LPO Debut Sounds programme 12 July 2017

New Musick 7.30pm Wednesday 12 July 2017 St John’s Smith Square, London

LPO Foyle Future Firsts Members of the London Philharmonic Orchestra echo Magnus Lindberg conductor Sarah Latto conductor (echo) Suzy Klein presenter Choral works by Henry Purcell and James MacMillan Plus world premieres of Yvonne Eccles Jubilate Nathan James Dearden anti-fanfare Alex Paxton Now We Are Duh-Dur Stef Conner Calling the Night Gods Leverhulme Arts Scholars on the LPO Young Composers Programme

Tonight’s programme

LPO Foyle Future Firsts Members of the London Philharmonic Orchestra Magnus Lindberg conductor echo Sarah Latto conductor Purcell Come, ye sons of art: Birthday Ode for Queen Mary (excerpt) Yvonne Eccles Jubilate Nathan James Dearden anti-fanfare Purcell Remember not, Lord, our offences Purcell Hear my prayer, O Lord

INTERVAL 20 minutes James MacMillan Data est mihi omnis potestas from The Strathclyde Motets Alex Paxton Now We Are Duh-Dur James MacMillan The Gallant Weaver Stef Conner Calling the Night Gods In accordance with the requirements of Westminster City Council, persons shall not be permitted to sit or stand in any gangway. The taking of photographs and use of recording equipment is strictly forbidden without formal consent from St John’s Smith Square. Smoking is not permitted anywhere in St John’s Smith Square. Please ensure that all digital watch alarms, pagers and mobile phones are switched off. Refreshments are permitted only in our Footstool Restaurant in the crypt. The Footstool Restaurant will serve interval and post-concert refreshments.

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Debut Sounds

Debut Sounds is an annual celebration of the London Philharmonic Orchestra’s New Talent programmes: LPO Young Composers and Foyle Future Firsts. Over the past year, members of both programmes have been supported by the Orchestra and its Education & Community Department to explore new ideas, develop skills and work closely with the Orchestra’s musicians. This special event gives us the opportunity to hear the culmination of this work by some of the most exciting young musicians in classical music.

Tonight we will hear music by the four composers participating in the 2016/17 Young Composers scheme. Under the guidance of LPO Composer in Residence Magnus Lindberg, each composer has written a new work for chamber orchestra – comprising members of the LPO and the Foyle Future Firsts programme – which this year all take their inspiration from Purcell’s Come, ye sons of art (1694). Performed tonight by young professional vocal ensemble echo, an extract from Come, ye sons of art will be presented alongside these new works, as well as other choral works by Purcell. We are delighted that echo will also be performing choral works by Sir James MacMillan, whom we look forward to welcoming as LPO Young Composer Mentor in 2017/18.

Visit lpo.org.uk/youngcomposers to find out more about tonight’s composers and their work.

The LPO Young Composers Programme is generously supported by The Leverhulme Trust, Adam Mickiewicz Institute as part of the Polska Music Programme, The Stanley Picker Trust and Help Musicians UK. The 2016/17 Foyle Future Firsts Development Programme is generously funded by The Foyle Foundation with additional support from The Mercers’ Company, Help Musicians UK and The Barbara Whatmore Charitable Trust.

LPO Foyle Future Firsts

First Violin Martin Höhmann Leader Lasma Taimina* Alison Strange © Benjamin Ealogeva

Second Violin Jeongmin Kim Chair supported by Friends of the Orchestra

Kalliopi Mitropoulou*

The 16 members of the Foyle Future Firsts programme are gifted and talented instrumentalists who aspire to be professional orchestral musicians.

We seek to bridge their transition between college and the professional platform, developing talented players to form the base for future orchestral appointments with the London Philharmonic Orchestra and other orchestras and ensembles around the world.

Now in its 13th year, our unique programme has gone from strength to strength. Members are supported and nurtured to the highest standards and we are proud to see current

and past Foyle Future Firsts taking professional engagements with the London Philharmonic Orchestra and other world-class ensembles.

Members of the Foyle Future Firsts programme benefit from individual lessons and mentoring from London Philharmonic Orchestra Principals, mock auditions, and the opportunity to play in full orchestral rehearsals throughout the year. They also take part in high-profile and unique chamber performances, and work alongside London Philharmonic Orchestra musicians on education and community projects.

