26 September programme - London Symphony Orchestra

Valery Gergiev © Gautier Deblonde
London Symphony Orchestra
Living Music
Resident at the Barbican
Roman Simovic leader
Sunday 26 September 2010 7.30pm
Barbican Hall
Rodion Shchedrin Concerto for Orchestra No 1 (‘Naughty Limericks’)
Strauss Duett-Concertino for Clarinet and Bassoon
INTERVAL
Mahler Symphony No 5
Valery Gergiev conductor
Andrew Marriner clarinet
Rachel Gough bassoon
Concert ends approx 9.45pm
The Lord Mayor’s Concert
Tonight’s performance of Mahler 5 is being recorded by LSO Live

Welcome From The Lord Mayor
Welcome to the second of the LSO’s opening concerts of
the 2010/11 season, conducted by the Orchestra’s Principal
Conductor Valery Gergiev.
As many of you will know, the LSO and the Cricket Foundation are
the principal beneficiary charities of the 2010 Lord Mayor’s Appeal.
I am delighted to welcome The Lord Mayor, Alderman Nick Anstee,
to tonight’s concert; on behalf of everyone at the LSO, I would like to
thank him for proposing that music and cricket could come together
in this way to benefit young people. Turn to page 12 to read more
about what the appeal has achieved over the last 12 months – and
don’t forget, there’s still time to donate!
Tonight’s concert continues Valery Gergiev’s survey of the works
of his compatriot, Rodion Shchedrin. We are honoured that Rodion
Shchedrin is with us tonight and look forward to discovering more of
his music later this season.
Tonight, two of the Orchestra’s long-standing members, Principal
Clarinet Andrew Marriner and Principal Bassoon Rachel Gough, take
centre stage in Richard Strauss’s charming Duett-Concertino.
After the interval, the Orchestra performs Mahler’s Fifth Symphony,
marking the start of a season in which the LSO and Valery Gergiev will
perform Mahler symphonies world-wide.
Kathryn McDowell
LSO Managing Director
It is a pleasure to welcome you all to the Lord Mayor’s annual
concert with the LSO, the Orchestra of the City. The City of London
Corporation is proud to support this world class ensemble in
its residency at the Barbican and also recognises its role as an
international ambassador for the City.
This year I have chosen LSO Discovery’s On Track programme as one
of the principal beneficiaries of my charitable Appeal, Pitch Perfect.
Together with the Cricket Foundation’s StreetChance programme,
Pitch Perfect aims to generate significant funds to bring musical
and cricketing opportunities into schools and their communities in
London’s most challenging boroughs. You will find a brochure on
your seats tonight which explains more fully the work of these two
wonderful organisations that are working to reach 75,000 children
over the next five years.
I wish you a very enjoyable evening and if the music touches you
tonight, please consider supporting the musicians of the future
through Pitch Perfect.
Nick Anstee
Lord Mayor of the City of London
Rodion Shchedrin (b 1932)
Concerto for Orchestra No 1 (‘Naughty Limericks’) (1963)
Shchedrin is one of very few composers for whom the concerto for
orchestra has been more than a one-off event. Some, such as the
Italian Goffredo Petrassi, who composed eight examples between the
1930s and 1970s, have followed Hindemith’s cue, producing frankly
recreational music, designed primarily to show off the qualities of
the modern orchestra. Others, such as Shchedrin’s compatriot and
near-contemporary Alfred Schnittke, have preferred the closely related
genre of concerto grosso, deriving inspiration principally from the
fusion of old and new styles.
In Shchedrin’s five concertos for orchestra to date, there is a bit of
both those trends. Each work carries a subtitle referring to an aspect
of traditional Russian culture, and at the same time each showcases
the possibilities of the contemporary orchestra. The first was
composed in 1963 and premiered that year at the Warsaw Autumn
Festival under Gennady Rozhdestvensky. Soon taken up in the United
States by Bernstein, it has gone on to become one of Shchedrin’s
most widely heard scores.
Replete with witty musical tricks, including honky-tonk piano and a
naughty-boy final cadence, this eight-minute tour de force is a riot
of colourful incident – something like Malcolm Arnold crossed with
Charles Ives, perhaps, with nods to Copland, Penderecki and western
pop along the way. Pre-empting any attempts at more sophisticated
analysis, Shchedrin has summed up the form as ‘like many variations
on many themes’.
The subtitle ‘Naughty Limericks’ points to roots in folk culture, as if to
remind Soviet authorities that subversiveness and high spirits could
in fact be politically correct. In fact ‘Limericks’ is a loose rendition
of the untranslatable Russian chastushki, which denotes animated,
humorous village songs, sometimes with indecent texts and often
improvised around only a few notes. This was a 20th-century genre
rather than one with a long history, and as the composer later
stressed, ‘even hallowed names such as Marx, Lenin and Stalin
could be sent up in the chastushka’. Had the political climate of the
1960s allowed it, he would have chosen the adjective rugatel’nïye
(‘indecent’) rather than ozornïye (literally ‘mischievous’), or so he
claimed.
