SATURDAY, MARCH 28, 2015, 3PM Pre-concert conversation with Gareth Davies and Michael Tilson Thomas, 2pm Segerstrom Center for the Arts Renée and Henry Segerstrom Concert Hall
LONDON SYMPHONY ORCHESTRA MICHAEL TILSON THOMAS, CONDUCTOR YUJA WANG, PIANO
Four Sea Interludes from Peter Grimes, Op. 33A
Benjamin BRITTEN (1913–1976)
Dawn Sunday Morning Moonlight Storm Piano Concerto in F major
George GERSHWIN (1898-1937)
- I NT E R M IS S I O N Symphony No. 5 in D minor Op. 47 Moderato Allegretto Largo Allegro non troppo
Dmitri SHOSTAKOVICH (1906–1975)
The Philharmonic Society gratefully acknowledges the Donna L. Kendall Foundation, the Shanbrom Family Foundation and Ralph Lauren at South Coast Plaza for generously underwriting this evening’s performance
This performance by the London Symphony Orchestra is supported by City National Bank
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YUJA WANG (ROLEX, FADIL BERISHA)
bRITTEN: FOuR SEa INTERludES FROM Peter Grimes, Op. 33a (1944) While staying with friends near Los Angeles during the summer of 1941, Benjamin Britten and Peter Pears came across an article by E.M. Forster on the Suffolk poet George Crabbe (1754– 1832) in a back issue of The Listener. Britten (himself born in Suffolk) was later to comment: “I suddenly realized where I belonged and what I lacked,” and even more revealingly, “that I must write an opera.” Pears discovered a copy of Crabbe’s poems, including The Borough, which tells the tragedy of the fisherman Peter Grimes, in a rare book shop. His and Britten’s enthusiasm after making this discovery is obvious in a letter sent to their New York friend Elizabeth Mayer on July 29: “We’ve just discovered the poetry of George Crabbe (all about Suffolk) and are very excited—maybe an opera one day!!” The remainder of 1941 and the early part of 1942 were spent working on a draft synopsis and libretto for an opera based on Peter Grimes, but it was not until reaching the UK that a librettist was found—the leftwing writer Montagu Slater, with whom Britten had frequently collaborated in the 1930s—and serious progress made. From the outset, chief among the opera’s distinctive features was the sequence of orchestral interludes (six in all) that introduce or separate scenes, a device in which the influence of Shostakovich’s Lady Macbeth of the Mtsensk District and Berg’s Wozzeck can be felt. On early typed libretto drafts, Britten made important marginal notes throughout, in which he succinctly describes the kinds of music he intended to write. Those concerning the interludes are of particular interest and suggest that they were intended to have a programmatic function within the structure, a point made even clearer by the arrangement of four of them into a concert suite in which each was given a descriptive title by the composer: Dawn (Interlude I in the opera); Sunday Morning (Interlude III); Moonlight (Interlude V); and Storm (Interlude II). Dawn, described by Britten in his libretto marginalia as an “Everyday, grey seascape,” comprises three ideas operating on three levels: the high-lying unison melody for flutes and violins; the bubbling rising and falling arpeggios on clarinets, harp and violas; and the ominous chorale-like motif from bassoons, brass and low strings. Sunday Morning (Sunny, Sparkling music) is taken from the beginning of Act II of the opera, where the schoolmistress Ellen Orford sings “Glitter of waves / And glitter
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The final interlude of the concert suite, Storm, speaks for itself. In the opera, it prefaces Act I Scene 2, set in The Boar, and reemerges throughout the scene as characters arrive at the pub. A rondo structure in E-flat minor, the interlude not only provides a graphic portrayal of the physical storm but also the psychological storm in Grimes’ mind. - Program Note © Philip Reed GERShwIN: pIaNO CONCERTO IN F MajOR (1925) George Gershwin was born September 26, 1898, in Brooklyn, New York, and died July 11, 1937, in Hollywood, California. He composed his Concerto in F between May and November 10, 1925, and it was premiered December 