Wynton Marsalis's Swing Symphony - Barbican

FRI 9 – SUN 18 

NOV 2012 

londonjazzfestival.org.uk 

– 

Barbican 

0208 638 8891 

– 

Southbank Centre 

0844 975 0073 

– 

SHOWS NOW 

ON SALE INCLUDE: 

JAZZ VOICE: CELEBRATING 

A CENTURY OF SONG* 

Fri 9 BARBICAN 

ROBERT GLASPER EXPERIMENT 

+ Phantom Limb 

Fri 9 SOUTHBANK CENTRE 

BEATS & PIECES BIG BAND 

+ ENSEMBLE DENADA 

Sat 10 SOUTHBANK CENTRE 

HERBIE HANCOCK 

Mon 12 SOUTHBANK CENTRE 

BRAD MEHLDAU 

Wed 14 BARBICAN 

KURT ELLING 

+ SHEILA JORDAN 

Wed 14 SOUTHBANK CENTRE 

ESPERANZA SPALDING* 

Thu 15 SOUTHBANK CENTRE 

PACO DE LUCIA 

Fri 16 SOUTHBANK CENTRE 

RODRIGUEZ 

Sat 17 SOUTHBANK CENTRE 

CHICK COREA 

CHRISTIAN McBRIDE 

BRIAN BLADE 

Sat 17 BARBICAN 

With many more to be announced. 

*part of the EFG International Excellence Series 

Full details at londonjazzfestival.org.uk 

Wynton Marsalis’s 

Swing Symphony 

Jazz at Lincoln Center Orchestra 

London Symphony Orchestra 

Sir Simon Rattle 

25 & 26 Jul 

barbican.org.uk 

Barbican International Associate 

Barbican Resident Orchestra 


© Clay Patrick McBride

9 – 18 Nov 

London 

Jazz Festival 

in association 

with BBC 

Radio 3 

Highlights 

include 

Fri 9 Nov 

Jazz Voice – 

Celebrating A 

Century of Song 

The Festival’s signature openingnight 

gala returns once again with 

its epoch-spanning celebration 

of singing and song 

Sat 17 Nov 2pm 

Neil Cowley Trio 

with the Goldsmiths 

(big) Strings 

A special Festival matinee, 

featuring an exclusive orchestral 

rendition of blazingly original 

pianist and composer Neil 

Cowley’s acclaimed 2012 album, 

The Face of Mount Molehill 

barbican.org.uk 

Sun 18 Nov 

David Murray Big 

Band & Macy Gray 

Stomping And 

Singin’ The Blues 

Drenched in blues and soul, 

the closing night of the Festival 

features a special set of covers and 

timeless classics from soul singer 

Macy Gray and saxophone 

virtuoso David Murray 

Also booking 

Fri 8 Feb 2013 

Ahmad Jamal 

As influential as Jelly Roll Morton, 

Art Tatum or Thelonious Monk, 

the master jazz pianist presents 

his new album, Blue Moon 

Welcome to 

the City of London 

Corporation 

Virtuoso on 

the world stage 

The City of London Corporation is a uniquely diverse 

organisation that supports and promotes the City as the 

world leader in international finance and business services. 

It serves the needs of international business and 

maintains the environment in which organisations 

from all over the world can play their part in 

financing global trade and development. 

The City Corporation also provides modern, efficient 

and high quality local services and policing for those 

working in, living in and visiting the Square Mile. 

In addition it provides valued services beyond 

the Square Mile, including its role as one of the 

most significant arts sponsors in the UK – only the 

government, the BBC and the Lottery give more. 

The City of London is the founder and 

principal funder of the Barbican Centre 

www.cityoflondon.gov.uk 

1

Introduction 

It is a great pleasure to welcome back the 

Jazz at Lincoln Center Orchestra with 

Artistic Director Wynton Marsalis to the 

Barbican Centre. 

As our first International Associates in 2010 they 

made a huge impact on audiences, creating a real 

residency that extended beyond the Barbican into 

East London. This year we have presented an even 

more ambitious residency which gives audiences the 

opportunity to experience some of America’s finest 

jazz musicians in concerts, workshops, masterclasses 

and talks. 

This residency forms a highlight of the Barbican’s 

major contribution to the London 2012 Festival, with 

Swing Symphony taking place on the two nights 

preceding the opening ceremony of the Olympic 

Games. There have already been many outstanding 

events, ranging from Congo Square, written by 

Marsalis with Ghanaian drum master Yacub 

Addy, to the Abyssinian Mass, a hugely ambitious 

choral work by Marsalis which brought together 

the orchestra with a sixty-voice choir including the 

London Adventist Chorale, and the Croydon SDA 

Gospel Choir – an ideal collaboration between 

international and local talent at the highest level. 

Tonight’s concert in particular promises to be a 

landmark performance, with an unparalleled 

group of world-class musicians on stage together, 

as the Jazz at Lincoln Center Orchestra is joined 

by our resident orchestra, the London Symphony 

Orchestra, and Berlin Philharmonic Chief Conductor, 

Sir Simon Rattle. 

