60th Anniversary Concert

Transcription

1 60th Anniversary Concert Monday 15 May 2017, 7.30pm Programme 3

2 A BRIGHTER FUTURE, A BETTER FUTURE Unilever is one of the country s leading consumer goods companies with 40 UK brands including many much-loved favourites Dove, Persil, Marmite and Walls. Unilever products are present in 98% of homes in the UK and are used by 2.5 billion people globally on a daily basis. The Unilever Sustainable Living Plan (USLP) is our blueprint for achieving our vision to grow our business, whilst decoupling our environmental footprint from our growth and increasing our positive social impact. Unilever s Sustainable Living Plan commits to: Helping more than a billion people take action to improve their health and well-being by 2020 Halving the environmental impact of our products by 2030 Enhancing the livelihoods of millions of people by 2020

3 Generous support from Unilever Matthew Taylor Mahler Symphony no.4 (world première) Interval (20 minutes) Symphony no.2, Resurrection Russell Keable conductor Kiandra Howarth soprano Caitlin Hulcup mezzo-soprano Epiphoni Consort Pegasus Vox Cordis Barbican Centre, Silk St, London EC2Y 8DS Administration: Box Office telephone bookings: (9am 8pm daily: booking fee) (reduced booking fee online) Cover image: The Resurrection by Sebastiano Ricci ( ) Please make sure that digital watch alarms and mobile phones are switched off during the performance. Please try not to cough until the normal breaks in the performance. In accordance with the requirements of the licensing authority, it is not permitted to stand or sit in any gangway. No smoking, eating or drinking is allowed in the auditorium. No cameras or any other recording equipment may be taken into the hall. The Barbican is part of the Barbican Estate which is also a residential community. Our neighbours would appreciate you keeping noise and disturbance to a minimum when you leave the building after the performance. 1

4 TONIGHT S PROGRAMME MATTHEW TAYLOR born 1964 Symphony no.4 Scherzo: Giubiloso, brioso, vivo Adagio teneramente Finale buffa: Allegro giocoso Giubiloso, brioso, vivo Following an outstanding performance of my tone poem Storr by Russell Keable and Kensington Symphony Orchestra in 2013, I approached Russell to ask him whether he might be interested in programming a new symphony. I was thrilled when he agreed, particularly as the new work was scheduled to be launched at the Barbican Centre. Having attended many KSO concerts since the 1990s, I was fully aware of their high standards of music making, the camaraderie of the band and their consistently imaginative programming. What other orchestra would have the courage, for instance, to place a Malcolm Arnold ballet score alongside Nielsen s Sixth Symphony? My Fourth Symphony was composed between August 2015 and September 2016 and was commissioned by Arts Council England. The work was written in memory of my old friend and fellow symphonist John McCabe and is dedicated to John s widow Monica. John and I shared very many musical enthusiasms, Haydn and Nielsen in particular, and both of these composers have made a profound impact on this work: there is a sort of Nielsenesque sweep at the start of the first movement and the finale contains a few pranks that Haydn might have enjoyed. However, there is little that is consciously elegiac in character, as I have always strongly felt that the best way to pay tribute is to compose a work that is predominantly celebratory in mood. In fact, the piece is outwardly my most friendly, upbeat symphony yet. The work is cast in one movement that falls into three spans. The first of these assumes the mood of a scherzo: jocular, big-hearted and at first rather Falstaffian. The music continually develops and broadens, though without any specific change of pulse. This broadening process increases, rather than relaxes, the tension, until the full orchestra culminates on a unison C that quickly dies away over softly sustained timpani rolls and a descending figure on the harp. The middle part of the symphony (marked Adagio teneramente) forms a central, spacious slow movement, begun by a tender melody in the violas. This builds to two climaxes, the first a soaring, singing melody played by unison strings, and the second a more declamatory, passionate statement dominated by violins over sustained brass. This eases into a mysterious clarinet solo over a richly divided string chord. The finale opens without a break; its main idea is a jolly, buoyant tune on cellos that tries to retain its good humour at all costs, continuing for the most part unaffected (or perhaps I should say uncorrupted) by the upheavals that are thrown at it. There is a contrasting episode in triple time, not unlike one of Brahms s Lieberslieder Walzer, initially on lower strings, then on solo horn, cello and violin with delicate percussion support. The final part builds a long crescendo, culminating in the much-awaited return of the Symphony s opening theme. Matthew Taylor

5 TONIGHT S PROGRAMME Matthew Taylor was born in London in 1964 and won a music scholarship to Queens College, Cambridge, in 1983, where he studied with Robin Holloway. He later received special encouragement from Robert Simpson, whose music and outlook became a crucial influence during these early years. He also won a conducting scholarship to the Guildhall School of Music and Drama and studied with Leonard Bernstein at the Schleswig-Holstein Musik Festival. The success of his First Symphony (1985), which was performed several times by the BBC Scottish Symphony Orchestra and Bournemouth Sinfonietta in 1988, led to a continual stream of commissions and performances in the UK and abroad. Exposure to Beethoven s symphonies at a very young age provided the initial stimulus for Matthew s desire to compose, which was quickly followed by a lifelong fascination with the music of Schumann. Matthew has also been strongly drawn to the Scandinavian civilisation and Nordic culture as a whole, particularly the music of Sibelius and Nielsen, as well as the music of such recent figures as Vagn Holmboe, which have been important influences. Gramophone recently wrote: For proof that the symphony is alive and well, look no further than the Second Symphony of Matthew Taylor. Matthew has composed four symphonies, concertos for piano, violin, viola, double bass, horn and clarinet, two works for violin and strings, an overture entitled The Needles, eight string quartets, two piano trios, solo piano works, two works for wind orchestra and a recent work for chorus and orchestra. Matthew has been Composer in Residence at the Malvern Festival (1993) and Presteigne Fesival (2015), and has been Associate Composer of Blackheath Halls (1999) and Sound Collective ( ). In June this year he will appear as the first ever Featured Living Composer for the Hertfordshire Festival of Music. Matthew s music has been played by many leading orchestras, including the BBC Symphony Orchestra, BBC Scottish Symphony Orchestra, London Mozart Players, City of London Sinfonia and Royal Ballet Sinfonia. His work is available on commercial recordings on Toccata Classics, Dutton Epoch, NMC Recordings and ASV Records. Future projects include the première of Matthew s Quartet no.8 with the Carducci String Quartet in Hertford, a CD of three orchestral works with the BBC Symphony Orchestra and a Fifth Symphony. The music of Matthew Taylor is published by Edition Peters. 3

