London Symphony Orchestra: Online Concert Programme | Mon 4 March 2024
- Extended Concert Programme
Bristol Beacon presents
London Symphony Orchestra with Sir Simon Rattle
Mon 4 March 2024, 7pm
This evening’s performance:
Sir Simon Rattle Conductor
Kirill Gerstein Piano
London Symphony Orchestra
George Gershwin arr. Don Rose Overture: Let ‘em Eat Cake
George Gershwin Piano Concerto in F (ed. Timothy Freeze)
Interval
Roy Harris Symphony No. 3
John Adams Frenzy
George Gershwin arr. Don Rose Overture: Strike Up the Band
Pre-concert talk hosted by music educator Jonathan James
Welcome
We are all delighted to be welcoming the London Symphony Orchestra back to Bristol for their first visit as Associate Artists in the new Beacon Hall.
We’re very grateful to the Orchestra for travelling to Bath for us during our closure years; now is the time to enjoy the virtuoso sound of the LSO in the glorious new Beacon acoustic.
As we look to the future, we are particularly proud to be able to present a new work by John Adams, Frenzy, which received its world premiere last night in London.
The collaboration between the LSO and Bristol Beacon will impact much further than the concert platform to include partnerships with Bristol Beacon’s arts and health projects as well as our work with schools over the coming months.
I do hope you enjoy the evening.
Louise Mitchell CBE
Chief Executive, Bristol Beacon
George Gershwin (1898-1937): Overture: Let ‘em Eat Cake arr. Don Rose
George Gershwin was steeped in song from an early age. At 15 years old, he dropped out of school (the New York High School for Commerce) to work as a ‘song plugger’ for a music publisher in Tin Pan Alley. Alongside this he began writing his own songs, with ambitions to emulate Jerome Kern’s success on Broadway, and within just three years his songs were appearing in Broadway shows. By the age of 20 he was writing musicals. Commerce’s loss was definitely Broadway’s gain.
Let ‘em Eat Cake (1933) was Gershwin’s penultimate stage work (only Porgy and Bess followed). It was a sequel to the Pulitzer Prize-winning Of Thee I Sing (1931) which, with Strike up the Band (1927, revised 1930), formed a sub-genre of ‘political musicals,’ satirising American and global politics. In Let ‘em Eat Cake, the heroes from Of Thee I Sing turn to ludicrous coups and counter-coups, with the deposed President Wintergreen overturning the results of a Presidential election, and forming a group of ‘blue-shirts’ (a clear reference to fascist brown and black shirt movements in Europe). Both left- and right-wing politics are satirised in equal measure, and disagreements fought out on a baseball diamond. Unlike Of Thee I Sing, however, Let ‘em Eat Cake flopped: even though audiences were feeling the hit of the Depression, they were finding reasons to be cheerful under the new presidency of Franklin D Roosevelt, and did not want to hear about the dangers of encroaching fascism.
The Overture, however, has remained a popular concert work, reflecting the zany plot of the musical and the boundless, sometimes hectic, nature of Gershwin’s musical imagination. It begins with a discordant version of the US army bugle call to assemble, suggestive of crumbling military discipline. The hit song Mine – an infectiously hip-swinging number – appears around three minutes in, and a section marked ‘Revolution’ in the score is the song Blue, blue, blue, a breezy commercial for selling the blue shirts. A recurrence of the jagged ‘call to assembly’ appears about halfway through, followed by a whistle-stop sequence of melodies towards the boisterous finale.
© Lucy Walker
George Gershwin (1898-1937): Piano Concerto in F (ed. Timothy Freeze)
The conductor Walter Damrosch, blown away by Gershwin’s Rhapsody in Blue, commissioned this jazz-inspired Concerto in F in 1925. Gershwin later joked that he went straight out and bought a book about concertos. But in truth he was ahead of the game: around the same time as writing his early musicals, Gershwin began studying classical form, composing quartets and solo piano works. He was, nonetheless, nervous about presenting such a definitively ‘classical’ work to the concert-going public, aware he was setting himself up to be compared to a centuries-old tradition.
To some extent, the critical response played into Gershwin’s fears, with one writer remarking that he had ‘committed an assault on the concert hall,’ and others questioning if jazz had a place at all in classical music. For Damrosch, it was a question of whether it was done well enough. He wrote supportively after the premiere that ‘Various composers have been walking around jazz like a cat around a plate of soup, waiting for it to cool off so that they could enjoy it without burning their tongues’ – ending with the assertion that compared to these timid ‘cats’, Gershwin alone knew what he was doing.
