Vladimir Jurowski conductsBrahms: Symphonies Nos. 1– 4

Symphony No. 1 in C minor, Op. 68

Side A1 Un poco sostenuto – Allegro2 Andante sostenuto

Side B3 Un poco Allegretto e grazioso4 Adagio – Più andante –

Allegro non troppo, ma con brio

14:5008:11

04:40 16:31

‘You don’t know what it’s like always to hear that giant marching along behind me’, Brahms once wrote to a friend. The giant in question was Beethoven, the composer who at the start of the 19th century had taken the genre of the symphony beyond absolute music and turned it into a powerful expression of the human condition. Beethoven’s symphonies – in particular the Fifth, Seventh and Ninth – made such a deep impression on the composers of succeeding decades that for a while, ironically, they almost seemed to have brought symphonic writing to a halt; so unwilling were composers to allow themselves to be measured against the greatness of Beethoven that they either wrote no symphonies at all, or, if they did, deliberately wrote works that modestly avoided confronting Beethoven on his own mighty terms. Yet if Brahms was as oppressed as the next man, he clearly also felt that one day he would have to throw his hat into the symphonic arena. He was not alone. In 1853 he had met and befriended Schumann, who promptly hailed him in the press as a major talent and made clear his belief that in Brahms he had found someone destined to be the greatest symphonist of the age. Brahms did attempt a symphony around this time, but, ever one of the most self-critical of composers, soon discarded the project. By 1862 he was showing friends the first movement of a new symphony, but he was certainly in no hurry to finish it; despite constant encouragement and increasing public anticipation, he did not complete it until 1876. The premiere of this First Symphony finally took place in Karlsruhe that November.

The ways in which Brahms’s First Symphony shows its debt to Beethoven are not hard to identify. On the most obvious level, many passages in the first and last movements simply sound like Beethoven; one theme in particular – the famous striding main theme that springs forth after the long slow introduction to the finale – drew immediate comment for its resemblance to the ‘Ode to Joy’ theme from Beethoven’s Ninth, to which insight Brahms is said to have replied ‘any fool can hear that!’. More meaningful is the way in which Brahms mimics the typical Beethovenian symphonic journey from darkness to light in the form of an audible triumph against adversity over the course of the four movements. Beethoven’s Fifth is the outstanding model for this, and it is surely no coincidence that Brahms chooses to begin it in the same key of C minor – Beethoven’s most characteristic and dramatic – and to end it, as Beethoven does, in a more optimistic C major.

If the outer movements show Brahms at perhaps his most Beethovenian, however, the two central ones are more typically his. The slow second movement is radiant, rich and song-like, and includes an enchanting oboe melody later heard to even greater effect on solo violin. The mood of this movement may owe something to its equivalent in Schumann’s Fourth Symphony, but in the third movement Brahms is at his most original; where Beethoven would invariably have chosen a vigorously rhythmic, almost aggressive movement of the scherzo type, Brahms writes a movement that is neither fast nor slow, and breathes gentle contentment and joy.

Brahms’s response to descriptions of his First Symphony as ‘Beethoven’s Tenth’ may have been dismissive, but the time and trouble he took over the work suggest that he was fully aware of the historical significance of a debut symphony by a composer who had been declared Beethoven’s artistic heir even before he had produced the evidence. The wait was worth it; in this one work he restored to life a genre that many of his contemporaries had presumed dead.

Symphony No. 2 in D major, Op. 73

Side A1 Allegro non troppo

Side B1 Adagio non troppo2 Allegretto grazioso (Quasi Andantino)3 Allegro con spirito

18:33

09:0004:5417:35

If proof were needed of the rewards of thus confronting life’s obstacles, the Second Symphony provides it. Having taken the best part of two decades to produce a first symphony that seemed to describe its own hard-won victory, Brahms not only composed his next in just a few months over the summer of 1877, but found in it a relaxed, almost pastoral atmosphere that speaks of anything but creative struggle.

The prevailing mood of the work is unmistakably sunny, yet this is far from being the whole story. Unlike the First, it both begins and ends in light, but while Brahms was undoubtedly overstating the case when he told friends that he ‘had never written anything so sad’ and that it would have to be printed ‘on black-edged paper’, his teases are not without justification. The Second is never tragic, but in its first two movements it offers music of profound melancholy, occasionally darkening to the elegiac.

