London Symphony Orchestra: Online Concert Programme | Sat 24 Oct 2026
- Extended Concert Programme
Bristol Beacon presents
London Symphony Orchestra with Sir Antonio Pappano and Sheku Kanneh-Mason
Sat 24 October 2026, 5pm
This afternoon’s performance:
Sir Antonio Pappano Conductor
Sheku Kanneh-Mason Cello
London Symphony Orchestra
Edmund Finnis Cello Concerto (25 mins)
Interval
Bruckner Symphony No. 9 (ed. Benjamin-Gunnar Cohrs, Urtext Edition) (60 mins)
Pre-concert talk hosted by music educator Jonathan James
Welcome
It is always a pleasure to welcome back the London Symphony Orchestra and Sir Antonio Pappano! The LSO are Associate Orchestra at Bristol Beacon and we value our ongoing artistic partnership with them, which not only includes these concerts, but also creative learning and teacher training programmes alongside.
It has been two years since we last presented Sheku Kanneh-Mason on our stage, and we are delighted to hear him perform the Cello Concerto by Edmund Finnis, which was co-commissioned by the LSO.
We’ve plenty of fantastic music in store in the coming months, including two visits from the Bournemouth Symphony Orchestra (Beethoven, Schumann and Prokofiev on 5 Nov and the 2027 New Year’s Viennese Gala on 3 Jan), not to mention a hotly anticipated organ recital by the great Olivier Latry (10 Jan).
We hope to see you then, but in the meantime do enjoy today’s concert.
With best wishes,
Simon Wales
Chief Executive, Bristol Beacon
Jonathan Dimbleby
Chair of the Board of Trustees, Bristol Beacon
Edmund Finnis (b.1984): Cello Concerto
The piece opens with the orchestra creating a wide, shimmering space across which the cello sounds out long, lyrical lines. Melodic patterns recur and evolve, heard in different speeds and guises, becoming more urgent with each iteration. Waves of energy accumulate and disperse as the movement traces a gradual overall intensification.
The central movement is a lament. Amid a nocturnal atmosphere, the cello sings a song of yearning against shifting harmonies, crying out before eventually arriving at a solitary space. Here the resonant sounds of the cello’s lower strings expand and contract, as if slow, deep breaths. The movement ends with a gradual descent through the moon-glow of faint string overtones.
Out of quiet origins, a sense of flowing, propulsive energy comes to define the final movement. The cello glides above the iterative patterning of the orchestra’s streams of notes before assuming that sense of flowing energy itself. The outpouring music moves ever forwards, the singing out of the cello becoming radiant, ecstatic.
It was especially meaningful to write this concerto for the instrument that I loved playing in my youth. Growing up, much of my life was spent expressing musical ideas through singing and playing the cello. This concerto is concerned with all of those things: the cello, singing, expression, life.
© Edmund Finnis
Anton Bruckner (1824-1896): Symphony No. 9
(ed. Benjamin-Gunnar Cohrs, Urtext Edition)
1. Feierlich (Solemn), Misterioso
2. Scherzo: Bewegt, lebhaft (With movement, lively) – Trio: Schnell (Fast) – Scherzo
3. Adagio: Langsam, feierlich (Slow, solemn)
Bruckner began work on his Ninth Symphony in August 1887. He was still working on it on the day he died, nine years later. Failing physical health was partly to blame, certainly, along with a marked increase in the nervous obsessive behaviour that had worried his friends in the past. He had also loaded himself with too many extra projects: extensive revisions of four symphonies and two symphonic masses, plus the composition of two new choral-orchestral works: the 150th Psalm and the cantata Helgoland. It’s hard to resist the impression that Bruckner was actually looking for distractions, as creative people often do when the main task ahead is so daunting.
