UK-based composers the opportunity to write a new three-minute work for the London Symphony Orchestra.The scheme culminates with a public workshop in March 2016 during which the new pieces will be rehearsed by François-Xavier Roth and the London Symphony Orchestra at LSO St Luke’s. Applicants should be under the age of 45 and should be of British nationality, studying in the UK, or resident in the UK for at least three years.

lso.co.uk/composers

LSO SING The London Symphony Orchestra has an abundance of singing opportunities that people from all walks of life can join in with in 2015. Whether you are a seasoned choral singer or have not sung since school, why not join us for a Singing Day at LSO St Luke’s next year. All workshops are led by the LSO’s experienced choral team and are accompanied by piano or an LSO chamber ensemble. Our three workshops in 2015 give you the chance to explore Duruflé’s Requiem, discover some of the choral music that inspired Brahms, and immerse yourself in traditional gospel music.

lso.co.uk/singingdays

TONIGHT’S GROUPS This evening we welcome Nicole Hu & Friends. For more details on group bookings, visit lso.co.uk/groups

Welcome to this evening’s LSO concert where it is a great pleasure to welcome composer and conductor Alexandre Desplat in this special performance of his music scored for film.

The LSO has a long and fruitful relationship with Alexandre Desplat, having recorded many of the scores you will hear this evening for the films concerned, and the Orchestra is delighted to bring this music to centre stage.

The LSO was the first to record music that was specifically written to accompany film, and the first to record in the Abbey Road Studios over 80 years ago, where many of these recordings still take place today.

Following a sell-out tour to Australia and Singapore in November, the LSO has two more concerts before Christmas. On Sunday the LSO’s massed choirs (the London Symphony Chorus, Community Choir and Discovery Choirs) are joined by the LSO Brass Ensemble in a special festive performance, and on 18 December, we welcome back to the podium Nikolaj Znaider for a programme of Beethoven and Mahler.

I hope you enjoy tonight’s performance and I look forward to seeing you again before Christmas.

Kathryn McDowell CBE DL Managing Director

lso.co.uk Artist Biographies 3

Six time Oscar nominee, Alexandre Desplat, with hundreds of scores and numerous awards to his credit, is one of the most worthy heirs of the French film scoring masters. His approach to film composition is not only based on his strong musicality, but also on his understanding of cinema, which allows him to truly communicate with directors. He studied piano and trumpet before choosing the flute as his main instrument.

Raised in a musical and cultural mix with a Greek mother and French father who studied and were married in California, he grew up listening to the French symphonists Ravel and Debussy and to jazz. He enriched his classical musical education by studying Brazilian and African music, which later led him to record with Carlinhos Brown and Ray Lema. An avid fan of cinema, he expressed his desire to compose for the big screen early on. During the recording of his first film he met violinist Dominique Lemonnier who became his favourite soloist, artistic director and wife. She founded the Traffic Quintet for which he composed and transcribed soundtracks.

In 2003 he burst onto the Hollywood scene with his evocative score to Girl with a Pearl Earring, which earned him nominations at the Golden Globes, BAFTAs and European Film Awards. In 2005 he composed strong and remarkable parts for the film of Jacques Audiard The Beat That My Heart Skipped, that won the Silver Bear at the Berlinale as well as his first César. In 2006, he received his first Academy Award nomination for his score to Stephen Frears’ The Queen. In the same year, he also won a Golden Globe for his score to John Curran’s The Painted Veil, performed by pianist Lang Lang.

Prizes and collaborations with leading directors then started to flow. In 2007, he received his first Oscar

nomination for The Queen and won his first European Film Award. The same year, he won a Golden Globe, a Los Angeles Film Critics Association Award and a World Soundtrack Award for the The Painted Veil. In 2008 he composer for Lust, Caution (Ang Lee) and The Curious Case of Benjamin Button (David Fincher), which earned him a second Oscar nomination and a fourth BAFTA and Golden Globe nomination.

With his score for Roman Polanski’s The Ghost Writer in 2010 he won a second César and a second European Film Award. The same year, he wrote the music for the second film in the Twilight saga, a platinum record, and The King’s Speech for which he won the BAFTA, Grammy Award and was nominated for the fourth time at the Oscars and for the fifth time at the Golden Globes. 2010–11 saw Desplat score David Yates’ films Harry Potter and the Deathly Hallows Parts I & II; the latter became the third most successful movie of all time. 2011 saw further scores: The Tree of Life (Terence Malik), Carnage (Roman Polanski), Fantastic Mr Fox (Wes Anderson), The Well’s Digger Daughter (Daniel Auteuil) and The Ides of March (George Clooney).

