15 December programme - London Symphony Orchestra

London Symphony Orchestra
Living Music
Resident at the Barbican
Roman Simovic leader
Wednesday 15 December 2010 7.30pm
Barbican Hall
Ligeti Concert Românesc
Bruch Violin Concerto No 1
INTERVAL
Rimsky-Korsakov Scheherazade
Antonio Pappano conductor
Midori violin
Concert ends approx 9.30pm
Recommended by Classic FM
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Antonio Pappano © Sheila Rock

Welcome News
Welcome to the second of our winter concerts conducted by Antonio
Pappano. Best known as Musical Director of the Royal Opera House,
Antonio Pappano continues to bring the vitality of the stage to the
LSO with a typically colourful programme. Tonight we will hear two
works which showcase the sonority of the violin – Bruch’s Violin
Concerto and Rimsky-Korsakov’s Scheherazade – prefaced by an
early, buoyant work from Ligeti: Concert Românesc.
We are pleased to welcome back Midori as our soloist in the Bruch
Violin Concerto. Midori was the subject of the UBS Soundscapes:
LSO Artist Portrait in 2008 and continues to make her mark through
her performances on the international stage and the work of her
music education foundation.
I would like to take the opportunity to thank our media partner
Classic FM for their continued support of the Orchestra’s concert
series at the Barbican.
I wish you all a peaceful Christmas and look forward to seeing you
again early in the New Year.
Kathryn McDowell
LSO Managing Director
2 Welcome & News
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Kathryn McDowell © Camilla Panufnik

György Ligeti (1923–2006)
Concert Românesc (Romanian Concerto) (1951)
1 Andantino
2 Allegro vivace
3 Adagio ma non troppo
4 Molto vivace
It is always tempting to search in a great composer’s earliest works
for signs of the original voice that was about to emerge, and not least
so when the composer in question here, György Ligeti, reckoned that
the essential traits of a musical personality were already in place
by his late teens. Yet while one looks in vain for premonitions of
the avant-garde creator of Atmosphères in what seems more like
a particularly boisterous successor to the Dances of Galanta (1933)
of Ligeti’s mentor Kodály, there was clearly enough radicalism in this
Romanian Concerto to offend Communist authorities: though given
a private rehearsal, it was placed on the banned list.
The musical material here is mainly Romanian folk music that Ligeti
had got to know while transcribing it from perilously fragile wax
cylinders at the Folklore Institute in Bucharest, though there are
some original ‘pseudo-Romanian’ additions of his own. Even with
folk music settings, Ligeti says, only the simplest diatonic and modal
harmonisations were officially sanctioned, so even the mild parallel
fourths and fifths near the start of the lyrical first movement (which
curiously suggest the Hindemith of Mathis rather than Bartók or
Kodály), may already have been beyond the pale.
The short second movement is a rapid dance piece based mainly on
a single, untransposed theme, though a second, even faster theme
puts in a brief appearance after about 30 seconds. This movement
links directly to the third, which begins with a horn solo, echoed by
another horn. Here Ligeti makes use of the ‘natural harmonics’ that
were to fascinate him in later years (but weren’t these, perhaps,
added while revising the work?). Next come two contrasted solos for
cor anglais, and then, almost out of the blue, a huge romantic climax
à la Bluebeard’s Castle, giving way to a series of rising figures in
which folk elements are anything but apparent.
If the second movement was notatably high-spirited, the finale
brings something close to pandemonium. Ligeti recalls how one
New Year during his childhood, ‘Some wild musicians playing violin
and bagpipe forced their way into our courtyard’. And something of
that unbridled, unpredictable wildness is certainly present here. The
tempo is frantic: almost too fast. At first there are just whirling textures
(latent ‘micropolyphony’?), then increasingly frantic violin solos with
boisterous orchestral punctuations. At the end, there is a sudden
‘horn flashback’ (to the third movement), a peremptory bang in the
orchestra, and it’s all over. Could Ligeti really have imagined that the
official censors would sit through all this without batting an eyelid?
It’s a little hard to believe...
