Concert Programme - London Symphony Orchestra

London Symphony Orchestra
Living Music
Sunday 24 & Tuesday 26 March 2013 7.30pm
Barbican Hall
Eloise Nancie Gynn Anahata (world premiere, Panufnik commission) *
Schubert Symphony No 8 (‘Unfinished’)
Sun 24 Mar recommended by Classic FM
INTERVAL
Brahms Violin Concerto
Manfred Honeck conductor
Nicholas Collon conductor *
Nikolaj Znaider violin
Concert ends approx 9.35pm
Tue 26 Mar supported by LSO Patrons
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Manfred Honeck © Jason Cohn; Nikolaj Znaider © Bill Robinson

Welcome
News
LSO St Luke’s celebrates its 10th Birthday
This March marks ten years since LSO St Luke’s re-opened its doors
following its dramatic renovation, enabling people of all ages to
take part in music-making. Ten years have seen some of the world’s
most renowned artists in ground-breaking activities, not to mention
hundreds of BBC Radio 3 Lunchtime Concerts, UBS Soundscapes:
Eclectica events and a plethora of community performances. Join us
to celebrate from now until 1 April with a host of special events.
Welcome to tonight’s LSO concert at the Barbican featuring
Schubert’s Symphony No 8, Brahms’ Violin Concerto and Eloise
Nancie Gynn’s Anahata, a new work composed as part of the
LSO Panufnik Young Composers Scheme, supported by the
Helen Hamlyn Trust.
It is a pleasure to welcome back Manfred Honeck, who has stepped
in to conduct tonight’s performance, for which we are most grateful.
He is joined by violinist Nikolaj Znaider, a long-standing friend of the LSO.
Sir Colin had been much looking forward to returning to the podium
for these concerts with Nikolaj Znaider, but unfortunately he suffered
a setback recently and has had to delay his return until the summer.
I would like to extend sincere thanks to the LSO Patrons who are
supporting the concert on 26 March; their generosity helps to ensure
the continued success of the Orchestra and their enthusiasm for our
music-making is an inspiration to every one of us. I would also like
to thank our media partners Classic FM for their support of the
24 March concert and their continued commitment to the LSO.
I hope you enjoy tonight’s concert and can join us for Nikolaj Znaider’s
next appearance with the Orchestra on 4 April at the Barbican.
Kathryn McDowell
LSO Managing Director
lso.co.uk/lsostlukes10
Follow the celebrations on twitter #lsostlukes10
Mike gets moving for the LSO
Mike Morfey, a long-standing Friend of the LSO, will be raising
money for the Orchestra’s Moving Music campaign by running his
55th marathon. Mike has been a supporter of the LSO for 50 years,
and names the Orchestra’s ‘outstanding work away from the concert
hall’, through education and community projects, as one of its most
inspiring features. In running the Virgin London Marathon in April
he supports LSO Discovery’s aim to bring musical experiences to
a further 100,000 young people every year.
justgiving.com/MikeMorfey2013
Hiroaki Yamataka (1944–2013)
The LSO was deeply saddened to learn that its International Vice-
President, Mr Hiroaki Yamataka, passed away on Monday 14 January
after a period illness. During his 30 years in London, Mr Yamataka
became a great supporter of the LSO, joining its Board in 1990.
He was instrumental in harnessing support from the Japanese
business community in London and Tokyo, whose loyalty the LSO
still benefits from today. We were delighted that his family was able
to attend the Orchestra’s concert in Tokyo on 9 March, where there
was the opportunity to remember the great work that Mr Yamataka
undertook on behalf of the LSO.
2 Welcome & News Kathryn McDowell © Camilla Panufnik

Eloise Nancie Gynn (b 1985)
Anahata (world premiere, Panufnik commission)
Anahata is inspired by my exploration of spirituality through meditation.
Finding a way through life and its obstacles and emotions; a journey
inside, from the head and all its mental chaos, thoughts and ‘stuff’ …
into the stillness of the heart space, connecting to the peace within.
The piece opens in an earthy, peaceful darkness; out of the low
double bass note emerges a questioning bass clarinet, its melody
gradually ascending, whilst occasionally dipping back to the depths.