Viola Susanne Martens Cameron Campbell* Cello Francis Bucknall Leo Melvin* Double Bass Sebastian Pennar Nathan Knight*

Flute/Alto Flute/Piccolo Stewart McIlwham Luke O’Toole*

Trumpet Paul Beniston Paul Bosworth*

Oboe/Cor Anglais Alice Munday Lavinia Redman*

Trombone/Bass Trombone Mark Templeton

Clarinet/ E-flat Clarinet/ Bass Clarinet Thomas Watmough Alex Cattell*

Tom Berry*

Bassoon Catriona McDermid*

Percussion Henry Baldwin Paul Stoneman*

Contrabassoon Simon Estell Horn Mark Vines Sam Walker*

Chair supported by William & Alex de Winton

Tuba Jeremy Morris*

Harp Letizia Eriano* Piano/Celeste Antonio Oyarzabal* * 2016/17 Foyle Future First

lpo.org.uk/futurefirsts

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echo

Genesis Sixteen

Sarah Latto | conductor

echo is a brand new ensemble of 18 young professional singers from across the UK. The group came together through Genesis Sixteen, the prestigious young artists’ scheme run by Harry Christophers and The Sixteen. Since launching in early 2017, echo intends to explore the full range of what ensemble singing means – working both with and without a conductor, including improvisation and performing music from both inside and outside the Western classical canon. echo aims to produce accessible performances of the highest quality, whilst challenging some of the preconceptions and traditions that are associated with choral music. Alongside the obvious acoustic implications, the name stems from the idea of art being a reflection of society and politics.

Recent concerts include a performance at the National Gallery as part of The Sixteen’s ‘Sounds Sublime’ festival and a concert at St George’s Church, Birmingham, exploring themes of innocence and corruption. echo-choir.com

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Sopranos Hilary Cronin Samantha Cobb Sally Carr Lizzy Humphries Altos Sophie Timms Angharad Rowlands Lissie Paul Tenors Matthew Keighley Chris Huggon Sam Leggett Simon Harper Basses John Laichena David Price Michael Lafferty

Genesis Sixteen is The Sixteen’s free young artists’ scheme which aims to nurture the next generation of talented ensemble singers.

During the course of a year, a series of week-long and weekend courses are led by key figures from The Sixteen, including founder and conductor Harry Christophers and associate conductor Eamonn Dougan.

Participants receive group tuition, individual mentoring and masterclasses run by some of the industry’s top vocal experts. The programme also recently developed a Conducting Scholarship, supporting graduate conductors in the early stages of their careers. Thanks to a close partnership with the Genesis Foundation, participants not only receive free tuition but also a bursary to cover all additional costs.

This is the UK’s first ever fully-funded programme of its kind and alumni from the first six years have already had much success since graduating.

Many are now performing, recording and touring with professional groups,

including The Sixteen. A number of them have set up their own choirs and are showing true entrepreneurialism in developing their brand and reputation on the music circuit.

Date for your diary echo presents: EXILE Friday 22 September 2017 | 7.45pm St James’s Church, Sussex Gardens, London W2 3UD echo will perform at St James’s Church, Paddington, in a concert entitled EXILE – exploring political and emotional exile, displacement and migration. The concert will feature music from the 12th century to the present day, including pieces by William Byrd, Philippe de Monte and Pedro de Cristo, alongside vocal improvisation and theatrical use of the performance space.

Tickets: £12 advance/£14 on door Buy tickets via echo-choir.com

Magnus Lindberg conductor/LPO Composer in Residence

Finnish conductor Magnus Lindberg became the London Philharmonic Orchestra’s Composer in Residence at the beginning of its 2014/15 season.

Lindberg was born in Helsinki in 1958.

Following piano studies, he entered the Sibelius Academy where his composition teachers included Einojuhani Rautavaara and Paavo Heininen. His compositional breakthrough came with two large-scale works, Action–Situation–Signification (1982) and Kraft (1983–85), which were linked with his founding with Salonen of the experimental Toimii Ensemble.

Lindberg was Composer in Residence of the New York Philharmonic from 2009–12, with new works including EXPO premiered to launch Alan Gilbert’s tenure as Music Director, Al Largo for orchestra, Souvenir for ensemble, and Piano Concerto No. 2 premiered by Yefim Bronfman.