Such feelings are not evident as the Symphony begins, its gentle triple-time and smooth melodic contours seeming to offer a world of unalloyed pastoral contentment, but it is not long before a quiet drum roll and some troubled chords from the trombones and tuba cloud the air; though the sun appears to return, especially in a broad second theme that seems to be related to Brahms’s famous Wiegenlied (or ‘Lullaby’), the mood is never quite the same again. The command of emotional tone is masterful in this movement, but Brahms’s technical control is no less impressive; the three-note figure outlined by the cellos and basses in the very first bar reappears in many guises to become a crucial thematic unifier throughout the work.

The second movement reaches depths of feeling as great as in any of Brahms’s works, its falling theme (announced at the outset by cellos) and rising counter-melody on bassoons setting the mood for an Adagio of rich complexity and sustained passion. There is awe, perhaps even a hint of terror, in the fortissimo outburst towards the end, but the movement has a settled if sombre close.

The trumpets, trombone and tuba fall silent in the Allegretto, and the mood lightens for a rustic serenade in which a sedately piping main theme appears three times, interleaved with faster variations of itself. The finale opens quietly but with barely concealed excitement, and indeed the joy cannot be contained for long, bursting free within twenty bars. Rarely, if ever, did Brahms show such rampant exuberance, yet even here his intellect maintains its grip; the generous theme of the second melody returns late on almost as a chant, albeit one whose syncopations impart an air of expectancy, before it is let loose and transformed again to power the music to a brilliant finish.

Symphony No. 3 in F major, Op. 90

Side A1 Un poco sostenuto – Allegro2 Andante sostenuto

Side B3 Un poco Allegretto e grazioso4 Adagio – Più andante –

Allegro non troppo, ma con brio

13:1008:05

05:50 08:41

By the 1880s Brahms had taken to spending the summer months out of Vienna, and in 1883 his chosen getaway was the southwest German spa town of Wiesbaden, with its fine view of the Rhine valley. The similarity of the opening theme of his Third Symphony to that of Schumann’s Third, the ‘Rhenish’, has often been remarked, and it may be that the great river awoke memories for Brahms of times spent with his early mentor in Düsseldorf, another Rhineland town, 30 years before.

The fact that the first movement is permeated by the three-note sequence F-A-F, identified by one of Brahms’s early biographers as a personal cipher for the words ‘Frei aber froh’ (‘free but happy’), suggests a further level of reminiscence; in 1853 Brahms had contributed a movement to a violin sonata jointly composed with Schumann and Albert Dietrich as a gift for the violinist Joseph Joachim, making use of Joachim’s note-cipher of F-A-E – ‘Frei aber einsam’ (‘free but lonely’).

The F-A-F motto is presented right at the beginning of the piece, in the rising top line of its first three chords, and then forms the bass to the proudly plunging first theme that immediately follows. Those chords have alternated major and minor (by changing the A of the second chord to an A flat), and this agile tonal ambivalence continues to be a feature of the movement, whose demeanour has been aptly described by Malcolm MacDonald as one of ‘irascible exhilaration’. A new theme in A major brings momentary calm, but the mood is soon whipped into a passion again, and when this second theme reappears in the central development section, it is in a whirling, almost macabre minor-key transformation. The main themes are then recapitulated as normal, after which a further portentous restatement of the motto and first theme initiates a toughly worked-out coda. The movement ends, however, in peace.

For Clara Schumann the Andante brought to mind ‘worshippers at a woodland shrine’, but if the opening hymn-like melody carries an immediate suggestion of pastoral music-making, the emotional shadows cast by the repeated notes of a troubled second theme ensure that a deeper philosophical landscape has opened up by the time the movement reaches its end.

For the third movement Brahms provides an eloquent, medium-paced intermezzo instead of the customary scherzo. He had done the same in the First Symphony, but this time the music is more haunting, led off as it is by a yearningly plaintive cello melody, and although a central section injects what seems like some rather forced humour, it soon subsides to a reprise of this first theme melancholically rescored first for horn and then for oboe.