Programme note © Richard Toop
Richard Toop is Reader in Music and Chair of the Musicology Unit
at the Sydney Conservatorium (University of Sydney). He has a
particular interest in contemporary art music, most of his work
pertaining to post-war European avant-gardes.
Programme Notes
3

Max Bruch (1838–1920)
Violin Concerto No 1 in G minor Op 26 (1869)
1 Vorspiel – Allegro moderato
2 Adagio
3 Finale – Allegro energico
Midori violin
The first – and by far best-known – of Max Bruch’s three violin
concertos was written for the Hungarian virtuoso Joseph Joachim,
whose charismatic playing inspired similar works from Schumann
and Brahms. In 1868 Joachim became director of the newly-formed
Music Academy in Berlin, where Bruch was a professor, and the next
year Bruch wrote the G minor concerto for his famous colleague.
Although Bruch’s concerto has largely sustained his posthumous
reputation, it suffered for a long time from the musical snobbery
which declared it ‘too easy to be great’. Some of the greatest
concertos – particularly the Brahms and the Tchaikovsky – were
initially damned as hopelessly unviolinistic (usually because their
dedicatees found they couldn’t play them), and only later hailed as
masterpieces. The two exceptions were the Mendelssohn and the
Bruch G minor. Both the Mendelssohn and the Bruch lie brilliantly
under the fingers, so that technical difficulties such as rapid passagework
or double-stopping can be accomplished with relative ease.
The opening movement of the Bruch must have posed problems for
contemporary listeners. Traditionally, a 19th-century concerto begins
with an expansive first movement, usually incorporating a virtuosic
cadenza, giving the soloist a chance to settle into a prolonged and
satisfying battle with the orchestra and to emerge with flying colours.
The first movement of Bruch’s concerto affords the soloist no such
opportunity. It opens not with a bold flourish, but with a fearful,
pianissimo tremolo on the timpani and a plaintive, questioning
statement on wind instruments, to which the soloist replies with an
unaccompanied passage of recitative, earnest and eloquent, but
far from consolatory. The orchestra’s next question coaxes a similar
response, whereupon the question is asked a third time. This time
a more forceful and expansive – but still inconclusive – response is
forthcoming, stated over a muted, restless orchestral background.
Finally, in response to the orchestra’s insistent demands, the soloist
4 Programme Notes
makes a positive statement – a serene, full-blown melody in dialogue
with the orchestra. But the underlying orchestral restlessness returns
to haunt the movement, with the soloist desperately trying to control
the situation with a sequence of ever-blossoming and more agitated
ornamentation. But resolution proves unattainable, and towards the
end the material of the opening recitative returns. The anguished
question of the orchestra remains unanswered, but instead sinks
gently down through a transitional passage onto a despairing
sustained B flat, which magically melts into the E flat radiance of
the Adagio.
Here, questions and answers are redundant. Subtly supported by
the orchestra, the violin simply unfolds one of the most glorious
sustained melodies ever written, exploiting its most luscious timbres
to the full. Mendelssohn’s concerto was an obvious model, and when
Tchaikovsky came to write his Violin Concerto nearly a decade later,
he also recognised the virtue of a simple, lyrical central movement,
eventually settling on the song-like Canzonetta.
But it is the exhilarating, gypsy-style rondo Finale – a clear homage
to its dedicatee’s Hungarian origins – which finally allows the soloist
joyous, uninhibited rein. Brahms coveted this style so much that
when, ten years later, he came to write the finale of his own violin
concerto for Joachim, he borrowed the same effect, so admirably
suited to the instrument. And though Brahms’ colossal masterpiece
has tended to overshadow the more modest, but perhaps more
innovative work by Bruch, a spate of recent recordings by major
violinists has happily restored this underrated gem to its rightful
place in the repertory.
Programme note © Wendy Thompson
Wendy Thompson is Executive Director of Classic Arts Productions,
the major supplier of independent programmes to BBC Radio 3,
including Private Passions and Classical Collection.