Bruckner had certainly set the bar high. The Ninth Symphony, he announced excitedly, was to be nothing less than a summing up of his life’s achievement. There was to be no shying away from comparison with the most famous of all ‘Ninths’: in one of his lectures at the Vienna University, Bruckner told the class: ‘I’ll write my last symphony in D minor, just like Beethoven’s Ninth. Beethoven won’t object.’ But there was more to this than arrogance. The dedication of the symphony was to be ‘dem lieben Gott’ (‘to dear God’), shows that Bruckner saw the Ninth as a special expression of his life-long Roman Catholic faith – a powerful source of sustenance and inspiration, but perhaps not as unquestioning as some have claimed. Richard Heller, Bruckner’s doctor during his last 18 months, felt sure that Bruckner ‘had drawn up a contract with his “dear God”. If He willed that the symphony, which was indeed to be a hymn of praise to God, should be finished, He should give Bruckner the time he needed for his task; if he died too soon and his musical offering was left incomplete, God had only himself to blame.’
Tragically, that ‘musical offering’ was indeed left incomplete. The immense finale, much of it nearly complete in sketch-score, seems to tail off not long before the end. This has led some writers to suggest that Bruckner didn’t actually know how to the end the symphony – that the triumphant coda he intended couldn’t be made to work, and that the world is probably better off with the symphony as it stands, as a magnificent three-movement torso. And yet Dr Heller describes how Bruckner ‘went over to the piano and played me parts of the symphony with shaking hands, but with undiminished accuracy and strength. I have often regretted the fact that I cannot play or write down music after one hearing, because then I might be able to give some idea of the end of the Ninth Symphony’. Heller’s testimony isn’t unique. Bruckner’s biographer Max Auer claimed that he saw a page of the score – at or near the end of the finale – in which all the main themes appear ‘piled on top of each other, as in the finale of the Eighth Symphony’. Alas, this crucial page has vanished, and we can only guess as to what its effect might have been.
And yet the three fully orchestrated movements Bruckner did complete really do form a remarkably satisfying and moving musical experience – like the two surviving movements of Schubert’s famous Unfinished Symphony – and Benjamin Gunnar Cohrs’s edition brings us closer than any to Bruckner’s unadulterated conception of the score as he left it. The structure of this ‘unfinished’ symphony – two long, slow-paced movements framing a shorter, faster Scherzo – is well balanced, and the climax of the Adagio offers a stunning summit to this hour-long symphonic journey. Best of all, the Adagio’s calmly resigned coda, with its fleeting references to significant earlier works by Bruckner, can be seen as a kind of answer to the restless probing of the first movement and the nightmare visions of the Scherzo.
Restless probing, nightmare visions – this is not the kind of language one associates with ‘a hymn of praise to God’. But the spiritual journey of the Ninth Symphony in its three-movement form is often a dark one. It is hard to resist the impression that thoughts of approaching death left a deep imprint on the character of this symphony. Nowhere else in Bruckner’s output does one encounter such disturbingly ambiguous harmonies and tortured melodic lines – the opening theme of the Adagio, with its upward ‘missed octave’ leap, is as pained as anything in Mahler. The musical architecture still has that grand, spacious feeling one finds in the earlier symphonies – the quality that has led to Bruckner’s symphonies being described as ‘cathedrals in sound’. But getting a mental grip on that architecture can be challenging. There are times, particularly in the first movement, when one might wonder if the cathedral has been designed by that graphic master-illusionist M.C. Escher.
In the two big outer movements, the underlying current is slow, however animated the musical surface may appear. To newcomers, the first movement’s structure may seem baffling: there are so many themes, so many sudden changes of direction that the comforting outlines of what textbooks call ‘sonata form’ can be difficult to make out. On top of that, there are alarming moments when the tonal foundations seem to shake under our feet – all this seems closer to the later Mahler, or even to Alban Berg. After this, the pounding rhythms and grinding dissonances of the central Scherzo have invited comparison with Bartók, Prokofiev or Shostakovich.
Despite its anguished opening, the Adagio brings music of true Brucknerian nobility – especially the hymn-like elegy for the four so-called ‘Wagner tubas’ after the first climax. There are moments of radiance amid the striving crescendos (so often broken off, unfulfilled) and long wintry melodies. But the final climax contains the most disturbing vision in the whole symphony, with trombones, tuba and the other bass instruments bellowing out the Adagio‘s opening ‘missed octave’ theme, and the culminating discord left hanging in the air. But then comes the coda, bringing at last sense of peace and tonal stability. We may have glimpsed horrifying blackness and emptiness, yet at the end the sanctuary lamp does seem to flicker back into life. This may only be the end by default, and yet it remains one of the most moving endings in symphonic literature.