In this modern reincarnation of the chastushka it is as though, inspired
by the sensational return visit of Stravinsky to his homeland the
previous year, Shchedrin was imagining what the Stravinsky of the
1910s might have gone on to compose had he never emigrated, and
had he not deflected from his Russian roots into cool, cosmopolitan
neoclassicism.
Programme note and profile © David Fanning
David Fanning is Professor of Music at the University of Manchester.
He is an expert on Shostakovich, Nielsen and Soviet music. He is also
a reviewer for the Daily Telegraph, Gramophone Magazine and
BBC Radio 3.
I still today continue to be convinced that
the decisive factor for each composition is
intuition. As soon as composers relinquish
their trust in this intuition and rely in its
place on musical ‘religions’ such as serialism,
aleatoric composition, minimalism or
other methods, things become problematic.
Rodion Shchedrin
Music’s better shared!
There’s never been a better time to bring your friends to an LSO
concert. Groups of 10+ receive a 20% discount on all tickets, plus a
host of additional benefits. Call the dedicated Group Booking line on
020 7382 7211, visit lso.co.uk/groups, or email
groups@barbican.org.uk.
The LSO is delighted to welcome the following group tonight:
Inscape Study Tours
2 Welcome
Kathryn McDowell © Camilla Panufnik Programme Notes 3

Rodion Shchedrin & Valery Gergiev
Russian Compatriots
Rodion Shchedrin
Valery Gergiev
1945–50
Joined the
Moscow
Choral School
16 Dec 1932
Born, Moscow
1950–55
Trained at
the Moscow
Conservatory
1958
Married
ballerina Maya
Plisetskaya
2 May 1953
Born, Moscow
Valery Gergiev’s Rodion Shchedrin
1960
The Little
Humpbacked
Horse, Moscow
1961
Not only love,
Moscow
1963
Naughty Limericks,
Warsaw
Fri 19 Nov 2010 Piano Concerto No 4 (‘Sharp Keys’) with Olli Mustonen
Wed 23 & Thu 24 Mar 2011 Lithuanian Saga
1964–69
Professor of Composition,
Moscow Conservatory
1967
Carmen Suite,
Moscow
1968
The Chimes,
New York
1969
Becomes freelance
composer
1968
Refused to sign open
letter sanctioning the
invasion of Warsaw Pact
troops in Czechoslovakia
1972
Anna Karenina,
Moscow
1973
Succeeds Shostakovich
as President of the Union
of Composers of the
Russian Federation
1972
Receives the USSR
State Prize
1960 1970 1980 1990 2000
1972–77
Trained at the Leningrad
Conservatory
1977
Dead Souls,
Moscow
1976
Wins Herbert von Karajan
Conducting Competition,
Berlin
1977
Appointed Assistant
Conductor to Kirov
Opera
1978
Kirov debut
– War and
Peace
1981–85
Appointed Chief
Conductor of the
Armenian Philharmonic
Orchestra
1989
Khorovody,
Tokyo
1985
Honorary member of the
International Music Council
1983
Honorary member of the
Academy of Fine Arts, GDR
1984
Receives the Lenin Prize
4 Programme Notes Programme Notes 5
1985
UK debut at the
Lichfi eld Festival
1988
The Sealed
Angel,
Moscow
1988
LSO debut
1989
Member of Berlin
Arts Academy
1988
Appointed Chief
Conductor and
Artistic Director
of the Mariinsky
Theatre
1990
Old Russian Circus
Music, Chicago
1991
USA debut with
War and Peace
1994
Lolita, Stockholm;
Sotto voce Concerto,
London;
Trumpet Concerto,
Pittsburgh
1993
Receives Dmitri
Shostakovich Prize
1998
Four Russian Songs,
London
1997
Honorary Professor,
Moscow Conservatory
1997
Receives Dmitri
Shostakovich Prize
1998
Fifth Piano Concerto,
Los Angeles
1999
Marries Natalya Debisova
1995–2008
Appointed Principal Conductor
of the Rotterdam Philharmonic
Orchestra
1996
Russian government appoints
him overall Director of the
Mariinsky Theatre
1997
Appointed Principal Guest
Conductor of the Metropolitan
Opera, New York
2002
Dialogues with
Shostakovich,
Pittsburgh
2003
Sixth Piano Concerto,
Amsterdam
2002
Order for Service to
the Russian State:
Third Degree
2005
2008
Honorary Professor, Honorary Professor,
St Petersburg State Central Conservatory
Conservatory of Music, Beijing
2003
UNESCO Artist for Peace
2003
Order for Service to the
Russian State: Third Degree
2003
First performance
of Wagner’s Ring in
Russia for 90 years
2006
Boyarina Morozova,
Moscow
2007
Order for Service to
the Russian State:
Fourth Degree
2006
Opens the new
Mariinsky Concert
Hall
2008
Order for Service to
the Russian State:
Fourth Degree
2004
2007
Second appearance Takes Mariinsky
with the LSO Wagner’s Ring to
New York
2005
Appointed 15th Principal
Conductor of the LSO
(fi rst offi cial concert
23 Jan 07)
2010
Named one of the 100 Most
Infl uential People in the World
by Time magazine

Rodion Shchedrin
The Man
The generation of Soviet composers after Shostakovich produced
charismatic and exotic figures such as Galina Ustvolskaya, Alfred
Schnittke and Sofiya Gubaydulina, whose music was initially
controversial but then gained cult status. At the other end of the
stylistic spectrum it featured highly gifted craftsmen such as Boris
Tishchenko, Boris Chaykovsky and Mieczysław Weinberg, all of whom
worked more or less within the parameters laid down by Shostakovich
and were highly respected in their heyday but gradually fell from
favour.