INTERVAL: 20 minutes

Max Bruch (1838–1920)
Composer Profile
The young Max Bruch was introduced to the rudiments of music by his
mother, a professional soprano and music teacher. His early lessons
were supplemented by studies in music theory with a respected
teacher in Bonn, which enabled the 11-year-old Bruch to compose
an orchestral overture and chamber works. In 1852 he received a
scholarship from the Mozart Foundation in Frankfurt to support studies
in composition and theory with Ferdinand Hiller and piano lessons
in Cologne. His first opera, Scherz, List und Rache, was produced in
Cologne in 1858 and for the next three years he worked there as a
music teacher. After moving to Mannheim in 1862 he met the poet
Geibel and collaborated with him on the three-act opera, Die Loreley.
Bruch served as Music Director from 1865–67 in the German city
of Koblenz. During one of his journeys to Britain, the composer
discovered a copy of James Johnson and Robert Burns’s folk
anthology The Scots Musical Museum. Its tunes offered Bruch
a wealth of ideas that he filtered into his own musical language.
After a period as a freelance composer in Berlin, Bruch succeeded
Julius Benedict as conductor of the Liverpool Philharmonic Society
(1880–83) and thereafter became conductor of the Breslau
Orchesterverein until 1890. He accepted a professorship at the
Berlin Academy in 1890 and taught composition there until he
retired in 1910.
Bruch’s secular choral works, such as Frithjof, the epic Odysseus and
Das Lied von der Glocke, enjoyed considerable popularity during his
lifetime, although today he is best known as a composer of works for
violin and orchestra.
Profile © Andrew Stewart
Community music. World music.
London Symphony Orchestra
LSO St Luke’s
Classical music. Everybody’s music.
BBC Radio 3 Lunchtime Concerts
Thursdays 1pm
Mozart Chamber Music
Thu 10 Feb: Christian Blackshaw (piano)
Sonatas in C major K309; C minor K457; Fantasie in D minor K397
Thu 24 Feb: Škampa Quartet
String Quartet in B flat major K458; String Quartet in D major K575
Thu 10 Mar: Elias Quartet with Michael Collins (clarinet)
Clarinet Quintet K581; String Quartet K428
Thu 24 Mar: Vienna Piano Trio
Piano Trios in G major K564; E major K542, B flat major K502
International Violinists
Thu 17 Feb: Alina Ibragimova & Cédric Tiberghien
Ravel & Lekeu
Thu 3 Mar: Daniel Hope & Sebastian Knauer
Brahms, Joachim, Schumann (Clara) & Beethoven
Thu 17 Mar: Patricia Kopatchinskaja & Mihaela Ursuleasa
Beethoven & Enescu
Thu 31 Mar: Janine Jansen & Itamar Golan
Schubert, Messiaen, Dubugnon & Debussy
Tickets £9 (£8 concessions)
For details and to book online visit
lso.co.uk/lsostlukes
or call 020 7638 8891
Programme Notes
5

Nikolai Rimsky-Korsakov (1844–1908)
Scheherazade Op 35 (1888)
1 The Sea and Sinbad’s Ship
2 The Story of Prince Kalender
3 The Young Prince and Princess
4 Festival at Baghdad – The Sea – Shipwreck – Conclusion
Scheherazade was composed at a time when Rimsky-Korsakov was
producing some of his best work for orchestra: he had just finished
the Capriccio Espagnol and would follow Scheherazade with the
Russian Easter Festival Overture. The legends of Old Russia and of
the East had always been the chief inspiration of his music; his first
encounter with Eastern music, at Bakhchisaray in the South Crimea,
left an indelible impression on him.
Scheherazade is based on Arabian Nights, the famous collection
of tales which were supposed to have been told by the Princess
Scheherazade to her husband, the Sultan Shariar. He was accustomed
to putting his wives to death on the morning after the marriage had
been consummated; but on her wedding night, Scheherazade began
telling him a story which so captivated the Sultan that she was able
to prolong it for 1001 nights, at the end of which she had succeeded
in appeasing him. Like some other composers of descriptive
music, Rimsky-Korsakov was anxious not to be too explicit: wishing
Scheherazade to be appreciated in the first place as symphonic music,
he even had the original titles of the movements withdrawn from the
score. Nevertheless, it seems appropriate to give them here. He wrote
in his autobiography: ‘In composing Scheherazade I meant these hints
[the titles] to direct but slightly the hearers’ fancy on the path which
my own fancy had travelled, and to leave more minute and particular
conceptions to the will and mood of each’.