3, 1925, at Carnegie Hall in New York, with Walter Damrosch conducting the New York Symphony Society and the composer as piano soloist. The score calls for an orchestra of two flutes and piccolo, two oboes and English horn, two clarinets and bass clarinet, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, cymbals, bass drum, snare drum, and strings. On the afternoon of February 12, 1924, musical New York gathered at Aeolian Hall on 42nd Street (where the State University College of Optometry now stands), to witness a concert that bandleader Paul Whiteman was presenting under the intriguing rubric “An Experiment in Modern Music.” Whiteman believed that the future of American concert music would involve a fusion of European symphonic traditions with jazz. Most of the program he presented that day was far from what could honestly be described as “experimental” in 1924. But it did include the premiere of one work that exemplified his vision: George Gershwin’s Rhapsody in Blue for piano and orchestra. Though some critics applauded enthusiastically, others were somewhat guarded in their evaluations of Gershwin’s new piece. In the New York Times, critic Olin Downs allowed that Rhapsody in Blue revealed “a talent and an idiom, also rich in possibilities for that generally exhausted and outworn form of the classic piano concerto.” A news report in the same paper described the Whiteman ensemble: “Pianos in various stages of deshabillé stood about, amid a litter of every imaginable contraption of wind and percussion instruments.” The reporter concluded that the scene “would have curdled the blood of a Stokowski or a Mengelberg.” As it happened, both Stokowski and Mengelberg were in the hall that afternoon, as were violinists Fritz Kreisler, Jascha Heifetz, and Misha Elman; pianist Moritz Rosenthal; composers Sergei Rachmaninoff, Igor Stravinsky, and John Philip
Sousa; and conductor Walter Damrosch. Damrosch was one of the city’s leading musical citizens. He had inherited the directorship of the New York Symphony Society when his uncle Leopold died in 1885, and held the post with only brief respite until that orchestra merged with the New York Philharmonic in 1928. Damrosch was so impressed with Gershwin’s Rhapsody in Blue that he immediately commissioned a concerto he could introduce with his New York Symphony. Gershwin happily accepted the commission and then—the legend goes— did a bit of study to find out just what a concerto was. One suspects that this story, which has been repeated by biographers ever since, probably derives from nothing more than a bon mot. Nevertheless, Gershwin most certainly did not come to his concerto armed with a complete compositional technique. His native talent was unquestionable and his facility as a pianist unimpeachable, but the niceties of orchestral writing were still uncharted ground. In his Broadway work, Gershwin had always followed the customary practice of simply writing the tunes and leaving the instrumentation to an arranger. Even the Rhapsody in Blue was not entirely his creation; the instrumentation had been carried out by Whiteman’s staff orchestrator Ferde Grofé, who worked from Gershwin’s piano score. Gershwin therefore acquired a copy of Cecil Forsyth’s Orchestration, a standard textbook at that time, and learned enough from it to write the whole orchestral score of the Concerto in F on his own, though no doubt with some pointers from colleagues.
about the program
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of sunlight / Bid us rejoice / And lift our hearts on high.” Britten superimposes overlapping chords on the horns with (at first) a spiky idea on the woodwind, the quality enhanced by the bright D major tonality, brightened further by the use of a sharpened fourth note (G sharp) of the scale. Ellen’s words coincide with the second idea, an expressive melody on violas and cellos. Moonlight (Summer night, seascape, quiet, in the composer’s description) introduces Act III of the opera. Quiet, slow throbbing syncopations are broken by chinks of moonlight (flutes and harp), before reaching a tumultuous climax.