Somewhere in between we can locate Rodion Shchedrin – an
individualist with a broader and more consistent appeal, who could
turn himself chameleon-like to virtuoso pranks or to profound
philosophical reflection, to Socialist Realist opera or to folkloristic
concertos for orchestra (a particular speciality), to technically solid
preludes and fugues, to jazz, and, when he chose, even to twelve-note
constructivism.
Trained at Moscow Conservatoire in the 1950s, as a composer under
Yuri Shaporin and as a pianist under Yakov Flier, in the early
years of the Post-Stalinist Thaw Shchedrin was one of
the first to speak out against the constraints of
musical life in the Soviet Union. He went on to play
a significant administrative role in the country’s
musical life, heading the Russian Union of Composers
from 1973 to 1990. Married since 1958 to the star
Soviet ballerina Maya Plisetskaya, he established a
significant power-base from which he was able to promote
not only his own music but also that of others – such as
Schnittke, whose notorious First Symphony received its
sensational premiere only thanks to Shchedrin’s support.
An unashamed eclectic, and suspicious of dogma from
either the arch-modernist or arch-traditionalist wings of
Soviet music, Shchedrin occupied a not always comfortable
position, both in his pronouncements and in his creative
work. With one foot in the national-traditional camp and the
other in that of the internationalist-progressives, he was
tagged with the unkind but not unfair label of the USSR’s
6 Programme Notes
‘official modernist’. From 1992 he established a second
home in Munich, but he still enjoyed official favour in post-Soviet
Russia, adding steadily to his already impressive roster of prizes.
Shchedrin has summed up his artistic credo as follows: ‘I continue
to be convinced that the decisive factor for each composition
is intuition. As soon as composers relinquish their trust in this
intuition and rely in its place on musical ‘religions’ such as serialism,
aleatoric composition, minimalism or other methods, things become
problematic.’
Rodion Shchedrin © www.lebrecht.co.uk
Richard Strauss (1864–1949)
Duett-Concertino for Clarinet, Bassoon, Strings and Harp (1947)
Allegro moderato –
Andante –
Rondo: allegro non troppo
Andrew Marriner clarinet
Rachel Gough bassoon
Strauss’s last work for orchestra is a lovely example of the serene and
apparently effortless creativity characteristic of the ‘Indian Summer’
of his 80s. In exile in Switzerland – life in Germany in the first years
after the end of the war was very difficult for him – he wrote the
Duett-Concertino for the chamber orchestra of the Italian-Swiss Radio
in Lugano, where it was first performed in April 1948. The soloists on
that occasion were the principal clarinet and bassoon of the Swiss
ensemble, although the score is actually dedicated to
Hugo Burghauser, a Vienna Philharmonic bassoonist who had
emigrated to New York. Writing to Burghauser with the dedication,
Strauss revealed that there is a story behind the work: a dancing
princess is alarmed by the grotesque attentions of a bear who
however, when she dances with him, turns out to be a prince.
‘So you too, Burghauser,’ the composer added, ‘become a prince
at last and everything ends happily.’
Constructed in three movements performed without a break, the
Concertino makes complete musical sense without reference to any
beauty-and-the-beast kind of scenario – not least because it is so
firmly held together by the little five-note flourish introduced by a
sextet of solo strings in the opening bars. Even so, since the storyline
is so clearly and at the same time so poetically presented, it is
tempting to follow the interaction of the two principal characters
through at least the first two movements. After the string sextet
introduction with the all-important five-note flourish, the clarinetprincess
makes a beautifully poised entry on an exquisitely supple
line. The bassoon-bear on its first appearance, though far from
beastly, is certainly gruff enough to cause alarm, as is clear from the
distressed gestures of the clarinet and the agitation of the strings.
The bassoon is not lacking in plaintive eloquence, however, and the
following exchanges, while by no means amorous, are animatedly
conversational. This episode ends with the clarinet recalling its first
melody, now doubled by a solo violin, while the bassoon adds its
comments below.
If there is a moment when the bear is transformed into a prince, it is
in the transition to the second movement, where the magical sounds
of high tremolando strings and splashing harp precede one of the
most expressive soliloquies ever written for bassoon. The clarinet
cannot resist it, first adding a pretty counterpoint then joining in close
harmony before the two soloists swap cadenzas and decide that the
five-note flourish (which has never been absent for very long) will be
the thematic basis of their life together in the next movement.
That theme, re-introduced upside down by the bassoon and the right
way up by the clarinet, is the thread that guides the ear through the
maze-like design of the finale. Amid all the sparkling repartee, the
constant variations on the main theme and the allusions to earlier
movements, there are two particularly significant events – the entry
of a new, lyrical melody introduced by the clarinet and bassoon in
unison and a recall of the same melody now rapturously supported
by violins – which both give the movement a clear shape, and confirm
the compatibility of the two protagonists.