The finale opens in the minor with a stealthy running theme, but this is soon interrupted by a solemn transformation of the repeated-note material from the Andante, followed by a sudden, openly belligerent response from the full orchestra. The movement proceeds to juggle these components in a mood of intense excitability that not even the vain attempts of a smoother second theme can calm, but this is not how the Symphony will end; eventually a muted horn blast ushers in a slowed-down viola version of the running theme, and from here the music winds down, switches to the major, and closes in a gentle reminiscence of the Symphony’s first theme, with the F-A-F motto in attendance.

Symphony No. 4 in E minor, Op. 98

Side A1 Allegro non troppo2 Andante moderato

Side B3 Allegro giocoso4 Allegro energico e passionato

12:5911:30

05:4010:16

In October 1885 the pianist and conductor Hans von Bülow visited rehearsals for Brahms’s Fourth Symphony, and reported to a friend that it was ‘stupendous, quite original, quite new, individual and rock-like. Breathes incomparable energy from start to finish.’ No-one could deny that, though there were those among Brahms’s friends who were initially baffled and disappointed by the work’s unusual nature and form. Bülow, however, had had an insight into its most striking innovation a few years earlier when Brahms showed him a chorus from Bach’s church cantata Nach dir, Herr, verlanget mich (BWV150), consisting of variations over a repeating, rising bass-line. ‘What would you think of a symphonic movement written on this theme one day?’ Brahms had asked. ‘But it is too heavy, too straightforward. It would have to be chromatically altered in some way.’ The result is there to hear – including that chromatic alteration in the form of a prominent sharpening of the fifth note – in the extraordinary passacaglia finale of this symphony, a movement which, by turning to a formal model from Baroque times, finds a new solution to the problem of how to conclude a big and powerful symphonic work.

But it is not just this granitic statement that makes the Fourth one of the greatest of Romantic symphonies. There is the tightly motivic first movement, whose marking of Allegro non troppo is realised not just in the restless poetic beauty of the first theme but in the way that the second theme, a surging, passionate cello melody heralded by brass fanfares, serves to increase the sense of forward motion rather than (as was more customary) relax it. Perhaps for the same reason, there is no repeat of the exposition, though the central development does start out as if it were one with a clear return to the opening theme. By contrast, the moment of recapitulation is disguised, the opening figure being heard slowed down on woodwind amid a cloud of string flourishes, before the first theme resumes its course as if nothing had happened. A substantial and impassioned coda then drives the movement to a stormy finish.

The elegiac and delicately scored Andante moderato gains depth by playing off the emotional distance of a modally inflected main theme against the warmth of a more conventionally major-key second. The reappearance of the latter on full strings in the second half of the movement forms a rich climax, before the music subsides to the sombre mood of the opening.

The third movement, the only one among Brahms’s symphonies to qualify as a scherzo, is taut and vigorous – powerful enough in its material, it has often been said, to form a finale in itself. Interestingly, it was the last of the Symphony’s movements to be composed, which suggests that its terse energy and ebullience (it was not often that Brahms called for a triangle) were precisely calculated to prepare the way for the stern majesty of the finale.

The form and genesis of that finale has already been described, but not its effect. Following the example of Bach’s D minor Chaconne for solo violin (a work Brahms admired greatly), the 30 variations over the eight-note bass-line are shepherded into contrasting sections which give the music a broad emotional contour that prevents it from succumbing to repetitiveness. Indeed, the impression is of implacable momentum and controlled strength, so that by the time the variations have been crowned by a vehement coda, we have witnessed a rare spectacle: a 19th-century symphony that ends convincingly not in triumph, but in tragedy.

Vladimir Jurowski

Principal Conductor and Artistic Advisor,London Philharmonic Orchestra

One of today’s most sought-after conductors, acclaimed worldwide for his incisive musicianship and adventurous artistic commitment, Vladimir Jurowski was born in Moscow in 1972, and completed the first part of his musical studies at the Music College of the Moscow Conservatory. In 1990 he relocated with his family to Germany, continuing his studies at the Musikhochschule of Dresden and Berlin, studying conducting with Rolf Reuter and vocal coaching with Semion Skigin. In 1995 he made his international debut at the Wexford Festival conducting Rimsky-Korsakov’s May Night, and the same year saw his debut at the Royal Opera House Covent Garden with Nabucco.