It is a privilege for us at the Barbican Centre to 

partner these outstanding organisations and we 

are very grateful to all our supporters for making 

this possible. We hope you can join us as we draw 

the pre-Olympic period – which has provided 

so many thrilling cultural events in London – to a 

triumphant climax! 

Enjoy! 

Sir Nicholas Kenyon 

Managing Director of the Barbican Centre 

Supported by Arts Council England, 

the City Bridge Trust and the SHM Foundation 

This programme 

is printed on 100% 

recycled materials. 

The City of London 

Corporation is founder 

and principal funder of 

the Barbican Centre 

Programme notes 

Sergei Rachmaninov (1873–1943) 

Symphonic Dances Op 45 (1940) 

1 Non allegro 

2 Andante con moto (Tempo di valse) 

3 Lento assai – Allegro vivace 

Did Rachmaninov realise that the Symphonic 

Dances would be his last work? Whether he had 

such a premonition or not, few composers have 

ended their careers with such appropriate music, 

for the Symphonic Dances contain all that is finest 

in Rachmaninov, representing a compendium of a 

lifetime’s musical and emotional experience. 

Their composition was preceded by a big public 

retrospective of his triple career as composer, 

pianist and conductor. On 11 August 1939 

Rachmaninov gave his last performance in Europe 

and shortly afterwards left with his family for the US, 

one of many artists driven from Europe by the 

approach of war. In the following winter season the 

Philadelphia Orchestra gave five all-Rachmaninov 

concerts in New York to mark the 30th anniversary 

of his American debut (in 1909 he had premiered 

his Third Piano Concerto in New York, first with 

Walter Damrosch and then with Gustav Mahler 

conducting); Rachmaninov appeared as pianist 

and conductor. 

In the summer of 1941 he wrote to Eugene 

Ormandy offering him and the Philadelphia 

Orchestra the first performance of three ‘Fantastic 

Dances’; when the orchestration was completed 

two months later, the title had been finalised as 

‘Symphonic Dances’. The work exists in two versions: 

for large orchestra, and for two pianos. 

Rachmaninov was usually reluctant to talk about his 

music, and so we know almost nothing about the 

background to the composition of the Symphonic 

Dances. We do know that other of his works owe 

their existence to some visual or literary stimulus – 

The Isle of the Dead, for example, or several of the 

Etudes-tableaux for solo piano, and it is highly likely 

that the composer invested the Symphonic Dances 

with a poetic and even autobiographical 

significance which we can guess at, but which he 

never divulged. One clue is perhaps provided by 

the titles which he suggested for each movement. 

Since Mikhail Fokine had devised a successful ballet 

using the score of the ‘Paganini’ Rhapsody (Covent 

Garden 1939), a further collaboration was now 

suggested. Rachmaninov played the Symphonic 

Dances to the choreographer, and explained that 

they followed the sequence Midday – Twilight – 

Midnight. 

The first dance is a three-part structure, with fast 

outer sections. It is marked by an extraordinary 

and at times even eccentric use of the orchestra. 

After the stamping opening section, with its use of 

the piano as an orchestral instrument and piercingly 

strident woodwind calls, the central section offers 

gently undulating woodwind lines against which 

appears a great Rachmaninov melody given at first 

to a solo alto saxophone – an eerie, melancholy 

sound, unique in his music. 

Towards the end of this first dance a calm spreads 

over the music, with a broad new theme in the 

strings against a chiming decoration of flute, 

piccolo, piano, harp and bells, a quotation from his 

ill-fated First Symphony, withdrawn (and the score 

apparently lost) after its disastrous first and only 

2 3

performance in 1897. The failure of this work had 

been a crippling blow to the young composer, who 

for some years afterwards had been incapable 

of further composition. There is no knowing what 

private significance this quotation now had for 

Rachmaninov at the end of his life. Was it an 

exorcism, perhaps, or a recollection of the early 

love affair that had lain behind the Symphony? 

A snarl from the brass opens the second of the 

dances. This is a symphonic waltz in the tradition 

of Berlioz, Tchaikovsky and Mahler; and as in 

movements by those composers, the waltz, that 

most social and sociable of dances, at times takes 

on the character of a danse macabre. The title 

‘Twilight’ is perfectly suited to this shadowy music, 

haunted by spectres of the past. 

In the third dance, the theme from the First 

Symphony has a further significance when the 

first four notes form the first notes of the Dies irae 

plainchant, that spectre of death which haunts so 

much of Rachmaninov’s music. Once again, a threepart 

structure, the central section is imbued with a 

lingering, fatalistic chromaticism; the outer sections, 

by contrast, contain some of the most dynamic 

music Rachmaninov ever wrote. Another significant 

self-quotation is the appearance of a chant from 

the Russian Orthodox liturgy which Rachmaninov 

had set in his 1915 All-Night Vigil (usually referred to 

as the Vespers). This chant and the Dies irae engage 

in what is virtually a life-against-death struggle; 

and towards the end, Rachmaninov wrote in the 

score the word ‘Alliluya’ (Rachmaninov’s spelling, 

in Latin and not Cyrillic characters). At the end of 

his life, then, and with the last music he composed, 

Rachmaninov seems finally to have exorcised the 

ghost that stalks through all his music, summed up 

in the phrase by Pushkin that he had set nearly half 

a century earlier in his opera Aleko: ‘Against fate 

there is no protection’. 