Rimsky-Korsakov also warns against interpreting the themes as
leitmotifs: themes associated with one particular episode may
reappear in quite another context. For instance, the main theme of the
first movement, which one is tempted to call the ‘sea’ motif, is also
used to depict the stern Sultan at the opening of the first and fourth
movements; and when the Princess’ theme in the third movement
turns up again, in very different guise, as the second subject of the
6 Programme Notes
finale, we are not meant to suppose that the Princess is joining in the
festivities at Baghdad.
One theme, however, is definitely a leitmotif: the one played by
the solo violin immediately after the brusque opening. It stands for
Scheherazade herself, and its various appearances throughout the
work, almost always cadenza-like and accompanied only by harp
(though in the first movement it is also cleverly woven into the
orchestral texture), depict her in her role as tireless story-teller.
She introduces three of the movements; she has an intermezzo
to herself in the third; while in the finale, when storm and Sultan
have been calmed, appropriately she has the last word.
Writing of the Capriccio Espagnol in his autobiography, Rimsky-
Korsakov indulged in some understandable self-congratulation
over its orchestration: ‘The opinion formed by both critics and
public, that the Capriccio is a magnificently orchestrated piece – is
wrong. The Capriccio is a brilliant composition for the orchestra.
The change of timbres, the felicitous choice of melodic design and
figuration patterns, exactly suiting each kind of instrument, brief
virtuoso cadenzas for instruments solo, the rhythm of the percussion
instruments, etc, constitute here the very essence of the composition,
and not its garb or orchestration’. These words, strikingly anticipating
the attitude of many 20th-century composers, are also true in every
way of Scheherazade. There have been few composers more capable
than Rimsky-Korsakov of translating their ideas so perfectly into
instrumental sound.
Programme note © David Matthews
David Matthews is a composer and writer. Among his many
orchestral and chamber works are seven symphonies and twelve
string quartets. His Seventh Symphony was premiered earlier
this year by the BBC Philharmonic. He has also written studies
of Benjamin Britten and Michael Tippett, and numerous articles
on contemporary music.

Nikolai Rimsky-Korsakov (1844–1908)
Composer Profile
Although music played an important part in the early life of
Rimsky-Korsakov, he followed family tradition and enrolled as a
student at the College of Naval Cadets in St Petersburg in 1856.
He continued to take piano lessons, however, and was introduced
to the influential composer Balakirev and such outstanding young
musicians as Cui and Mussorgsky.
After graduating in 1862 Rimsky-Korsakov joined the crew of the
clipper Almaz and sailed on a voyage that lasted until the summer
of 1865. On his return to St Petersburg, Balakirev encouraged him
to complete the sketches he had made for his First Symphony.
Composition increasingly occupied Rimsky-Korsakov’s time, and in
1871 he became a professor of composition at the St Petersburg
Conservatory. He remained on the staff for the rest of his life, with
a brief absence in 1905 when he was censured for supporting
students involved in the rebellion of that year. His Conservatory
and private pupils included Lyadov, Glazunov, Tcherepnin,
Miaskovsky and Stravinsky.
Exotic melodies and orchestrations became a hallmark of
Rimsky-Korsakov’s mature compositions, powerfully so in works
such as the symphonic suite Scheherazade, the operas Mlada,
Tsar Saltan and The Golden Cockerel, and the final version of his
symphonic poem Sadko.
Profile © Andrew Stewart
Thu 3 Feb 8pm
UBS Soundscapes: Eclectica
Sound and Space
Alexander Balanescu violin
Evelina Petrova accordion
Gisele Edwards aerialist
Acclaimed Romanian violinist Alexander Balanescu,
Russian accordionist Evelina Petrova and leading
UK aerialist Gisele Edwards join forces for the first
time in an exciting new commission exploring the
crossover between live music and aerial work in the
evocative space at LSO St Luke’s. This pioneering
new collaboration will sit within an Eastern European
influenced programme of music from Alexander and
Evelina’s Upside Down album, which effortlessly
blends Russian folk with jazz improvisation and
classical music.