Vladimir Jurowski was appointed Principal Guest Conductor of the London Philharmonic Orchestra in 2003, becoming the Orchestra’s Principal Conductor in September 2007. He also holds the titles of Principal Artist of the Orchestra of the Age of Enlightenment and Artistic Director of the Russian State Academic Symphony Orchestra. He has also held the positions of First Kapellmeister of the Komische Oper Berlin (1997–2001), Principal Guest Conductor of the Teatro Comunale di Bologna (2000–03), Principal Guest Conductor of the Russian National Orchestra (2005–09) and Music Director of Glyndebourne Festival Opera (2001–13).

Vladimir Jurowski has appeared on the podium with many of the world’s leading orchestras in both Europe and North America, including the Berlin and Vienna Philharmonic Orchestras, the Royal Concertgebouw Orchestra, Philadelphia Orchestra, New York Philharmonic, Cleveland Orchestra, Boston Symphony, Chicago Symphony, Tonhalle Orchester Zurich, Gewandhausorchester Leipzig, and the Staatskapelle Dresden.

Jurowski made his debut at the Metropolitan Opera New York in 1999 with Rigoletto, and has since returned for Jenůfa, The Queen of Spades and Hansel und Gretel. He has conducted Parsifal and Wozzeck at Welsh National Opera, War and Peace at the Opera National de Paris, Eugene Onegin at Teatro alla Scala Milan, Ruslan and Ludmila at the Bolshoi Theatre, and Iolanta and Der Teufel von Loudon at the Dresden Semperoper, as well as The Magic Flute, La Cenerentola, Otello, Macbeth, Falstaff, Tristan und Isolde, Die Meistersinger von Nürnberg, Don Giovanni, The Rake’s Progress, The Cunning Little Vixen, Ariadne auf Naxos and Peter Eötvös’s Love and Other Demons at Glyndebourne Festival Opera.

Jurowski’s discography includes the first ever recording of the cantata Exil by Giya Kancheli for ECM, Meyerbeer’s L’etoile du Nord for Marco Polo, Massenet’s Werther for BMG, and a series of records for PentaTone with the Russian National Orchestra, including Tchaikovsky’s Orchestral Suite No. 3 and Stravinsky’s Divertimento from Le baiser de la fée, Shostakovich’s Symphonies Nos. 1 & 6, Prokofiev’s Symphony No. 5, and Tchaikovsky’s Hamlet Incidental Music. The London Philharmonic Orchestra has released a wide selection of his live recordings on its LPO Label, including the complete symphonies of Brahms, Mahler’s Symphony No. 2, Rachmaninoff’s Symphonic Dances, Tchaikovsky’s Symphonies Nos. 1, 4, 5, 6 and Manfred, and works by Turnage, Holst, Britten, Shostakovich, Honegger and Haydn. Most recent releases have included Zemlinsky’s A Florentine Tragedy, and an album of orchestral works by the Orchestra’s former Composer in Residence, Julian Anderson.

Jurowski’s tenure as Music Director at Glyndebourne has been documented in CD releases of La Cenerentola, Tristan und Isolde and Prokofiev’s Betrothal in a Monastery, and DVD releases of his performances of Ariadne auf Naxos, La Cenerentola, Gianni Schicchi, Die Fledermaus, Die Meistersinger von Nürnberg, Don Giovanni, and Rachmaninoff’s The Miserly Knight. Other DVD releases include Hansel und Gretel from the Metropolitan Opera New York, his first concert as the London Philharmonic Orchestra’s Principal Conductor featuring works by Wagner, Berg and Mahler, and DVDs with the Orchestra of the Age of Enlightenment (Beethoven’s Symphonies Nos. 4 and 7) and the Chamber Orchestra of Europe (Strauss and Ravel), all released by Medici Arts.

Vladimir Jurowski’s position as Principal Conductor and Artistic Advisor of the London Philharmonic Orchestra is generously supported by the Tsukanov Family Foundation and one anonymous donor.