The first performance was given on 3 January 

1942 by the Philadelphia Orchestra under Eugene 

Ormandy. The work received a mixed reception. 

Apart from the hardly relevant question of whether 

the musical language was too old-fashioned or 

not, what seems to have confused everyone at 

the time was an elusive quality to the work, an 

uncomfortable ambiguity of aims and expression. 

With the passage of time the Symphonic Dances 

have gradually come to be recognised as one of 

Rachmaninov’s finest achievements, where the high 

level of invention and the orchestral brilliance are 

only further enhanced by a deep sense of mystery 

that lies at the heart of the work. 

Programme notes © Andrew Huth 

INTERVAL 

© Clay Patrick McBride 

Wynton Marsalis 

Swing Symphony (Symphony No 3) 

When he burst on to the American jazz scene in the 

early ‘1980s, Wynton Marsalis was every inch the 

star soloist of his generation. His stage presence 

was strong, his trumpet playing was dazzling and 

his improvisations, as a member of Art Blakey’s 

Jazz Messengers and, then, as a leader of his own 

groups, were touched by such verve as to draw 

comparisons with many of his illustrious forebears, 

from Clifford Brown to Freddie Hubbard. 

As time went by, Marsalis defined himself in another 

way, though – one that was equally, if not more 

impressive. He unveiled a talent for composition. 

He conceived of epic narratives with a full 

spectrum of tonal colours, themes and interludes. 

His ambition took him into the realm of suites and 

oratorios, as in Marciac and Blood On The Fields. 

Given its UK premiere tonight, Swing Symphony 

(Symphony No 3) is a grandiose orchestral statement 

on the majesty of the musical concept that is 

Marsalis’ artistic lifeblood – swing. As he explained 

during a previous Barbican residency, this instantly 

recognisable but nonetheless elusive aspect of 

rhythm is a kind of ‘balance within tension’, and 

although the quality is synonymous first and 

foremost with drums, cymbals, double bass, piano, 

saxes, trumpets and trombones, it can also be 

applied to a setting that encompasses violins, violas, 

cellos and other elements of a classical orchestra. 

Accompanied by the London Symphony Orchestra, 

conducted by Sir Simon Rattle, the award-winning 

Chief Conductor of the Berliner Philharmoniker, 

Wynton Marsalis and Jazz At Lincoln Center 

Orchestra will have their already rich harmonic 

palette imbued with additional light and shade on 

a work which, judging by the trumpeter’s previous 

efforts, will not want for either artistic scope or 

emotional depth. Although he is an indefatigable 

champion of the jazz tradition, Wynton Marsalis is 

also a highly accomplished exponent of classical 

music, and in addition to albums such as Black 

Codes Of The Underground he has interpreted the 

work of many great European composers, notably 

the baroque giants Haydn, Vivaldi and Biber. 

Although that may come as a surprise to some, 

Marsalis’ forays into this world make perfect sense 

given the body of work created by some of his role 

models. Duke Ellington, whose influence on Marsalis’ 

composing and arranging is abundantly clear, took 

similar steps back in 1960 when he and his inimitable 

orchestra performed two seminal works by classical 

composers of towering stature – Tchaikovsky’s 

Nutcracker Suite and Grieg’s Peer Gynt Suite. 

Although these recordings are not always given pride 

of place in the Duke’s gargantuan discography they 

are nonetheless fascinating insofar as they show 

that jazz and classical music, despite the fact that 

the former generally allows more scope for soloists 

than the latter, are not alien entities. They can be 

united by attention to structural detail and a focus 

on nuance. Tchaikovsky and Ellington were two 

artists adept at imbuing sound with a vivid sense of 

colour, personality and place that reflected great 

sensitivity to their own experiences and surroundings. 

The Columbia Records producer Irving Townsend 

noted that Ellington wrote the arrangement of 

‘In The Hall of The Mountain King’, one of the most 

dramatic movements of Peer Gynt, while ambling 

around the corridors of the atmospheric Chateau 

Marmont Hotel on Hollywood’s Sunset Strip, and 

that as a result ‘it jumps all the way.’ 

4 5


Although this appears to reinforce the notion that a 

jazz artist, when putting his hand to classical music, 

invariably galvanises it with greater rhythmic drive, 

it does not do justice to the very complex personalities 

on either side of the genre divide. It should not 

be forgotten that many improvisers are also 

composers who are intent on investigating all the 

subtleties and finer points of chords or counterpoint 

in order to bring as much depth to their work as 

possible. When Ornette Coleman, who, like Wynton 

Marsalis, has received the Pullitzer Prize For Music, 

collaborated with the London Symphony Orchestra 

under the direction of David Measham on the 

iconic Skies Of America in 1972, it was obvious that 

the string players were not mandated to simply add 

pretty harmonies for a hard blowing soloist. There 

was a desire to give the symphonic instruments 

parts that were very much in the same spirit as that 

of Coleman’s playing. 