Broadway obligations prevented Gershwin from diving into his concerto immediately, and he didn’t buckle down to serious work on it until May 1925, while he was in London updating material for the English production of his musical Tell Me More. On July 22, back in New York, he started turning his sketches into a manageable score, at the head of which he inscribed the title New York Concerto. He worked on it every day during a stay at Chautauqua in August, and he appears to have let the movements flow from start to finish. Notations in the piano manuscript indicate that the first movement was written in July, the second in August and September, and the third in September. After that, he busied himself for another five or six weeks with the orchestration for full orchestra. By the time he had completed the project, the initial title had been replaced simply by Concerto in F—not F major or F minor (though the former would be accurate)—and it has been so identified ever since. Eliminating the referential title was an essential step towards the composer’s goal. “Many persons had thought that the Rhapsody was only a happy accident,” Gershwin remarked later. “Well, I went out, for one thing, to show them that there was plenty more where that had come from. I made up my mind to do a piece of absolute music. The Rhapsody, as its title implies, was a blues impression. The concerto would be unrelated to any program. And that is exactly how I wrote it.” Gershwin wisely organized a run-through of his concerto in November—he hired the sixty-piece orchestra himself— and Damrosch wisely attended. Everybody was delighted with what they heard, but Damrosch, drawing on his years of orchestral experience, seems to have offered some well-
about the program
chosen advice. As a result, Gershwin cut expanses from each of the movements (in addition to making a number of smaller changes), yielding a tighter work for the imminent premiere. The concert was sold out, and the audience cheered rapturously at the conclusion of the Concerto in F. Critics were more reserved; they had already heard a perfectly good example of Gershwin’s “symphonic-jazz fusion” when the Rhapsody in Blue was unveiled a year before, and they found less to be excited about the second time around. One critic proclaimed the work “interesting and individual,” another found it “conventional, trite, [and] a little dull.” Damrosch was not to be swayed. He was a true believer in the piece, as he made clear in the flowery speech he delivered from the stage at the premiere: “Lady Jazz, adorned with her intriguing rhythms, has danced her way around the world...But for all her travels and her sweeping popularity, she has encountered no knight who could lift her to a level that would enable her to be received as a respectable member in musical circles. George Gershwin seems to have accomplished this miracle. He has done it boldly by dressing this extremely independent and up-to-date young lady in the classic garb of a concerto. Yet he has not detracted one whit from her fascinating personality. He is the prince who has taken Cinderella by the hand and openly proclaimed her a princess to the astonished world.” It’s hard to follow such an effusion. We might add that this “up-to-date young lady” seems to have had at least a passing acquaintance with the virtuosic piano concertos of Franz Liszt and Sergei Rachmaninoff and that her coming-out party was foreshadowed in a piano prelude Gershwin sketched about a year earlier, which he essentially re-worked into the opening theme of the third movement. But for a succinct description of how the piece unfolds, we can fortunately turn to Gershwin’s own description, which the New York HeraldNew York Tribune printed in advance of the premiere: The first movement employs the Charleston rhythm. It is quick and pulsating, representing the young enthusiastic spirit of American life. It begins with a rhythmic motif given out by the kettledrums, supported by other percussion instruments, and with a Charleston motif introduced by...horns, clarinets and violas. The principal theme is announced by the bassoon. Later, a second theme is introduced by the piano. The second movement has a poetic nocturnal atmosphere which has come to be referred to as the American blues, but in a purer form than that in which they are usually treated. The final movement reverts to the style of the first. It is an orgy of rhythms, starting violently and keeping to the same pace throughout. - Program Note by James M. Keller © 2015, San Francisco Symphony. Used with permission. ShOSTakOvICh: SyMphONy NO. 5 IN d MINOR, Op. 47 (1937) Political and artistic pressures coincided many times in the course of Shostakovich’s career, but never more intensely than in the year 1937 when the Fifth Symphony was composed. Early in 1936 his opera Lady Macbeth of Mtsensk and the bal-
let The Limpid Stream had been officially condemned, and in consequence he felt obliged to withdraw his Fourth Symphony before its scheduled premiere. These works, which are full of a wayward, dissonant genius, made no concession to the official doctrine of Socialist Realism, and the bleak endings of both opera and symphony directly contradicted the optimism then expected from Soviet artists. The crisis he faced was far more than a question of musical style: it was quite literally a matter of life or death. By 1936, the mechanism of Stalin’s Great Terror was lurching into motion, with show trials, denunciations and disappearances. Few Russians remained untouched, particularly in the composer’s own city of Leningrad. Shostakovich himself lost relatives, friends and colleagues. A particularly serious blow was the arrest and execution in June 1937 of his highly-placed protector Marshal Tukhachevsky; association with such an “enemy of the people” put Shostakovich in a highly dangerous position. It was in this nightmare atmosphere that Shostakovich composed his Fifth Symphony, between April and July 1937. A conscious attempt at rehabilitation, intended to re-establish his credentials as a Soviet composer, it represents a well-calculated combination of true expression with the demands of the State. Shostakovich calculated well. The premiere, given by the