6 TONIGHT S PROGRAMME GUSTAV MAHLER Symphony no.2, Resurrection Allegro maestoso Andante moderato In ruhig fliessender Bewegung Urlicht: Sehr feierlich, aber schlicht Im Tempo des Scherzos My time will come, prophesied Mahler. And it certainly did in the 1960s and 70s when, having been dismissed by most critics as an overblown late-romantic of little interest, he became one of the most performed composers of all time. The greatest conductors from across the world were now desperate to record his nine symphonies, including, amongst many others, the Englishman John Barbirolli, the American Leonard Bernstein, the Dutchman Bernard Haitink, the Czech Rafael Kubelík, the Japanese Seiji Ozawa and the Hungarian Georg Solti. But who was Gustav Mahler, and why did his music now seem to strike such an intense emotional chord with so many? Born into a Jewish-Bohemian family, he studied at the Vienna Conservatory, where his fellow pupils included the composers Hugo Wolf and Hans Rott, the latter little-known because he died insane at the age of twenty-six, but whose music helped to shape Mahler s own. Another significant influence was Anton Bruckner, a composer idolised by Mahler and his fellow students. But it was as a conductor rather than as a composer that Mahler made his reputation, coming to be regarded as the greatest opera conductor of his age. In 1888 (the year he began the Second Symphony) he became Chief Conductor of the Budapest Opera, after a few years moving to the more prestigious post at Hamburg. It was at this time that he established the pattern of composing that would last until his death, confining his writing to the summer months, usually retiring to the mountains of southern Austria. Setting his sights on the Vienna Opera, he converted to Roman Catholicism to make himself more acceptable to the anti-semitic Viennese court. He was appointed Principal Conductor in 1897, staying in this top job for ten years, during which he raised musical and dramatic standards to unprecedented heights, but at the expense of constant battles with orchestral players, singers and critics. In 1907 he could stand the acrimony no longer and resigned, accepting a contract at the Metropolitan Opera in New York, where he also regenerated the New York Philharmonic. He died of heart disease in 1911 on the way back from America, sadly never having heard a note of either his symphonic song cycle Das Lied von der Erde ( The Song of the Earth ) or his Ninth Symphony. Although only fifty, he had packed an almost superhuman amount into a short life. It is perhaps strange that Mahler, an opera conductor, should have written no opera himself; instead he put all the drama and emotional complexity of the stage into his autobiographical symphonies. In 1907 he met Sibelius, another great symphonic composer, in Helsinki. Sibelius declared his symphonic aim to be strictness and style and the deep logic which unites all of the themes by an inner bond. No, Mahler demurred, the symphony must be like the world. It must embrace everything. From the sounds of nature and country dances to military marches and the music of the church, it is this embracing of everything which sets Mahler s symphonies apart. His great gift was to impose unity on his vast structures as they veer between these extremes. It was once the fashion to criticise Mahler for extravagance and excess. But this was born of ignorance. Today he is recognised as a master of the orchestra, his huge forces a sign not of megalomania but of an obsessive quest for clarity above all else, every sound having been precisely calculated. It was this lean lyricism that was to have such a profound influence on two of the twentieth century s greatest composers, Benjamin Britten and Dmitri Shostakovich. 4

7 TONIGHT S PROGRAMME The Second Symphony was composed between 1888 and 1894 and was first performed in Berlin in December 1895, conducted by Mahler himself. In five movements, lasting about eighty-five minutes, it is written on a vast scale. The orchestra includes ten horns, eight trumpets and organ, whilst the last two movements bring in soprano and mezzosoprano soloists, plus a chorus. Mahler originally provided a programme for the symphony, which he later withdrew. In many ways this was a crude parody of the depth and subtlety of the music. As Mahler admitted: I was in no way concerned with the detailed setting forth of an event, but much rather of a feeling. Perhaps it is enough to say that the work poses the question of finding some assurance in the face of human mortality, resolving itself in a reaffirmation of the Christian belief in resurrection and immortality. The massive first movement, in C minor, began life as an independent symphonic poem entitled Todtenfeier ( Funeral Rites ). The music erupts with a forceful tremolando over stormy cellos and basses which Mahler instructs to be played with absolute seriousness and solemnity of expression. Although the tragic grandeur of the funeral march ultimately rides ruthlessly over everything, there are also moments of nostalgia and latent triumph, including a brass chorale which leads to an affirmative climax at the end of the powerful development section. But this is shattered by a chromatic landslide, culminating in a dissonant chord on fortissimo brass and hammering timpani. The recapitulation is concentrated and, after a final chromatic collapse, the coda ends in exhausted resignation. Mahler asks for a pause of at least five minutes before the second movement, which represents earthly happiness and tries to obliterate the horrors of death. A rather Schubertian Ländler (an Austrian peasant dance), its single long stream of melody is dominated by the strings, with a more troubled middle section. The third movement is a harsh awakening, a moto perpetuo expressing the confusing and futile dance of life. Mahler reworked an earlier setting from the German folk anthology Des Knaben Wunderhorn, describing the sermon to the fish by Saint Anthony of Padua, who is surprised that afterwards they continue on their own selfish, wicked way. There are two trios, the first popular in style and the second hauntingly nostalgic, with four trumpets in close harmony. But after this vision of peace the moto perpetuo returns and the ending is sardonic. Without a pause the mezzo-soprano solo, very solemn but simple, begins the fourth movement, a rapt, hymn-like setting of Urlicht, again from Des Knaben Wunderhorn: I am from God and to God will return. The last movement then bursts straight in. Sounds of the apocalypse envelop the listener; Mahler called it the great roll call. A tumultuous sequence of tonal images follows, including the march theme from the first movement, all with striking dynamic contrasts, as the dead arise and stream on in endless procession. Eventually there is an awe-filled silence and we hear fluttering notes on the flute and piccolo, a distant nightingale like a last, trembling echo of earthly life. Then a magical moment: slowly and mysteriously the chorus enters almost imperceptibly, its top line doubled by the solo soprano. Mahler had first heard Friedrich Klopstock s Resurrection Ode at the conductor Hans von Bülow s memorial service in 1894, but he removed any dogmatic words and added his own, more universal, ending. Although he had not yet converted, this is still Christian in the broadest sense. The music gathers strength and moves to its majestic and jubilant conclusion in E flat major, as the bells of heaven sound and the organ joins in. Overwhelming love shines. We know and are. Fabian Watkinson