All of the orchestral music that Wynton Marsalis 

has written to date suggests that his meeting 

with Sir Simon Rattle will also attempt to take full 

advantage of the vast combined sonic resources 

of JLCO and LSO in the most integrated, holistic 

way. Marsalis’ deep affinity to music that is scored 

as well as improvised has never been in doubt, and 

this collaboration with Rattle is a summit meeting of 

two artists who are bound by a common language, 

though each has a vernacular sufficiently rich to 

make the dialogue mouthwatering. 

Programme notes © Kevin Le Gendre 


Wynton Marsalis is the Artistic Director of Jazz at 

Lincoln Center, Music Director of the Jazz at Lincoln 

Center Orchestra, and a world-renowned trumpeter 

and composer. Born in New Orleans, Louisiana 

in 1961, Marsalis began his classical training on 

trumpet at the age of 12, entered The Juilliard 

School at age 17, and then joined Art Blakey and 

the Jazz Messengers. He made his recording debut 

as a leader in 1982, and has since made more than 

60 jazz and classical recordings, which have won 

him nine Grammy® Awards. 

Marsalis is also an internationally respected 

teacher and spokesman for music education, and 

has received honorary doctorates from dozens of 

universities and colleges throughout the US. In 1997, 

Marsalis became the first jazz artist to be awarded 

the prestigious Pulitzer Prize in music for his oratorio 

Blood on the Fields, which was commissioned by 

Jazz at Lincoln Center. 

Time magazine selected Wynton as one of 

America’s most promising leaders under the 

age of 40 in 1995, and in 1996 Time celebrated 

Marsalis again as one of America’s 25 most 

influential people. In November 2005 Wynton 

Marsalis received The National Medal of Arts, 

the highest award given to artists by the United 

States Government. United Nations Secretary- 

General Kofi Annan proclaimed Wynton Marsalis 

an international ambassador of goodwill for the 

United States by appointing him a UN Messenger 

of Peace in 2001. 


Jazz at Lincoln Center 

Orchestra with 


The Jazz at Lincoln Center Orchestra with Wynton 

Marsalis (JLCO), comprising 15 of the finest jazz 

soloists and ensemble players today, has been the 

Jazz at Lincoln Center resident orchestra since 1988. 

This remarkably versatile orchestra performs and 

leads educational events in New York, across the 

US and around the globe; in concert halls, dance 

venues, jazz clubs, public parks; and with symphony 

orchestras, ballet troupes, local students; and an 

ever-expanding roster of guest artists. 

Under Music Director Wynton Marsalis, the Jazz at 

Lincoln Center Orchestra performs a vast repertoire, 

from rare historic compositions to Jazz at Lincoln 

Center-commissioned works, including compositions 

and arrangements by Duke Ellington, Count Basie, 

Fletcher Henderson, Thelonious Monk, Mary Lou 

Williams, Dizzy Gillespie, Benny Goodman, Charles 

Mingus, and many others. Over the last few years, 

the Orchestra has also performed collaborations 

with leading symphony orchestras and has been 

featured in education and performance residencies 

throughout the world. 

For more information on Jazz at Lincoln Center, 

please visit jalc.org 


& Jazz at Lincoln Center Orchestra 

Wynton Marsalis musical director, trumpet 

Ryan Kisor trumpet 

Marcus Printup trumpet 

Kenneth Rampton trumpet 

Christopher Crenshaw trombone 

Vincent Gardner trombone 

Elliot Mason trombone 

Walter Blanding saxophone, clarinet 

Victor Goines saxophone, clarinet 

Sherman Irby saxophone, clarinet 

Ted Nash saxophone, clarinet 

Joe Temperley bass clarinet 

Carlos Henriquez bass 

Ali Jackson drums 

Dan Nimmer piano 

6 7

© Simon Fowler 

Sir Simon Rattle 

Sir Simon Rattle was born in Liverpool and 

studied at the Royal Academy of Music in London. 

Between 1980 and 1998, he was Principal 

Conductor and Artistic Adviser of the City of 

Birmingham Symphony Orchestra, then Music 

Director. Rattle toured and recorded extensively with 

the CBSO and also conducted leading orchestras 

in London, Europe and the US, enjoying a close 

association with the Boston Symphony Orchestra 

for many years and now with the Philadelphia 

Orchestra. He is a regular guest conductor of the 

Vienna Philharmonic, with which he has recorded 

the complete Beethoven symphonies and piano 

concertos (with Alfred Brendel) and is also a 

Principal Artist of the Orchestra of the Age of 

Enlightenment and Founding Patron of Birmingham 

Contemporary Music Group. Following his 1977 

Glyndebourne Festival Opera debut, he conducted 

many productions there as well as a series for 

Netherlands Opera. Other notable debuts included 

English National Opera (1985), his US opera debut 

in Los Angeles (1988), Royal Opera House (1990) 

and Théâtre du Châtelet, Paris (1996). 

For 15 years a regular guest conductor of the 

Berliner Philharmoniker, Simon Rattle became its 

Chief Conductor and Artistic Director in September 

2002. As well as fulfilling a taxing concert schedule 

in Berlin, the partnership tours extensively, and 

has garnered many awards for its recordings and 

pioneering educational work. Concert programmes 

cover a broad spectrum, from Bach and Rameau 

to figures such as Beethoven, Haydn, Mozart, and 

Brahms, to contemporary composers such as Adès, 

Berio, Boulez, Grisey, Gubaidulina, Lindberg, and 

Turnage. The Berliner Philharmoniker has for many 

years had close links with the Simon Bolivar Youth 

Orchestra of Venezuela and, since his appointment, 

Simon Rattle has led two projects in Venezuela. 