In 2012, collaborations resulted in Zero Dark Thirty (Kathryn Bigelow), Reality (Matteo Garrone), Renoir (Gilles Bourdos), Zulu (Jerome Salle), Moonrise Kingdom (Wes Anderson) and Rust and Bone (Jacques Audiard) for which he won a third César. He also scored Argo (Ben Affleck), which was awarded the Oscar for best film, and earned Desplat a sixth nomination from BAFTA, as well as a fifth nomination at the Golden Globes and the Oscars.

In 2013 he penned the scores of The Monuments Men (George Clooney), Venus in Fur (Roman Polanski), Stephen Frears’ Oscar nominated Philomena and The Grand Budapest Hotel by Wes Anderson.

Alexandre Desplat Composer

4 Programme Notes 11 December 2014

The Curious Case of a Frenchman in Hollywood: The film music of Alexandre Desplat

He had been working for 20 years and already had about 50 scores to his name, albeit in France. In fairness, Girl with the Pearl Earring did bring him to the centre of the Hollywood film industry and resulted in a career which has seen him collaborate with big name directors including Wes Anderson, Roman Polanski, Ang Lee and George Clooney, working on mainstream films from drama and thrillers, monster blockbusters, music for the incredibly successful franchises of Twilight and Harry Potter, to the more intimate films of Stephen Frears, with several Oscar nominations and award wins along the way.

It’s not just luck and talent, though. Desplat has made canny choices by, he says, ‘getting closer to directors who understand what the music can display’ such as Roman Polanski. Tom Hooper, director of The King’s Speech, also fits that category. Hooper puts their successful collaboration down

to Desplat’s sensitivity ‘about protecting great performances … supporting and amplifying rather than simplifying and reducing’. It helps that it’s all done ‘with humour, charm and speed’.

A self-confessed cinephile from an early age, Desplat was seduced by ‘the eclecticism of what a movie composer could offer’. It was Alex North’s score for Spartacus (1960) which made him first sit up and take notice and

he claims his influences are John Williams, Bernard Herrmann, Franz Waxman and Fellini’s composer of choice, Nino Rota. Some of these composers do come shining through in his oeuvre. It has been pointed out that Desplat’s scores are possibly more atmospheric and concentrate on mood rather than just highlighting visual markers. Desplat puts this down to his homeland’s film music culture, the influence of French ‘Nouvelle Vague’, the music of documentary-style films from the late 50s and 60s by such luminaries as Jean-Luc Goddard and François Truffaut.

Whatever the genre, influence or style, Desplat’s scores, sans images, have the power to move, thrill and inspire the imagination.

PROGRAMME NOTE WRITER

SARAH BREEDEN regularly

contributes to BBC Proms family

concert programmes, has written

on film music for LPO as well as LSO,

school notes for London Sinfonietta

and the booklet notes for the EMI

Classical Clubhouse series.

She was Editor of LSO publications,

has edited BBC Proms in the Park

souvenir programmes, and worked

for BBC Proms for several years.

It is curiously ‘Hollywood’ that in 2003, after scoring for Girl with the Pearl Earring, Alexandre Desplat at the tender age of 42 was hailed as a new talent.

lso.co.uk Programme Notes 5

What follows is an insight into tonight’s music, in the order of the year in which each work was released.

English director Peter Webber asked Desplat to write the score for his Girl with the Pearl Earring (2003) after hearing his music on a Jacques Audiard film: ‘he had a sense of restraint which I liked’, he explains. Based on Tracy Chevalier’s fictional take on the story behind Vermeer’s famous painting, the film’s captivating camera-work, dedication to lighting and detail, and stellar performances from Scarlett Johansson as the young servant, Griet, and Colin Firth’s brooding Vermeer, inspired a score which captures the atmosphere perfectly. The music is dominated by Griet’s Theme, a waltz which weaves its way through the film and underpins Griet’s youthful innocence on the verge of sexual awakening.

Girl with the Pearl Earring earned Desplat the first of six British Academy Award nominations and was swiftly followed by Birth (2004), the score which one reviewer described as ‘classically elegant and restrained to the point of glaciality’. It is an unsettling psychological drama in which a widow of ten years (Nicole Kidman), about to remarry, is confronted by a boy claiming he is her first husband. The Prologue, heard this evening, begins with a nursery music-box feel with celeste and delicate pulsating flutes like a baby’s heartbeat. The music becomes increasingly layered and mysterious, with dark undertones on the lower strings, blasts of fatalistic Tchaikovskian horns (which are used later to great effect in a scene at the opera) and clashing of major and minor keys until thumping timpani announce a sudden death. After a dramatic pause, the theme tentatively resumes – a clever musical reincarnation.