Leningrad Philharmonic under the relatively unknown Yevgeny Mravinsky on November 21, 1937, was an unqualified triumph, with scenes of wild enthusiasm which were repeated at the Moscow premiere the following January. The first performance outside Russia took place in Paris that June, and before long the Symphony had been performed all over the world and was being held up as a model of what Soviet music could and should be. The Symphony certainly represents a break with Shostakovich’s unruly musical past, for here the language is simplified, with few of the eccentricities that had made him such a great satirist in the first decade of his career. The level of dissonance is lower and the music is contained within a clear formal plan. There is not, however, any radical change of style. Shostakovich’s unmistakable fingerprints—unexpected twists in melody and harmony, strange scoring, sometimes eccentric or shrill, with writing in the extremely high or low registers— are all present, but now absorbed into a traditional four-movement symphonic structure of great clarity and power. As he would later in the first movements of his Eighth and Tenth Symphonies, Shostakovich immediately creates a sense of enormous space, both brooding and desolate, with a masterly control of slow pacing and pared-down orchestral textures. The first movement’s climax, reached after a remorseless build-up of tension (from the moment the piano enters), bursts out into a grotesque march, followed by a sense of numb exhaustion. The second movement, a type of sardonic scherzo, preserves some of the qualities of the earlier Shostakovich in its shrill scoring, use of wry parody and vulgar march and dance elements, an important part of his inheritance from Mahler. The brooding Largo is the expressive heart of the symphony. Listeners who had until then known only the witty or irreverent side of Shostakovich would have been surprised by the
Most of the controversy surrounding the symphony is concerned with the real significance of the finale and particularly of its last few minutes, blatant with D major brass fanfares and battering drums. There is no doubt about the overwhelming sense of musical resolution here, but most verbal commentary has done little but confuse the issue. A constant problem with Shostakovich is that his own remarks should never be taken too seriously, for he notoriously said what people wanted to hear. The façade he presented was that of a cool professional, an efficient servant of the Soviet State, and on the occasion of the Moscow premiere he quoted an unnamed Soviet critic to the effect that his Fifth Symphony was “the practical creative answer of a Soviet artist to just criticism,” a phrase that was for many years accepted in the West as the composer’s own subtitle. The main outline of the post-Beethoven Romantic symphony, opening in conflict and arriving at a triumphant apotheosis, certainly allows an orthodox interpretation of the Symphony as a description of the creation of Soviet Man, and it was in these terms that Shostakovich spoke of it at the time: “I saw man with all his experiences in the centre of the composition...In the finale, the tragically tense impulses of the earlier movements are resolved in optimism and joy of living.” But in Testimony, the reminiscences attributed by Solomon Volkov to the sick and embittered composer towards the end of his life, this is all turned upside-down. “I think that it is clear to everyone what happens in the Fifth...it’s as if someone were beating you with a stick and saying ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shakily, and go off muttering ‘Our business is rejoicing, our business is rejoicing.’” - Program Note © Andrew Huth lONdON SyMphONy ORChESTRa The London Symphony Orchestra is widely regarded as one of the world’s leading orchestras. The LSO has an enviable family of artists, including LSO Principal Conductor Valery Gergiev, Michael Tilson Thomas and Daniel Harding as Principal Guest Conductors, and long-standing relationships with some of the leading musicians in the world—Yuja Wang, Leonidas Kavakos, Anne-Sophie Mutter, Mitsuko Uchida and Maria João Pires, among others. The LSO is proud to be Resident Orchestra at the Barbican, where it performs around 70 concerts a year. The LSO also enjoys successful residencies in New York, Paris and Tokyo. Regular tour destinations include the Far East, North America and all the major European cities. In late 2014, the Orchestra toured to Australia for the first time in more than 30 years and tonight’s performance forms part of an extensive tour of the United States with Michael Tilson Thomas, celebrating his 70th birthday with the Orchestra this year. The LSO is set apart from other international orchestras by the depth of its commitment to music education, reaching
more than 60,000 people each year. LSO Discovery enables the Orchestra to offer people of all ages opportunities to get involved in music-making. LSO On Track, a long-standing project involving young musicians from across London, has given a platform to talented teenagers to appear in the London Olympic Stadium, at outdoor concerts in Trafalgar Square, and also on Abbey Road recordings side-by-side with LSO musicians. The Orchestra is a world leader in recording music for CD, film and events. LSO Live is the most successful label of its kind and last year celebrated its hundredth release. Recordings are available globally on CD, SACD and online. The LSO has also recorded music for hundreds of films, including Philomena, The Monuments Men, four of the Harry Potter films, Superman and all six Star Wars movies. MIChaEl TIlSON ThOMaS, CONduCTOR Michael Tilson Thomas is Music Director of the San Francisco Symphony, Founder and Artistic Director of the New World Symphony and Principal Guest Conductor of the London Symphony Orchestra. Born in Los Angeles, he is the third generation of his family to follow an artistic career.
about the artists
depth of feeling here: many at the premiere were reduced to tears by its controlled anguish. Much of the emotional power is due to the long, sustained melodic lines and restrained instrumentation. The brass instruments are all silent, even the quietly sustaining horns.