Programme note © Gerald Larner
While specialising in French music, Gerald Larner writes extensively
on most areas of the repertoire. He has been appointed Officier dans
l’Ordre des Arts et des Lettres by the French government.
When you work with somebody for years you
like to think you can second guess them.
But there will always be surprises, and that is
what makes music come to life.
Rachel Gough on working with
Andrew Marriner
Programme Notes
7

Gustav Mahler (1860–1911)
Symphony No 5 (1901–2)
Part I
Funeral March: In gemessenem Schritt. Streng. Wie ein Kondukt. [With
measured tread. Strict. Like a procession]
Sturmisch bewegt. Mit grösster Vehemenz [Stormy. With utmost
vehemence]
Part II
Scherzo: Kräftig, nicht zu schnell. [Vigorous, not too fast]
Part III
Adagietto: Sehr langsam [Very slow]
Rondo-Finale: Allegro
Mahler began his Fifth Symphony in 1901. This had been a turbulent
year: in February, after a near-fatal haemorrhage, Mahler had resigned
as conductor of the Vienna Philharmonic Orchestra; at about the
same time he met his future wife, Alma Schindler, and fell passionately
in love. All this seems to have left its mark on the Fifth Symphony’s
character and musical argument. But as Mahler was at pains to
point out, that doesn’t ultimately give us the ‘meaning’ of the Fifth
Symphony. For that one has to look directly at the music. The first
movement is a grim Funeral March, opening with a trumpet fanfare,
quiet at first but growing menacingly. At its height, the full orchestra
thunders in with an unmistakable funereal tread. Shuddering string
trills and deep, rasping horn notes evoke death in full grotesque pomp.
Then comes a more intriguing pointer: the quieter march theme that
follows is clearly related to Mahler’s song ‘Der Tambourg’sell’ (‘The
Drummer Lad’), which tells of a pitiful young deserter facing execution
– no more grandeur, just pity and desolation.
Broadly speaking, the second movement is an urgent, sometimes
painful struggle. The shrill three-note woodwind figure near the
start comes to embody the idea of striving. Several times aspiration
falls back into sad rumination. At last the striving culminates in a
radiant brass hymn tune, with ecstatic interjections from the rest
of the orchestra. Is the answer to death to be found in religious
consolation? But the affirmation is unstable, and the movement
quickly fades into darkness.
Now comes a surprise. The Scherzo bursts onto the scene with a
wildly elated horn fanfare. The character is unmistakably Viennese
– a kind of frenetic waltz. But the change of mood has baffled some
writers: the Fifth Symphony has even been labelled ‘schizophrenic’.
Actually ‘manic depressive’ might be more appropriate. Many
psychologists now believe that the over-elated manic phase
represents a deliberate mental flight from unbearable thoughts or
situations, and certainly there are parts of this movement where the
gaiety sounds forced, even downright crazy. Mahler himself wondered
what people would say ‘to this primeval music, this foaming, roaring,
raging sea of sound?’ Still Mahler cunningly bases the germinal
opening horn fanfare on the three-note ‘striving’ figure from the
second movement: musically the seeming disunity is only skin-deep.
Now comes the famous Adagietto, for strings and harp alone, and
another profound change of mood. Mahler, the great Lieder composer,
clearly intended this movement as a kind of wordless love-song to
his future wife, Alma. Here he quotes from one of his greatest songs,
‘Ich bin der Welt abhanden gekommen’ (‘I am lost to the world’) from
his Rückert Lieder. The poem ends with the phrase ‘I live alone in my
heaven, in my love, in my song’; Mahler quotes the violin phrase that
accompanies ‘in my love, in my song’ at the very end of the Adagietto.
This invocation of human love and song provides the true turning
point in the Fifth Symphony. The finale is a vigorous, joyous
contrapuntal display – genuine joy this time. Even motifs from the
Adagietto are drawn into the bustling textures. Finally, after a long
and exciting build-up, the second movement’s brass chorale returns
in full splendour, now firmly anchored in D major, the symphony’s
home key. The triumph of faith, hope and love? Not everyone finds
this ending convincing; Alma Mahler had her doubts from the
very beginning. But one can hear it either as a ringing affirmation
or strained triumphalism and it still stirs. For all his apparent lateromanticism,
Mahler was also a very modern composer: even in his
most positive statements there is room for doubt.
Programme note © Stephen Johnson
Stephen Johnson contributes regularly to BBC Music Magazine and
The Guardian, and broadcasts for BBC Radio 3 (BBC Legends and
Discovering Music), Radio 4 and the World Service.
Richard Strauss (1864–1949)
Composer Profile
Richard Strauss was born in Munich in 1864, the son of Franz Strauss,
a brilliant horn player in the Munich court orchestra; it is therefore
perhaps not surprising that some of the composer’s most striking
writing is for the French horn. Strauss had his first piano lessons when
he was four, and he produced his first composition two years later, but
surprisingly he did not attend a music academy; his formal education
ending rather at Munich University where he studied philosophy and
aesthetics, continuing with his musical training at the same time.