© Stephen Johnson
Sir Antonio Pappano
Conductor
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One of today’s most sought-after conductors, Sir Antonio Pappano is renowned for his charismatic leadership and inspiring performances across both symphonic and operatic repertoires. He is Chief Conductor of the London Symphony Orchestra, and Conductor Laureate of the Royal Opera and Ballet Covent Garden and Music Director Emeritus of the Orchestra dell’Accademia Nazionale di Santa Cecilia in Rome, having held the position of Music Director at both institutions from 2002-2024 and 2005-2023 respectively. Pappano was appointed Music Director of Oslo’s Den Norske Opera in 1990, and from 1992-2002 served as Music Director of the Théâtre Royal de la Monnaie in Brussels. From 1997-1999 he was Principal Guest Conductor of the Israel Philharmonic Orchestra.
Pappano is in demand as an opera conductor at the highest international level, including with the Metropolitan Opera New York, the State Operas of Vienna and Berlin, the Bayreuth and Salzburg Festivals, Lyric Opera of Chicago and the Teatro alla Scala, and has appeared as a guest conductor with many of the world’s most prestigious orchestras, including the Berlin and Vienna Philharmonic Orchestras, the Staatskapelle Dresden, the Gewandhausorchester Leipzig, the Bavarian Radio, the Czech Philharmonic Orchestra, the Orchestre de Paris and the Royal Concertgebouw Orchestra, as well as the New York Philharmonic Orchestra, Chicago and Boston Symphonies, the Philadelphia and Cleveland Orchestras. He maintains a particularly strong relationship with the Chamber Orchestra of Europe.
Highlights of the 2026/27 season and beyond include the final instalment of the acclaimed new Ring Cycle at the Royal Opera and Ballet, with a new production of Götterdämmerung and, in the spring of 2027, a production of La Gioconda, also at the Royal Opera and Ballet.
In his third season as Chief Conductor of the London Symphony Orchestra, he will undertake two wide-ranging international tours; one in China and Japan, plus a major tour of the US, including two concerts at Carnegie Hall in New York. In addition to the concerts at the Barbican centre with the LSO, in which he will focus on major German and Russian repertoire including performances of Mahler’s ‘Resurrection’ Symphony, Bruckner’s 9th Symphony, Shostakovich’s 8th Symphony and Scriabin’s 4th Symphony, he will also conduct five newly commissioned works. Maestro Pappano will also continue with the cycle of Vaughan Williams symphonies, which he is recording for LSO live. In addition to his tours and concerts with the LSO, Maestro Pappano will return for a European tour with the Chamber Orchestra of Europe and also for concerts with the Accademia Nazionale di Santa Cecilia.
Sheku Kanneh-Mason
Cello
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Cellist Sheku Kanneh-Mason’s mission is to make music accessible to all, whether that’s performing for children in a school hall, at an underground club, or in the world’s leading concert venues.
In November 2025, Sheku gave the world premiere of Edmund Finnis’s Cello Concerto, which was written for him, with the Los Angeles Philharmonic and Roberto González-Monjas. He gives further performances of this work with the Dresden Philharmonic and Melbourne Symphony orchestras, and the London Symphony Orchestra under Sir Antonio Pappano, in the 26/27 season. He made his much-anticipated debut in August 2026 with the Sydney Symphony Orchestra and Simone Young at the Sydney Opera House playing the Elgar Cello Concerto, for which he received outstanding reviews. Exactly 10 years since he won the BBC Young Musician, he returned to the BBC Proms at the Royal Albert Hall in September 2026 with his competition peers Jess Gillam and Benjamin Goldscheider where they perform a newly commissioned work by Gwilym Simcock, a Triple Concerto, with the BBC Symphony Orchestra and Sakari Oramo. Further performances are scheduled in Sofia, Birmingham, and Antwerp.