At the Salzburg Easter Festival Rattle has conducted 

staged productions of Fidelio, Così fan tutte, Peter 

Grimes, Pelléas et Mélisande, Salome, Carmen 

together with a concert performance of Idomeneo 

and a wide range of concert programmes, all 

with the Berliner Philharmoniker. He has also 

conducted Wagner’s complete Ring Cycle with the 

Berliner Philharmoniker for the Aix-en-Provence 

and Salzburg Easter Festivals. The cycle began 

with Das Rheingold in Aix in 2006 and concluded 

with Götterdämmerung at the 2010 Salzburg Easter 

Festival. Recent opera has also included Pelléas 

et Mélisande for the Royal Opera House (2007); 

Tristan und Isolde for the Wiener Staatsoper (2009); 

L’Étoile for the Deutsche Staatsoper Berlin (2010) 

and his Metropolitan Opera, New York debut in 

December 2010 with Pelléas et Mélisande. 

Recent seasons have included Far East and 

European tours with Berliner Philharmoniker; 

projects with Vienna Philharmonic, Rotterdam 

Philharmonic, Orchestra of the Age of 

Enlightenment and The Philadelphia Orchestra. 

The 2007/08 season included the Berliner 

Philharmoniker’s 125th birthday celebrations, Berlin 

in Lights (a 10-day Carnegie Hall residency), a 

Scandinavian tour, the BBC Proms and two visits 

to his birthplace, Liverpool, for concerts with the 

Berliner Philharmoniker and with Royal Liverpool 

Philharmonic, as part of the city’s celebrations as 

the 2008 European Capital of Culture. 

An exclusive EMI artist for many years, Rattle has 

made over 70 recordings for the label, and has 

received numerous prestigious international awards. 

Releases with Berliner Philharmoniker include 

Holst’s The Planets, together with Colin Matthews’ 

recently-written Pluto, and the world premiere 

recordings of further ‘asteroids’ by Saariaho, 

Pintscher, Turnage and Dean; Shostakovich 

Symphonies Nos 1 and 14; Richard Strauss’s 

Ein Heldenleben and Le Bourgeois Gentilhomme 

suite; Debussy’s La mer; Dvorˇák Tone Poems; 

Schubert’s Symphony No 9; Carl Orff’s Carmina 

Burana; Bruckner Symphony No 4, the Nielsen 

Clarinet and Flute concertos; and Brahms Requiem 

with Röschmann and Quasthoff, which won Best 

Choral Recording at the 2008 Grammy awards. 

Recent releases include Stravinsky’s Symphony of 

Psalms (recipient of the 2009 Grammy Award for 

Best Choral Performance), Berlioz’s Symphonie 

fantastique, Ravel’s L’enfant et les sortilèges, 

Brahms’ Symphonies, Tchaikovsky’s Nutcracker and 

Mahler’s Symphony No 2. 

Forthcoming seasons include opera productions 

in Vienna, Berlin, London and Salzburg; extensive 

touring with the Berliner Philharmoniker; 

and projects with the Orchestra of the Age 

of Enlightenment, Vienna Philharmonic and 

Philadelphia Orchestra. 

Simon Rattle was knighted in 1994 by the Queen, 

and has received many other distinctions, in 

recognition of his artistic activities. In 2009, on 

the anniversary of the day of the German 

Unity, Sir Simon Rattle was awarded the Grosse 

Verdienstkreuz by the German government, in 

recognition of his artistic activities and for his 

initiation of the education programme of the 

Berliner Philharmoniker. In 1996, he was awarded 

the Shakespeare Prize by the Toepfer Foundation 

in Hamburg, and in 1997, the Albert Medal of the 

Royal Society of Arts. 

Since taking up his appointment with the Berliner 

Philharmoniker, he has broken new ground with 

the educational programme Zukunft@Bphil. This 

has also earned him the 2004 Comenius Prize, the 

Schiller Special Prize from the city of Mannheim 

in May 2005, the Golden Camera and the Urania 

Medal in spring 2007. 

He and the Berliner Philharmoniker were also 

appointed International UNICEF Ambassadors, 

the first time this honour has been conferred on 

an artistic ensemble. The formal appointment 

took place in November 2007 in New York before 

the performance of the dance project, The Rite of 

Spring, at the United Palace Theater 

in Harlem. 

8 9


Performing over 120 concerts a year and listed by 

Gramophone as one of the top five orchestras in 

the world, the LSO has an enviable family of artists. 

Our conductors include Sir Colin Davis as President, 

Valery Gergiev as Principal Conductor, Daniel 

Harding and Michael Tilson Thomas as Principal 

Guest Conductors, and André Previn as Conductor 

Laureate. We also have long-standing relationships 

with Anne-Sophie Mutter, Mitsuko Uchida, Pierre 

Boulez, Bernard Haitink, Leonidas Kavakos and 

Nikolaj Znaider, amongst others, and alongside our 

own talented players, the LSO is widely acclaimed 

by audiences and critics alike. 

lso.co.uk 

At home and abroad 

The LSO is proud to be Resident Orchestra at the 

Barbican and thrives on the stability a permanent 

home has offered since the centre opened in 1982. 