Desplat was brought in to work on The Queen (2006), Stephen Frears’ study of a monarch in jeopardy, after, as Frears put it, a ‘catastrophic’ first attempt by another composer. Desplat found it tricky too: ‘the movie calls for music – but not too much music, and it couldn’t be loud, huge, pompous, or bombastic’. What Desplat created begins with what you would expect, a ‘majestic theme, but it soon turns into something else as old and new worlds collide – the sound of a harpsichord gives an almost mocking sense of history. But what comes across is music which complements the Queen’s calm composure beautifully, while betraying her anxiety in the aftermath of the untimely death of Diana, Princess of Wales.

Since The Queen, Frears and Desplat have worked together on three more films. ‘I like working with Stephen’, claims Desplat, ‘because he leaves you

in peace’. Clearly it is a successful partnership as both scores for The Queen and Philomena have resulted in Academy Award nominations. Peace was something Frears’ titular character in their latest collaboration, Philomena (2013) was seeking. The film is based on the true story of Philomena Lee’s search for her illegitimate child fifty years after he was forcefully taken away from her, and the relationship which develops between herself and Martin Sixsmith, the journalist who became fascinated with her plight. Desplat met the real

Alexandre Desplat’s

BRITISH ACADEMY (BAFTA)

nominations include:

Girl with the Pearl Earring (2003)

The Queen (2006)

The Curious Case of

Benjamin Button (2009)

Fantastic Mr Fox (2010)

The King’s Speech (2011)

Argo (2013)

ACADEMY AWARD nominations:

The Queen (2006)

The Curious Case of

Benjamin Button (2009)

Fantastic Mr Fox (2010)

The King’s Speech (2011)

Argo (2013)

Philomena (2014)

The music becomes increasingly layered and mysterious, with dark undertones on the lower strings, blasts of fatalistic Tchaikovskian horns.

6 Programme Notes 11 December 2014

continued … The film music of Alexandre Desplat

Philomena and wanted to approach the music ‘with prudence, carefully, worried that I would be intruding on an intimate story’. Philomena had a brief liaison with a young man she met at a fair resulting in the pregnancy and the main theme, again a waltz, conjures up a fairground organ, complete with bass clarinet and celesta. Melancholy permeates: it is a fleeting moment of joy leaving a lifetime of sadness.

From films based in fact to complete fantasy, Desplat next revealed versatility, combining drama and whimsy in The Curious Case of Benjamin Button (2008), a score which received a shower of award nominations. A curious movie indeed: Benjamin (Brad Pitt) lives his life in reverse starting out as an old man and dies, as a baby, in the arms of Daisy (Cate Blanchett), the love of his life. She, of course, grows old the conventional way. To reflect Benjamin’s innocence and awe of the world around him, Desplat decided a chamber score would best serve and indeed, the score is intimate with a feeling of space and the passing of time. Inevitably there is an undertone of sadness: Benjamin and Daisy only have a few fleeting glorious months together when their ages collide in their 40s.

More doomed love was to follow, but this time combined with teenage angst. The Twilight Saga: New Moon (2009) is the second film in the Twilight series which sees the now-vampire Bella and Edward forced apart … Desplat sets the scene with a yearning love theme complete with more Tchaikovskian horns again in the minor key, which gives it a suitable tinge of gothic.

The Ghost Writer (2010) gave Desplat an opportunity to work with another of his favourite directors, Roman Polanski who as a music-lover, according to Desplat, likes his music ‘to mislead, to boost the energy in a scene, to create an invisible world and make it visible’. A talented writer (Ewan McGregor) is employed to ghost write an ex-prime minister’s (Pierce Brosnan) story, the previous ghost writer having been murdered. The author soon finds himself in jeopardy. A tense thriller, it’s no surprise that Desplat drew inspiration from Bernard Herrmann, the master of scoring for suspense, but also in the mix is a splash of Ennio Morricone strings, a nod at John Williams and even a dash of minimalism, to make a heady cocktail of a score which is still uniquely Desplat.