This undulating motif recurs throughout the piece echoed in different
instruments, ending high in the flutes and two solo violins. The opening
gestures feel as if they are breathing, changing colour as marimba
and other instruments merge in and take over their original form.
Anahata means ‘heart chakra’ in Sanskrit according to Hindu Yogic
and Buddhist Tantric traditions. It is represented by the element of
air, and this concept is reflected in the piece where the wind and
brass blow air through their instruments. Out of this breath of life
emerges an oboe solo, whose melody, using notes from an Indian
raga mode, takes us on a journey, repeating through different voices
and orchestrations. In the background, a gentle vibraphone and harp
ostinato reminds us that life continues, repetitive, yet gradually
ever-changing. Eventually the reality of life takes over, and the notes
of the ostinato catapult us into an orchestral climax.
It is said that the darkest hour comes just before dawn, and after
this orchestral cascade we are plunged into a deep sound world,
where bass drum and gongs echo the sound of a spiritual temple.
Whilst the alto flute and viola reminisce the ostinato and opening
motif, a cello quartet emerges singing a fragment of a Hindu mantra.
Through going into our hearts we can find peace within, a sanctuary
where we can observe life without getting caught up in its dramas.
After a few moments of opening and ascension, the texture becomes
light and clear: the celestial nature of Anahata reflected in high
violins echoing the mantra and opening motif, surrounded by
bowed vibraphone, celesta and Tibetan singing bowl.
Programme Note © Eloise Nancie Gynn
LSO DISCOVERY
PANUFNIK YOUNG COMPOSERS SCHEME
The LSO Panufnik Young Composers Scheme is an exciting
initiative offering six emerging composers each year the
opportunity to write for a world-class symphony orchestra.
It has been devised by the LSO in association with Lady Panufnik
in memory of her late husband, the composer Andrzej Panufnik,
and is generously supported by the Helen Hamlyn Trust.
Under the guidance of renowned composer Colin Matthews,
the scheme enables composers to experiment over time and
develop their orchestral writing skills; they form collaborative
musical relationships with LSO players as well as witnessing
their specially composed pieces put under the microscope
by the LSO and François-Xavier Roth in a public workshop
rehearsal – a major learning curve.
Why not get a glimpse into a composer’s creative processes
and watch the next Panufnik Young Composers Workshop on
Thursday 11 April at LSO St Luke’s as part of LSO Futures?
For more information, visit lso.co.uk/futures
The LSO Panufnik Young Composers Scheme
is supported by the Helen Hamlyn Trust
Programme Notes
3

Eloise Nancie Gynn (b 1985)
In Profile
‘I really like the spiritual nature of music’, she explains, ‘it is an
intensely expressive language understood by all, even if the form and
perception changes in different cultures. I love that in some cultures,
music is seen as a connection between our earthly realm and the
divine, and am influenced by music from all over the world.’
Her new composition Anahata was commissioned as part of the
LSO Panufnik Young Composers Scheme, which every year offers
six emerging composers the opportunity to have their music
workshopped by the LSO. ‘I love the creative freedom in having
a whole orchestral palette of colours to choose from’, she says,
‘and the support of having fantastic players, readily available to
answer any queries!’.
‘I really like the spiritual nature of music;
that it is an intensely expressive language
understood by all, even if the form and
perception changes in different cultures.’
Eloise Nancie Gynn draws her inspiration from nature, the world
around her and from musical traditions from all over the globe.
‘I have always been inspired by the nature of things’, she says,
‘like the fractal patterns of a tree in winter, a river flowing deeply
as it follows its pathway, or the different depth perception in a
reflection in water. I grew up in Cornwall, where wild winds and
the ever-changing moods of the sea shaped my childhood.’
In a house full of instruments and with a father who reviewed
recordings of world music, Eloise grew up taking an improvisational
approach to music, teaching herself to play the guitar and the flute,
and creating pieces for herself on the piano. She began her formal
musical training at the age of twelve with the cello and later the
Japanese shakuhachi, and her interest in music from different cultures
continues in her work today; she sees music as a profoundly spiritual
experience which can transcend language and cultural differences.
Anahata draws on her experiences during a recent trip to India.