Highlights of the London Philharmonic Orchestra’s 2014/15 season included the world premiere of Accused with soprano soloist Barbara Hannigan, and the UK premiere of his Second Piano © Hanya Chlala

Concerto given by Yefim Bronfman. The 2015/16 season included a performance of Lindberg’s Violin Concerto No. 1

by Christian Tetzlaff and the world premiere of his Second Violin Concerto performed by Frank Peter Zimmermann, as well as performances of Gran Duo and Corrente.

In July 2016 the Orchestra under Vladimir Jurowski gave the world premiere of Lindberg’s Two Episodes at the BBC Proms, paired with Beethoven’s Symphony No. 9: a programme reprised on 6 May 2017 at Royal Festival Hall.

During his LPO residency Lindberg has also played an active role in the Orchestra’s education activities, mentoring the participants on the LPO Young Composers scheme. The Orchestra would like to thank him for the invaluable expertise, care and dedication he has brought to the Young Composers programme over the past three years.

Biography reprinted by kind permission of Boosey & Hawkes

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LPO Young Composers Leverhulme Arts Scholars 2016/17

debut opera was premiered at Tête-àTête Festival in 2015. In 2014 she was named, in the ‘Music-Makers’ category, as one of the Evening Standard’s ‘1000 Most Influential Londoners’.

Stef Conner (born 1983), Royal Philharmonic Society Prize-winning composer and singer, draws on ancient poetry and traditional song in creating contemporary music infused with sounds from the distant past. She graduated with a starred first in music from the University of York in 2005, before joining the Mercury Prizenominated folk band The Unthanks, and performing at such venues as the Barbican, Covent Garden, Glastonbury and the BBC Folk Awards.

Nathan James Dearden (born 1992) has been fortunate to have his music performed across the UK and overseas by a variety of instrumentalists and ensembles, from community ensembles to internationally renowned musicians.

Notable performances include riffs for piano trio at The Boilerhouse, London (Fidelio Trio); two national anthems: it’s not working at Kings Place (Tippett Quartet, Mary Dullea, students of Royal Holloway University of London); 24. Juni.

© Benjamin Ealogeva

L–R Stef Conner, Nathan James Dearden, Yvonne Eccles, Alex Paxton

Stef currently performs with The Lyre Ensemble, whose debut CD The Flood received over a million online listens in its release year, prompting performances on BBC radio and at various venues in the UK and abroad. She is currently a Leverhulme Early Career Fellow at the University of Huddersfield and conductor of two choirs. stefconner.com

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Her work has been performed by diverse ensembles including Queens’ College Choir, the Kreutzer Quartet, the Ligeti Quartet, Juice, the Nieuw Ensemble and members of the Philharmonia Orchestra, at such venues as Huddersfield Contemporary Music Festival, York Minster and Southbank Centre’s Royal Festival Hall. She was fortunate to be the first Composer in Residence with Streetwise Opera, a charity that uses music to help homeless people make positive changes in their lives, and her

Hamburg., supported by Help Musicians UK (Carla Rees); ecstasy swept over me at Dartington International Summer Festival, supported by The Hinrichsen Foundation (The Heath Quartet); and one cried... at Cheltenham Music Festival (Genesis Sixteen, Eamonn Dougan); compassion. love. at the National Centre for Early Music (Dunedin Consort, John Butt); national anthem [no. i] at the Vale of Glamorgan Festival of Music (Grand Band); blind bells, cry out at Royal Holloway, University of London (CHROMA, Mark Bowden); and hafan: diptych for orchestra at BBC Hoddinott Hall, Wales Millennium Centre (BBC National Orchestra of Wales, Jac van Steen). Nathan was an inaugural Young Composer-in-Residence with the National Youth Orchestra of Wales and Music Creator for Sinfonia Newydd in 2013.

Forthcoming projects include a multimedia collaboration with Carla Rees, and rarescale and a song-cycle collaboration with composer and pianist Michael Finnissy.

Nathan is currently Performance Manager at Royal Holloway Department

of Music, Conductor of the New Voices Consort and New Music Collective and Postgraduate Research Scholar at Royal Holloway, University of London.

Supervised by Mark Bowden and Helen Grime, his research interests include parody in music, and music as a form of social commentary.

Nathan has recently been awarded an Early Career Public Engagement Grant from the Institute of Musical Research in support of Spotlight Series: Finnissy at 70.

