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London Symphony Orchestra: Online Concert Programme | Sat 5 April 2025

Bristol Beacon presents 

London Symphony Orchestra with Gianandrea Noseda & Nicola Benedetti

Sat 5 April 2025, 7.00pm

This evening’s performance:

Gianandrea Noseda Conductor
Nicola Benedetti Violin
London Symphony Orchestra

Shostakovich Festive Overture
MacMillan Violin Concerto No. 2
Interval
Shostakovich Symphony No. 12

Pre-concert talk hosted by music educator Jonathan James

 

Welcome

Thank you for joining us for tonight’s concert with the London Symphony Orchestra. We are delighted that the LSO are Bristol Beacon’s Associate Orchestra, performing in Beacon Hall at least twice per season, and collaborating with our Creative Learning team on a wide range of participation activities. Having recently welcomed Sir Antonio Pappano, we are now very pleased to welcome Principal Guest Conductor Gianandrea Noseda for his first performance with the LSO here in Beacon Hall.

Looking ahead, next week we present a special recital by star pianist Víkingur Ólafsson (Tue 8 April) playing the Steinway piano that he specifically chose for us at the Steinway factory in Hamburg. Our final concerts this season are with the Philippine Philharmonic Orchestra (Tue 13 May) and the Bournemouth Symphony Orchestra (Fri 6 June).

Our team are currently finalising the details of our next season of concerts starting in October, due to launch in early May. Keep an eye out as well before then for an announcement about the BBC Proms residency weekend returning this August.

Tonight you will hear a few words from our Chair, Jonathan Dimbleby, and he joins me in thanking you for your support and appreciation of our orchestral series and the wider charitable work of Bristol Beacon.

With best wishes,

Simon Wales
Chief Executive, Bristol Beacon

 

 

Dmitri Shostakovich (1906-1975): Festive Overture

Shostakovich emerged from the trauma of World War II physically unscathed, but artistically compromised. Though hailed as a national hero for his Seventh Symphony, written during the gruelling siege of Leningrad, his next two symphonies did not find favour with the authorities. Against a grim background of official disapproval he began composing a Festive Overture, designed to celebrate the 30th anniversary of the 1917 October Revolution, out of which the modern Soviet state was born. Shostakovich said that his new work would ‘embody in musical form the enthusiasm of men working peacefully under the new five-year plan. There are no sharp dramatic conflicts in the Overture. Its themes are melodious, its orchestration varied’.

But the Overture wasn’t performed at the 1947 October celebrations. Shostakovich may have been forewarned of the approaching storm that would engulf him and many fellow-composers early the following year, when Stalin’s cultural commissar accused them of writing music full of ‘anti-democratic tendencies alien to the Soviet people’. Fearful for his life, Shostakovich withdrew all the major pieces he was working on. The Festive Overture only came to light seven years later, after Stalin’s death, when it was performed at a gala concert at the Bolshoy Theatre in Moscow on 6 November 1954.

The Overture is light and celebratory in style. It opens and closes with a fanfare said to have been based on a children’s piano piece. The main section is fast and lively, and towards the end the orchestra is augmented by a brass band.

© Wendy Thompson

Sir James MacMillan (b. 1959): Violin Concerto No. 2

My second violin concerto is written in one through-composed movement and is scored for a medium-sized orchestra. It opens with three chords, and the notes which the soloist plays in these (pizzicato) outline a simple theme which is the core ingredient for much of the music. This three-note theme incorporates a couple of wide intervals which provide much of the expressive shape to a lot of the subsequent melodic development throughout the concerto.

When the soloist eventually plays with the bow, the character of the material sets the mood for much of the free-flowing, yearning quality of the music throughout. The prevailing slow pulse is punctuated by some faster transitional ideas, and after a metric modulation the second main idea is established on brass and timpani, marked alla marcia. The wide-intervallic leaps in the solo violin part continue to dominate in a passage marked soaring, even as the music becomes more rhythmic and dance-like.

An obsessive repetitiveness enters the soloist’s material just before the first main climax of the work, where the wind blare out the wide-intervalled theme. The central section of the work is reflective, restrained and melancholic, where the soloist’s part is marked dolce, desolato and eventually misterioso, hovering over an unsettled, low shimmering in the cellos and basses.