Her impression of the spirituality of the people and their music,
both classical and kirtan, led her to compose a work about life’s
journey and finding inner peace. She hopes Anahata will allow the
audience to ‘experience a sense of space within themselves’,
and explains, ‘I love the feelings of peace and calm I experience
when meditating or singing mantra. If I can ever convey these
feelings through my compositions so that the audience can feel
it too, then I will be very happy.’
As for what’s next, the plan is simply to keep composing. ‘I would
like to create more music in the future. I feel that by living my life
connecting with the present, understanding myself, embracing my
experience of life now, I can trust that what the future will bring will
be fabulous. This is the message of Anahata, one of tuning into our
hearts, in this moment.’
Eloise was interviewed by Ciara Laverty
4 Composer Profile

Franz Schubert (1797–1828)
Symphony No 8 in B minor D759 (‘Unfinished’) (1822)
1 Allegro moderato
2 Andante con moto
Music history is littered with incomplete compositions, from Bach’s
Art of Fugue to Berg’s opera Lulu. So why, alone among them all,
has the symphony that Schubert began in October 1822, and then
abandoned with only two of its intended four movements completed,
become known as the ‘Unfinished’? Why are Bruckner’s Ninth or
Mahler’s Tenth, both regularly performed today in their partial state,
not similarly entitled? The probable reason is that in most cases it was
death that prevented fulfilment of the work, an implacable external
force which gives no reason to cast doubt on a composer’s motivation
or drive. Short though his life was, Schubert had another six years
in which to finish the ‘Unfinished’, and he wrote many other works
after it. Clearly the reason for its abandonment was an inner one.
The known facts are inconclusive. When in August 1823 Schubert
was elected an honorary member of a music society based in Graz,
he offered to present them with the manuscript of the incomplete
symphony as a token of thanks, perhaps with a promise to compose
the rest of it soon. The score was duly given to the Society’s
representatives, Joseph and Anselm Hüttenbrenner, in whose private
hands it then remained. That they saw no reason to release it is not
as perverse as it sounds; Schubert’s contemporary reputation was
almost exclusively as a composer of vocal music, and, as far as we
know, no symphony of his was accepted for public performance
anywhere between the premiere of the Sixth in 1818 and his death
ten years later. Thus it was only when latter-day Schubert-lovers
wrested the score of the ‘Unfinished’ from Anselm over 40 years
after it was written that it finally came to light, receiving its premiere
in Vienna in 1865 to keen public interest.
Whatever it was that stopped Schubert from completing the symphony
we shall probably never know. A number of theories have been
suggested, among the most convincing of which is that, having broken
off composition with the third movement just begun, Schubert simply
felt unable to pick up the threads of such an intensely personal work.
His development as an instrumental composer was rapid at this time,
and an ambitious desire to forge for himself a position as Beethoven’s
acknowledged successor may well be the reason for a large number
of other broken works from the years around 1820. Maybe, too, in his
mind he had simply moved on by the time the chance to resume work
on the ‘Unfinished’ presented itself; certainly its uniquely sustained brand
of pained poetic lyricism was not one to which he later returned.
The opening presents a bleak vision: a sinuous and menacingly
subterranean theme intoned by cellos and double basses, followed by
a nervous string accompaniment to an aching tune given out on oboe
and clarinet. The music then builds steadily in volume until a held note
on horns and bassoons swells into a brief but sturdy bridge to the
lilting second theme. Announced by cellos and taken up by the violins,
this new, major-key theme seems at first to promise a more carefree
mood, but interruptions from the full orchestra suggest otherwise, and
it is with a sense of relief that the theme later emerges in a sweetly
extended version. After this first section has been repeated, a brief
reminder of the opening then leads us into the dark realms of the
central development section, which takes the cello-and-bass theme
and works it up to a pitch of nightmarish intensity. The sequence of
first and second themes is then reprised, before the introductory
theme returns once again to initiate a world-weary, dejected coda.