Listening to it today, the need for such defensiveness or definition falls away because the Concerto is an exhilarating ride, especially in Timothy Freeze’s exuberant, punchy edition (based as far as possible on Gershwin’s intentions). After the initial timpani and drum rolls, the first movement has two principal themes: the first, heard initially on the bassoon, is jaunty and rhythmic, while the second is a romantic, bluesy number kicked off by the solo piano. The opening rhythms of the first theme fuel much of the Charleston-like feel of lots of the rest, while the piano’s sultry melody periodically bursts through in increasingly luscious orchestrations.
The slow movement has, as Gershwin put it, a ‘poetic nocturnal atmosphere’, ushered in by a beautiful solo trumpet melody, soulfully accompanied by clarinets and low strings. When the piano arrives it takes on the ‘repeated note’ element of the opening melody, and turns it into a sassy stroll across the keyboard. Gershwin drops in other elements of the opening melody across the solo and orchestral texture, gloriously so in an expansive central section. A solo flute gets the chance to show off its blues credentials at the end; it is a moment of repose before the finale, which starts as if the whole band has had a double espresso between movements. Gershwin’s own ability as a brilliant pianist can be heard across what he described as an ‘orgy of rhythms’, but the whole orchestra gets to join in the fireworks. A recurrence of themes from the opening movement make a brief cameo before the sparkling conclusion.
© Lucy Walker
Roy Harris (1898-1979 ): Symphony No. 3
In a note to a recording of Roy Harris’ Symphony No 3, David Truslove writes that ‘’Made in the USA’ is stamped onto every page.’ Composed in 1939, Symphony No 3 certainly stands apart from the ‘conventional’, European style of symphonies, which are often structured around a series of contrasting movements and a web of interlocking themes. Instead, Harris has written a single-movement symphony in five sections, which he outlined as ‘Tragic’, ‘Lyrical’, ‘Pastoral’, ‘Fugue-Dramatic’ and ‘Dramatic-Tragic’. Across the whole work, Harris’ themes announce themselves plainly, then form slabs of musical gestures, often played simultaneously with others. His music has been described as ‘rugged,’ or ‘craggy’, and there is certainly something serious and forthright about his sound world, far from the melting sensuality of his French or Russian contemporaries. You would also be hard-pressed to find any jazz elements here either, for Harris’ influences are the rich harmonies of the Renaissance, along with the open intervals and long-breathed melodies of American traditional music (think of Copland’s Fanfare for the Common Man, or even the theme tune to The West Wing).
The opening (‘Tragic’) is an extraordinary build from low strings, starting with a lengthy theme for cellos, amplified by violas. The strings are gradually joined by other low-voiced instruments, and when the violins enter it is with their own, slow-moving melody (which will be heard again in the final minutes). A gentle solo flute heralds the short, sweet ‘Lyric’ section, during which the orchestral texture is opened up with a series of gently rocking figures in the woodwind and an increasingly beguiling violin melody. In the ‘Pastorale’, the strings (eventually dividing into 14 parts) provide a continuous background shimmer against a series of bird-like statements in the woodwind.
A passage of scurrying woodwind leads to the ‘fugue’ section, where the strings play a punchy five-bar theme, followed up in the brass. Elements of this theme appear in fragments across the orchestra, frequently interrupted by some heavyweight bangs from brass and timpani. The theme transforms, briefly, into a more expansive version, with waves of melody flowing across the entire ensemble before the powerful final section begins, once more with the timpani to the fore. The violin melody of the opening returns, a backdrop to the timpani and some insistent brass fanfares. The timpani then settles into a continuous, ominous pulsing until the end of this uncompromising, tough – craggy indeed – American symphony.
© Lucy Walker
John Adams (b.1947): Frenzy
Frenzy is an 18-minute orchestra work that passes through the various figurative states of the term as defined in the OED: “agitation or disorder of the mind, likened to madness; a state of delirious fury, enthusiasm; a wild folly, distraction, a crazy notion, a mania for something.” For me, “frenzy” sums up the feeling, at times overwhelming, of contemplating the current world around us, especially as it is imagined in our daily doses of digital news and information, much of which we consume without regard to its subversive and subconscious influence on our mood.