8 TONIGHT S PROGRAMME TEXTS AND TRANSLATIONS Urlicht O Röschen rot! Der Mensch liegt in größter Not! Der Mensch liegt in größter Pein! Je lieber möcht ich im Himmel sein, Je lieber möcht ich im Himmel sein! Da kam ich auf einen breiten Weg; Da kam ein Engelein und wollt mich abweisen. Ach nein! Ich ließ mich nicht abweisen! Ach nein! Ich ließ mich nicht abweisen: Ich bin von Gott und will wieder zu Gott! Der liebe Gott, Der liebe Gott wird mir ein Lichtchen geben, Wird leuchten mir bis in das ewig selig Leben! Primal Light O little red rose! Man lies in greatest need! Man lies in greatest pain! Even more would I rather be in heaven, Even more would I rather be in heaven! There I came upon a broad path; There came an angel and wanted to turn me away. Ah no, I would not be turned away! Ah no, I would not be turned away: I am from God and want to return to God! The loving God, The loving God will give me a little of the light, Will illuminate me into the eternal blessed life! Aufersteh n Aufersteh n, ja aufersteh n wirst du, Mein Staub, nach kurzer Ruh! Unsterblich Leben! Unsterblich Leben Wird, der dich rief, dir geben! Wieder aufzublüh n, wirst du gesät! Der Herr der Ernte geht Und sammelt Garben Uns ein, die starben! O glaube, mein Herz! O glaube: Es geht dir nichts verloren! Dein ist, ja Dein, was du gesehnt! Dein, was du geliebt, was du gestritten! O glaube: Du wardst nicht umsonst geboren! Hast nicht umsonst gelebt, gelitten! Resurrection Rise again, yea, thou shalt rise again, My dust, after short rest! Immortal life! He who called thee will grant thee. To bloom again art thou sown! The Lord of the Harvest goes And gathers in, like sheaves, Us who died. Oh believe, my heart, oh believe: Nothing is lost with thee! Thine is what thou hast desired, What thou hast loved, what thou hast fought for! Oh believe! Thou were not born in vain! Hast not lived in vain, suffered in vain! 6

9 TONIGHT S PROGRAMME Was entstanden ist, das muss vergehen! Was vergangen, auferstehen! Hör auf zu beben! Bereite dich, zu leben! O Schmerz! Du Alldurchdringer! Dir bin ich entrungen! O Tod! Du Allbezwinger! Nun bist du bezwungen! Mit Flügeln, die ich mir errungen, In heißem Liebesstreben Werd ich entschweben Zum Licht, zu dem kein Aug gedrungen! Mit Flügeln, die ich mir errungen, Werde ich entschweben! Sterben werd ich, um zu leben! Aufersteh n, ja aufersteh n wirst du, Mein Herz, in einem Nu! Was du geschlagen, Zu Gott wird es dich tragen! What has come into being must perish! What perished must rise again! Cease from trembling! Prepare thyself to live! Oh Pain, thou piercer of all things From thee have I been wrested! Oh Death, thou masterer of all things, Now art thou mastered! With wings which I have won, In love s fierce striving, I shall soar upwards To the light to which no eye has soared. With wings which I have won, I shall soar upwards! I shall die, to live! Rise again, yea thou will rise again, My heart, in the twinkling of an eye! What thou hast fought for Shall lead thee to God! Gustav Mahler, Symphony no , 1925, 1952 by Universal Edition AG. Vienna, assigned 1952 to Universal Edition (London) Ltd. This revised edition 1971 by Universal Edition Vienna-London. Fourth movement translation by Renata Stark Voit and Thomas Hampson. Fifth movement translation by Deryck Cooke courtesy of CUP. 7

10 ARTISTS BIOGRAPHIES RUSSELL KEABLE CONDUCTOR Russell Keable has established a reputation as one of the UK s most exciting musicians. As a conductor he has been praised in the national and international press: Keable and his orchestra did magnificently, wrote The Guardian; one of the most memorable evenings at the South Bank for many a month, said The Musical Times. He performs with orchestras and choirs throughout the British Isles, has conducted in Prague and Paris (concerts filmed by French and British television) and made his debut with the Royal Oman Symphony Orchestra in Dubai. As a champion of the music of Erich Korngold he has received particular praise: the British première of Korngold s Die tote Stadt was hailed as a triumph, and research in Los Angeles led to a world première of music from Korngold s film score for The Sea Hawk. Keable trained at Nottingham and London universities; he studied conducting at London s Royal College of Music with Norman Del Mar, and later with George Hurst. For over thirty years he has been associated with Kensington Symphony Orchestra, one of the UK s finest non-professional orchestras, with whom he has led first performances of works by many British composers (including Peter Maxwell Davies, John Woolrich, Robin Holloway, David Matthews, Joby Talbot and John McCabe). Keable has also made recordings of two symphonies by Robert Simpson, and a Beethoven CD was released in New York. He is recognised as a dynamic lecturer and workshop leader. He has the rare skill of being able to communicate vividly with audiences of any age (from schoolchildren to music students, adult groups and international business conferences). Over five years he developed a special relationship with the Schidlof Quartet, with whom he established an exciting and innovative education programme. He also holds the post of Director of Conducting at the University of Surrey. Keable is also in demand as a composer and arranger. He has written works for many British ensembles, and his opera Burning Waters, commissioned by the Buxton Festival as part of their millennium celebration, was premièred in July He has also composed music for the mime artist Didier Danthois to use whilst working in prisons and special needs schools. Photo Sim Canetty-Clarke 8