Schubert casts the slow second movement in E major, a distant key
from the B minor of the first which enhances the sense of entering a
different world. Indeed, the relationship between the two movements
has been described by one writer as that of ‘a certain premonition of
death and a vision of heaven’. But despite the Elysian beauty of the
tender first theme, and even the apparent gruff cheerfulness with
which its striding bass line at one point offers to take things over, the
night-terrors still lurk. The clarinet’s nostalgic second theme is the first
to hint at disquiet, but the orchestral outburst which rears its head
later on leaves no doubt that true peace of mind is not to be had here.
Schubert’s half-composed third movement is a bold and vigorous
scherzo; what the finale might have been remains a mystery. But then,
given the power of the music he had written already, perhaps that
was too difficult a question even for Schubert to answer.
Programme Note © Lindsay Kemp
Programme Notes
5

Franz Schubert (1797–1828)
Composer Profile
Johannes Brahms (1833–97)
Composer Profile
In childhood, Schubert was taught
violin by his schoolmaster father
and piano by his eldest brother.
He rapidly became more proficient
than his teachers and showed
considerable musical talent,
so much so that in 1808 he
became a member of Vienna’s
famous Imperial Court chapel choir.
He was educated at the Imperial
City College, where he received lessons from the composer Salieri.
His father, eager that Franz should qualify as a teacher and work in
the family’s schoolhouse, encouraged the boy to return home in 1814.
Compositions soon began to flow, although teaching duties interrupted
progress. Despite his daily classroom routine, Schubert managed
to compose 145 songs in 1815, together with four stage works, two
symphonies, two Masses and a large number of chamber pieces.
Though the quantity of Schubert’s output is astonishing enough, it is
the quality of his melodic invention and the richness of his harmonic
conception that are the most remarkable features of his work.
He was able to convey dramatic images and deal with powerful
emotions within the space of a few bars, as he so often did in his
songs and chamber works. The public failure of his stage works
and the reactionary attitudes to his music of conservative Viennese
critics did not restrict his creativity, nor his enjoyment of composition;
illness, however, did affect his work and outlook. In 1824 Schubert
was admitted to Vienna’s General Hospital for treatment for syphilis.
Although his condition improved, he suffered side-effects from his
medication, including severe depression. During the final four years
of his life, Schubert’s health declined; meanwhile, he created some
of his finest compositions, chief among which are the song-cycles
Winterreise and Schwanengesang, and the last piano sonatas.
Johannes Brahms was born in
Hamburg, the son of an impecunious
musician; his mother later opened
a haberdashery business to help
lift the family out of poverty.
Showing early musical promise
he became a pupil of the
distinguished local pianist and
composer Eduard Marxsen
and supplemented his parents’
meagre income by playing in the bars and brothels of Hamburg’s
infamous red-light district. In 1853 Brahms presented himself to
Robert Schumann in Düsseldorf, winning unqualified approval from
the older composer. Brahms fell in love with Schumann’s wife, Clara,
supporting her after her husband’s illness and death. The relationship
did not develop as Brahms wished, and he returned to Hamburg;
their close friendship, however, survived. In 1862 Brahms moved to
Vienna where he found fame as a conductor, pianist and composer.
The Leipzig premiere of his German Requiem in 1869 proved a
triumph, with subsequent performances establishing Brahms as one
of the emerging German nation’s foremost composers. Following the
long-delayed completion of his First Symphony in 1876, he composed
in quick succession the majestic Violin Concerto, the two piano
Rhapsodies, Op 79, the First Violin Sonata and the Second Symphony.
His subsequent association with the much-admired court orchestra in
Meinigen allowed him freedom to experiment and de velop new ideas,
the relationship crowned by the Fourth Symphony of 1884.
In his final years, Brahms composed a series of profound works for
the clarinettist Richard Mühlfeld, and explored matters of life and
death in his Four Serious Songs. He died at his modest lodgings
in Vienna in 1897, receiving a hero’s funeral at the city’s central
cemetery three days later.
Composer Profiles © Andrew Stewart
6 Composer Profiles

Johannes Brahms (1833–97)
Violin Concerto in D major Op 77 (1878)
1 Allegro non troppo
2 Adagio
3 Allegro giocoso, ma non troppo vivace
Nikolaj Znaider violin
Brahms didn’t play the violin, but his understanding of it was second
only to that of his own instrument, the piano. When he left his native
Hamburg for the first time, it was to accompany the Hungarian
violinist Eduard Reményi on a concert tour during which a famous
episode demonstrated the twenty-year-old composer’s astonishing
musicianship: one evening he discovered that the only available
piano was tuned a semitone flat, and coolly transposed Beethoven’s
C minor sonata up into C-sharp in order to play it at the right pitch.