The Barbican, where we perform 70 concerts 

a year, has enabled us to establish a truly loyal 

audience and to fulfil our artistic aspirations. 

Collaborative projects between the Orchestra 

and the Barbican have placed us at the heart of 

the Centre’s programme, alongside Barbican 

Associates and the many visiting orchestras who 

also perform here. 

The LSO, Guildhall School and Barbican have 

developed a pioneering partnership between 

higher education and the performing arts sectors, 

and recently formed Centre for Orchestra. It offers 

Guildhall School students exposure to the exacting 

standards of a world class symphony orchestra, and 

develops the role of the orchestra in the 21st century. 

The LSO also enjoys uniquely successful residencies 

at the Lincoln Center in New York, Salle Pleyel in 

Paris, Suntory Hall in Tokyo, and at the Aix-en- 

Provence Festival. Highlights of our tour destinations 

this coming season also include China, Canada, 

South Korea and the United States, plus many 

major European cities. 

LSO Discovery 

The LSO is set apart from other international 

orchestras by the depth of its commitment to music 

education, reaching over 60,000 people each year. 

LSO Discovery enables us to offer people of all 

ages opportunities to get involved in music-making 

and to enter the extraordinary sound world of the 

Orchestra. 

LSO St Luke’s 

LSO St Luke’s, the UBS and LSO Music Education 

Centre, is a stunning listed building in the heart of 

Finsbury, London. It is the home of LSO Discovery, 

and host to chamber and solo recitals, dance, folk 

music and more. LSO St Luke’s artistic partners 

include BBC Radio 3, Barbican, Aurora Orchestra, 

City of London Festival, Guildhall School and jazz, 

world and contemporary music promoters, Serious. 

LSO Live 

LSO Live is the most successful label of its kind in 

the world. There are now over 75 LSO Live releases 

available globally on CD, SACD and online. Valery 

Gergiev’s release of Prokofiev’s Romeo & Juliet won 

BBC Music Magazine’s Best Orchestra Recording 

award last year, and Sir Colin Davis’ Verdi Otello 

was shortlisted for a Gramophone award. 

The LSO on Film 

Appearing in over 300 titles, the LSO is a worldleader 

in recording and developing music for film 

and enjoys collaborating with renowned film music 

composers such as Alexander Desplat (Harry Potter 

and the Deathly Hallows, The Ides of March), John 

Williams (Star Wars, Superman), Patrick Doyle (Thor, 

Nanny McPhee) and many more besides. 

10 11

12 


First Violins 

Gordan Nikolitch leader 

Tomo Keller 

Lennox Mackenzie 

Nigel Broadbent 

Ginette Decuyper 

Jörg Hammann 

Maxine Kwok-Adams 

Claire Parfitt 

Harriet Rayfield 

Ian Rhodes 

Sylvain Vasseur 

Rhys Watkins 

David Worswick 

Gerald Gregory 

Raja Halder 

Gabrielle Painter 

Second Violins 

David Alberman 

Thomas Norris 

Miya Vaisanen 

David Ballesteros 

Philip Nolte 

Andrew Pollock 

Paul Robson 

Oriana Kriszten 

Gordon MacKay 

Hazel Mulligan 

Alina Petrenko 

Helena Smart 

Robert Yeomans 

Violas 

Edward Vanderspar 

Gillianne Haddow 

Malcolm Johnston 

Lander Echevarria 

Richard Holttum 

Jonathan Welch 

Natasha Wright 

Michelle Bruil 

Philip Hall 

Nancy Johnson 

Cian O’Duill 

Alistair Scahill 

Cellos 

Timothy Hugh 

Alastair Blayden 

Jennifer Brown 

Mary Bergin 

Noel Bradshaw 

Minat Lyons 

Joanne Cole 

Natacha Colmez 

Victoria Harrild 

Judith Herbert 

Double Basses 

Paul Kimber 

Colin Paris 

Nicholas Worters 

Patrick Laurence 

Jani Pensola 

Joseph Melvin 

Damian Rubido González 

Simo Vaisanen 

Flutes 

Adam Walker 

Siobhan Grealy 

Piccolo 

Sharon Williams 

Oboes 

Juan Pechuan Ramirez 

Holly Randall 

Cor Anglais 

Christine Pendrill 

Clarinets 

Andrew Marriner 

Chi-Yu Mo 

Bass Clarinet 

Dario Goracci 

Alto Saxophone 

Kyle Horch 

Bassoons 

Meyrick Alexander 

Joost Bosdijk 

Contra Bassoon 

Dominic Morgan 

Horns 

Timothy Jones 

Angela Barnes 

Alex Collard 

Jonathan Lipton 

David McQueen 

Trumpets 

Philip Cobb 

Gerald Ruddock 

Daniel Newell 

Trombones 

Dudley Bright 

Michael Lloyd 

Bass Trombone 

Paul Milner 

Tuba 

Patrick Harrild 

Timpani 

Scott Bywater 

Percussion 

Neil Percy 

David Jackson 

Adam Clifford 

Tom Edwards 

Benedict Hoffnung 

Sacha Johnson 

Harps 

Bryn Lewis 

Nuala Herbert 

Piano 

John Alley 

List correct at time of going to print. 