11 ARTISTS BIOGRAPHIES KIANDRA HOWARTH SOPRANO Australian soprano Kiandra Howarth was a member of the Jette Parker Young Artists Programme at the Royal Opera House, Covent Garden, Whilst on the programme she performed the roles of Zweiten Blumenmädchen (Parsifal), Eine der Kinderstimmen (Die Frau ohne Schatten), Echo (Ariadne auf Naxos), Contessa Ceprano (Rigoletto), Giannetta and Adina (L elisir d amore), Fiordiligi (Così fan tutte) and Juliette (Roméo et Juliette). In July 2015 she won the Culturarte Prize in Plácido Domingo s Operalia: The World Opera Competition, and in December made her house debut at the Theater an der Wien, performing First Niece in Peter Grimes, which won Best New Production in the 2016 International Opera Awards. In early 2016 Kiandra returned to Australia for performances of Mozart s Requiem with the Queensland Symphony Orchestra, Mahler s Symphony no.2 with the West Australian Symphony Orchestra, Lauretta in Gianni Schicchi for West Australian Opera and Purcell s King Arthur as part of the Brisbane Baroque Festival. In July 2016 she performed the role of Fiordiligi in Così fan tutte for West Green House Opera, and then returned to Australia to perform Mahler s Symphony no.2 with the Sydney Symphony Orchestra. Following these concerts, Kiandra performed as part of a series for the Salzburg Festival s Young Singers Project in various venues across China. She made her debut at Wigmore Hall in November 2016 for the Samling Artist Programme s twentieth anniversary showcase concert alongside fellow Samling Artists, Sir Thomas Allen and Malcolm Martineau. In January 2017 Kiandra made her house and role debut at the Theater Basel, performing the role of Donna Anna in Richard Jones s new production of Don Giovanni to great acclaim. Recently she reprised the role of Pamina in Die Zauberflöte in various houses in the Marche region of Italy as part of a festival. Forthcoming performances include Zweiten Blumenmädchen (Parsifal) at the Festspielhaus Baden-Baden and Britten s War Requiem with Asher Fisch and the West Australian Symphony Orchestra. 9

12 ARTISTS BIOGRAPHIES CAITLIN HULCUP MEZZO-SOPRANO 10 Caitlin Hulcup has appeared at leading opera houses internationally, including the Wiener Staatsoper, Deutsche Staatsoper Berlin, Royal Opera House, Covent Garden, Bayerische Staatsoper in Munich, Teatro Real in Madrid, Maggio Musicale Fiorentino, Théâtre des Champs-Élysées, Scottish Opera, La Monnaie in Brussels, Theater an der Wien, Bolshoi Theatre in Moscow and Palau de les Arts Reina Sofia in Valencia. Caitlin made her debut at the Wiener Staatsoper in 2004 as Enriquetta in I Puritani. Since then roles have included Octavian in Der Rosenkavalier for Maggio Musicale Fiorentino with Zubin Mehta in a new production by Lorenzo Mariani, and for the Bolshoi Theatre with Vassily Sinaisky; Donna Elvira in Don Giovanni for the Palau de les Arts Reina Sofia, Valencia, with Mehta; Meg Page in Falstaff under Daniele Gatti and Cesare in Catone in Utica under Alan Curtis for the Théâtre des Champs-Élysées; and Diana in La Calisto at La Monnaie in Brussels under René Jacobs. She has also performed the role of Arbaces in Artaxerxes at the Royal Opera House under Ian Page; Rosina in Il barbiere di Siviglia and Dorabella in Così fan tutte for the Wiener Staatsoper; Calbo in Maometto secondo for Garsington Opera under David Parry; Sesto in La clemenza di Tito with the Taipei Symphony Orchestra under Benjamin Bayl in a new production by Justin Way; Alceste in Admeto, re di Tessaglia at the Theater an der Wien; and Cyrus in Belshazzar with Les Arts Florissants and William Christie on a tour of France, the UK and Spain, which was recorded and recently released on CD for the Les Arts Florissants Editions label. Caitlin also performed Beethoven s Ninth Symphony in Venezuela under Gustavo Dudamel and at the BBC Proms in 2009 and, more recently, Beethoven s Missa solemnis with the Wiener Akademie under Martin Haselböck and Mahler s Eighth Symphony with the Royal Scottish National Orchestra under Peter Oundjian. Other operatic roles include Zerlina (Don Giovanni), Annina (Der Rosenkavalier), Cherubino (Le nozze di Figaro) and Hänsel (Hänsel und Gretel). Her performances of the title role in Handel s Ariodante at both the Barbican Centre in London and the Teatro Real in Madrid with Les Talens Lyriques brought great critical acclaim. She was subsequently invited to sing the role at the Händel- Festspiele, Opernhaus Halle, Bayerische Staatsoper and at the Theater an der Wien. Caitlin has also given many recitals and masterclasses at the University of Western Australia. Recently, she appeared as Aristeo in Rossi s Orpheus in a co-production of the Royal Opera House with Shakespeare s Globe, in the title role of Gluck s Orfeo et Euridice and as Ariodante for Scottish Opera, and as Idamante in Idomeneo for Garsington Opera. In 2016/17 Caitlin revives her Octavian for the National Centre for Performing Arts in Beijing and returns as Irene in Theodora for Pinchgut Opera, where she recently wowed audiences in Iphigénie en Tauride, released on CD to critical acclaim. She was widely praised for her role as Isolde in Martin s Le vin herbé with Welsh National Opera. She will also sing Dido in Dido and Aeneas with the Hong Kong Philharmonic. Having recently performed Des Knaben Wunderhorn with the Sydney Symphony Orchestra under Mark Wigglesworth, she joins the orchestra again, this time for Mahler s Second Symphony. Photo Robert Catto

13 ARTISTS BIOGRAPHIES KENSINGTON SYMPHONY ORCHESTRA Founded in 1956, Kensington Symphony Orchestra enjoys an enviable reputation as one of the finest non-professional orchestras in the UK. Its founding aim to provide students and amateurs with an opportunity to perform concerts at the highest possible level continues to be at the heart of its mission. KSO has had only two Principal Conductors: the founder, Leslie Head, and the current incumbent, Russell Keable, who recently celebrated three decades with the orchestra. The dedication, enthusiasm and passion of these two musicians has shaped KSO s image, giving it a distinctive repertoire which sets it apart from other groups. Revivals and premières of new works frequently feature in the orchestra s repertoire alongside the major works of the nineteenth, twentieth and twenty-first centuries. World and British premières have included works by Bax, Brian, Nielsen, Schoenberg, Sibelius, Verdi and Bruckner. Russell Keable has aired a number of unusual works, as well as delivering some significant musical landmarks the London première of Dvořák s opera Dimitrij and the British première of Korngold s operatic masterpiece, Die tote Stadt (which the Evening Standard praised as a feast of brilliant playing ). In January 2004 KSO, along with the London Oriana Choir, performed a revival of Walford Davies s oratorio Everyman, a recording of which is available on the Dutton label. Contemporary music has continued to be the lifeblood of KSO. An impressive roster of composers working today has been represented in KSO s programmes, most recently including Magnus Lindberg, Charlotte Bray, Benedict Mason, Oliver Knussen, Thomas Adès, Brett Dean, Julian Anderson, Rodion Shchedrin, John Woolrich, Joby Talbot and Jonny Greenwood. In December 2005 Errollyn Wallen s Spirit Symphony, performed with the BBC Concert Orchestra and broadcast on BBC Radio 3, won the Radio 3 Listeners Award at the British Composer Awards. In 2014 KSO performed the world première of Stephen Montague s From the Ether, commissioned by St John s Smith Square to mark the building s 300th anniversary. During the 2014/15 season KSO was part of Making Music s Adopt a Composer scheme, collaborating with Seán Doherty on his work Hive Mind. Photo Sim Canetty-Clarke 11