Tickets £8 £14 £22
lso.co.uk/eclectica
020 7638 8891
London Symphony Orchestra
LSO St Luke’s
Programme Notes
7

Antonio Pappano
Conductor
Currently Music Director of the Royal Opera
House, Covent Garden, and the Orchestra of
the Accademia Nazionale di Santa Cecilia in
Rome, Antonio Pappano was born in London
of Italian parents. Aged 13 he moved with
his family to the United States, where he
continued his studies in piano, composition
and conducting. Work as a repetiteur
and assistant conductor rapidly led to his
engagement in theatres throughout the
world: at the New York City Opera, Gran
Teatro del Liceu (Barcelona), Frankfurt Opera,
Lyric Opera of Chicago and the Bayreuth
Festival, where he was assistant to Daniel
Barenboim for Tristan und Isolde, Parsifal and
the Ring Cycle.
In 1987 Pappano made his opera debut with
La bohème at the Norwegian National Opera
and was appointed Music Director there in
1990. During this period, he also made his
conducting debuts at English National Opera,
Covent Garden, San Francisco Opera, Lyric
Opera of Chicago, Théâtre du Châtelet and
Berlin Staatsoper.
8 The Artists
At the age of 32 Pappano was appointed
Music Director of the Théâtre Royal de la
Monnaie and remained in this post for ten
years. In 1993, Pappano made a notable
debut at the Vienna Staatsoper, replacing
Christoph von Dohnànyi at the last minute
in a new production of Wagner’s Siegfried,
for which he received unanimous acclaim.
He made his debut at the Metropolitan
Opera, New York, in 1997 with a new
production of Eugene Onegin and in 1999
at the Bayreuth Festspiele conducting a new
production of Lohengrin. From 1997–99 he
was Principal Guest Conductor of the Israel
Philharmonic Orchestra.
Antonio Pappano has also conducted the
Chicago Symphony Orchestra, Boston
Symphony Orchestra, Philadelphia Orchestra,
the Cleveland Orchestra, New York
Philharmonic Orchestra, Philharmonia,
Vienna Philharmonic, Munich Philharmonic,
Berlin Philharmonic and Royal
Concertgebouw Orchestra.
He has recorded Don Carlos for EMI Classics
(CD and DVD) as well as La bohème,
La Rondine (awarded Best Recording of the
Year by Gramophone magazine), Il Trittico,
Massenet’s Werther and Manon, Madame
Butterfly, Tosca, Il Trovatore, Tristan und
Isolde and the Verdi Requiem. His orchestral
recordings with the Accademia Nazionale
di Santa Cecilia include Tchaikovsky
Symphonies 4, 5 & 6 and Respighi’s
Roman Trilogy, and he has also partnered
Han-Na Chang, Leif Ove Andsnes and
Maxim Vengerov in concerto recordings,
and Ian Bostridge in recital. The Accademia
Nazionale di Santa Cecilia under Pappano won
Critics’ Choice at the Classical BRIT Awards for
their recording of the Verdi Requiem.
He was awarded Artist of the Year 2000 by
Gramophone, the 2003 Olivier Award for
Outstanding Achievement in Opera and the
Royal Philharmonic Society Music Award in
2004. In December 2008 Antonio Pappano
was made a Commendatore of the Republic
of Italy. He was recently awarded the Bruno
Walter prize by the Académie du Disque
Lyrique in Paris.
In recent seasons at the Royal Opera
House, Antonio Pappano has conducted the
complete Ring Cycle, the world premiere of
Sir Harrison Birtwistle’s The Minotaur, and
new productions of Tristan und Isolde and
Lulu. This season includes new productions
of Macbeth and the world premiere of a new
opera by Mark-Anthony Turnage.
In future seasons, he will conduct
Parsifal, Il Trittico, Les Vêpres Sicilienne
and The Trojans at Covent Garden, and
will return to conduct concerts with the
Vienna Philharmonic.
Antonio Pappano © Sheila Rock

Midori
Violin
‘The superstar violinist has a
quality that sets her apart:
She listens, and not just to her
fellow musicians but to herself.’