Mr. Tilson Thomas studied piano, conducting and composition at the University of Southern California and at the age of nineteen he was named Music Director of the Young Musicians Foundation Debut Orchestra where he worked with Stravinsky, Boulez, Stockhausen and Copland on premieres of their compositions at Los Angeles’ Monday Evening Concerts. During this same period he was the pianist and conductor for Gregor Piatigorsky and Jascha Heifetz. In 1969, after winning the Koussevitzky Prize at Tanglewood, he was appointed Assistant Conductor of the Boston Symphony Orchestra. That year he also made his New York debut with the Boston Symphony and gained international recognition after replacing Music Director William Steinberg in mid-concert. He was later appointed Principal Guest Conductor of the Boston Symphony Orchestra where he remained until 1974. He was Music Director of the Buffalo Philharmonic from 1971 to 1979 and a Principal Guest Conductor of the Los Angeles Philharmonic from 1981 to 1985. In February 1988, he inaugurated the New World Symphony, an orchestral academy for graduates of prestigious music programs and, in the same year, he became Principal Conductor of the London Symphony Orchestra —a post he held until 1995. He now enjoys a Principal Guest Conductor relationship with the LSO. Mr. Tilson Thomas became the Music Director of the San Francisco Symphony Orchestra in 1995. This season celebrates his 20th anniversary with the orchestra. His tenure has been broadly covered by the international press with feature stories in Time, Newsweek, The Wall Street Journal, The New York Times, Los Angeles Times, The Times of London and The Frankfurter Allgemeine Zeitung, among many others.
about the artists
MICHAEL TILSON THOMAS (CHRIS WAHLBERG)
His recorded repertoire of more than 120 discs includes works by composers such as Bach, Beethoven, Mahler, Prokofiev and Stravinsky as well as his pioneering work with the music of Charles Ives, Carl Ruggles, Steve Reich, John Cage, Ingolf Dahl, Morton Feldman, George Gershwin, John McLaughlin and Elvis Costello. Most recently, he completed the orchestral works of Gustav Mahler and Bernstein’s “West Side Story,” both with the San Francisco Symphony on its label, SFS Media. Mr. Tilson Thomas's television work includes a series with the London Symphony Orchestra for BBC Television, the television broadcasts of the New York Philharmonic Young People's Concerts from 1971 to 1977 and numerous productions on PBS Great Performances. Mr. Tilson Thomas and the San Francisco Symphony produced a multi-tiered media project, Keeping Score, which includes a television series, web sites, radio programs and programs in schools. During the 2014-15 season, Mr. Tilson Thomas marks his 70th birthday with a European tour with the San Francisco Symphony Orchestra, a west coast tour of the U.S. with the London Symphony Orchestra, appearances in Carnegie Hall and Washington D.C. with the New World Symphony, and concerts with the Vienna Philharmonic Orchestra. Mr. Tilson Thomas is a Chevalier dans l'ordre des Arts et des Lettres of France, was Musical America’s Musician of the Year and Conductor of the Year, Gramophone Magazine's Artist of the Year and has been profiled on CBS's 60 Minutes and ABC's Nightline. He has won eleven Grammy awards for his recordings. In 2008, he received the Peabody Award for his radio series for SFS Media, The MTT Files. In 2010, President Obama awarded him the National Medal of Arts, the highest award given to artists by the United States. YUJA WANG, PIANO Twenty-eight-year-old pianist Yuja Wang is widely recognized as one of the most important artists of her generation. Regularly lauded for her controlled, prodigious technique, Yuja has been praised for her authority over the most complex technical demands of the repertoire, the depth of her musical insight, as well as her fresh interpretations and charismatic stage presence.