Sheku continues to work with some of the most exciting orchestras and conductors; highlights of the 26/27 season include performances with Rotterdam Philharmonic and Bar Avni, Danish National Symphony with Leonidas Kavakos, Polish National Radio Symphony and Marin Alsop, Pittsburgh Symphony and Manfred Honeck, Toronto Symphony and Gustavo Gimeno, and Sinfonia of London and John Wilson.
He returns to the Amsterdam Cello Biennale with the Residentie Orkest and Jonathan Bloxham in November 2026 and then in December 2026, performs Saint-Saëns’s first Cello Concerto with the Royal Concertgebouw Orchestra and Semyon Bychkov. As part of the same visit, Sheku and musicians of the orchestra play the first concert adaptation of his own delightful book for young children Little Sheku and the Animal Orchestra. In May 2027, Sheku embarks upon a European and North American duo tour with celebrated pianist Benjamin Grosvenor, with whom he recorded his 2024 album of the Beethoven Triple Concerto.
In 2027 Sheku returns to Antigua, where he has family connections, as an ambassador for the Antigua and Barbuda Youth Symphony Orchestra and before then is honoured to perform for the Commonwealth Heads of Government gala evening in November 2026, also in Antigua.
A Decca Classics recording artist, Sheku released Shostakovich & Britten in May 2025, featuring Shostakovich’s Cello Concerto No. 2, performed with John Wilson and the Sinfonia of London, alongside the cello sonatas of Shostakovich and Britten, which he recorded with Isata Kanneh-Mason. September 2025 saw the release of the second Kanneh-Mason family album, River of Music, also on Decca Classics. Sheku’s 2022 album, Song, showcased his innately lyrical playing in a wide range of arrangements and collaborations, and his 2020 album Elgar reached No. 8 in the overall Official UK Album Chart, making him the first ever cellist to reach the UK Top 10. Sheet music collections of his performance repertoire along with his own arrangements and compositions are published by Faber. He will release his ninth album on Decca Classics later in 2026.
Sheku is a graduate of London’s Royal Academy of Music where he studied with Hannah Roberts and in May 2022 he was appointed as the Academy’s first Menuhin Visiting Professor of Performance Mentoring. In 2024 he accepted the role as patron of UK Music Masters and remains an ambassador for both Breakthrough T1D and Future Talent. Sheku was appointed a Member of the Most Excellent Order of the British Empire (MBE) in the 2020 New Year’s Honours List. After winning the BBC Young Musician competition in 2016, Sheku’s performance at the wedding of the Duke and Duchess of Sussex at Windsor Castle in 2018 was watched by two billion people worldwide. He is the author of two books, both published by Penguin Random House in 2025, a memoir entitled The Power of Music and the aforementioned Little Sheku and the Animal Orchestra. He plays a Matteo Goffriller cello from 1700 which is on indefinite loan to him.
shekukannehmason.com
London Symphony Orchestra
The London Symphony Orchestra believes that extraordinary music is for everyone, everywhere. It’s a belief rooted in creativity, collaboration and determination – values that have shaped the LSO since 1904, when a group of musicians set out to create and run an orchestra of their own.
Since then, generations of remarkable talents have built the LSO’s world-renowned reputation for excellence, innovation and sharing the joy of music. The Orchestra performs a wide-ranging repertoire in front of nearly 200,000 people every year, commissions composers to push new boundaries, and connects with millions more online through creative collaborations, and education and community programmes.
In London, the LSO has been the Resident Orchestra at the Barbican since its opening, performing around 70 concerts each year. These performances feature the LSO’s internationally recognised artists: Chief Conductor Sir Antonio Pappano, Conductor Emeritus Sir Simon Rattle, Principal Guest Conductor Gianandrea Noseda, and Associate Artists Barbara Hannigan and André J Thomas. Further afield, major residencies and tours take the Orchestra to audiences around the world.