2010 was a busy year and found Desplat working on perhaps his most successful score to date in terms of award nominations plus a BAFTA win, with The King’s Speech. Desplat captures the King’s character and impediment brilliantly with the hesitant theme of repeated pizzicato and pauses. It has a childlike and wistful air. Desplat explains that the heart of the music is dealing with the heart of the King himself: ‘He can’t talk about himself, he can’t express himself … the music is the media to bring his voice and his emotions out. It is the terror of the microphone’. Interestingly, the score was recorded through the original microphone used by King George VI for one of his speeches, which must have given an uncanny sense of reality and history to the proceedings.

Desplat captures the King’s character and impediment brilliantly with the hesitant theme of repeated pizzicato and pauses.

Who could resist taking on ‘extraordinary characters in extraordinary circumstances so you can do extraordinary things?’.Alexandre Desplat on taking on Harry Potter

lso.co.uk Programme Notes 7

The final Suite of the evening showcases music from the last instalments of the Harry Potter series, Deathly Hallows Parts One (2010) and Two (2011). It would be a brave composer who took on the mantle of John Williams, the first three movies’ composer, and to carry on where Patrick Doyle and

Nicholas Hooper had left off. But, as Desplat put it, who could resist taking on ‘extraordinary characters

in extraordinary circumstances so you can do extraordinary things?’. Displaying a touch of genius, Desplat takes Williams’ original ‘Hedwig’ theme and adds a good helping of menace, fear and heightened tension as the Potter Trio of Harry, Ron and Hermione put aside childish things as they are faced with something far more evil than a cheat at Quidditch, Harry’s nemesis Lord Voldemort. Desplat delivers music more suitable for the double bill which seemingly has a higher death count than The Godfather.

Desplat has a love for writing for film but he always adored the music of turn-of-the-century classical composers such as Ravel, Debussy and Satie. In an interview in 2010 when asked if he wanted to write concert music, he answered in the affirmative but explained that his film career was all-consuming. Finally he found a window of opportunity in 2013 to write his Pelléas et Mélisande: Sinfonia Concertante for Flute and Orchestra, inspired by Maeterlinck’s play. The play was the inspiration for impressionist Debussy’s opera of the same name and his influence can clearly be heard in the second movement of Desplat’s version, with its dappled, light orchestration and meandering flute.

A gigantic monster wreaked havoc in the spring of 2014 when Godzilla came crashing onto cinema screens. Desplat must have rubbed his hands with glee at the prospect of producing a score for such a creature. He claims he likes to work on genres he hasn’t done before and this was a perfect case in point. Out came the big guns. Gone was the intimate chamber orchestra replaced with full symphonic works with knobs on. Listen out for quivering strings, strong percussive beats and the mournful braying on brass – the ‘broken soul’ of the lonely lizard in the distance.

In complete contrast, the eccentric visual imaginings of Wes Anderson came close on Godzilla’s tail, in the guise of the colourful The Grand Budapest Hotel (2014). Although the use of folk instruments to create a mood could be considered a cliché, for this film, set as it is in an imaginary central European country during the 1930s, it would have been almost impossible to ignore them and indeed, magyar mandolins come to the fore. In ‘Wes World’ music is a ‘fifth dimension’ says Desplat. The music had to be as precise as the hero, M Gustave’s uniform.

Who could resist taking on ‘extraordinary characters in extraordinary circumstances so you can do extraordinary things?’.Alexandre Desplat on taking on Harry Potter

The music had to be as precise as the hero, M Gustave’s uniform.

8 Programme Notes 11 December 2014

continued … The film music of Alexandre Desplat

The release last month of The Imitation Game has ‘awards’ written all over it, and if anyone deserves a prize it is Desplat for completing the score in a mere three weeks. Modestly, Desplat brushes that aside by claiming that it was easy to write for such a good movie. The film charts the story of the mathematical genius Alan Turing (Benedict Cumberbatch) who cracked the German Enigma code machine, and then in the 50s was vilified

for being gay, resulting in tragedy. Director Morton Tyldum’s list of requests for Desplat would have challenged a composer with three months to fulfil the brief, let alone three weeks, including music that would be ‘subjective, inside the head of Turing’, have the epic vista of the War, a tender love story and a thriller! The main theme does, in fact, tick all of these boxes, certainly there is a sweeping love theme underpinned by minimalistic ostinato on piano and strings with a precise, mathematical rhythm.