Yuja is an exclusive recording artist for Deutsche Grammophon. Following her debut recording, Sonatas & Etudes, Gramophone magazine named Yuja the Classic FM 2009 Young Artist of the Year. For her second recording, Transformation, Yuja received an Echo Klassik award as “Young Artist of the Year.” Yuja next collaborated with Maestro Claudio Abbado and the Mahler Chamber Orchestra to record her first concerto album featuring Rachmaninoff’s Rhapsody on a Theme of Paganini and his Concerto No. 2 in C minor, which was nominated for a Grammy as “Best Classical Instrumental Solo.” This was followed by Fantasia, a collection of encore pieces by Albéniz, Bach, Chopin, Rachmaninov, Saint-Saëns, Scriabin and others. Yuja next collaborated with Gustavo Dudamel and the Simón Bolívar Symphony Orchestra on a live recording of Prokofiev's Concerto No. 2 and Rachmaninoff's Concerto No. 3. Most recently, Yuja joined violinist Leonidas Kavakos to record the complete Brahms Violin and Piano sonatas for Decca Records. In the years since her 2005 debut with the National Arts Center Orchestra led by Pinchas Zukerman, Yuja has already performed with many of the world’s most prestigious orchestras, including those of Boston, Chicago, Cleveland, Los Angeles, New York, Philadelphia, San Francisco and Washington, in the U.S., and abroad with the Berlin Staatskapelle, China Philharmonic, Filarmonica della Scala, Israel Philharmonic, London Philharmonic, Orchestre de Paris, Orquesta Nacional de España, Simón Bolívar Symphony Orchestra, the NHK Symphony in Tokyo, Royal Concertgebouw Orchestra, Orchestra Mozart and Santa Cecilia, among others. In 2006, Yuja made her New York Philharmonic debut at the Bravo! Vail Music Festival and performed with the orchestra the following season under Lorin Maazel during the Philharmonic’s Japan/Korea visit. In 2008, she toured the United States with the Academy of St Martin in the Fields led by Sir Neville Marriner, and in 2009 Yuja performed as soloist with the YouTube Symphony Orchestra led by Michael Tilson Thomas at Carnegie Hall. That summer, Yuja joined Abbado at the Lucerne Music Festival, performing and recording Prokofiev's Piano Concerto No. 3, and went on to perform with the Lucerne Festival Orchestra and Abbado on tour in China. Yuja regularly gives recitals in major cities throughout Asia, Europe and North America. She is a dedicated performer of chamber music appearing at summer festivals throughout the world, including annual appearances at Switzerland's Verbier Festival. In March 2011, Yuja performed in a three-concert chamber series at the Salle Pleyel in Paris with principal players from the Berlin Philharmonic. She made her Carnegie Hall recital debut at Stern Hall in October 2011. Many of the world's esteemed conductors have collaborated with Yuja, including Abbado, Daniel Barenboim, Gustavo Dudamel, Charles Dutoit, Daniele Gatti, Valery Gergiev, Mikko Franck, Manfred Honeck, Lorin Maazel, Zubin Mehta, Kurt Masur, Antonio Pappano, Esa-Pekka Salonen, Yuri Temirkanov and Michael Tilson Thomas.
In 2014-15, Yuja returns to the Concertgebouw to perform Shostakovich Concerto No. 1, Mariss Jansons conducting. She is featured as Artist-in-Residence with Tonhalle Orchestra Zurich, appearing three times over the course of the season. Yuja continues her collaboration with Leonidas Kavakos, touring North America and Europe. In spring 2015,
the London Symphony Orchestra will tour to the U.S. with Yuja as soloist, Tilson Thomas conducting. She makes her concerto debut with the Berlin Philharmonic in spring of 2015. At a young age, Yuja entered the Central Conservatory of Music in Beijing to study under Ling Yuan and Zhou Guangren. From 1999 to 2001, she participated in the Morningside Music summer program at Calgary’s Mount Royal College, an artistic and cultural exchange program between Canada and China, and began studying with HungKuan Chen and Tema Blackstone at the Mount Royal College Conservatory. Yuja then moved to the U.S. to study with Gary Graffman at The Curtis Institute of Music in Philadelphia, where she graduated in 2008. In 2006, she received the Gilmore Young Artist Award, and in 2010 was awarded the prestigious Avery Fisher Career Grant. Yuja is a Steinway Artist.
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Last season the London Symphony Orchestra invited Yuja to be its featured artist in the LSO Artist Portrait series for 2014, which included performing three concertos, and recitals in London, followed by a tour of China with Daniel Harding conducting. She made her debut with the Hungarian National Philharmonic conducted by Zoltan Kocsis performing Bartok's Piano Concerto No. 2. Yuja's frequent summer collaborations with violinist Leonidas Kavakos extended further as they undertook multiple tours of Europe focusing on the great violin and piano sonatas of Brahms. She returned to the Los Angeles Philharmonic for subscription concerts and on tour in the U.S. with Gustavo Dudamel conducting. Yuja also returned to the Boston Symphony, Sir Andrew Davis conducting, and the Cleveland Orchestra, Giancarlo Guerrero conducting.