14 ARTISTS BIOGRAPHIES From the very beginning KSO has held charitable aims. Its first concert was given in aid of the Hungarian Relief Fund, and since then the orchestra has supported many different charities, both musical and non-musical. In recent years it has developed links with the Kampala Symphony Orchestra and Music School under its KSO 2 programme, providing training, fundraising and instruments in partnership with the charity Musequality. In 2013 and 2015 the orchestra held Sponsored Play events in Westfield London shopping centre, raising over 30,000 for War Child. The orchestra also supports the music programme at Pimlico Academy, its primary rehearsal home. The reputation of the orchestra is reflected in the quality of international artists who regularly appear with KSO. In recent seasons soloists have included Sir John Tomlinson, Nikolai Demidenko, Richard Watkins, Jean Rigby and Matthew Trusler. The orchestra also enjoys working with the new generation of up-and-coming musicians, including the BBC Young Musician of the Year 2014 Martin James Bartlett and Young Classical Artists Trust artists Ji Liu and Richard Uttley. The orchestra works with a guest conductor each year, including most recently Michael Seal, Nicholas Collon, Holly Mathieson, Andrew Gourlay, Jacques Cohen and Alice Farnham. Photo Sim Canetty-Clarke 12

15 ARTISTS BIOGRAPHIES EPIPHONI CONSORT PEGASUS Artistic Director: Tim Reader The Epiphoni Consort was founded in 2014 as a projectbased chamber choir for singers who trained at an advanced level but who, in the majority of cases, pursue other primary careers. Since its debut recital at the Gresham Centre in London in April 2014, the choir has embarked on an ambitious and eclectic programme of activity, including Strauss s fearsome Deutsche Motette in twenty parts at St John s Smith Square and a concert-drama with music and acted scenes commemorating the centenary of the 1914 Christmas Truce. In 2015 Epiphoni was invited to appear at festivals including the Brandenburg Choral Festival, London Festival of Contemporary Church Music and London International A Cappella Choral Competition. Before a jury chaired by Peter Phillips of the Tallis Scholars, Epiphoni proceeded through the heats to the Grand Final. Phillips commended the choir on its excellent interpretation and atmosphere of the sixteenth-century repertoire, and vocal coach Ghislaine Morgan described the performance as mesmerising. Epiphoni went on to take second prize. In November 2015 the world-renowned Tenebrae Choir invited Epiphoni to join them on stage at their Brahms and Bruckner CD launch at St James s, Spanish Place, after Epiphoni was awarded first prize at the Locus Iste competition. In January 2016 the choir made its BBC television debut in a documentary about the life and work of Sergei Rachmaninov, The Joy of Rachmaninov. In a separate project, Epiphoni sang the full sixth movement, Bogoroditse Devo ( Rejoice, O Virgin ), from Rachmaninov s All-Night Vigil, the recording of which is currently on the BBC Arts website. In 2016 Epiphoni recorded its debut CD, Sudden Light, on the Delphian Records label, which is due for release in July Director: Matthew Altham Pegasus, which last year celebrated its twenty-first anniversary, is one of London s most acclaimed chamber choirs. Under its regular director, Matthew Altham, the ensemble has developed an extensive repertoire of sacred and secular music, ranging from the Renaissance to the present day, including premières of works by Thomas Adès, Francis Grier and John Tavener. Pegasus presents numerous concerts each year in collaboration with charities, music societies and festivals. Rather than rehearsing weekly, members meet for intensive rehearsals in the few weeks prior to each performance. This gives the choir the flexibility to be involved in a wide range of musical projects. Pegasus performs with leading instrumental ensembles, vocal soloists and conductors, and regularly collaborates with the London Handel Orchestra, most recently in Bach s Mass in B minor at the Tilford Bach Festival and at St John s Smith Square and Mozart s Mass in C minor for Grayshott Concerts. Other concerts have included Monteverdi s Vespers of 1610, and two programmes of sacred music at St Martin-in-the-Fields as part of the Brandenburg Choral Festival. On 20 May Pegasus will perform Bach cantatas at St Andrew s Church, Farnham. In 2013 Pegasus won the chamber choir prize at the Florilège Vocal de Tours International Choral Competition in France, along with a special award for its performance of the music of Poulenc. The choir was a prize winner at the 2007 Tolosa International Choral Competition in Spain, and a semi-finalist in the BBC Choir of the Year competition in

16 ARTISTS BIOGRAPHIES VOX CORDIS Conductors: Matthew Altham and Charlie Grace Vox Cordis was formed in 1998 by a group of friends who wanted to continue singing after university. Since then it has gone from strength to strength, taking on a wide-ranging repertoire from the great polyphonists of the sixteenth century to modern and contemporary classics. The choir gives regular performances in churches and concert venues across London and the UK; highlights include performances of Haydn s Nelson Mass in Bath Abbey (under regular conductor Charlie Grace), Bach s Mass in B minor and Verdi s Requiem at St John s Smith Square, Handel s Messiah at St Paul s Church, Knightsbridge, and Tippett s A Child of Our Time at Cadogan Hall. The choir has developed a particular reputation for working with charities, including annual Christmas carol concerts for the Charlie Waller Memorial Trust, Macmillan and RNLI. Over the last few years the choir has also enjoyed a close association with the Orchestra of St Paul s under its conductor Ben Palmer. In 2012 the choir recorded its first CD, Christmas with Vox Cordis. For more information, including on this recording and future concerts, visit My vision is to be a businessman. My vision is to be a school teacher Join us to ensure every visually impaired student has the same opportunities in life as his sighted colleagues - the same opportunity for literacy, education and employment. To donate and for more information visit: kilimanjaro-blindtrust.org 14