In May 2017 it was announced that he will be the inaugural recipient of the Paul Mealor Award for Outstanding Young Composers by the Welsh Music Guild. soundcloud.com/nathan-james-dearden

Yvonne Eccles (born 1983) studied at the Guildhall School of Music & Drama and Bristol University, graduating with first class honours. Highlights were commissions from the London Festival of Contemporary Church Music, winning the Bristol University Chamber Orchestra Competition with Triple Occurrence (2005), and being commissioned to write for

the Philharmonia Orchestra’s ‘Music of Today’ project with Kaleidoscopic Revelation (2005–06). During her PhD studies at the University of Manchester she worked with Psappha, resulting in two premieres: Multiple Infection (2010) and Contrasting Spectrum (2013). She was also commissioned to write a short duo for Marc Danel and Vlad Bogdanas of the Quatuor Danel: Chinese Whispers (2014), and more recently completed Sporos for string quartet, which they performed.

Alex Paxton (born 1990) is a jazz trombonist and composer with particular emphasis on orchestral music, vocal/dramatic music and music for children. His orchestral piece SPAKE was premiered by Ben Palmer with the RCM Philharmonic, was subsequently performed by the Bournemouth Symphony Orchestra, and has been shortlisted by Sound and Music for the British Orchestral section in the 2017 International Society of Contemporary Music (ISCM).

Recent projects have included a new work for flute, piano, marimba and cello (Revelation) for the Kokoro ensemble and a piece for orchestra, Relentless Continuum, performed by the BBC Philharmonic Orchestra.

This was followed by a BBC Radio 3 broadcast on ‘Hear and Now’. In June Yvonne travelled to Toronto to work with Ensemble Atlantica as part of the Toronto Creative Music Lab 2017. The result was a new piece, Remember, for soprano, flute, clarinet, saxophone, violin and viola, which was premiered in two concerts in Toronto. yeccles.wixsite.com/mysite

Recent opera premieres include For the Love of Thornstein Shiver, hosted by English National Opera and Helios Collective; Bel and the Dragon, conducted by Lionel Friend as part of the Tête-à-Tête Festival; the Equivocal Harriet Bowdler at Second Movement Opera; and Woolf Music at The Forge in Camden.

Alex studied jazz and composition at the Royal Academy of Music, graduating with a first class BMus(Hons). He then studied as a postgraduate on a full scholarship at the Royal College of Music and graduated with distinction. Further prizes awarded include the Evan Senior Scholarship, the J E West Prize, the RCM Composers Concerto Competition, the Henry Wood Trust and the Music Students’ Hostel Trust.

Alongside his work as a composer, Alex works professionally as an orchestrator and arranger. He has also written educational music and schemes of learning for schools and music services. alexpaxtonmusic.com

Current projects include a children’s opera commissioned by Helios Collective; a large work with chorus, orchestra and soloists for the Janus Ensemble; and a work for vocal ensemble x.y.

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Programme notes first half

Purcell Come, ye sons of art: birthday ode for Queen Mary (excerpt) Yvonne Eccles Jubilate Nathan James Dearden anti-fanfare Purcell Remember not, Lord, our offences Purcell Hear my prayer, O Lord

Henry Purcell (1659–95) Come, ye sons of art: Birthday Ode for Queen Mary, Z323 (1694) (excerpt) Come, come, ye sons of art Come, come away, Tune all your voices and instruments play To celebrate this triumphant day.

of music preferred by Charles II; he was also fascinated by more archaic and learned styles, and was a master of complex counterpoint and harmonic surprise.

For an ambitious composer in postRestoration and Hanoverian England, the height of professional success was to have one’s music performed at the royal court. Court musical celebrations could be occasioned by many different events, but royal birthdays were a particular favourite, and there was tradition of performing Odes specially composed for the monarch’s birthday.

Come, ye sons of art is the last of many royal Odes Purcell composed, and was for Queen Mary’s birthday on 30 April 1694. His next composition for a monarch would be her funeral music in March the following year, five months before his own funeral.

INTERVAL 20 minutes James MacMillan Data est mihi omnis potestas from The Strathclyde Motets Alex Paxton Now We Are Duh-Dur James MacMillan The Gallant Weaver Stef Conner Calling the Night Gods

By the 1690s, Henry Purcell was the brightest star in London’s musical firmament. Appointed organist of Westminster Abbey at the age of 20, he also held the appointments of Gentleman of the Chapel Royal and Keeper of the King’s Instruments. Early in his career he was noted as a master of the fashionable continental styles

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Yvonne Eccles (born 1983) Jubilate (world premiere)

The extract we hear tonight was given to the Young Composers by Magnus Lindberg at the start of this year’s programme, with the invitation to respond to it however they wished in their own works.