It was through Reményi that Brahms met the violinist Joseph Joachim,
with whom he formed one of the closest friendships of his life,
and whose playing was at the back of his mind whenever he
composed for the violin. Joachim knew better than to pester the
obstinate composer for a concerto, but must have known that it
was only a matter of time before one eventually appeared.
It came in the summer of 1878, soon after the Second Symphony, with
which it shares something of its character. Not only is there a clearly
symphonic cast to the music, but also the open lyricism that Brahms
associated with the key of D major. Both works were composed at the
same lakeside village in Carinthia; coincidentally, fifty years later Alban
Berg would write his violin concerto on the shores of the same lake.
Since Brahms tended to cover his tracks and say little about the
gestation and composition of his music, we usually know very little
about its background. It is quite possible that ideas for the concerto
had been in his mind for some time; but during its composition there
was a revealing correspondence with Joachim. We learn, for example,
that the concerto was originally to have had four movements rather
than the expected three (an idea Brahms reserved for his Second
Piano Concerto, composed three years later). Joachim was himself a
gifted composer, and in the past Brahms had often sought his advice
on compositional matters. Now it was the solo violin part that Brahms
sent to Joachim for his comments and technical help.
Interestingly, he hardly ever actually took the advice his friend offered.
He knew perfectly well what was effective and playable.
The first performance of the new concerto was given in Leipzig on
1 January 1879. Joachim played, of course, and Brahms conducted.
It was entirely Joachim’s decision, though, to begin the concert with
the Beethoven Concerto, of which he was the most famous player
of the day. Brahms didn’t care for the idea. ‘A lot of D major’, he
commented, but his unspoken objection was that he always disliked
inviting comparisons with Beethoven, who was a very different type
of composer. The only real similarities between the two concertos
are that they are roughly equal in length and proportion, with a first
movement longer than the other two together.
Brahms misses no opportunity to show off the essential character
of the violin. There is brilliance, power and lyricism in the solo
part, which makes enormous demands on the player. For all its
depth and subtlety of construction, though, the overall form of the
concerto is almost obstinately traditional, ignoring the innovations
of Mendelssohn in his famous concerto or even those found in
the later Beethoven concertos. The first movement is a spacious
design, with a long orchestral exposition. Although the themes are
not in themselves extensive, they evolve from one another into long
developments by soloist, orchestra, or both in partnership. This is
the last of the great violin concertos in which the composer left it to
the soloist to provide the expected cadenza. After so symphonicallyconceived
a first movement, the other movements are more relaxed
in mood and structure. The Adagio is coloured by the sound of the
wind instruments, the soloist weaving delicate traceries around the
main theme, but never playing it in its full form. The rondo finale pays
tribute to Joachim’s own concerto ‘in the Hungarian style’, which he
had dedicated to Brahms.
Programme Note © Andrew Huth
Andrew Huth is a musician, writer and translator who writes
extensively on French, Russian and Eastern European music.
Programme Notes
7

Manfred Honeck
Conductor
‘Honeck is a graceful, darting
presence on the podium …
the detail, intelligence
and energy he brings to
his craft are striking’.
The Washington Post
Manfred Honeck was born in Austria and
studied music at the Academy of Music in
Vienna. An accomplished violinist and violist,
he spent more than ten years as a member
of the Vienna Philharmonic and the Vienna
State Opera Orchestra. It is this experience
that has heavily influenced his conducting
and has helped give it a distinctive stamp.
Honeck was appointed the ninth Music
Director of the Pittsburgh Symphony
Orchestra in January 2007, and began his
tenure at the start of the 2008/09 season.
After a first extension in 2009, his contract
was extended for the second time in
February 2012, now through to 2019/20.