LONDON SYMPHONY ORCHESTRA PRINCIPAL CONDUCTOR: VALERY GERGIEV PRINCIPAL GUEST CONDUCTORS: DANIEL HARDING, MICHAEL TILSON THOMAS CONDUCTOR LAUREATE: ANDRE PREVIN, KBE CHORAL DIRECTOR: SIMON HALSEY FIRST vIOlIN Roman Simovic, Leader Carmine Lauri Lennox Mackenzie Clare Duckworth Nigel Broadbent Ginette Decuyper Gerald Gregory Jörg Hammann Maxine Kwok-Adams Claire Parfitt Laurent Quenelle Colin Renwick Ian Rhodes Sylvain Vasseur Rhys Watkins David Worswick SECONd vIOlIN David Alberman Thomas Norris Miya Vaisanen David Ballesteros Richard Blayden Matthew Gardner Julian Gil Rodriguez Naoko Keatley Belinda McFarlane William Melvin Iwona Muszynska Philip Nolte Harriet Rayfield Louise Shackelton vIOla Paul Silverthorne Malcolm Johnston German Clavijo Anna Green Julia O'Riordan Robert Turner Edward Vanderspar Heather Wallington Philip Hall Cian O'Duill Caroline O'Neill Alistair Scahill
CEllO Rebecca Gilliver Minat Lyons Alastair Blayden Jennifer Brown Noel Bradshaw Eve-Marie Caravassilis Daniel Gardner Hilary Jones Amanda Truelove Mary Bergin dOublE baSS Joel Quarrington Colin Paris Nicholas Worters Patrick Laurence Matthew Gibson Thomas Goodman Joe Melvin Jani Pensola FluTE Gareth Davies Adam Walker Alex Jakeman pICCOlO Sharon Williams ObOE John Roberts Michael O'Donnell COR aNGlaIS Leila Ward ClaRINET Andrew Marriner Chris Richards Chi-Yu Mo baSS ClaRINET Lorenzo Iosco Eb ClaRINET Chi-Yu Mo
baSSOON Rachel Gough Daniel Jemison Joost Bosdijk
pIaNO / CElESTE John Alley
COluMbIa aRTISTS MaNaGEMENT llC.
CONTRa-baSSOON Dominic Morgan
Kathryn McDowell Managing Director Sue Mallet Director of Planning Frankie Hutchinson Tours & Projects Manager Jemma Bogan Orchestra Personnel Manager Iryna Goode Senior Librarian Alan Goode Stage & Transport Manager Dan Gobey Stage Manager
Tour Direction R. Douglas Sheldon, Senior Vice President
hORN Timothy Jones Stephen Stirling Angela Barnes Benjamin Jacks Jonathan Lipton TRuMpET Philip Cobb Alan Thomas Gerald Ruddock Daniel Newell TROMbONE Dudley Bright Peter Moore James Maynard baSS TROMbONE Paul Milner
LSO website: www.lso.co.uk
Tour Coordinator Karen Kloster Executive Assistant Marcus Lalli Tour Manager Kay McCavic Hotels Maestro! Tour Management Hotel Advance Leanne Donlevy Driver Matthew Feczko
With special thanks to thegenerous supporters of the LSO’s 2015 U.S. Tour
Tuba Patrick Harrild TIMpaNI Nigel Thomas Antoine Bedewi pERCuSSION Neil Percy David Jackson Sam Walton Antoine Bedewi Jeremy Cornes haRp Bryn Lewis
City National Bank Mr. Neil and Dr. Kira Flanzraich Bruce and Suzie Kovner Sir Michael Moritz KBE and Harriet Heyman Michael Tilson Thomas and Joshua Robison And those that wish to remain anonymous We would also like to extend our thanks to those who support the wider work of the LSO through the American LSO Foundation: Jane Attias, Mercedes T. Bass, Francesca & Christopher Beale David Chavolla, Barbara G. Fleischman, The Reidler Foundation Elena Sardarova, Daniel Schwartz, Mrs. Ernest H. Seelhorst