RATTLE - lso.co.uk .Shostakovich Violin Concerto No 1 Shostakovich Symphony No 10 Gianandrea Noseda

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  • Sunday 22 April 2018 79.25pm Barbican Hall


    Tippett The Rose Lake * Interval Mahler comp Cooke Symphony No 10

    Sir Simon Rattle conductor

    * Supported by Resonate, a PRS Foundation initiative in partnership with the Association of

    British Orchestras, BBC Radio 3 and The Boltini Trust

    Streamed live on YouTube and recorded for broadcast on Monday 23 April on BBC Radio 3


  • 2 Welcome

    Welcome It has been a long-term project for the LSO and Sir Simon Rattle to revive Tippetts final masterpiece, and it is thanks to Resonate, a PRS Foundation initiative in partnership with the Association of British Orchestras, BBC Radio 3 and The Boltini Trust, that this performance has been possible.

    Today we hosted a Discovery Day focused on Tippett at the Barbican and LSO St Lukes, with an open rehearsal, chamber music and talks. A warm welcome to attendees who join us in the audience this evening.

    As well as being recorded for future broadcast on BBC Radio 3, tonights performance is also being streamed live on the LSOs YouTube channel, and will be available to watch again for 90 days.

    I hope that you enjoy tonights concert and that you can join us again soon. On 17 and 20 May the LSOs Conductor Laureate Michael Tilson Thomas conducts Sibelius and Beethovens Missa Solemnis.

    Kathryn McDowell CBE DL Managing Director

    Welcome to tonights concert, as the LSOs Music Director Sir Simon Rattle guides us through the final works of two great composers Sir Michael Tippett and Gustav Mahler. This season we have explored the late works that Mahler never heard in his lifetime, from Das Lied von der Erde to the Ninth Symphony. We finally arrive at the composers unfinished Tenth Symphony, published posthumously in a performing version by Deryck Cooke in the 1960s.

    Tonights performance of The Rose Lake is a very special occasion for the Orchestra. The piece was originally commissioned by the LSO to mark Tippetts 90th birthday, and it is fitting that we will hear it exactly 25 years after it was completed, on 22 April 1993. The work was premiered at the Barbican in February 1995, and was last conducted here with the LSO in 2005.

    22 April 2018

    Read our news, watch videos and more lso.co.uk/news youtube.com/lso lso.co.uk/blog

    OnlineLSO NewsTHE LSOS 2018/19 SEASON

    The LSOs 2018/19 season is now on sale. Highlights include Music Director Sir Simon Rattles exploration of folk-inspired music in his series Roots and Origins; the continuation of Gianandrea Nosedas Shostakovich cycle; Artist Portraits with soprano and conductor Barbara Hannigan and pianist Daniil Trifonov; and seven world premieres across the season. Full listings are available at lso.co.uk/201819season.


    The LSO and Sir Simon Rattle will perform a free open-air concert in Trafalgar Square on Sunday 1 July, alongside 50 young musicians from the LSO On Track programme and musicians from the Guildhall School. Visit lso.co.uk/bmwclassics for details.

    STOCKHAUSEN AT TATE MODERN On Saturday 30 June the LSO and Sir Simon Rattle will bring Stockhausens orchestral masterpiece Gruppen to Tate Moderns Turbine Hall. Tickets go on sale at 10am on Monday 23 April. Visit lso.co.uk/tate for full details.


    Tonights concert will be broadcast live on the LSOs YouTube channel, and will also be available to watch back in full for 90 days. Visit youtube.com/lso for more. Our next live stream will take place on Sunday 24 June 2018 at 7pm, as the LSOs Principal Guest Conductor Gianandrea Noseda conducts Shostakovichs Symphony No 10 and Violin Concerto No 1, with soloist Nicola Benedetti, live from the Barbican Hall.


    On Monday 16 April we welcomed two new Members to the LSO, Steve Doman and Carol Ella, both joining the Viola section. Find out more on our blog.

  • 3Tonight'sConcert

    Tonights Concert / by Oliver Sodenonights is a concert of last works and incomplete manuscripts. Mahler, suffering from a defective

    heart valve, knew he might not live to complete his Tenth Symphony, and didnt. Tippett, beginning The Rose Lake at the age of 86, knew he might not finish his song without words for orchestra, but did.

    Mahlers work, left unfinished and heard tonight in Deryck Cookes performing version, was composed in the knowledge that his wife, Alma, had been unfaithful. Its score is annotated with anguish: To live for you! To die for you! the composer wrote on the final page of the final movement. Tippett, seeking with The Rose Lake to capture in sound the effect of light playing on the pink waters of an African lake, was suffering from near blindness. At some parts of the manuscript his swollen handwriting gives out altogether, and, depressed and exhausted, he was at the mercy of dictation and amanuenses. The piece that resulted is one of joy and sunlight, with little or no Mahlerian anguish, and a chirruping, cheeky coda that punctures the reverie.