The martial music returns and paves the way for an energetic section based on a series of duets which the violin soloist has with a procession of different instruments in the orchestra – double bass, cello, bassoon, horn, viola, clarinet, trumpet, oboe, flute, and violin. After this we hear the three notes/chords again developed in the wind over a pulsating timpani beat, which sets up the final climax marked braying, intense and feroce. The final recapitulation of the original material provides a soft cushion and backdrop to the soloist’s closing melodic material, marked cantabile, before the work ends quietly and serenely.

My second violin concerto is dedicated to Nicola Benedetti and in memoriam Krzysztof Penderecki, the great Polish composer who died in 2020.

© Sir James MacMillan

Dmitri Shostakovich (1906-1975): Symphony No. 12 in D minor, ‘Year 1917’

1. ‘Revolutionary Petrograd’ – Moderato –Allegro
2. ‘Razliv’ – Adagio
3. ‘Aurora’ – Allegro
4. ‘Dawn of Humanity’ – L’istesso tempo

Like the Eleventh Symphony, ‘Year 1905’, Shostakovich’s Twelfth (1961) has a declared, overtly political programme. The title invokes the Bolshevik Revolution of 1917, and the subtitle of the Twelfth Symphony’s second movement explicitly ties the music in with the Revolution’s great figurehead, Vladimir Lenin. Razliv was Lenin’s secret headquarters before the revolution, just outside Petrograd – then, and now, St Petersburg. The four linked movements chart a familiar darkness-to-light/minor-to-major course, very similar to that in Fifth Symphony (also in D minor), only here – in contrast to No 5 – there are no obvious thought-provoking incongruities or ironies. The music seems on the whole to explain itself.

On the face of it, this is pretty much what one might expect from a composer who had recently joined the Communist Party, apparently in recognition of the more ‘enlightened’ direction of the new First Secretary, Nikita Khrushchev. But evidence suggests that pressure had been put on him, and that privately Shostakovich saw his joining the party as a shameful capitulation. Testimony, the book that claims to be his ‘memoirs’ is quite blunt how the Twelfth Symphony reflects this:

‘I began [No 12] with one creative goal and ended up with a completely different scheme. I wasn’t able to realise my ideas, the material put up resistance.’

One friend, the musicologist Lev Lebedinsky, stated categorically that Shostakovich originally intended to write a symphony parodying Lenin, but realised just in time how dangerous that might be.

So, is the Twelfth Symphony, as some have claimed, a piece of desperate last-minute hackwork? Or are there, as others suggest, indications that the master ironist is at work, subverting his own declared message? Of course, it’s quite possible simply to enjoy this as one of Shostakovich’s least complicated major works – a reminder that, even in ‘professional’ mode Shostakovich can still be exceptionally stirring. Strife and aspiration dominate the first movement: the former in the sombre opening theme, and in the driven Allegro that follows; the latter in the more hopeful (and very hummable) second theme, first presented on cellos and basses. The broad storyline is clear, its working-out compelling.

Tension builds up in the brooding second movement, until it erupts in the short but exciting ‘Aurora’ – the name of the ship whose attack on the Winter Palace signalled the start Communist Revolution. Then the finale strides forth confidently with a theme on massed horns, almost certainly derived from a piano piece by the ten-year-old Shostakovich, Funeral March for the Victims of the Revolution (long since lost). But there are hints of a counter-message: in the ominous low strings and bass drum sounds near the end of ‘Aurora’ (a pre-echo of the movement ‘Fears’ in the Thirteenth Symphony?), and in the pounding timpani figures at the end, which unmistakably echo the putatively triumphant ending of Symphony No 5 – an ending many find at least ambiguous. Even when Shostakovich seems relatively straightforward, he can still challenge.

© Stephen Johnson

Gianandrea Noseda
Conductor

Gianandrea Noseda is one of the world’s most sought-after conductors, equally recognised for his artistry in the concert hall and opera house. The 2024-25 season marks his ninth season as Principal Guest Conductor of the London Symphony Orchestra and eighth season as Music Director of the National Symphony Orchestra (NSO).

In addition to Noseda’s performances at the Barbican and LSO St. Luke’s (London), Noseda has toured with the LSO to America, China, Europe and to Edinburgh in the UK. His recordings on the orchestra’s own label, LSO Live, include Britten’s War Requiem, Mussorgsky’s Pictures at an Exhibition, Verdi’s Requiem, and the complete symphonic cycles of Prokofiev, Shostakovich, and Tchaikovsky, which are currently in progress.