One of the “crazy notions” for me (and something as old as Haydn but new to my work) is a mania for the development of unique melodic ideas, a technique for which the Germans have two vivid terms: Fortspinnung and Durchführung. Starting with a brief quote from a moment in my most recent opera, Antony and Cleopatra, I take the motivic material through an extended hall of mirrors, transforming it, twisting it, turning it, reshaping it, remodeling it. Sometimes the tiniest of rhythmic motives take over, frenetically dominating the foreground and then receding, giving way to contrasting ideas.
Formally, Frenzy is also a kind of “short symphony,” encompassing in a relatively brief duration a variegated yet unified symphonic structure.
And, despite the title, the piece is not without moments of tranquility and good humor, which I believe befits the work’s dedication to my longtime friend Simon Rattle, an incomparable musician, a deeply compassionate human and, as ever, an enthusiastic interpreter of my music.
© John Adams
George Gershwin (1898-1937): Overture: Strike Up the Band arr. Don Rose
Gershwin’s musical Strike up the Band – the first in the ‘political trilogy’ which ended with Let ‘em Eat Cake – was originally composed in 1927, with lyrics by Ira Gershwin and the book by George S Kaufman. The collaborators were attempting something new in musical form, and Strike up the Band’s anti-war, anti-big business theme was certainly that (its absurd satire is similar to that of the Marx Brothers’ 1933 film Duck Soup). The plot featured an American cheese manufacturer who convinces the US government to wage war on Switzerland over rising cheese tariffs. The government complies, banning all things Swiss along the way, such as watches or any copy of The Swiss Family Robinson. While the creative team were proud of their innovation, and the musical included the famous ‘The Man I Love’ borrowed from the earlier show Lady Be Good, audiences were less than thrilled, and Strike up the Band did not even manage to reach Broadway. The Gershwins and Kaufman, joined by writer Morrie Ryskind, decided to revise it in 1930. In this version, the authors softened the satire, replaced cheese with chocolate, had the whole story take place during a dream, and threw in a love story for good measure. With twelve new songs to boot, it was considerably more popular with audiences and ran on Broadway for 191 performances.
The rousing Overture has, like Let ‘em Eat Cake, a military flavour with marching drums and slightly curdled trumpet fanfares. It is followed by a rapid succession of contagiously lyrical tunes, several of which became solo standards in later years. The yearning melody of ‘Soon’ appears early, followed by the strolling duet ‘I mean to say’ and playful ‘How about a boy’, somewhat resembling ‘Happy days are here again.’ Some suitably mysterious ‘dream music’ appears midway, before a second version of ‘Soon,’ this time played crooningly on the trombones. A clarinet cadenza heralds a sprightly version of ‘I’ve got a crush on you.’ The quasi-military music returns, galloping towards the boisterously good-natured conclusion.
© Lucy Walker
Sir Simon Rattle
Conductor
Sir Simon Rattle was born in Liverpool and studied at the Royal Academy of Music.
From 1980 to 1998, Sir Simon was Principal Conductor and Artistic Adviser of the City of Birmingham Symphony Orchestra and was appointed Music Director in 1990. In 2002 he took up the position of Artistic Director and Chief Conductor of the Berliner Philharmoniker where he remained until the end of the 2017-18 season. Sir Simon was appointed Music Director of the London Symphony Orchestra in September 2017, a position he remained in until the 2023-24 season when he became the orchestra’s Conductor Emeritus. In 2023-24, Sir Simon took up the position of Chief Conductor with the Symphonieorchester des Bayerischen Rundfunks in Munich. He is a Principal Artist of the Orchestra of the Age of Enlightenment and Founding Patron of Birmingham Contemporary Music Group.
Sir Simon has made over 70 recordings for EMI record label (now Warner Classics) and has received numerous prestigious international awards for his recordings on various labels. Releases on EMI include Stravinsky’s Symphony of Psalms (which received a Grammy Award for Best Choral Performance) Berlioz’s Symphonie fantastique, Ravel’s L’enfant et les sortileges, Tchaikovsky’s Nutcracker Suite, Mahler’s Symphony No. 2, Stravinsky’s The Rite of Spring and Rachmaninov’s The Bells and Symphonic Dances, all recorded with the Berliner Philharmoniker. His most recent recordings include Berlioz’ Le damnation de Faust, Helen Grime’s Woven Space, Debussy’s Pelléas et Mélisande , Turnage’s Remembering, and Beethoven’s Christ on the Mountain of Olives, which were all released by the London Symphony Orchestra’s own record label, LSO Live.