Following the first public performances of his work, he received a
commission from Hans von Bülow in 1882 and two years later was
appointed Bülow’s Assistant Musical Director at the Meiningen Court
Orchestra, the beginning of a career in which Strauss was to conduct
many of the world’s great orchestras, in addition to holding positions
at opera houses in Munich, Weimar, Berlin and Vienna. While at
Munich, he married the singer Pauline de Ahna, for whom he wrote
many of his greatest songs.
Strauss’s legacy is to be found in his operas and his magnificent
symphonic poems. Scores such as Till Eulenspiegel, Also sprach
Zarathustra, Don Juan and Ein Heldenleben demonstrate his supreme
mastery of orchestration; the thoroughly modern operas Salome and
Elektra, with their Freudian themes and atonal scoring, are landmarks
in the development of 20th -century music, and the neo-Classical
Der Rosen kavalier has become one of the most popular operas
of the century. Strauss spent his last years in self-imposed exile in
Switzerland, waiting to be officially cleared of complicity in the Nazi
regime. He died at Garmisch Partenkirchen in 1949, shortly after his
widely celebrated 85th birthday.
Gustav Mahler (1860–1911)
Composer Profile
Gustav Mahler’s early experiences of music were influenced by the
military bands and folk singers who passed by his father’s inn in the
small town of Iglau. Besides learning many of their tunes, he also
received formal piano lessons from local musicians and gave his first
recital in 1870. Five years later, he applied for a place at the Vienna
Conservatory where he studied piano, harmony and composition.
After graduation, Mahler supported himself by teaching music and
also completed his first important composition, Das klagende Lied.
He accepted a succession of conducting posts in Kassel, Prague,
Leipzig and Budapest; and the Hamburg State Theatre, where he
served as First Conductor from 1891–97. For the next ten years,
Mahler was Resident Conductor and then Director of the prestigious
Vienna Hofoper.
The demands of both opera conducting and administration
meant that Mahler could only devote the summer months to
composition. Working in the Austrian countryside he completed nine
symphonies, richly Romantic in idiom, often monumental in scale and
extraordinarily eclectic in their range of musical references and styles.
He also composed a series of eloquent, often poignant songs, many
themes from which were reworked in his symphonic scores.
An anti-Semitic campaign against Mahler in the Viennese press
threatened his position at the Hofoper, and in 1907 he accepted an
invitation to become Principal Conductor of the Metropolitan Opera
and later the New York Philharmonic. In 1911 he contracted a bacterial
infection and returned to Vienna. When he died a few months
before his 51st birthday, Mahler had just completed part of his Tenth
Symphony and was still working on sketches for other movements.
Composer Profiles © Andrew Stewart
8 Programme Notes Programme Notes 9

Valery Gergiev
Conductor
Principal Conductor of the London Symphony
Orchestra since January 2007, Valery Gergiev
performs regularly with the LSO at the
Barbican, at the Proms and at the Edinburgh
Festival, as well as regular tours of Europe,
North America and Asia. During the 2010/11
season he will lead them in appearances in
Germany, France, Switzerland, Japan and
the USA.
Valery Gergiev is Artistic and General
Director of the Mariinsky Theatre, founder
and Artistic Director of the Stars of the
White Nights Festival and New Horizons
Festival in St Petersburg, the Moscow Easter
Festival, the Gergiev Rotterdam Festival, the
Mikkeli International Festival, and the Red
Sea Festival in Eilat, Israel. He succeeded
Sir Georg Solti as conductor of the World
Orchestra for Peace in 1998 and leads them
this season in concerts in Abu Dhabi.
His inspired leadership of the Mariinsky
Theatre since 1988 has taken the Mariinsky
ensembles to 45 countries and has brought
universal acclaim to this legendary institution,
now in its 227th season. Having opened a
new concert hall in St Petersburg in 2006,
Maestro Gergiev looks forward to the opening
of the new Mariinsky Opera House in the
summer of 2012.
Born in Moscow, Valery Gergiev studied
conducting with Ilya Musin at the Leningrad
Conservatory. Aged 24 he won the Herbert
von Karajan Conductors’ Competition in
Berlin and made his Mariinsky Opera debut
one year later in 1978 conducting Prokofiev’s
War and Peace. In 2003 he led St Petersburg’s
300th anniversary celebrations, and opened
the Carnegie Hall season with the Mariinsky
Orchestra, the first Russian conductor to do
so since Tchaikovsky conducted the Hall’s
inaugural concert in 1891.
Now a regular figure in all the world’s major
concert halls, he will lead the LSO and
the Mariinsky Orchestra in a symphonic
Centennial Mahler Cycle in New York in the
2010/11 season. He has led several cycles in
New York including Shostakovich, Stravinsky,
Prokofiev, Berlioz and Richard Wagner’s Ring.
He has also introduced audiences to several
rarely-performed Russian operas.
Valery Gergiev’s many awards include a
Grammy, the Dmitri Shostakovich Award,
the Golden Mask Award, People’s Artist of
Russia Award, the World Economic Forum’s
Crystal Award, Sweden’s Polar Music Prize,
Netherlands’s Knight of the Order of the Dutch
Lion, Japan’s Order of the Rising Sun, Valencia’s
Silver Medal, the Herbert von Karajan prize and
France’s Royal Order of the Legion of Honour.