ALEXANDRE DESPLAT SCORES RECORDED BY THE LSO

2000 The Luzhin Defence 2003 Inquietudes 2004 Upside of Anger 2004 Birth 2004 Hostage 2005 Derailed 2006 The Queen 2008 Largo Winch: Deadly Revenge 2008 Cheri 2009 Coco Before Chanel 2009 The Tree of Life 2009 The Twilight Saga: New Moon 2010 The Special Relationship 2010 Tamara Drewe 2010 Harry Potter and the Deathly Hallows: Part One 2010 The Well-Digger’s Daughter 2010 A Better Life 2011 Harry Potter and the Deathly Hallows: Part Two 2011 The Ides of March 2012 Rise of the Guardians 2012 Zero Dark Thirty 2013 Philomena 2013 The Monuments Men 2014 The Imitation Game 2014 Unbroken 2014 Suffragette

Music that would be ‘subjective, inside the head of Turing’, have the epic vista of the War, a tender love story and a thriller!

lso.co.uk Artist Biographies 9

Gareth Davies Flute

Gareth Davies is one of the flautists of his generation. He studied at the Guildhall School of Music and Drama. Shortly after graduating, he was appointed Principal Flute in the Bournemouth Symphony Orchestra at the age of 23. During his time on the south coast, he recorded the Nielsen concerto with the Orchestra. In 2000, Gareth was invited to become Principal Flute with the London Symphony Orchestra where he has remained ever since. During his time there, he has played and recorded with many of the

great conductors including Gergiev, Sir Colin Davis, Haitink, Previn, Jansons, Rostropovich and Boulez. A recording of a concerto by Karl Jenkins, written especially for him, is available on EMI. He can be heard on many LSO Live recordings including Daphnis et Chloé and Prélude à l’après-midi d’un faune conducted by Valery Gergiev, as well as many film soundtracks including Star Wars, Harry Potter, The Rise of the Guardians and the Twilight saga.

As well as performing, Gareth is in demand as a teacher and regularly coaches students at the London music colleges as well as giving masterclasses in London, New York, Tokyo and Beijing. As part of the LSO Discovery scheme, he also works in schools in East London, working with young students from all aspects of music-making.

Gareth also works as a writer and presenter. He regularly writes for the LSO and also for BBC Music Magazine and Classic FM Magazine, and has presented pre-concert talks and interviews with Sir Colin Davis, Nikolaj Znaider, Gergiev, Pappano and Michael Tilson Thomas, many of which are available online. He has recently written and presented a documentary for Classic FM and his first book, The Show Must Go On published by Elliott and Thompson, is available in bookstores and on Amazon. In his spare time he is flute professor at the Royal College of Music in London.

Dominique ‘Solrey’ Lemonnier, is a violinist, video producer, and acts as artistic director for most of Alexandre Depslat’s scores. She has long standing experience in the field of film music.

Dominique is also the founder and leader of the Traffic Quintet string ensemble which performs transcriptions of movie soundtracks with video projection.

With her video partner, Ange Leccia, she created an abstract and sensorial clip

for Alexandre Desplat’s new orchestral piece Pelléas et Mélisande, to show Maeterlinck’s barbaric world. Like an alchemist she combines music, images, reminiscences and silences.

Dominique ‘Solrey’ Lemonnier Artistic Director

10 Artist Biographies 11 December 2014

Dave is a musician, conductor, arranger and composer. His performances, compositions and arrangements cover a broad cross-section of the music business, from albums, films and commercials, through to television and live work.

He is probably best known as the Musical Director for the BBC’s Strictly Come Dancing, a role he took over in 2006 after working on the spin offs Strictly Dance Fever, Strictly African Dancing, and the vocal equivalent, Just the Two of Us.

He has also been the Musical director for the last four Royal Variety Performances including its hundredth anniversary, and most recently Stepping Out and Pop Star to Opera Star for ITV.

Since leaving the Guildhall School of Music and Drama, where he studied piano, he has been active in the recording studio for his whole career. Those with whom he has worked include Joni Mitchell, Diana Ross, Paul McCartney, Tina Turner, Kelly Clarkson, Robbie Williams, Gary Barlow, Elton John, Lily Allen, Eurythmics, Andrea Bocelli, Alanis Morissette, Jon Bon Jovi, Jose Carreras, Russell Watson and many more. In addition, Dave has worked live with Paul McCartney, promoting his Memory Almost Full album.

He has contributed to many film recordings, including Gravity, Philomena, Harry Potter and the Deathly Hallows Parts I & II, Star Wars: Revenge of the Sith, Goldeneye, Notting Hill, Calendar Girls, Bridget Jones’ Diary, Enemy at the Gates, Star Wars: Return of the Jedi, among many others. In 2010 Dave performed the piano solos for the award winning film, The King’s Speech. He composes and arranges music extensively for television and commercials.