Sir Simon regularly tours within Europe, the United States and Asia, and has strong longstanding relationships with the world’s leading orchestras. He regularly conducts the Staatskapelle Berlin, Berliner Philharmoniker, the Chamber Orchestra of Europe, and the Czech Philharmonic. Recent operatic highlights include Der Rosenkavalier with the Metropolitan Opera New York, Janáček’s Katya Kabanova with the Deutsche Staatsoper Berlin, and Wozzeck with the London Symphony Orchestra at Festival d’Aix en Provence.
Music education is of supreme importance to Sir Simon, and his partnership with the Berliner Philiharmoniker broke new ground with the education programme Zukunft@Bphil, earning him the Comenius Prize, the Schiller Special Prize from the city of Mannheim, the Golden Camera and the Urania Medal. He and the Berliner Philharmoniker were also appointed International UNICEF Ambassadors in 2004 – the first time this honour has been conferred on an artistic ensemble. In 2019, Sir Simon announced the creation of the LSO East London Academy, developed by the London Symphony Orchestra in partnership with 10 East London boroughs. This free program aims to identify and develop the potential of young East Londoners between the ages of 11 and 18 who show exceptional musical talent, irrespective of their background or financial circumstance. Sir Simon was awarded a knighthood by Her Late Majesty Queen Elizabeth II in 1994 and received the Order of Merit in 2014. He received the Order of Merit in Berlin in 2018. In 2019, Sir Simon was given the Freedom of the City of London.
His inaugural season (23/24) as Chief Conductor of the Symphonieorchester des Bayerischen Rundfunks will include tours in the US and Europe, concert performances of Idomeneo, as well as an important new commission by Thomas Adés. Appearances elsewhere include concerts with the Mahler Chamber Orchestra, Berliner Philharmoniker, Chamber Orchestra of Europe, Czech Philharmonic, London Symphony Orchestra and at the Verbier Festival 2024.
Kirill Gerstein
Piano
From Bach to Adès, pianist Kirill Gerstein’s playing is distinguished by a ferocious technique and discerning intelligence, matched with an energetic, imaginative musical presence that places him at the top of the international profession, with solo and concerto engagements taking him from Europe to the United States, East Asia and Australia. Born in the former Soviet Union, Gerstein is an American citizen based in Berlin whose heritage combines the traditions of Russian, American and Central European music-making with an insatiable curiosity. These qualities and the relationships that he has developed with orchestras, conductors, instrumentalists, singers and composers, have led him to explore a huge spectrum of repertoire both new and old.
In the coming season, Gerstein will feature as a Spotlight Artist with the London Symphony Orchestra, performing four concerti across the season at the orchestra’s Barbican Centre home and on tour, including Adès with Antonio Pappano, Rachmaninoff and Ravel with Susanna Mälkki, and Gershwin with Simon Rattle. Gerstein’s flair for curation recently also found expression as Artist-in-Residence with the Bavarian Radio Symphony Orchestra, in presenting a three-part concert series entitled ‘Busoni and His World’ at London’s Wigmore Hall, and as resident artist at the Festival Aix-en-Provence.
Elsewhere during 2023-24 season, Gerstein returns to orchestras such as the Leipzig Gewandhaus with Nelsons, Deutsches Symphonie-Orchester Berlin and Chamber Orchestra of Europe with Ticciati, Orchestre national de France with Măcelaru, Rotterdam Philharmonic with Shani, Boston Symphony and Los Angeles Philharmonic with Adès, Munich Philharmonic with Popelka, Orchestra del Teatro alla Scala with Harding, Orchestre national de Lyon with Szeps-Znaider, Accademia Nazionale di Santa Cecila with Kavakos and with Hrůša, Tonhalle Orchester Zürich with Payare, Minnesota Orchestra with Søndergård, and the radio orchestras of Stuttgart, Hamburg, and Cologne, among others. In recital, Gerstein will reprise with Christian Tetzlaff Suite from The Tempest for violin and piano, which was written for them by Thomas Adès, for premières in New York, Washington, and Boston. Gerstein will also appear in solo recital at Carnegie Hall New York, Chamber Music Napa Valley, the Vienna Konzerthaus, and the Abu Dhabi Festival among others.