St Petersburg Times
Since her debut at the age of eleven with
the New York Philharmonic over 25 years
ago, the violinist Midori has established a
record of achievement which sets her apart
as a master musician, an innovator and a
champion of the developmental potential of
children. Named a Messenger of Peace by
UN Secretary-General Ban Ki-moon in 2007,
she has created a new model for young
artists who seek to balance the joys and
demands of a performing career at the
highest level with a hands-on investment in
the power of music to change lives.
Midori’s performing schedule is balanced
between recitals, chamber music
performances and appearances with the
world’s most prestigious orchestras.
Midori © Timothy Greenfield-Sanders
Midori’s 2010/11 season will include new
music recitals and workshops, tours of the US,
Europe and Asia, and increasing her already
extensive commitment to music education
in her capacity as Chair of the Strings
Department at the University of Southern
California’s Thornton School of Music.
Among the conductors with whom Midori
will collaborate this season are Christoph
Eschenbach, Donald Runnicles, Alan Gilbert,
Antonio Pappano and Kent Nagano.
In 1992 Midori founded Midori & Friends,
a non-profit organisation in New York which
brings music education programmes to
thousands of underprivileged children each
year. Two other organisations, Music Sharing,
based in Japan, and Partners in Performance,
based in the US, also bring music closer to
the lives of people who may not otherwise
have involvement with the arts.
Midori’s commitment to community
collaboration and outreach extends beyond
these organisations to her work with young
violinists in masterclasses all over the world,
and to her Orchestra Residencies Programme
in the US. In 2010/11 Midori will conduct
community engagement programmes in
Tennessee, New York, Maine, Iowa, Japan,
Bulgaria and Laos.
Midori and violinist Vadim Repin have recently
joined forces for a major commissioning
project; through commissioning organisation
Meet the Composer, individual donors
have commissioned four solo works to be
performed by both violinists as encores in
a variety of contexts, including fundraising
events, media promotion and community
work. Midori and Vadim Repin have chosen
four composers whose work they admire –
Lee Hyla, Rodion Shchedrin, Krzysztof
Penderecki and Derek Bermel.
Midori’s two most recent recordings are an
album of sonatas by J S Bach and Bartók;
and The Essential Midori, a 2-CD compilation
(both released on Sony Masterworks).
Midori was born in Osaka in 1971 and began
studying the violin with her mother at an
early age. She lives in Los Angeles and plays
a 1734 Guarnerius del Gesu ex-Huberman,
which is on lifetime loan to her from the
Hayashibara Foundation.
The Artists
9

‘Sibelius’ Violin
Concerto is one of
my favourite pieces;
it’s something
I grew up with.
Working with Julia Fischer
is a lot of fun. She’s quite
a violinist, and quite a
character. Everything
seems so natural between
us, there’s a lot of give and take. In the
Sibelius Violin Concerto that’s paramount.’
Kristjan Järvi on conducting Sibelius
alongside violinist Julia Fischer with the LSO
London Symphony Orchestra
Living Music
Violin Concertos with the LSO
Spring/Summer 2011
Tue 18 & Sun 23 Jan: Sergey Khachatryan
Shostakovich Violin Concerto No 2
Thu 17 Feb: Janine Jansen
Brahms Violin Concerto
Wed 23 & Thu 24 Mar: Leonidas Kavakos
Shostakovich Violin Concerto No 1
Sun 3 Apr: Leila Josefowicz
Prokofiev Violin Concerto No 1
Thu 7 Apr: Julia Fischer
Sibelius Violin Concerto
Sun 17 Apr: Vadim Gluzman
Michael Daugherty Fire and Blood
Resident at the Barbican
lso.co.uk (reduced bkg fee)
020 7638 8891 (bkg fee)
Photo © Gautier Deblonde

On stage
First Violins
Roman Simovic Leader
Tomo Keller
Nicholas Wright