Following their successful European Tour
in 2010 and the European Festival Tour
2011 with appearances at the major music
festivals, such as the BBC Proms, Lucerne,
Grafenegg, Rheingau, Schleswig-Holstein
and Musikfest Berlin, he and the Pittsburgh
Symphony Orchestra returned to Europe
in October/November 2012. Honeck’s
successful work in Pittsburgh is captured on
CD by the Japanese label Exton. So far,
Mahler Symphonies Nos 1, 3, 4 and 5,
Tchaikovsky Symphony No 5 and Strauss’
Ein Heldenleben have been released to
critical acclaim. Their recording of Mahler
Symphony No 4 has won an ICMA 2012 Award.
From 2007–11, Honeck was Music Director
of the Staatsoper Stuttgart where he
conducted premieres including Berlioz’s
Les Troyens, Mozart’s Idomeneo, Verdi’s Aida,
Richard Strauss’ Rosenkavalier, Poulenc’s
Dialogues des Carmélites and Wagner’s
Lohengrin and Parsifal. His operatic guest
appearances include Semperoper Dresden,
Komische Oper Berlin, Théâtre de la Monnaie
in Brussels, Royal Opera of Copenhagen,
the White Nights Festival in St Petersburg
and the Salzburg Festival.
He commenced his career as conductor
of Vienna’s Jeunesse Orchestra, which he
co-founded, and as assistant to Claudio
Abbado at the Gustav Mahler Youth
Orchestra in Vienna. Subsequently, he
was engaged by the Zurich Opera House,
where he was bestowed the prestigious
European Conductor’s Award in 1993.
In 1996, Manfred Honeck began a three-year
stint as one of three main conductors of
the MDR Symphony Orchestra Leipzig and
in 1997, he served as Music Director at the
Norwegian National Opera in Oslo for a year.
A highly successful tour of Europe with the
Oslo Philharmonic marked the beginning
of a close collaboration with this orchestra
which consequently appointed him Principal
Guest Conductor. From 2000–6 he was Music
Director of the Swedish Radio Symphony
Orchestra Stockholm and served as Principal
Guest Conductor of the Czech Philharmonic
Orchestra from 2008–11, a position he will
resume 2013–16.
As a guest conductor Manfred Honeck
has worked with major orchestras such as
the Bavarian Radio Symphony Orchestra,
Deutsches Symphonie-Orchester Berlin,
Gewandhausorchester Leipzig, Staatskapelle
Dresden, Royal Concertgebouw Orchestra,
London Philharmonic Orchestra, Orchestre de
Paris, Israel Philharmonic Orchestra and the
Vienna Philharmonic; and in the US with the
Chicago Symphony Orchestra, Los Angeles
Philharmonic, National Symphony Orchestra
Washington and Boston Symphony Orchestra.
He is also a regular guest at the Verbier
Festival. Guest engagements of the 2012/13
season include concerts in Stockholm and
Prague as well as appearances with the
New York Philharmonic and the Cleveland
Orchestra, and his debut with the Berlin
Philharmonic Orchestra.
In 2010, Manfred Honeck earned an honorary
doctorate from St Vincent College in Latrobe,
Pennsylvania. He has also been Artistic
Director of the International Concerts Wolfegg
in Germany for more than 15 years.
8 The Artists Manfred Honeck © Felix Broede

Nikolaj Znaider
Violin
‘What a meltingly gorgeous
sound. In the cadenza,
with the orchestral
strings strumming like
mandolins, 2,000 people
hardly dared to breathe.’
The Times on Nikolaj Znaider and the LSO
Nikolaj Znaider is not only celebrated as one
of the foremost violinists of today, but is fast
becoming one of the most versatile artists of
his generation uniting his talents as soloist,
conductor and chamber musician.
Nikolaj Znaider was invited by Valery Gergiev
to become Principal Guest Conductor of the
Mariinsky Orchestra in St Petersburg where
he conducts opera productions, to include
The Marriage of Figaro and Don Giovanni
this season, and a number of symphonic
concerts. He is a regular guest conductor with
orchestras such as the Dresden Staatskapelle,
Munich Philharmonic Orchestra, Czech
Philharmonic, LA Philharmonic, Pittsburgh
Symphony Orchestra, Orchestre Philharmonique
de Radio France, Russian National Orchestra,
Halle Orchestra, Swedish Radio Orchestra and
Gothenburg Symphony. Last season he
appeared as Artist-in-Residence with the
Dresden Staatskapelle, and this season will make
his conducting debut with the Concertgebouw
Orkest and Orchestra of Santa Cecilia Rome.