17 YOUR SUPPORT FRIENDS OF KSO To support KSO you might consider joining our very popular Friends Scheme. There are three levels of membership and attendant benefits: Friend Unlimited tickets at concessionary rates for each concert, priority bookings, free interval drinks and concert programmes. Premium Friend A free ticket for each concert, unlimited guest tickets at concessionary rates, priority bookings, free interval drinks and concert programmes. Patron Two free tickets for each concert, unlimited guest tickets at concessionary rates, priority bookings, free interval drinks and concert programmes. All Friends and Patrons can be listed in concert programmes under either single or joint names. We also offer tailored Corporate Sponsorships for companies and groups. Please ask for details. The cost of membership for the sixty-first season is: Friend Premium Friend Patron To contribute to KSO by joining the Friends please telephone David Baxendale on or friends@kso.org.uk. Patrons Sue and Ron Astles Kate Bonner Sim Canetty-Clarke CWA International Ltd John and Claire Dovey Bob and Anne Drennan Malcolm and Christine Dunmow Mr and Mrs G Hjert Nick Marchant Jolyon and Claire Maugham David and Mary Ellen McEuen John and Elizabeth McNaughton Belinda Murray Michael and Jan Murray Linda and Jack Pievsky Neil Ritson and family Kim Strauss-Polman Keith Waye Premium Friends David Baxendale Dr Michele Clement and Dr Stephanie Munn John Dale Alastair Fraser Michael and Caroline Illingworth Maureen Keable Jeremy Marchant Margot Raybould Richard and Jane Robinson Photo Sim Canetty-Clarke Friends Anne Baxendale Robert and Hilary Bruce Yvonne and Graeme Burhop George Friend Robert and Gill Harding-Payne David Jones Rufus Rottenberg Jane Shelton Paul Sheehan Alan Williams 15

18 YOUR SUPPORT OTHER WAYS TO SUPPORT US Sponsorship and Donations One way in which you, our audience, can help us very effectively is through sponsorship. Anyone can be a sponsor, and any level of support from corporate sponsorship of a whole concert to individual backing of a particular section or musician is enormously valuable to us. We offer a variety of benefits to sponsors, tailored especially to their needs, such as programme and website advertising, guest tickets and assistance with entertaining. For further details about sponsoring KSO, please speak to any member of the orchestra, sponsorship@kso.org.uk or call David Baxendale on As a charity KSO is able to claim Gift Aid on any donations made to the orchestra. Donating through Gift Aid means KSO can claim an extra 25p for every 1 you give, at no extra cost to you. Your donations will qualify as long as they are not more than four times what you have paid in tax in that financial year. If you would like to make a donation, or to enquire about Gift Aid, please contact the Treasurer at subs@kso.org.uk for further information. Leaving a Legacy: Supporting KSO for the next generation Legacies left to qualifying charities such as Kensington Symphony Orchestra are exempt from inheritance tax. In addition, since April 2012, if you leave more than 10% of your estate to charity, the tax due on the rest of your estate may be reduced from 40% to 36%. Legacies can be left for fixed amounts ( specific or pecuniary bequests) as either cash or shares, but a common way to ensure your loved ones are provided for is to make a residuary bequest, in which the remainder of your estate is distributed to one or more charities of your choice after the specific bequests to your family and friends have been met. Legacies, along with conventional donations, to KSO s Endowment Trust allow us to better plan for the next sixty years of the orchestra s development. If you include a bequest to KSO in your will, telling us you have done so will enable us to keep you informed of developments and, if you choose, we can also recognise your support. Any information you give us will be treated in the strictest confidence, and does not form any kind of binding commitment. For more information about leaving a legacy please speak to your solicitor or Neil Ritson, Chairman of the KSO Endowment Trust, on or neil.ritson@kso.org.uk. 16

19 YOUR SUPPORT Social Media See the most recent news and behind-the-scenes photos of the orchestra on our channels on Facebook and Twitter. Share KSO events and related articles with your friends and family in order to help us promote the orchestra on a wider scale. KSO Online To keep up-to-date with KSO information and events visit our website, where you can see the details of forthcoming concerts, listen to previous performances and learn more about the history of the orchestra. An easy way to contribute to KSO at no extra cost to you is via our website. A number of online retailers will pay us a small percentage of the value of your purchase when you visit their page through links on the KSO website Mailing List To receive news about our forthcoming concerts by , please join our mailing list. jo.johnson@kso.org.uk and we ll keep you informed. Photos Sim Canetty-Clarke 17