He has recorded exclusively for Decca
(Universal Classics), and appears also on
the Philips and Deutsche Grammophon
labels. Currently recording for LSO Live, his
releases include Mahler Symphonies Nos
1, 2, 3, 4, 6, 7 and 8, Rachmaninov Symphony
No 2, Prokofiev Romeo and Juliet and
Bartók Bluebeard’s Castle. His recordings
on the newly formed Mariinsky Label are
Shostakovich The Nose and Symphonies Nos
1, 2, 11 & 15, Tchaikovsky’s 1812 Overture,
Rachmaninov Piano Concerto No 3 and
Rhapsody on a Theme of Paganini, Shchedrin
The Enchanted Wanderer, Stravinsky Les
Noces and Oedipus Rex, many of which
have won awards including four Grammy
nominations. The most recent release is
Wagner Parsifal (September 2010), featuring
René Pape and Gary Lehman.
Valery Gergiev conducts
Fri 19 Nov 2010 7.30pm
Rodion Shchedrin Piano Concerto No 4
(‘Sharp Keys’) with Olli Mustonen piano
Mahler Symphony No 1 (‘Titan’)
Tue 18 & Sun 23 Jan 2011 7.30pm
Shostakovich Violin Concerto No 2
with Sergey Khachatryan violin
Tchaikovsky Symphony No 1 (‘Winter
Daydreams’)
Wed 2 & Thu 3 Mar 2011 7.30pm
Mahler Symphony No 9
Tickets from £8
lso.co.uk (£1.50 bkg fee per transaction)
020 7638 8891 (£2.50 bkg fee per transaction)
Andrew Marriner
Clarinet
Andrew Marriner became Principal Clarinet of the London Symphony
Orchestra in 1986, following in the footsteps of the late Jack Brymer.
During his orchestral career he has also maintained his place on the
worldwide solo and chamber music platform.
His musical career began at the age of seven when he was a boy
chorister at King’s College, Cambridge. Joining the National Youth
Orchestra in 1968 he studied briefly at Oxford University and then
extensively in Hannover, Germany with Hans Deinzer.
As a soloist he has performed in collaboration with Leonard Bernstein,
Sir Colin Davis, Richard Hickox, Antonio Pappano, André Previn,
Mstislav Rostropovich, Michael Tilson Thomas and his father,
Sir Neville Marriner. He has given world premieres of concertos written
for him by Robin Holloway, Dominic Muldowney and John Tavener. He
performed with the renowned soprano Edita Gruberova
at Wigmore Hall in 2008.
Andrew has recorded the core solo and chamber clarinet repertoire
with various record companies including Philips, EMI, Chandos and
Collins Classics. His concerto appearances are regularly broadcast
by the BBC. A second recording of the Mozart concerto was released
in 2004.
Andrew is visiting Professor at the Royal Academy of Music, and was
awarded an Hon RAM in 1996.
Rachel Gough
Bassoon
Rachel Gough has been Principal Bassoon of the LSO since 1999. For
eight years prior to joining the LSO she was Co-Principal with the BBC
Symphony Orchestra and a professor at the Royal Academy of Music.
As a student Rachel read anthropology and music at King’s College,
Cambridge, before gaining Countess of Munster and German
government scholarships for postgraduate study at the Royal
Academy of Music and at the Hannover Hochschule für Musik with
Klaus Thunemann. During that time she was Principal Bassoon of the
European Community Youth Orchestra and won the Gold Medal at the
Royal Overseas League.
Rachel has appeared as a soloist with Sir Colin Davis, Bernard Haitink,
Sir Neville Marriner, Gianandrea Noseda and Gennady Rozhdestvensky,
amongst others. She has recorded and played chamber music with
the Melos Quartet, Paul Meyer, Emma Johnson and James Galway. She
is a Fellow of the Royal Academy of Music.
Don’t miss Rachel and Andrew on BBC Radio 3
Back in June, Andrew and Rachel gave recitals at LSO St Luke’s as
part of our regular Radio 3 Lunchtime Concert series. If you
missed out (or were there but want to re-live it!) you can tune in to
BBC Radio 3 next month to hear the broadcasts.
Wed 27 Oct 1pm: Rachel Gough & Susan Tomes play Saint-Saëns & Elgar
Fri 29 Oct 1pm: Andrew Marriner & Olga Sitkovetsky play Schumann
10 The Artists Valery Gergiev © Gautier Deblonde
Andrew Marriner © Nina Large / Rachel Gough © Gautier Deblonde
The Artists 11

Lord Mayor’s Appeal 2010
About Pitch Perfect
Pitch Perfect is the name of the Lord Mayor’s Appeal 2010, which is
raising funds to support the charitable work of the London Symphony
Orchestra and the Cricket Foundation. Through their educational
programmes, LSO On Track and StreetChance, both organisations
provide dynamic musical and cricketing opportunities to young
people in their schools and communities in London’s most challenging
boroughs. Having identified a shared ambition to enhance the lives
of young people, the two organisations have joined forces under the
banner of the Appeal to create Pitch Perfect.