As a soloist, Znaider works regularly with the
world’s leading orchestras and conductors
such as Daniel Barenboim, Sir Colin Davis,
Valery Gergiev, Lorin Maazel, Zubin Mehta,
Christian Thielemann, Mariss Jansons,
Charles Dutoit, Christoph von Dohnanyi,
Ivan Fischer and Gustavo Dudamel. In recital
and chamber music he appears at all the
major concert halls.
An exclusive RCA Red Seal recording artist,
Znaider’s most recent addition to his
discography is the Elgar Violin Concerto with
Sir Colin Davis and the Dresden Staatskapelle.
His award-winning recordings of the Brahms
and Korngold Violin Concertos with the Vienna
Philharmonic and Valery Gergiev, the Beethoven
and Mendelssohn Concertos with Zubin Mehta
and the Israel Philharmonic, and Prokofiev
Violin Concerto No 2 and Glazunov Concertos
with Mariss Jansons and the Bayerische
Rundfunk have been greeted with great
critical acclaim, as was his release of the
complete works for violin and piano of Brahms
with Yefim Bronfman. For EMI Classics he
has recorded the Mozart Piano Trios with
Daniel Barenboim and the Nielsen and Bruch
Concertos with the London Philharmonic.
Znaider is passionate about the education
of musical talent and was for ten years
Founder and Artistic Director of the Nordic
Music Academy, an annual summer school
whose vision it was to create conscious and
focused musical development based on
quality and commitment.
Nikolaj Znaider plays the Kreisler Guarnerius
del Gesu 1741, on extended loan to him
by The Royal Danish Theater through the
generosity of the Velux Foundations and
the Knud Højgaard Foundation.
NIKOLAJ ZNAIDER’s series
continues with the LSO
Thu 4 Apr 7.30pm
Mozart Piano Concerto No 25, K503
Mahler Symphony No 5
Nikolaj Znaider conductor
Piotr Anderszewski piano
Sun 16 & Tue 18 Jun 7.30pm
Mendelssohn Violin Concerto
Schubert Symphony No 9 (‘The Great’)
Sir Colin Davis conductor
Nikolaj Znaider violin
lso.co.uk/whatson
Nikolaj Znaider © Bill Robinson
The Artists
9

Nicholas Collon
Conductor
Nicholas Collon is establishing
an enviable reputation as a
commanding and inspirational
interpreter in an exceptionally
wide range of music. As founder
and Principal Conductor of Aurora
Orchestra he has promoted
imaginative programming that
integrates challenging repertoire
from the 20th and 21st centuries
with masterworks of the Classical and Romantic eras. Nicholas and
Aurora were winners of Best Ensemble at the 2011 RPS Awards.
In addition to his work with Aurora, he is increasingly in demand
as a guest conductor with other ensembles in the UK and abroad.
He is the recipient of the 2012 Critics’ Circle Award for Exceptional
Young Talent and was Assistant Conductor to Vladimir Jurowski at
the London Philharmonic Orchestra for the 2011/12 season.
Having made a very successful debut at the BBC Proms in 2010,
Nicholas was re-invited to both 2011 and 2012 with Aurora Orchestra
and with the London Sinfonietta and Birmingham Contemporary
Music Group. Last season, Nicholas made his debuts with the London
Philharmonic Orchestra, the Philharmonia Orchestra, London Mozart
Players, Northern Sinfonia and the Munich Chamber Orchestra at
the Munich Biennale. He also he made his concert debut with the
BBC Scottish in a programme of Philip Glass and Strauss. In 2012/13
he will make further debuts with the City of Birmingham Symphony
Orchestra, the BBC Philharmonic, Spanish National Orchestra,
Orchestre National d’Ile de France, Bournemouth Symphony,
BBC National Orchestra of Wales, Academy of Ancient Music,
Auckland Philharmonia and Ensemble Intercontemporain.