Support the 

London Symphony 

Orchestra 

Did you know that ticket sales 

from a sell-out concert at the 

Barbican will never cover the 

costs of the performance? 

By supporting the LSO you will be helping the 

Orchestra to maintain its world-class reputation, 

reach out to new audiences and encourage young 

talent. Join us in our mission to make the finest 

music available to the greatest number of people 

through our programme of Barbican concerts, 

international touring and extensive education 

activity with LSO Discovery. 

lso.co.uk/supportus 

020 7382 2515 

Help us to engage, 

innovate and inspire 

There are many ways in which you can help! 

You can become a Friend or Patron; join the 

Artists’ Circle; become a Corporate Member 

or sponsor a concert, education project or 

international tour. 

To find out more about supporting the LSO 

visit lso.co.uk/supportus or call 

Bernadette O’Sullivan on 020 7382 2515. 

LSO Ltd Registered Charity No 232391 

Principal Partners 

Rolls-Royce plc 

UBS 

Corporate Sponsors 

Baker & McKenzie LLP 

BAT 

BlackRock 

Canon Europe 

Linklaters LLP 

Toshiba 

Public Funding Partners 

Arts Council England 

City of London Corporation

Experience more 

with Membership 

Join from £40 and enjoy: 

+ priority booking 

on key events 

+ free entry to Barbican 

Art Gallery & exclusive 

Member events 

+ 20% off for you & guest 

on key theatre events 

and much more. 

Barbican Centre 

Barbican Centre Barbican Directors Deputy Technical Marketing 

Support 

Us 

This Jazz at Lincoln Center Orchestra 

residency is part of a long-term partnership 

with five of the world’s leading ensembles, 

together the Barbican’s International 

Associates programme. In addition to 

performing an outstanding series of concerts, 

the musicians work directly with local 

communities, schools and young musicians to 

share their expertise and forge relationships 

that inspire audiences and participants alike. 

barbican.org.uk/ 

membership 

Barbican Patrons play a vital role in the 

success of the International Associates 

programme, as well as world-class arts 

and learning across all the art forms. 

We invite you to learn more about 

how you can get involved and support 

what you love about the Barbican. 

For more information please call 

Praveen Riat, Patrons & Individual Giving 

Manager, on 020 7382 2317, email 

development@barbican.org.uk, or 

visit barbican.org.uk/support-us 

We extend grateful thanks to our International 

Associate supporters: City Bridge Trust, 

the Embassy of the Federal Republic of 

Germany, the Embassy of the United States 

of America, the Gordon family, the Körber 

Foundation and the SHM Foundation. 

Barbican Centre Trust Ltd, UK registered charity no. 294282 

Board 

Chairman 

Catherine McGuinness 

Deputy Chairman 

John Tomlinson 

Board Members 

David Graves 

Tom Hoffman 

Roly Keating 

Vivienne Littlechild 

Jeremy Mayhew 

Brian McMaster 

Wendy Mead 

Guy Nicholson 

Christopher Purvis CBE 

Richard Regan 

Matthew Richardson 

Sue Robertson 

Keith Salway 

John Scott 

Dr Giles Shilson 

Jeremy Simons 

Clerk to the Board 

Julie Mayer 

Barbican Centre Trust 

Chairman 

Christopher Purvis CBE 

Lesley King-Lewis 

Catherine McGuinness 

Tony Medniuk 

Professor Henrietta Moore 

Graham Nicholson 

Stuart Popham QC (Hon) 

Sir David Scholey CBE 

Sir Nicholas Kenyon 

Managing Director Manager 

Campaigns Manager 

Sir Nicholas Kenyon Mark Bloxsidge – Classical Music 

Chief Operating Platform Supervisor Bethan Sheppard 

and Financial Officer Paul Harcourt 

Marketing 

Sandeep Dwesar Technicians 

Campaigns Executives 

Director of 

Maurice Adamson Peter Di Toro 

Programming Michael Casey 

Matteo Plachesi 

Louise Jeffreys 

Lee Evans 

Marketing Assistants 

Jason Kew 

Jessica Tomkins 

Director of Creative 

Martin Shaw 

Patricia Mediavilla 

Learning 

Tom Shipman 

Sean Gregory 


Senior Stage Assistant Communications 

Director of Audiences 

Andy Clarke 

Department 

and Development 

Leonora Thomson Stage Assistants Head of 

Ademola Akisanya Communications 

Buildings Director 

Joan Doyle 

Lorna Gemmell 

(Interim) 

Roger Garnett 

Shaun Kerfoot 

Media Relations 

Danny Harcourt Manager 

PA to Sir Nicholas Robert Rea 

Annikaisa Vainio 

Kenyon 

Producing 

Ali Ribchester (Maternity 

Senior Media 

Administrator 

leave) 

Relations Officer 

Colette Chilton 

Sabine Kindel 

Barbican Music 

Events Producer 

Department 


Alison Cooper (Maternity Officer 

Head of Music leave) 