LSO Discovery, the Orchestra’s education and community programme, is about changing lives through music. Each year, the LSO connects with more than 60,000 people through workshops, events and performances – opening doors for performers and communities from every background. LSO musicians are at the heart of the programme. Alongside performing, they lead workshops, mentor emerging instrumentalists, composers and conductors, and shape the programme, sharing their expertise. Much of this happens at LSO St Luke’s, the LSO’s venue and LSO Discovery’s home on London’s Old Street – an open, welcoming space where anyone can experience live music and get involved. The LSO’s record company, LSO Live, is one of the largest independent classical labels. With over 200 recordings – including Grammy-winning and critically acclaimed albums – it combines a musician-led approach with digital innovation. These performances reach millions of people every month through streaming, radio and on-demand services.
For over a century, the LSO has been the orchestral power behind moments that define global culture. We’ve recorded music for iconic films, video games, theme parks – and albums in almost every genre, including Rosalía’s Lux, RAYE’s This Music May Contain Hope, and the Floating Points and Pharoah Sanders album Promises.
The LSO wants to continue to inspire, connect and belong to everyone – now and for generations to come. We’re able to keep sharing extraordinary music with the world thanks to the generosity of our supporters: the City of London Corporation, Arts Council England, our corporate supporters, trusts and foundations, and individual donors.
lso.co.uk
Orchestra Credits
Violin 1
Benjamin Marquise Gilmore, Leader
Sharon Roffman
Clare Duckworth
Stefano Mengoli
Ginette Decuyper
Olatz Ruiz de Gordejuela
Maxine Kwok
William Melvin
Claire Parfitt
Elizabeth Pigram
Laurent Quénelle
Harriet Rayfield
Sylvain Vasseur
Dániel Mészöly
Hilary Jane Parker
Shoshanah Sievers
Violin 2
Julián Gil Rodríguez, Principal
Thomas Norris, Co-Principal
Sarah Quinn, Sub-Principal
Miya Väisänen
David Ballesteros
Matthew Gardner
Naoko Keatley
Alix Lagasse
Belinda McFarlane
Iwona Muszynska
Csilla Pogány
Ingrid Button
Juan Gonzalez Hernandez
Chelsea Sharpe
Viola
Eivind Ringstad, Principal
Gillianne Haddow, Co-Principal
Malcolm Johnston, Sub-Principal
Thomas Beer
Germán Clavijo
Steve Doman
Julia O’Riordan
Sofia Silva Sousa
Robert Turner
Mizuho Ueyama
Nancy Johnson
Sally Belcher
Cello
Rebecca Gilliver, Principal
Salvador Bolón
Laure Le Dantec
Alastair Blayden
Daniel Gardner
Amanda Truelove
Young In Na
Joanna Twaddle
Anna Beryl
Raphaël Unger
Double Bass
Rodrigo Moro Martín, Principal
Jani Pensola
Thomas Goodman
Joe Melvin
Simon Oliver
Adam Wynter
Jim Vanderspar
Toby Hughes
Flute
Gareth Davies, Principal
Amy Yule, Principal
Imogen Royce
Piccolo
Patricia Moynihan
Oboe
Juliana Koch, Principal
Olivier Stankiewicz, Principal
Rosie Jenkins
Clarinet
Chris Richards, Principal
Chi-Yu Mo
Bass Clarinet
Ferran Garcerà Perelló, Principal
Bassoon
Rachel Gough, Principal
Daniel Jemison, Principal
Joost Bosdijk
Contra Bassoon
Martin Field, Principal
Horn
Diego Incertis Sánchez, Principal
Timothy Jones, Principal
Angela Barnes
Jonathan Maloney
Olivia Gandee
James Pillai
Benjamin Jacks
Jonathan Durrant
Meilyr Hughes
Trumpet
James Fountain, Principal
Martin Griebl, Guest Principal
Adam Wright
Katie Smith
Trombone
Simon Johnson, Principal
Rebecca Smith, Guest Principal
Jonathan Hollick
Bass Trombone
Paul Milner, Principal
Tuba
Ben Thomson, Principal
Timpani
Nigel Thomas, Principal
Patrick King, Co-Principal
Percussion
David Jackson
Sam Walton, Co-Principal
Harp
Anneke Hodnett