Presenting and commissioning new music has long been part of Gerstein’s calling and in recent years, he has premièred two new piano concertos written especially for him: the first by British composer Thomas Adès, and the second by Austrian composer Thomas Larcher. Gerstein most recently gave Adès’s Concerto for Piano and Orchestra its national premières in France, Belgium and Italy, and in 2023 performs the work with Vladimir Jurowski and the Berlin Radio Symphony at Grafenegg, the BBC Proms, and the Berlin Musikfest. The Larcher Piano Concerto will be recorded for ECM with the Bergen Philharmonic and Ed Gardner.
A long-time believer in the importance of teaching in the life of a musician, Kirill Gerstein is currently Professor of Piano at Berlin’s Hanns Eisler Hochschule and on the faculty of Kronberg Academy. Under the auspices of Kronberg Academy, his series of free and open online seminars entitled Kirill Gerstein invites is now in its fifth season. Featuring conversations with leading artistic minds, guest speakers have included Ai Weiwei, Andreas Staier, Brad Melhdau, Thomas Adès, Iván Fischer, Alex Ross, Matthew Aucoin, Kirill Serebrennikov, Elizabeth Wilson, Simon & Gerard McBurney, Robert Levin, Reinhard Goebel, Simon Callow. Emma Smith, Deborah Borda, Rafael Viñoly, Sir Antonio Pappano, Kaija Saariaho, Joshua Redman, Khatchig Mouradian and Michael Haas. Gerstein has also coached students at the Verbier Festival Academy, Aix-en-Provence Chamber Music Academy, and Prussia Cove.
Kirill Gerstein’s forthcoming release on the Platoon label will pair music by Debussy with that of Armenian priest, musicologist, and composer Komitas, featuring collaborations with Thomas Adès, Ruzan Mantashyan and Katia Skanavi. Gerstein released his Rachmaninoff 150 recording in 2023 as a tribute to the mark the composer’s 150th year, featuring his performance of the Second Piano Concerto with the Berlin Philharmonic and Kirill Petrenko recorded live on Berlin’s infamous Waldbühne stage. His first collaboration with myrios classics was 10 years ago and, as a result of the partnership, has realized many thoughtfully curated projects including Mozart Four-Hand Piano Sonatas with his mentor of 17 years, Ferenc Rados; a compendium of Thomas Adès’s works for piano in collaboration with the composer which won a 2021 International Classical Music Award; Strauss’s Enoch Arden with the late Bruno Ganz (Wings of Desire; Downfall); Busoni’s monumental Piano Concerto with the Boston Symphony Orchestra and Sakari Oramo; The Gershwin Moment with the St Louis Symphony and David Robertson, including special appearances from Storm Large and Gerstein’s former mentor Gary Burton; Liszt’s Transcendental Études, picked by The New Yorker as one of 2016’s notable recordings; and Tchaikovsky’s First Piano Concerto in the composer’s own final version from 1879.
Earlier recordings on myrios classics include Imaginary Pictures coupling Mussorgsky’s Pictures at an Exhibition with Schumann’s Carnaval; two discs of sonatas for viola and piano by Brahms, Schubert, Franck, Clarke and Vieuxtemps recorded with Tabea Zimmermann; and a recital disc of works by Schumann, Liszt and Knussen. Deutsche Grammophon’s 2020 release of Gerstein’s world première performance of Adès’s Concerto for Piano and Orchestra with the Boston Symphony Orchestra won a 2020 Gramophone Award and was nominated for three GRAMMY Awards. He has additionally recorded Tchaikovsky with Semyon Bychkov and the Czech Philharmonic as part of The Tchaikovsky Project released by Decca Classics; and Scriabin with the Oslo Philharmonic and Vasily Petrenko for LAWO Classics.
Born in 1979 in Voronezh, Russia, Kirill Gerstein attended one of the country’s special music schools for gifted children and taught himself to play jazz at home by listening to his parents’ record collection. Following a chance encounter with jazz legend Gary Burton in St. Petersburg when he was 14, he was invited as the youngest student to attend the Berklee College of Music in Boston, where he studied jazz piano in tandem with his classical piano studies. At the age of 16, Gerstein decided to focus on classical music completing his undergraduate and graduate degrees with Solomon Mikowsky at New York’s Manhattan School of Music, followed by further studies with Dmitri Bashkirov in Madrid and Ferenc Rados in Budapest. Gerstein is the sixth recipient of the prestigious Gilmore Artist Award – enabling him to commission new works from Timo Andres, Chick Corea, Alexander Goehr, Oliver Knussen and Brad Mehldau – First Prize winner at the 10th Arthur Rubinstein Competition and an Avery Fisher Career Grant holder. In May 2021, he was awarded an Honorary Doctor of Musical Arts degree from the Manhattan School of Music.