Programme note © Peter Foster

It was noted that Purcell’s piece – the starting point for this work – was celebratory in nature, and so the intention was to create a work which ended with jubilance and joy.

To get to this end, however, the piece goes through a period of mourning, beginning with exhaling, despairing sighs represented by descending lines which infiltrate the whole orchestra.

However, the joy, originally heard in the opening, bright, loud chord, never disappears. It recurs throughout the piece and eventually takes over, seeing the work transform from one of mourning to one of joy, hope and jubilance. YE

Nathan James Dearden (born 1992) anti-fanfare (world premiere)

Henry Purcell Remember not, Lord, our offences, Z50 (c.1680) Hear my prayer, O Lord, Z15 (c.1680–82)

Wednesday 29 November 2017 | 6.00–6.45pm Royal Festival Hall Foyle Future Firsts: Free pre-concert performance

Purcell’s anthem Remember not, Lord, our offences was composed around 1680 and makes highly effective use of harmony, discord, word-setting and drama, in a piece of music shorter than the first movements of many of his other sacred works. The first and last phrases are homophonic and prayer-like, while the central section is contrapuntal, each phrase representing a new point of imitation overlapping the previous one.

Toru Takemitsu Rain Coming Toru Takemitsu Tree Line Giya Kancheli Midday Prayers from Life Without Christmas

for Magnus Fanfare. n. făn’fâr.

A short ceremonial tune or flourish played on brass instruments, typically to introduce something or someone important. ‘a specially composed fanfare announced the arrival of the Duchess.’

Origin Mid 18th century: from French, ultimately of imitative origin. See also Fanfaronade.

This is not a fanfare.

NJD

Hear my prayer, O Lord is a setting for eight-part choir of the first verse of the penitential Psalm 102. It is no more than a fragment: for some unknown and unfathomable reason, the composer’s manuscript breaks off at the first double bar, with a blank space after it. The piece is based on just two phrases, which are used to create a single span of music gradually increasing in tension towards a powerful climax. © Bristol Bach Choir

Vladimir Jurowski © Chris Christodoulou

Date for your diary: Foyle Future Firsts

Vladimir Jurowski conductor

Free entry (no ticket required)

James MacMillan on the LPO Label James MacMillan The Confession of Isobel Gowdie Thomas Adès Chamber Symphony Jennifer Higdon Percussion Concerto Marin Alsop conductor Colin Currie percussion £9.99 | LPO-0035

CDs available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Download or stream online via iTunes, Amazon, Spotify and others.

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Programme notes second half

James MacMillan (born 1959) Data est mihi omnis potestas from The Strathclyde Motets Data est mihi omnis potestas in caelo et in terra, alleluia.

Euntes, docete omnes gentes, baptizantes eos in nomine Patris et Filii et Spiritus Sancti alleluia, alleluia All power has been given to me in heaven and on earth, alleluia.

Go therefore and teach all nations, baptising them in the name of the Father and of the Son and of the Holy Spirit, alleluia, alleluia.

Sir James MacMillan is the pre-eminent Scottish composer of his generation, and in 2017/18 we look forward to welcoming him as the London Philharmonic Orchestra Young Composer Mentor.

MacMillan first attracted attention with the acclaimed BBC Proms premiere of The Confession of Isobel Gowdie

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Alex Paxton (born 1990) Now We Are Duh-Dur (world premiere)

(1990). His percussion concerto Veni, Veni Emmanuel (1992) has received close to 500 performances worldwide, including a memorable performance

by Evelyn Glennie with the London Philharmonic Orchestra at Royal Festival Hall in December 2013. Other major works include the cantata Seven Last Words from the Cross (1993), Quickening (1998) for soloists, children’s choir, mixed choir and orchestra, the operas Inès de Castro (2001) and The Sacrifice (2005–06), and St John Passion (2007). In 2014 the London Philharmonic Orchestra under Vladimir Jurowski gave the world premiere of MacMillan’s Viola Concerto with soloist Lawrence Power.

MacMillan was awarded a Knighthood in the 2015 Queen’s Birthday honours.