20 TONIGHT S PERFORMERS KENSINGTON SYMPHONY ORCHESTRA 18 First Violin Alan Tuckwood Adrian Gordon Sarah Hackett Jason Weir Helen Stanley Helen Turnell Matthew Hickman Susan Knight Robert Chatley Sabina Wagstyl Ria Hopkinson Helen Waites Bronwen Fisher Heather Bingham Claire Maugham Claire Dovey Erica Jeal Second Violin David Pievsky Juliette Barker Jo Johnson David Nagle Danielle Dawson Francoise Robinson Judith Ní Bhreasláin Kathleen Rule Rufus Rottenberg Jenny Davie Jill Ives Liz Errington Jeremy Bradshaw Richard Sheahan Lea Goetz Elizabeth Bell Viola Beccy Spencer Guy Raybould Nick Macrae Meredith Estren Jane Spencer-Davis Alison Nethsingha Sally Randall Phil Cooper Tom Philpott Daniela Das Dores Alex Miller-Jones Sam Blade Liz Lavercombe Sonya Wells Cello Joseph Spooner Annie Marr-Johnson Judith Robinson Zoe Marshall David Baxendale Hannah Reid Natasha Foster Ana Ramos Vanessa Hadley Kim Polman Rosi Callery Alex Breedon Double Bass Steph Fleming Robin Major Sam Wise Oliver Bates Gisella Ferrari Paul Horner Andrew Neal Andrew Lang Terry Gibbs Alison Coaker Flute / Piccolo Christopher Wyatt Claire Pillmoor Dan Dixon Chiawen Kiew Oboe Charles Brenan Juliette Murray-Topham Elly Hardwick Chris Astles Cor Anglais Chris Astles Juliette Murray-Topham Clarinet Chris Horril Claire Baughan Graham Elliott Ian Noonan Bass Clarinet Graham Elliott E flat Clarinet Ivan Rockey Ian Noonan Bassoon Nick Rampley John Wingfield-Hill Sheila Wallace Kriskin Allum Contrabassoon Sheila Wallace Kriskin Allum French Horn Jon Boswell Heather Pawson Ed Corn Jeremy Garside Chris Simpson Alex Regan Emily Gorlin Lizzi Tocknell Luke Maher Trumpet Stephen Willcox John Hackett Leanne Thompson Michael Collins Mathew Tucker Phil Kerby Offstage: Richard Knights Jonathan Spencer Louis Barclay Peter Lupton Trombone Phil Cambridge Ken McGregor David Musgrove Bass Trombone Stefan Terry Tuba Neil Wharmby Timpani Tommy Pearson Catherine Hockings George English Percussion Tim Alden Simon Willcocks Andrew Cumine George English Catherine Hockings Peter Maniura Richard Souper Andrew Barnard Harp Bethan Semmens Fontane Liang Celeste / Organ / Piano Rebecca Taylor Music Director Russell Keable Trustees Chris Astles David Baxendale Elizabeth Bell John Dovey Judith Ní Bhreasláin Heather Pawson Nick Rampley Richard Sheahan Sabina Wagstyl Endowment Trust Robert Drennan Graham Elliott Judith Ní Bhreasláin Nick Rampley Neil Ritson Events Chris Astles Judith Ní Bhreasláin Beccy Spencer Leanne Thompson Sabina Wagstyl Marketing Jeremy Bradshaw Ria Hopkinson Jo Johnson Andrew Neal Guy Raybould Membership Juliette Barker David Baxendale Programmes Kathleen Rule

21 TONIGHT S PERFORMERS CHORUS Soprano Cathy Al-Ghabra Emily Benson Sarah Besley Claire Bodanis Zoe Bonner Charlotte Broker Charlotte Bryers Rachel Caccia Sarah Choi Claire Clarke Sophie Cleobury Leoma Dyke Harriet Flower Eleanor Franzen Moyra Greaney Catherine Jackson Anna Kirby Catherine Langston Katy McAdam Meg McClure Emma Morgan Martha Oddy Harriet Pridmore Katy Robinson Rosalind Russell Jenny Stewart Anne Taylor Milly Taylor Nerissa Taysom Serena Wilson Alto Christina Astin Cecily Beer Sarah Bryant Kate Butler Carol Dawson Leonora Dawson-Bowling Tom Day Elizabeth Deacon Sophie Dobson Clare Fuller Alison Grant Alice Gunn Jessica Haig Helen Hendry Emma Kjellin Catherine Mann Holly Manners Jenny McPherson Alison Moore-Gwyn Anna Moses Charly Oakley Caroline Orr Harriet O Sullivan Helene Page Celia Tedd Olga Tylman Caroline Watts Nicki Wenham Lowri Williams Natasha Woodward Tenor Niall Bird Charlie Grace Jack Granby Ed Griffiths Nick Harvey Conrad Heald Rich Holdsworth Andrew Milner-White John Minett Christopher Palmer Christopher Pelmore Luke Phillips Joel Potts Harry Reardon Iain Rhodes Samir Savant Will Searle Jaka Skapin John Virgoe Bass Jon Bannister Barnaby Beer David Benedict Charles Blamire-Brown Ed Bremner Dave Brittain Adrian Collister Milo Comerford Hugo Farne Peter Greaney Peter Hatch Drew Hope Graham Kirk Peter Mason David Moore-Gwyn Harry Moore-Gwyn Simon Morris Richard Pelmore Tim Peters Ben Posen Kit Preston-Bell Tim Reader Benjamin Reid Thom Reilly Mike Reynolds Alex Roose Don Rowlands Matthew Shoults Rufus Stilgoe Ed Tricklebank Graham Wood 19