London Symphony Orchestra
The London Symphony Orchestra is built on the belief that extraordinary music should be available to everyone, everywhere.
The LSO was established in 1904 as one of the first orchestras shaped by its musicians. Today it is ranked among the world’s top orchestras, with a family of artists that includes Chief Conductor Designate Sir Antonio Pappano, Conductor Emeritus Sir Simon Rattle, Principal Guest Conductors Gianandrea Noseda and François-Xavier Roth, Conductor Laureate Michael Tilson Thomas and Associate Artists Barbara Hannigan and André J Thomas.
The LSO is Resident Orchestra at the Barbican in the City of London, and reaches international audiences through touring and artistic residencies, and through digital partnerships and an extensive programme of live-streamed and on-demand online broadcasts.
Through a world-leading learning and community programme, LSO Discovery, the LSO connects people from all walks of life to the power of great music. LSO musicians are at the heart of this unique programme, leading workshops, mentoring bright young talent, performing at free concerts for the local community and using music to support neurodiverse adults. LSO musicians also visit children’s hospitals and lead training programmes for teachers.
In 1999, the LSO formed its own recording label, LSO Live. It has become one of the world’s most talked-about classical labels, and has over 200 recordings in the catalogue so far. The LSO is a leading orchestra for film, and uses streaming services to reach a worldwide online audience totalling millions every month. Through inspiring music, learning programmes and technological innovations, the LSO’s reach extends far beyond the concert hall.
Orchestra Credits
Violin 1
Benjamin Gilmore, Leader
Andrej Power
Clare Duckworth
Ginette Decuyper
Maxine Kwok
Alix Lagasse
William Melvin
Stefano Mengoli
Claire Parfitt
Laurent Quénelle
Harriet Rayfield
Caroline Frenkel
Hilary Jane Parker
Shoshanah Sievers
Violin 2
Thomas Norris
Miya Väisänen
David Ballesteros
Matthew Gardner
Naoko Keatley
Belinda McFarlane
Iwona Muszynska
Csilla Pogány
Andrew Pollock
Paul Robson
Doretta Balkizas
Ricky Gore
Viola
Eivind Ringstad
Gillianne Haddow
Anna Bastow
Steve Doman
Thomas Beer
Robert Turner
Mizuho Ueyama
Lukas Bowen
Matan Gilitchensky
Elisabeth Varlow
Cello
David Cohen
Laure Le Dantec
Alastair Blayden
Ève-Marie Caravassilis
Daniel Gardner
Amanda Truelove
Salvador Bolón
Silvestrs Kalnins
Ghislaine McMullin
Joanna Twaddle
Double Bass
Rodrigo Moro Martín
Patrick Laurence
Thomas Goodman
Joe Melvin
Jani Pensola
Hugh Sparrow
Adam Wynter
Flute
Gareth Davies
Imogen Royce
Piccolo
Sharon Williams
Oboe
Olivier Stankiewicz
Rosie Jenkins
Cor Anglais
Drake Gritton
Clarinet
Sérgio Pires
Chi-Yu Mo
Andrew Harper
Bass Clarinet
Ferran Garcerà Perelló
Bassoon
Daniel Jemison
Joost Bosdijk
Contra Bassoon
Martin Field
Horn
Timothy Jones
Diego Incertis Sánchez
Angela Barnes
Olivia Gandee
Jonathan Maloney
Trumpet
James Fountain
Jon Holland
Adam Wright
Toby Street
Trombone
Matthew Gee
Jonathan Hollick
Bass Trombone
Paul Milner
Tuba
Ben Thomson
Adrian Miotti
Timpani
Nigel Thomas
Patrick King
Percussion
Neil Percy
David Jackson
Sam Walton
Patrick King
Tom Edwards
Harp
Bryn Lewis
Lucy Wakeford
Piano
Elizabeth Burley
Celeste
Ian Tindale
LSO Admin
Dame Kathryn McDowell DBE DL, Managing Director
Frankie Sheridan, Tours Manager
Carina McCourt, Personnel Manager
Kenneth Chung, Librarian
Al Goode, Operations Manager
Jakub Drewa, Stage Manager
Fern Wilson, Stage Manager