By providing opportunities to play and perform in teams and groups,
Pitch Perfect will support thousands of young Londoners to develop
new skills and levels of aspiration, acquire confidence and selfesteem,
learn to respect themselves and each other and – regardless
of their ultimate prowess as cricketers or as musicians – discover
their full potential as well-rounded and productive individuals, leaders
and team-players. Proven tangible benefits of participation in cricket
and music include:
• Increased self-confidence
• Improved academic performance
• Enhanced general well-being
• Calming effect on body and mind
• Improved employment prospects
• Improved social interactions
• Reduced drug and crime rate
Pitch Perfect is aiming to generate sufficient funds to enable 75,000
young people to participate in StreetChance and LSO On Track
activities across London.
12 Lord Mayor’s Appeal
Jubayed’s story
Jubayed was a quiet boy, not engaging in the community and
somewhat isolated due to language barriers. When the StreetChance
programme rolled into Stepney Green, he was one of the first to
sign up to the community session. Throughout the programme
Jubayed has blossomed into a well-rounded strong leader within his
community who strives to make things happen for others. He is now
highly respected among his peers due to his attitude, commitment
and passion. He has not missed any StreetChance sessions and has
even represented Bangladesh in national Twenty20 youth and senior
grassroots competitions.
How you can make a difference tonight
We are grateful for all donations, no matter how great or small.
You can donate here and now: you will find an envelope on
your seat and collectors will be in the foyers during the interval
and after the concert. You can also make online and postal
donations – see below.
Donate online
www.thelordmayorsappeal.org
Post a cheque
Lord Mayor’s Appeal 2010
LSO, Barbican, London, EC2Y 8DS
(made payable to Pitch Perfect)
Thank you!
LSO On Track StreetChance
LSO On Track is part of the LSO Discovery programme, focusing
specifically on the ten East London boroughs of the Thames Gateway,
including the London 2012 host boroughs. Launched in 2008,
LSO On Track has already achieved great success, reaching over
5,000 young people from a wide range of social, cultural and
economic backgrounds. Through a programme of outreach,
workshops, concerts and holiday courses, LSO On Track enables
young, inexperienced musicians who wouldn’t otherwise have
the opportunity to make music with members of the LSO.
The programme also supports a young talent development
programme and an extensive training programme for school teachers
to help embed music in schools and provide long-term musical
opportunities to East London’s young people.
StreetChance is a special project of Chance to Shine, the Cricket
Foundation’s charitable campaign to regenerate competitive cricket
throughout the state education sector. Since 2005, Chance to Shine
has introduced cricket to one million children in over 3,700 schools.
Designed to bring the benefits of Chance to Shine to inner-city areas,
StreetChance combines activities in schools with community-based
sessions that employ a fast and furious version of the game called
‘Street20’ that gives everyone the chance to bat, bowl and field.
Currently working across ten London boroughs, and in areas
specifically identified by the Metropolitan Police, StreetChance is
engaging schools in those parts of London where young people are
perceived to be at greatest risk from crime and under-achievement.
Lord Mayor’s Appeal
13

Lord Mayor’s Appeal
Supporters On stage tonight
We would like to say a special thank you to our Appeal Board:
Donald Brydon Chairman
Lord Aldington
Abdul Bhanji
Sir John Bond
Ian Davis
Dame Clara Furse
Gay Huey Evans
Nicolas Moreau
Michael Overlander
Air Commodore Rick Peacock-Edwards
David Powell
Sir Evelyn de Rothschild
John Spurling OBE
14 Lord Mayor’s Appeal
We are very grateful for the generous support of the following
organisations:
Appeal Event Sponsors
Accenture
Aviva
Bank of America
Barclays Capital
Barclays Wealth
Canon
Deutsche Bank
Linklaters
London Metal Exchange
Marks & Spencer
PricewaterhouseCoopers
Xstrata
Xchanging
Appeal Event Supporters
Allen & Overy
Appeal Corporate Supporters
Blackrock
Credit Suisse
Goldman Sachs
HSBC
ICAP
Lloyds TSB
London Stock Exchange
Rio Tinto
Slaughter and May
Smiths
The Baltic Exchange
Trusts and Foundations
The Bagri Foundation
The City Bridge Trust
The Lloyds Charities Trust
The Vodafone Foundation
The Bernard Sunley Charitable Foundation
The DLA Piper Charitable Trust
Sir John Cass’s Foundation
First Violins
Roman Simovic Leader
Carmine Lauri
Lennox Mackenzie
Nicholas Wright
Nigel Broadbent
Ginette Decuyper
Jörg Hammann
Michael Humphrey
Maxine Kwok-Adams
Claire Parfitt
Laurent Quenelle
Colin Renwick
Sylvain Vasseur
Alain Petitclerc