Noseda’s leadership at the NSO has reinvigorated the orchestra, which makes its home at the Kennedy Center in Washington, D.C. Its renewed recognition has garnered invitations to Carnegie Hall, international concert halls, and led to streaming projects and a record label distributed by LSO Live. The NSO’s recent recordings include all five Sinfonias by Pulitzer Prize-winning Washington, D.C. native George Walker, Beethoven Symphonies cycle, and a recording of works by Carlos Simon. Noseda has made over 80 recordings for various labels, including Deutsche Grammophon and Chandos, where recordings included works of neglected Italian composers on his Musica Italiana series.

Noseda became General Music Director of the Zurich Opera House in September 2021. A milestone there was his first performances of complete Wagner Ring cycles in May 2024. In February 2023 he was named “Best Conductor” by the German OPER! AWARDS specifically for his Wagner interpretations. From 2007 to 2018, Noseda served as Music Director of Italy’s Teatro Regio Torino, where his leadership marked a golden era for the opera house.

Noseda has conducted the most important international orchestras, opera houses and festivals and had significant roles at the BBC Philharmonic (Chief Conductor), Israel Philharmonic Orchestra (Principal Guest Conductor), Mariinsky Theatre (Principal Guest Conductor), Orchestra Sinfonica Nazionale della RAI (Principal Guest Conductor), Pittsburgh Symphony Orchestra (Victor de Sabata Chair), Rotterdam Philharmonic (Principal Guest Conductor) and Stresa Festival (Artistic Director).

Noseda has a strong commitment to working with young artists. In 2019, he was appointed the founding Music Director of the Tsinandali Fesitval and Pan-Caucasian Youth Orchestra in the village of Tsinandali, Georgia.

A native of Milan, Noseda is Commendatore al Merito della Repubblica Italiana, marking his contribution to the artistic life of Italy. He has been honoured as Conductor of the Year by both Musical America (2015) and the International Opera Awards (2016). In 2023, he received the Puccini Award. He received the Ambrogino d’Oro (Certificate of Merit) from the City of Milan in December 2024.

Nicola Benedetti
Violin

Nicola Benedetti is one of the most sought-after violinists of her generation. Her ability to captivate audiences and her wide appeal as an advocate for classical music has made her one of the most influential artists of today.

Nicola begins her 2024-2025 season with a performance of the Marsalis Violin Concerto with the Belgian National Orchestra in a programme that includes Marsalis’ Fourth Symphony ‘The Jungle’ with the Jazz at Lincoln Center Orchestra. She will return to the London Symphony Orchestra to perform the MacMillan Violin Concerto with Gianandrea Noseda and will close the Scottish Chamber Orchestra’s season playing the Brahms Violin Concerto conducted by Maxim Emelyanychev.

Winner of the GRAMMY Award for Best Classical Instrumental Solo in 2020, as well as Best Female Artist at both 2012 and 2013 Classical BRIT Awards, Nicola records exclusively for Decca (Universal Music). Her latest recordings of Vivaldi Concerti and Elgar’s Violin Concerto entered at number one in the UK’s Official Classical Album Chart.  Other recent recordings include her GRAMMY award-winning album written especially for her by jazz musician Wynton Marsalis: Violin Concerto in D and Fiddle Dance Suite for Solo Violin. In 2021, BBC Music Magazine named her “Personality of the Year” for her online support of many young musicians during the pandemic.

Nicola has always been a dedicated, passionate ambassador and leader in music education and her commitment was underlined in 2019 when she established The Benedetti Foundation. The Foundation delivers transformative experiences through mass music events and unites those who believe music is integral to life’s education. The Foundation believes in the strength of music and the power of mass inspirational moments to connect cultures and communities through combining excellence and inclusivity, tradition and innovation and meaningful collaboration. In its first four years, the Foundation has worked with close to 70,000 participants of all ages and levels, instrumentalists and non-instrumentalists alike, across 105 countries. It’s free online educational video resources: ‘With Nicky’ and other Foundation videos have had over 6 million views.

Nicola was appointed a CBE in 2019, awarded the Queen’s Medal for Music (2017), and an MBE in 2013. In addition, Nicola holds the positions of Vice President (National Children’s Orchestras), Big Sister (Sistema Scotland), Patron (National Youth Orchestras of Scotland’s Junior Orchestra, Music in Secondary Schools Trust and Junior Conservatoire at the Royal Conservatoire of Scotland

In October 2022, Nicola became the Festival Director of the Edinburgh International Festival. In taking the role she became both the first Scottish and the first female Festival Director since the Festival began in 1947.