Nigel Broadbent
Ginette Decuyper
Jörg Hammann
Michael Humphrey
Maxine Kwok-Adams
Claire Parfitt
Elizabeth Pigram
Laurent Quenelle
Harriet Rayfield
Colin Renwick
Ian Rhodes
Sylvain Vasseur
Rhys Watkins
Second Violins
Evgeny Grach
Thomas Norris
Sarah Quinn
Miya Ichinose
Richard Blayden
Matthew Gardner
Belinda McFarlane
Iwona Muszynska
Philip Nolte
Andrew Pollock
Paul Robson
Louise Shackelton
Erzsebet Racz
Violaine Delmas
Violas
Paul Silverthorne
Malcolm Johnston
German Clavijo
Lander Echevarria
Richard Holttum
Robert Turner
Jonathan Welch
Ellen Blythe
Nancy Johnson
Caroline O’Neill
Fiona Opie
Anna Dorothea Vogel
Cellos
Timothy Hugh
Jennifer Brown
Mary Bergin
Noel Bradshaw
Daniel Gardner
Keith Glossop
Hilary Jones
Minat Lyons
Amanda Truelove
Judith Herbert
Double Basses
Rinat Ibragimov
Colin Paris
Nicholas Worters
Patrick Laurence
Matthew Gibson
Thomas Goodman
Jani Pensola
Simo Vaisanen
Flutes
Gareth Davies
Siobhan Grealy
Sharon Williams
Oboes
Jerome Guichard
John Lawley
Cor Anglais
Christine Pendrill
Clarinets
Chris Richards
Chi-Yu Mo
Bassoons
Bernardo Verde
Joost Bosdijk
Horns
Timothy Jones
Angela Barnes
Jonathan Lipton
Jeffrey Bryant
Antonio Geremia Iezzi
Trumpets
Roderick Franks
Gerald Ruddock
Nigel Gomm
Trombones
Katy Jones
James Maynard
Bass Trombone
Paul Milner
Tuba
Patrick Harrild
Timpani
Antoine Bedewi
Percussion
Sam Walton
David Jackson
Adam Clifford
Sacha Johnson
Glyn Matthews
Harp
Karen Vaughan
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.
Aki Sawa (first violin), Stephanie
Edmundson (viola), Mark
Lindley (cello) and Ha-Young
Jung (double bass) took part in
rehearsals for tonight’s concert
as part of the LSO String
Experience 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
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The Orchestra
11

Inbox
Your thoughts and comments about recent performances
We were really enchanted by the
orchestra. Mahler was wonderful,
we enjoyed the excellent
performance. It was worth the
trip from Belgium!
19 Nov 2010, Valery Gergiev &
Olli Mustonen / Rodion Shchedrin
Piano Concerto No 4 & Mahler
Symphony No 1
12 Inbox
‘Worth the trip!’
Françoise Holvoet
‘They deserve praise’
Peter Ludbrook
This was a terrific concert.
I’ve been fairly critical of some
of the other new pieces
introduced under the UBS
Soundscapes project but I was
enthralled by Emily Howard’s
Solar, which gripped from its
riveting opening bars.
The Elgar Violin Concerto was
wonderful. I don’t think I’ve
ever heard a dud performance
but this was special. Playing it
on the violin Kreisler used at
its premiere did give it an extra
frisson. Nikolaj Znaider, Sir Colin
and the LSO deserve the highest
praise for a great performance of
a great work.
10 Nov 2010, Sir Colin Davis &
Nikolaj Znaider / Elgar Violin
Concerto & Mendelssohn
Symphony No 3
‘Quite wonderful’
David Foulger
A quite wonderful performance
of the Elgar Violin Concerto.
Znaider was if anything a little
freer with portamenti and rubato
than on his recording. I loved the
way he kept turning to members
of the orchestra to integrate their
phrasing with his.
10 Nov 2010, Sir Colin Davis &
Nikolaj Znaider / Elgar Violin
Concerto & Mendelssohn
Symphony No 3
Want to share your views?
Email us at comment@lso.co.uk
Let us know what you think.
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on all aspects of the LSO’s work.
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comments and not all emails will be published.
From Facebook and Twitter...
This is such an engaging piece
of writing. Love the image of you
all leaping off the train like
bowler-hatted workers from
the Bank of England.
Ben Pendrey [LSO Tour Blog]
Loved your concerts in JAPAN!
I went twice!!!
June Makiguchi Higami
Keep up the amazing work –
LSO Live is an accomplishment you
can be very proud of.
ejwolf08