    Why programme the works together? Wisdom. Colour. replies Simon Rattle.

    Coming UpSunday 3 June 2018 7pm Barbican Hall PICTURES AT AN EXHIBITION

    Ravel Rhapsodie espagnole Beethoven Piano Concerto No 3 MussorgskyarrRavel Pictures at an Exhibition

    Gianandrea Noseda conductor YefimBronfmanpiano

    Recommended by Classic FM

    Sunday 24 June 2018 7pm Barbican Hall SHOSTAKOVICH

    Shostakovich Violin Concerto No 1 Shostakovich Symphony No 10

    Gianandrea Noseda conductor Nicola Benedetti violin

    Generously supported by Reignwood

    I think the minute you hear The Rose Lake and you hear the finale of the Tenth youll know what I was after both of them, theyre in some kind of transcendent region that only comes to people near the end of the journey. Its as simple as that.


    Oliver Soden is a writer and broadcaster on music and the arts. His work includes an edition of John Bartons ten-play epic Tantalus; articles in publications such as Gramophone and The Guardian; and a number of appearances on BBC Radio. His biography of Michael Tippett will be published by Weidenfeld and Nicolson in 2019.

    Stephen Johnson is the author of Bruckner Remembered. He contributes regularly to BBC Music Magazine and The Guardian, and broadcasts for BBC Radio 3, BBC Radio 4 and the BBC World Service.

    Andrew Stewart is a freelance music journalist and writer. He is the author of The LSO at 90, and contributes to a wide variety of specialist classical music publications.

    Thursday 17 May 2018 7.30pm Barbican Hall


    Sibelius Violin Concerto Sibelius Symphonies Nos 6 & 7

    Michael Tilson Thomas conductor Janine Jansen violin

    Recommended by Classic FM

    Sunday 20 May 2018 7pm Barbican Hall


    Beethoven Missa Solemnis

    Michael Tilson Thomas conductor CamillaTillingsoprano Sasha Cooke mezzo-soprano Toby Spence tenor Luca Pisaroni bass-baritone London Symphony Chorus Simon Halsey chorus director

    Generously supported by The Atkin Foundation

  • 4 ProgrammeNotes 22 April 2018

    Michael Tippett The Rose Lake, a song without words for orchestra 19913 / note by Oliver Sodenextensive battery of percussion, including two tam-tams, a gong and tubular bells. The horn section is augmented to six players. And most clear to an audience at a live performance is the array of rototoms: drums tuned to a specific pitch by rotating the head. Invented in the late 60s, less cumbersome and with a lighter sound than timpani, they were soon beloved of pop groups such as Pink Floyd. Tippett had used rototoms before, in his large-scale setting of Yeats Byzantium (198890), but they are more prominent in The Rose Lake, which calls for three octaves, no fewer than 38 individual drums, spread one-to-a-note like a gigantic keyboard across the back of the stage. The rototom part, one of the most difficult and extensive in the instruments repertoire, takes no prisoners, requiring the players literally to sprint back and forth along the drums, mallets flashing.

    Studded through The Rose Lake are five Lake Songs, rapturously lyrical, densely but somehow translucently orchestrated. They are also developmental, each song a variation reflecting and refracting motifs from the first: a yearning major ninth, first rising and then setting; a curl of notes introduced during a Wagnerian passage for the horns above a deep-sea drone of E-flat (the first note of The Ring), as if

    mediumfast The Lake begins to sing: slow fast The Lake Song is echoed from the sky: slow fastmediumslow The Lake is in full song: slow mediumslow-mediumfastmediumslow The Lake Song leaves the sky: slow fast The Lake sings itself to sleep: medium slow mediumfast

    n Senegal, north-west Africa, a little way north-east of the capital, Dakar, there is a pink lake,

    separated from the Atlantic ocean only by a narrow line of sand dunes. Lake Retba, as it is called, contains an algae (dunaliella salina) that produces a red pigment able to absorb light. Catch the lake in bright sunshine, as Michael Tippett did in November 1990 , two months before his 86th birthday, and its waters shine an eerie, dusty pink.

    Tippett, by then acclaimed as one of the countrys leading composers and enjoying an Indian summer of astonishing creativity, had promised Colin Davis and the London Symphony Orchestra a piece of some kind for his 90th birthday celebrations.

    Standing by Lake Retba, he began to imagine The Rose Lake. A song without words for orchestra, it would be nothing so crude as a sonic depiction of the lake, but an attempt to capture in music the dappled i