Dave Arch Piano

London Symphony Orchestra

THIS DECEMBER AND JANUARY WITH THE LSO

Thu 18 Dec 7.30pm A BRAVE NEW WORLD

Beethoven Piano Concerto No 4 Mahler Symphony No 1 (‘Titan’)

Nikolaj Znaider conductor Rudolf Buchbinder piano Supported by LSO Friends

Sun 11 Jan 7.30pm ORIENTAL ROMANCE

Schumann Das Paradies und die Peri

Sir Simon Rattle conductor

Tue 15 Jan 7.30pm THE RITE OF SPRING

Webern Six Pieces Berg Three Fragments from ‘Wozzeck’ Ligeti Mysteries of the Macabre Stravinsky The Rite of Spring

Sir Simon Rattle conductor Supported by LSO Patrons

Sun 18 Jan 7.30pm A TOUCH OF SPAIN

Verdi Overture: The Force of Destiny Prokofiev Piano Concerto No 2 Falla The Three-Cornered Hat Rimsky-Korsakov Capriccio Espagnol

Xian Zhang conductor Valentina Lisitsa piano

020 7638 8891 lso.co.uk

lso.co.uk The Orchestra 11

London Symphony Orchestra On stage

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 The Garrick Charitable Trust 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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HORNS Timothy Jones Andrew Sutton Brendan Thomas Jonathan Lipton Tim Ball

TRUMPETS Philip Cobb Gerald Ruddock Robin Totterdell Christopher Deacon

TROMBONES Dudley Bright Peter Moore James Maynard

BASS TROMBONE Paul Milner

TUBA Patrick Harrild

FIRST VIOLINS Carmine Lauri Leader Tomo Keller Lennox Mackenzie Clare Duckworth Nigel Broadbent Ginette Decuyper Gerald Gregory Jörg Hammann Maxine Kwok-Adams Elizabeth Pigram Claire Parfitt Harriet Rayfield Ian Rhodes Sylvain Vasseur

SECOND VIOLINS Thomas Norris Sarah Quinn Miya Väisänen David Ballesteros Richard Blayden Andrew Pollock Paul Robson David Worswick William Melvin Hazel Mulligan Eleanor Fagg Helen Paterson

VIOLAS Edward Vanderspar Gillianne Haddow Malcolm Johnston German Clavijo Lander Echevarria Anna Green Robert Turner Heather Wallington Jonathan Welch Alistair Scahill

CELLOS Rebecca Gilliver Minat Lyons Jennifer Brown Noel Bradshaw Hilary Jones Amanda Truelove Eve-Marie Caravassilis Orlando Jopling

DOUBLE BASSES Colin Paris Nicholas Worters Patrick Laurence Matthew Gibson Thomas Goodman Jani Pensola

FLUTES Gareth Davies Alex Jakeman Patricia Moynihan

PICCOLO Sharon Williams

OBOES Joseph Sanders Rosie Jenkins

COR ANGLAIS Christine Pendrill

CLARINETS Andrew Marriner Chi-Yu Mo

BASS CLARINET Duncan Gould

CONTRABASS CLARINET David Fuest

BASSOONS Rachel Gough Joost Bosdijk

CONTRA BASSOON Dominic Morgan

TIMPANI Nigel Thomas

PERCUSSION Neil Percy David Jackson Sam Walton Ian Cape Erika Ohman Oliver Yates

HARP Bryn Lewis

PIANO Dave Arch

SYNTHESISER Jeff Leach

CELESTE Clive Williamson

GUITARS John Parricelli Dan Thomas

Gianna Cheung I was absolutely blown away when I came to watch your amazing performance and I’m sure everybody who came and watched any of your performances would agree! I feel blessed that I was able to work on the PLAY workshop alongside such wonderful musicians and people. I can’t thank you enough for encouraging and inspiring me with your guidance and tutelage. on the LSO in Sydney, Australia 25 Nov, and a joint LSO Discovery/Sydney Opera House young musicians project.

@idmacman I may as well gloat about hearing the @londonsymphony now, as I guarantee I’ll be lost for words tonight. on the LSO in Melbourne, Australia 27 Nov

@mashyk_anya HUGE THANK YOU to every single member of the Orchestra for an Unforgettable night. on the LSO in Sydney, Australia 25 Nov

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