Naomi Burgoyne 

Angela Dixon 

Nigel Cutting 


PA to the Head of Production Managers Assistant 

Music 

Jo Athroll 

Robert Severyn-Kosinski 

Tobias Perkins 

Claire Corns 


Consultant Creative Kate Packham 

Development 

Producer 

Eddie Shelter 

Department 

Bryn Ormrod 

Mez Jones 

Head of Development 

Music Programmer Company Production 

Lynette Brooks 

Chris Sharp 

Managers 

Programming Rachel Smith 

Barbican Guildhall 

Assistants 

Rob Timmer 

Creative Learning 

Department 

Mette Skriver 

Barbican Marketing 

Eoin Quirke 

Department 

Programme Manager 

for Leadership 

Concerts Planning Head of Marketing 

Jose Martins 

Manager 

Rob Baker 

Frances Bryant 

Music and Cross Arts 

Senior Marketing 

Producer 

Concerts Co-ordinator Campaigns Manager 

Anna Rice 

Katy Morrison 

Ben Jefferies 

Creative Learning 

Technical Manager 

Officer 

Ingo Reinhardt 

Jenny Beer 

Stage Managers 

Projects Assistant 

Julie-Anne Shannon 

Kathryn Allnutt 

Hannah Wye 

14 15

16 


LSO Board of Directors 

Lennox Mackenzie Chairman 

Paul Milner Vice-Chairman 

Gerald Ruddock Vice-Chairman 

Kathryn McDowell CBE DL 

Managing Director 

Alastair Blayden 

Tony Bloom 

Belinda McFarlane 

Christopher Moran 

Jonathan Moulds 

Robert Turner 

Nicholas Worters 

Rikesh Shah Company Secretary 

LSO Corporate Partners 

Principal Partners 

BMW 

UBS 

Corporate Sponsors 

Baker & McKenzie LLP 

BAT 

Canon Europe 

Industrial and Commercial Bank 

of China (ICBC) 

Linklaters LLP 

Toshiba 

Public Funding Partners 

Arts Council of England 

City of London Corporation 

Media Partners 

BBC Radio 3 

Classic FM 

LSO Administration 

Managing Director 

Kathryn McDowell 

Planning Director 

Sue Mallet 

Development Director 

Bernadette O’Sullivan 

Head of LSO Discovery 

Eleanor Gussmann 

Finance Director 

Rikesh Shah 

Head of LSO Live 

Chaz Jenkins 

Marketing and LSO 

St Luke’s Centre Director 

Karen Cardy 

Head of Technology 

Jeremy Garside 

Public Relations 

Dvora Lewis PR 

Concerts 

& Recordings Manager 

Marc Stevens 

Artists Manager 

Robert Harston 

Orchestra 

Personnel Managers 

Jemma Bogan 

Carina McCourt 

Librarians 

Iryna Goode 

Lee Reynolds 

Stage and Transport 

Manager 

Alan Goode 

Stage Manager 

Dan Gobey 

Inside back cover 

colour LSO ad 

LSO Season 2012/13 

Sir Colin Davis 

85th Birthday year 

In his 85th Birthday year, 

Sir Colin Davis focuses 

on composers with 

whom he is particularly 

associated, joined by an 

impressive roll-call of 

musical luminaries that 

he’s worked with over 

the past 60 years. 

Find out more at 

lso.co.uk/201213 

Tickets from £10 

lso.co.uk 

020 7638 8891 

Thu 4 Oct 2012 7.30pm 

Mozart Symphony No 41 (‘Jupiter’) 

Mahler Des Knaben Wunderhorn 

Dorothea Röschmann soprano 

Ian Bostridge tenor 

Thu 18 Oct 2012 7.30pm 

Beethoven Piano Concerto No 5 

(‘Emperor’) 

Elgar Symphony No 1 

Simon Trpčeski piano 

Recommended by Classic FM 

Sponsored by BAT 

Sun 9 Dec 2012 7.30pm 

UBS Soundscapes: LSO Artist Portrait 

Leonidas Kavakos 

Sibelius 

Symphony No 6 

Violin Concerto 

Symphony No 7 

Leonidas Kavakos violin 


Living Music 

You couldn’t mistake his decisive beat 

or propensity for drama. 

Geoff Brown, The Times 

Sun 13 Jan 2013 7.30pm 

Elgar Cello Concerto 

Mozart Requiem 

Tim Hugh cello 

Soloists include: Elizabeth Watts, 

Daniela Lehner, Maximilian Schmitt, 

Andrew Foster-Williams 

London Symphony Chorus 

Recommended by Classic FM 

Sun 24 & Tue 26 Mar 2013 7.30pm 

Schubert Symphony No 8 (‘Unfinished’) 

Brahms Violin Concerto 

Nikolaj Znaider violin 

24 Mar Recommended by Classic FM 

26 Mar supported by LSO Patrons 

Thu 16 & Thu 18 Apr 2013 7pm 

Britten The Turn of the Screw 

(concert performance) 

Soloists include: 

Andrew Kennedy 

Sally Matthews 

Catherine Wyn-Rogers

Wynton Marsalis's Swing Symphony - Barbican

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?