London Symphony Orchestra

The London Symphony Orchestra believes that extraordinary music should be available to everyone, everywhere – from orchestral fans in the concert hall to first-time listeners all over the world.

The LSO was established in 1904 as one of the first orchestras shaped by its musicians. Since then, generations of remarkable talents have built the LSO’s reputation for quality, ambition and a commitment to sharing the joy of music with everyone. The LSO performs some 70 concerts every year as Resident Orchestra at the Barbican, with its family of artists: Chief Conductor 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 has major artistic residencies in Paris, Tokyo and at the Aix-en-Provence Festival, and a growing presence across Australasia.

Through LSO Discovery, the LSO’s learning and community programme, 60,000 people each year experience the transformative power of music. The Orchestra’s musicians are at the heart of this unique programme, leading workshops, mentoring bright young talent, and visiting schools, hospitals and community spaces. The home of much of this work is LSO St Luke’s, the LSO’s venue on Old Street. In 2025, following a programme of works, the LSO will open up the venue’s facilities to more people than ever before, with new state-of-the-art recording facilities and dedicated spaces for LSO Discovery.

The LSO’s record label LSO Live is a leader among orchestra-owned labels, bringing to life the excitement of a live performance in a catalogue of over 200 acclaimed recordings, and reaching millions through streaming services and online broadcasts. The LSO has been prolific in the studio since the infancy of orchestral recording, and has made more recordings than any other orchestra – over 2,500 projects to date – across film, video games and bespoke audio collaborations.

Through inspiring music, learning programmes and digital innovations, the LSO’s reach extends far beyond the concert hall. And thanks to the generous support of The City of London Corporation, Arts Council England, corporate supporters, trusts and foundations, and individual donors, the LSO is able to continue sharing extraordinary music with as many people as possible, across London, and the world.

Orchestra Credits

Violin 1
Roman Simovic, Leader
Rebecca Chan
Clare Duckworth
Stefano Mengoli
Ginette Decuyper
William Melvin
Claire Parfitt
Laurent Quénelle
Harriet Rayfield
Sylvain Vasseur
Savva Zverev
Julia Rumley
Caroline Frenkel
Victoria Irish
Helena Smart
Izzy Howard

Violin 2
Harry Bennetts
Thomas Norris, Co-Principal
Sarah Quinn, Sub-Principal
Miya Väisänen
David Ballesteros
Matthew Gardner
Naoko Keatley
Alix Lagasse
Belinda McFarlane
Iwona Muszynska
Csilla Pogány
Andrew Pollock
Helena Buckie
Aleem Kandour

Viola
Michael Grolid
Anna Bastow
Mizuho Ueyama
Germán Clavijo
Steve Doman
Julia O’Riordan
Sofia Silva Sousa
Thomas Beer
Robert Turner
Stephanie Edmundson
Elisabeth Varlow
Theodore Chung

Cello
Timothy Walden
Alastair Blayden, Sub-Principal
Salvador Bolón
Ève-Marie Caravassilis
Daniel Gardner
Ghislaine McMullin
Victoria Simonsen
Joanna Twaddle
Jessie Ann Richardson
Morwenna Del Mar

Double Bass
David Desimpelaere
Patrick Laurence
Thomas Goodman
Joe Melvin
Toby Hughes
William Puhr
Joseph Cowie
Phoebe Clarke

Flute
Gareth Davies, Principal
Clare Findlater

Piccolo
Patricia Moynihan

Oboe
Juliana Koch, Principal
Rosie Jenkins
Lauren Weavers

Clarinet
Sérgio Pires, Principal
Chi-Yu Mo

Bass Clarinet
Ferran Garcerà Perelló

Bassoon
Daniel Jemison, Principal
Joost Bosdijk

Contra Bassoon
Martin Field, Principal

Horn
Timothy Jones, Principal
Angela Barnes
Zachary Hayward
Jonathan Maloney
Alex Willett

Trumpet
Niall Keatley, Guest Principal
David Carstairs
Richard Blake
James Nash

Trombone
Mark Templeton, Guest Principal
Jonathan Hollick
Gemma Riley

Bass Trombone
Paul Milner, Principal

Tuba
Ben Thomson, Principal

Timpani
Nigel Thomas, Principal

Percussion
Sam Walton, Co-Principal
David Jackson
Patrick King, Co-Principal
Helen Edordu
Rachel Gledhill