Nicholas will make his debuts with English National Opera in The Magic
Flute, Welsh National Opera in Jonathan Harvey’s Wagner Dream
during the 12/13 season and also make his debut with Glyndebourne
on Tour in autumn 2013. With the Opera Group he has conducted
the first performances of Elena Langer’s The Lion’s Face and Luke
Bedford’s Seven Angels.
BBC RADIO 3 LUNCHTIME CONCERTS
10TH BIRTHDAY FESTIVAL
Tue 26 Mar 1pm
Wihan Quartet
Mozart String Quartet in D minor
Dvořák String Quartet in F major (‘American’)
Wed 27 Mar 1pm
LSO String Orchestra
Schoenberg Verklärte Nacht
Tchaikovsky Serenade for Strings
Thu 28 Mar 1pm
Nicholas Angelich
Ravel Oiseaux tristes from ‘Miroirs’
Ravel Valses nobles et sentimentales
Mussorgsky Pictures at an exhibition
Fri 29 Mar 1pm
Nash Ensemble
Schubert Octet
Tickets £10 (£9 concessions)
020 7638 8891 | lso.co.uk/lunchtimeconcerts
London Symphony Orchestra
10 The Artists Nicholas Collon © Benjamin Ealovega

On stage
First Violins
Gordan Nikolitch Leader
Tomo Keller
Lennox Mackenzie
Martyn Jackson
Nigel Broadbent
Ginette Decuyper
Jörg Hammann
Maxine Kwok-Adams
Claire Parfitt
Harriet Rayfield
Colin Renwick
Ian Rhodes
Sylvain Vasseur
David Worswick
Jan Regulski
Gerald Gregory
Second Violins
David Alberman
Thomas Norris
Sarah Quinn
Miya Vaisanen
David Ballesteros
Richard Blayden
Matthew Gardner
Belinda McFarlane
Andrew Pollock
Paul Robson
Louise Shackelton
Elizabeth Pigram
Eleanor Fagg
Ingrid Button
Violas
Paul Silverthorne
Gillianne Haddow
Malcolm Johnston
Julia O’Riodan
Regina Beukes
German Clavijo
Lander Echevarria
Anna Green
Richard Holttum
Robert Turner
Jonathan Welch
Josh Greenlaw
Cellos
Timothy Hugh
Alastair Blayden
Jennifer Brown
Mary Bergin
Noel Bradshaw
Eve-Marie Caravassilis
Daniel Gardner
Hilary Jones
Minat Lyons
Amanda Truelove
Double Basses
Colin Paris
Nicholas Worters
Patrick Laurence
Matthew Gibson
Thomas Goodman
Jani Pensola
Joao Seara
Simo Vaisanen
Flutes
Gareth Davies
Siobhan Grealy
Piccolo
Sharon Williams
Oboes
Fabien Thouand
Michael O’Donnell
Cor Anglais
Christine Pendrill
Clarinets
Christopher Richards
Chi-Yu Mo
Bass Clarinet
Lorenzo Iosco
Bassoons
Rachel Gough
Joost Bosdijk
Contra Bassoon
Dominic Morgan
Horns
John Thurgood
Angela Barnes
Estefanía Beceiro Vazquez
Jonathan Lipton
Trumpets
Roderick Franks
Gerald Ruddock
Robin Totterdell
Trombones
Dudley Bright
James Maynard
Bass Trombone
Paul Milner
Tuba
Patrick Harrild
Timpani
Nigel Thomas
Percussion
Neil Percy
David Jackson
Harp
Karen Vaughan
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.
Kate Suthers (first violin),
Julia Pusker (second violin),
Kristina Chalmovska (cello) and
Doo Woong Chung (double
bass) performed in these
two concerts, while Louisa
Tatlow (viola) participated in
rehearsals.
The Scheme is supported by:
Fidelio Charitable Trust
The Lefever Award
Musicians Benevolent Fund
List correct at time of
going to press
See page x for London
Symphony Orchestra members
Editor
Edward Appleyard
edward.appleyard@lso.co.uk
Photography
Igor Emmerich, Kevin Leighton,
Bill Robinson, Alberto Venzago
Print
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The Orchestra
11

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