Hazel Mulligan
Helen Paterson
Second Violins
David Alberman
Thomas Norris
Sarah Quinn
Miya Ichinose
Richard Blayden
Belinda McFarlane
Iwona Muszynska
Philip Nolte
Paul Robson
Stephen Rowlinson
David Worswick
Caroline Frenkel
Roisin Walters
Oriana Kriszten
Violas
Paul Silverthorne
Gillianne Haddow
German Clavijo
Lander Echevarria
Richard Holttum
Robert Turner
Heather Wallington
Jonathan Welch
Martin Schaefer
Michelle Bruil
Caroline O’Neill
Fiona Opie
Cellos
Rebecca Gilliver
Alastair Blayden
Jennifer Brown
Mary Bergin
Noel Bradshaw
Daniel Gardner
Hilary Jones
Minat Lyons
Amanda Truelove
Penny Driver
Double Basses
Rinat Ibragimov
Nicholas Worters
Patrick Laurence
Matthew Gibson
Thomas Goodman
Jani Pensola
Nikita Naumov
Ben Griffiths
Flutes
Gareth Davies
Adam Walker
Siobhan Grealy
Piccolo
Sharon Williams
Oboes
Emanuel Abbühl
Joseph Sanders
Fraser MacAulay
Cor Anglais
Christine Pendrill
Clarinets
Andrew Marriner
Chris Richards
Chi-Yu Mo
Bass Clarinet
Lorenzo Iosco
Bassoons
Rachel Gough
Bernardo Verde
Joost Bosdijk
Contra Bassoon
Dominic Morgan
Horns
Timothy Jones
David Pyatt
Angela Barnes
Estefanía Beceiro Vazquez
Jonathan Lipton
Jeffrey Bryant
Brendan Thomas
Trumpets
Philip Cobb
Nicholas Betts
Gerald Ruddock
Nigel Gomm
Robin Totterdell
Trombones
Dudley Bright
Katy Jones
James Maynard
Bass Trombone
Paul Milner
Tuba
Patrick Harrild
Timpani
Antoine Bedewi
Percussion
Neil Percy
David Jackson
Tom Edwards
Sacha Johnson
Harp
Bryn Lewis
Celeste/Piano
John Alley
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 20
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. Students
of wind, brass or percussion
instruments who are in their
final year or on a postgraduate
course at one of the London
conservatoires can also
benefit from training with LSO
musicians in a similar scheme.
The LSO String Experience
Scheme is generously
supported by the Musicians
Benevolent Fund and Charles
and Pascale Clark.
List correct at time of
going to press
See page xv for London
Symphony Orchestra members
Editor
Edward Appleyard
edward.appleyard@lso.co.uk
Print
Cantate 020 7622 3401
Advertising
Cabbell Ltd 020 8971 8450
The Orchestra
15

Inbox
Your thoughts and comments about recent performances
I think this was my favourite
concert this year, among many
great concerts.
After Feltsman’s barnstorming
Rachmaninov 3, who’d have
thought Poulenc’s Gloria could
trump him? But it did. This was
music-making of the highest
order, Sally Matthews singing
as if from another planet, the
LSO picking out the wondrous
lines of Poulenc’s music with
Stravinskian precision, and the
chorus in glorious sympathy with
the spirit of the piece.
A night to remember, a night to
be glad to be alive and at the
Barbican!
16 Jun 2010, Xian Zhang, Vladimir
Feltsman & Sally Matthews /
Rachmaninov & Poulenc
16 Inbox
‘Barnstorming’
Richard Kirby
‘Sublime’
Colin Bruce
I travelled from Liverpool to
London especially to see this
concert and what an evening of
sublime music it was. It was an
absolute joy to listen to.
I was not familiar with Haydn’s
hugely underrated and underperformed
work prior to hearing
it at the Barbican. I was delighted
by the superb performances of
Sir Colin, the LSO and chorus,
and the soloists. It was a special
delight to listen to the glorious
singing of the beautiful Swedish
soprano, Miah Persson. I feel that
she has a wonderful ability to
bring sensitivity and emotional
depth to her pieces, which she
sang so superbly.
27 Jun 2010, Sir Colin Davis,
Miah Persson, Jeremy Ovenden,
Andrew Foster-Williams &
LSC / Haydn The Creation
‘I brought my whole family’
Roger Lawrence
I brought my whole family
(three generations, aged 12–75)
to hear my favourite symphony
as a 75th birthday bash. We all
enjoyed the programme.
We did feel that there was a
tendency to hurry a bit, but
conversely, I was particularly
glad that the tempo of the 1st
movement 3rd subject was
really crisp and incisive. Also,
the temptation to introduce
pauses between sections was
avoided, ensuring a real sense of
continuity.
Perhaps not the most magical
performance, but memorable
and much enjoyed.
1 Jul 2010, Daniel Harding &
Renaud Capuçon / Bruch &
Bruckner
Want to share your views?
Email us at comment@lso.co.uk
Let us know what you think.
We’d love to hear more from you
on all aspects of the LSO’s work.
Please note that the LSO may edit your comments
and not all emails will be published.
From Facebook and Twitter...
hi! I heard you on “radio
classique” in France!!! I know
NOTHING about music but I feel
it with my heart! Enjoy your trip
in China.
Marie-annick Gazel Peltier
Firebird was awesome! Andrew
Marriner is a God!! Thanks
for an amazing night
Robert Whitethread
Your brass section Are lords!! :)
John Dickson
MahlerMad #ff @londonsymphony
the friendliest orchestra in the
world.
amcil @londonsymphony
yay! I finally got to read the latest
tourblog. Love reading what
Gareth has to say!