The Strathclyde Motets is a collection of 28 communion motets composed between 2005–10 for the Strathclyde University Chamber Choir. Data est

mihi omnis potestas (‘All power has been given to me’) is a richly scored, uplifting, celebratory motet for Ascension Day. The opening rising interval launches the piece in a heavenward trajectory and the double choir scoring gives it a surround-sound blaze of musical light.

It creates a memorable impression.

A second section gives the lower voices an accompanying role whilst the sopranos sing Monteverdi-like cadenza passages in falling thirds, before the roles are reversed. A final outburst of three sky-rocketing Alleluias ends the motet.

Reprinted by kind permission of Boosey & Hawkes

Now We are Duh-Dur is a musical explosion of its nonsense title – although I am attracted to the expressions that would charge this phrase, in imagined contexts.

The piece is built upon a distinctive melodic characteristic inspired by the rhythmic qualities of speech. This comes out of a desire to explore modes of communication I believe to be more holistic than words, and which can be found in the lyricism that our everyday semantic sentences (e.g.: ‘At the end of the day … ’) inhabit. Fantasies that feed this musical excitement include the development of language in early forms of humans, the delivery of lines by an actor, a mother’s lullaby and the small talk of beloved friends.

Informed, in part, by my experience as a jazz musician, I have used a range

James MacMillan The Gallant Weaver (1997)

of musical influences outside the traditional canon of Western art music.

I do not intend for these to be heard as ‘references’, but rather to express the feeling of my music with most clarity and sensuality.

Whilst writing this piece I have felt particular engagement with African folk, heavy metal, blues and big band music, nursery rhymes and electronic synthesisers, which exist within the piece in both subliminal and more obvious forms. AP

Where Cart rins rowin to the sea, By mony a flow'r and spreading tree, There lives a lad, the lad for me, He is the gallant Weaver.

Oh I had wooers aught or nine, They gied me rings and ribbons fine, And I was feared my heart would tine, And I gied it to the Weaver.

I love my gallant Weaver ...

Robert Burns (1759–96) Much of James MacMillan’s compositional style is strongly influenced by traditional Scottish folk music. The Gallant Weaver, composed in 1997, is rich in Scottish flavour, appropriate to its Robert Burns text.

Characteristic vocal elements are the ornamental inflections drawn from Scottish folk music and Gaelic psalmody, and the overall mood is one of tranquility. Distinctive colourings of the voice parts are explored through triple divisions of the sopranos above rich sonorities in the lower parts. © Paul Spicer/Boosey & Hawkes

Stef Conner (born 1983) Calling the Night Gods (world premiere)

Purcell’s Come, ye sons of art was an ode for the birthday of Queen Mary II of England, and its accordingly reverent and celebratory tone became problematic for me as I tried to use the piece as a stimulus to compose in 2017 – not, in my mind, a year for celebrating global leaders with blind devotion, but for holding them to account. Thus, in an attempt to interrogate the enduring legacies of history’s sycophantically lauded Strongmen, my piece invokes an imagined version of the earliest ritual veneration of rulers in ancient Mesopotamia, in part to highlight the bitterly ironic contrast between the grandiosity of the powers that existed there at the dawn of human civilisation and the tragic disorder that engulfs the same land today.

A magisterial royal ceremony is evoked by way of a Babylonian chant that

accompanied the Mesopotamian ritual of extispicy, in which diviners called on the Night Gods to reveal the future in the livers of sacrificed sheep, and the accompaniment of whispers from the brass and wind, in which the Babylonian words ‘drums and cymbals sing out for you!’ are fleetingly discernible.

As the piece unfolds, the future, from the diviner’s perspective, is indeed revealed, offering musical glimpses of the pompous propaganda machines that enabled history’s most disgusting rulers to enthral masses of people into blind complicity with acts of monstrous cruelty. Be it under the tyranny of the Assyrian armies or the tyranny of oil companies, we remain bound in subservience to the self-serving. Will we ever learn? SC

Read longer interviews with tonight’s composers about their new works at lpo.org.uk/news

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St John’s Smith Square Box Office 020 7222 1061 www.sjss.org.uk St John’s Smith Square Charitable Trust Registered Charity No. 1045390 Registered in England Company No. 3028678 The right is reserved to substitute artists and to vary the programme if necessary.

The London Philharmonic Orchestra is a registered charity No. 238045.

London Philharmonic Orchestra, 89 Albert Embankment, London SE1 7TP. lpo.org.uk