London Philharmonic Orchestra Recognised today as one of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with a reputation as one of the UK’s most forward-looking ensembles. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, releases CDs on its own record label, and reaches thousands of people every year through activities for families, schools and community groups.

The Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the world’s greatest conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is currently the Orchestra’s Principal Conductor and Artistic Advisor, appointed in 2007. From September 2015 Andrés Orozco-Estrada will take up the position of Principal Guest Conductor. Magnus Lindberg becomes the Orchestra’s Composer in Residence from September 2014.

The Orchestra is based at Southbank Centre’s Royal Festival Hall in London, where it has performed since the Hall’s opening in 1951 and been Resident Orchestra since 1992. It gives around 40 concerts there each season with many of the world’s top conductors and soloists. Throughout 2013 the Orchestra collaborated with Southbank Centre on the year-long The Rest Is Noise festival, charting the influential works of the 20th century, for which it won the 2013 Royal Philharmonic Society Music Award for Ensemble.

Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Each summer the Orchestra takes up its annual residency at Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra. Touring remains a large part of the Orchestra’s life: it has made numerous tours to America, Europe and Japan, and visited India, Hong Kong, China, South Korea, Australia, South Africa and Abu Dhabi.

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 80 releases available on CD and to download.

In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics.

The London Philharmonic Orchestra is committed to inspiring the next generation of musicians through an energetic programme of activities for young people. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the Young Composers project; and the Foyle Future Firsts orchestral training programme for outstanding young players. Its work at the forefront of digital engagement and social media has enabled the Orchestra to reach even more people worldwide: all its recordings are available to download from iTunes and, as well as a YouTube channel and regular podcast series, the Orchestra has a lively presence on Facebook and Twitter.

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Johannes Brahms (1833–97)

Symphony No. 1 in C minor, Op. 68

Recorded live at Southbank Centre’s Royal Festival Hall, London, on 25 May 2008Producer: Andrew Walton – K&A ProductionsEngineer: Phil Rowlands© 2014 London Philharmonic Orchestra Ltd ℗ 2010 London Philharmonic Orchestra Ltd

Symphony No. 2 in D major, Op. 73

Recorded live at Southbank Centre’s Royal Festival Hall, London, on 27 September 2008Producer: Andrew Walton – K&A ProductionsEngineer: Andrew Lang – K&A Productions© 2014 London Philharmonic Orchestra Ltd℗ 2010 London Philharmonic Orchestra Ltd

Symphony No. 3 in F major, Op. 90

Recorded live at Southbank Centre’s Royal Festival Hall, London, on 27 October 2010Producer: Andrew Walton – K&A ProductionsEngineer: Mike Clements © 2014 London Philharmonic Orchestra Ltd℗ 2014 London Philharmonic Orchestra Ltd

Symphony No. 4 in E minor, Op. 98

Recorded live at Southbank Centre’s Royal Festival Hall, London, on 28 May 2011Producer: Andrew Walton – K&A ProductionsEngineer: Andrew Lang – K&A Productions© 2014 London Philharmonic Orchestra Ltd℗ 2014 London Philharmonic Orchestra Ltd

Vladimir Jurowski conductorLondon Philharmonic OrchestraPieter Schoeman leader

First violins

Pieter Schoeman1/2/3/4 Vesselin Gellev1/2/3 Julia Rumley3 Katalin Varnagy1/2/3/4 Catherine Craig1/2/3/4 Thomas Eisner1/2/3 Tina Gruenberg1/2/3 Martin Höhmann1/2/3/4 John Kitchen1 Geoffrey Lynn1/2/3 Robert Pool1/2/3/4 Sarah Streatfeild1/2/3/4 Yang Zhang1/2/3/4 Ishani Bhoola4 Joanne Chen4 Caroline Frenkel4 Katerina Mitchell4 Peter Nall1/2 Alain Petitclerc4 Alina Petrenko2/4 Rebecca Shorrock2/4 Caroline Simms4 Midori Sugiyama1 Galina Tanney2/4 Toby Tramaseur2

Second violins

Clare Duckworth1/2/3/4 Helena Wood2 Jeongmin Kim2/3 Joseph Maher1/2/3/4

Kate Birchall1/2/3/4

Nancy Elan1/2/3/4

Fiona Higham1/2/3/4

Marie-Anne Mairesse1/2/3

Nynke Hijlkema1/2/4

Ashley Stevens1/2/3/4

Andrew Thurgood1/2/4

Naomi Anner4

Heather Badke2/3

Elizabeth Baldey4

Stephen Dinwoodie4

Peter Graham1/2/3/4

Sheila Law4

Mila Mustakova4

Charles Nolan1/2

Stephen Stewart1/4

Alison Strange2

Sioni Williams1/3

Dean Williamson1/2/3

Imogen Williamson4

Violas

Alexander Zemtsov1/2/3

Fiona Winning4

Robert Duncan1/2/3/4

Katharine Leek2/3

Susanne Martens1/2/3/4

Benedetto Pollani1/2/3/4

Emmanuella Reiter2/3/4

Laura Vallejo1/2/4

Michelle Bruil4Rebecca Carrington4

Claudio Cavalletti2

Daniel Cornford1/3

Miranda Davis2/3/4

Miriam Eisele2

Martin Fenn1/2

Gwendolyn Fisher1

Amy Greenhalgh1

Ingars Gurnis2

Naomi Holt1/2/4

Sarah Malcolm1/2/4

Karin Norlen4

Isabel Pereira3

Alistair Scahill1/3

Cellos

Kristina Blaumane2/3/4 Rachel Helleur1

Susanne Beer2/4

Francis Bucknall1/2/3/4

Laura Donoghue1/2/3/4

Jonathan Ayling1/2/3/4

Santiago Carvalho1/2/3/4

Gregory Walmsley1/2/3/4

Sue Sutherley1/2/3/4

Susanna Riddell1/2/3/4

Rosie Banks4

Emma Black2

David Bucknall3

Andrew Joyce1

Helen Rathbone2

Tom Roff 1/2/3/4

Tae Mi Song4

Double basses

Kevin Rundell1/2/3/4

Paul Kimber1

Tim Gibbs3/4 Laurence Lovelle1/2/3/4

George Peniston1/2/3/4

Richard Lewis1/2/4

Kenneth Goode1/2

Louis Garson3/4

Jeremy Gordon2

David Johnson1/2

Kenneth Knussen1/2/4

Roger Linley2

Joe Melvin3

Helen Rowlands2/3/4

Damián Rubido González4

Tom Walley3/4

Flutes

Jaime Martín1/3/4

Sue Thomas2/4

Stewart McIlwham2/3

Nicolas Bricht1

Evgeny Brokmiller2

Ian Mullin4

Jane Spiers2/4

Piccolo

Stewart McIlwham4

Oboes

Ian Hardwick1/2/3/4

Angela Tennick1/2/3/4

Sue Böhling2/4

William Oinn4

Helen Scarborough2

Clarinets

Robert Hill1/4

Nicholas Carpenter1/2/3

Paul Richards2

Katie Lockhart2/4

Andrew Mason4

Emily Meredith2/3

Steve Morris4

Bassoons

John Price1/2/4

Gareth Newman1/2/3/4

Simon Estell4

Christopher Cooper2

Susanna Dias4

Emma Harding2

Graham Hobbs4

Stuart Russell3

Contrabassoon

Simon Estell1/3/4

Horns

John Ryan1/4

Richard Bissill1/2

Abel Pereira3

Martin Hobbs1/2/3/4

Gareth Mollison1/2/3/4 Timothy Ball3

Marcus Bates3

Neil Shewan1/2

Adrian Uren2/4

Nicolas Wolmark4

Trumpets

Paul Beniston1/2/4

Anne McAneney1/2/3

Nicholas Betts3/4

Daniel Newell4

Trombones

Mark Templeton1/2/3

David Whitehouse1/2/3/4

Robert Workman4

Bass trombones

Lyndon Meredith2/3/4

David Vines1

Tuba

Lee Tsarmaklis2

Timpani

Simon Carrington1/2/3/4

Percussion

Andrew Barclay4

LPO–LP906

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