22 KSO S HISTORY RUSSELL KEABLE AND KSO A SELECTED PERFORMANCE HISTORY SINCE 1985 John Adams Harmonielehre; Slonimsky s Earbox; The Chairman Dances Thomas Adès Dances from Powder Her Face Alwyn Symphony no.5 Julian Anderson The Stations of the Sun Leroy Anderson Belle of the Ball; Blue Tango; Plink Plank Plunk; Serenata; Sleigh Ride Arnold David Copperfield Suite; Larch Trees; Rinaldo and Armida; Symphony no.2 Richard Ayres No.37b Barber Adagio for Strings; Knoxville: Summer of 1915; Symphony no.1; Violin Concerto Bartók Concerto for Orchestra; Dance Suite; Duke Bluebeard s Castle; The Miraculous Mandarin Suite; Music for Strings, Percussion and Celeste; Piano Concerto no.3; Two Portraits; Viola Concerto Bax Cello Concerto; On the Seashore (from Deidre); Overture to a Picaresque Comedy; Tintagel Beethoven Coriolan Overture; The Creatures of Prometheus Overture; Egmont Overture; Fidelio Overture; Leonore Overture no.3; Piano Concerto no.3; Piano Concerto no.4; Piano Concerto no.5, Emperor ; Symphony no.1; Symphony no.2; Symphony no.3, Eroica ; Symphony no.4; Symphony no.5; Symphony no.6, Pastoral ; Symphony no.7; Symphony no.8; Triple Concerto; Violin Concerto Berg Three Pieces for Orchestra; Violin Concerto Berlioz Béatrice et Bénédict Overture; Benvenuto Cellini Overture; Le carnaval romain; Le corsaire Overture; Grande messe des morts; Les nuits d été; Roméo et Juliette (excerpts); Symphonie fantastique; Te Deum Bernstein Candide Overture; On the Waterfront: Symphonic Suite; Symphonic Dances from West Side Story; Three Dance Episodes from On the Town Bliss Five Dances from Checkmate; Miracle in the Gorbals Bloch Schelomo Lili Boulanger Faust et Hélène Brahms Academic Festival Overture; Concerto for Violin and Cello; Hungarian Dance no.5; Piano Concerto No. 2; Piano Quartet in G minor (orch. Schoenberg); Symphony no.1; Symphony no.2; Symphony no.3; Symphony no.4; Tragic Overture; Variations on a Theme of Haydn; Violin Concerto Britten Four Sea Interludes and Passacaglia from Peter Grimes; Gloriana (Symphonic Suite); Les illuminations; Piano Concerto; The Prince of the Pagodas Suite; Serenade for Tenor, Horn and Strings; Sinfonia da Requiem; The Young Person s Guide to the Orchestra; Variations on a Theme of Frank Bridge; Violin Concerto Bruch Violin Concerto no.1 Bruckner Symphony no.3; Symphony no.4; Symphony no.5; Symphony no.7; Symphony no.8; Symphony no.9 Chabrier Cortège burlesque (orch. Robin Holloway); España Chausson Poème Coates The Dambusters March Copland Appalachian Spring; Fanfare for the Common Man; Grohg; Rodeo; Symphony no.3 Debussy Ibéria; La mer; Le martyre de Saint Sébastien; Prélude à l après-midi d un faune Seán Doherty Hive Mind Dohnányi Symphonic Minutes Donatoni Prom Dukas La Péri Fanfare; The Sorcerer s Apprentice Dutilleux Métaboles Dvořák Cello Concerto; Dimitrij; In Nature s Realm Overture; Nature, Life and Love; Othello Overture; Slavonic Dances; Symphonic Variations; Symphony no.2; Symphony no.4; Symphony no.5; Symphony no.6; Symphony no.7; Symphony no.8; Symphony no.9, From the New World Elgar Cello Concerto; Cockaigne Overture; Enigma Variations; Falstaff; Froissart; In The South; Introduction and Allegro for Strings; Pomp and Circumstance March no.1; Symphony no.1; Symphony no.2; Violin Concerto Falla El sombrero de tres picos Fauré Pelléas et Mélisande Suite Fricker Dance Scene Gerhard Concerto for Orchestra Gershwin An American in Paris; Rhapsody in Blue Glazunov The Seasons: Autumn Glinka Ruslan and Lyudmila Overture Stephen Goss The Shard Jonny Greenwood Three Scenes from There Will Be Blood HK Gruber Charivari Hanson Elegy in Memory of Serge Koussevitsky Haydn Symphony no.99 Hindemith Concert Music for Strings and Brass; Symphonic Metamorphoses Robin Holloway Wagner Nights Holst The Planets Honegger Symphony no.1; Symphony no.4 Ibert Éscales; La ballade de la geôle de Reading Ireland London Overture Janáček The Cunning Little Vixen Suite; From the House of the Dead Suite; Sinfonietta; Taras Bulba Josephs Fanfare Prelude Robert Keeley Symphony no.2 Kodály Dances of Galánta Korngold The Adventures of Robin Hood; Cello Concerto; Die tote Stadt; Kings Row; The Sea Hawk; Symphony in F sharp; Violanta; Violin Concerto Oliver Knussen Horn Concerto Magnus Lindberg Gran Duo Liszt Totentanz Loewe My Fair Lady Suite Edward Longstaff That Short Thing; Unveiled Lutosławski Cello Concerto; Chantefleurs et chantefables; Concerto for Orchestra; Funeral Music; Symphony no.3 Lyadov Eight Russian Folksongs Mahler Symphony no.1; Symphony no.2, Resurrection ; Symphony no.4; Symphony no.5; Symphony no.6; Symphony no.7; 20

23 KSO S HISTORY Symphony no.9; Symphony no.10 McCabe Concerto for Orchestra; Symphony no.4; Symphony no.7, Labyrinth Martinů Les fresques; Memorial to Lidice; Symphony no.5; Symphony no.6 Benedict Mason The Lighthouses of England and Wales Colin Matthews Fourth Sonata for Orchestra; Horn Concerto David Matthews A Vision and a Journey; Chaconne Fanfare; Symphony no.7 Maxwell Davies Mavis in Las Vegas; Symphony no.5 Messiaen L ascension Moeran Serenade; Symphony in G minor Mussorgsky Pictures at an Exhibition (orch. Ravel); Pictures at an Exhibition (orch. Stokowski); St John s Night on Bare Mountain Myaskovsky Symphony no.21 Peter Nagle Fanfare; Until I die there will be sounds Nielsen Clarinet Concerto; Helios Overture; An Imaginary Journey to the Faroe Islands; Maskerade Overture; Symphony no.2; Symphony no.3; Symphony no.4; Symphony no.5; Symphony no.6 Paul Parkinson Release for Orchestra Arvo Pärt Arbos; Cantus in memoriam Benjamin Britten Poulenc Gloria; Les biches Prokofiev Alexander Nevsky; Peter and the Wolf; Piano Concerto no.3; Romeo and Juliet; Symphony no.5; Violin Concerto no.2 Puccini Tosca Rachmaninov The Isle of the Dead; Piano Concerto no.1; Piano Concerto no.2; Piano Concerto no.3; Rhapsody on a Theme of Paganini; Symphonic Dances; Symphony no.1; Symphony no.2; Symphony no.3 Ravel Alborada del gracioso; Daphnis et Chloé Suite no.2; La valse; Piano Concerto in G; Shéhérazade; Valses nobles et sentimentales Rawsthorne A Street Corner Overture Respighi The Fountains of Rome Roussel Bacchus et Ariane; Symphony no.4 Poul Ruders Concerto in Pieces Nicholas Sackman Cecilia Dances Saint-Saëns Symphony no.3 Aulis Sallinen Symphony no.8 Schoenberg Five Pieces for Orchestra; Verklärte Nacht Schubert Symphony no.8, Unfinished ; Symphony no.9, The Great Schumann Konzertstück; Manfred Overture; Symphony no.4 Rodion Shchedrin Carmen Suite; Concerto for Orchestra no.1, Naughty Limericks Shostakovich Cello Concerto no.1; The Gadfly; Piano Concerto no.2; Suite for Variety Orchestra; Symphony no.1; Symphony no.5; Symphony no.6; Symphony no.9; Symphony no.10; Symphony no.15 Sibelius Finlandia; Nightride and Sunrise; Pelléas et Mélisande; Pohjola s Daughter; Scènes historiques: Suite no.1; Symphony no.1; Symphony no.2; Symphony no.3; Symphony no.4; Symphony no.5; Symphony no.6; Symphony no.7; Tapiola; Violin Concerto Simpson Symphony no.4; Symphony no.6 Smetana The Bartered Bride Overture; Vltava Stanford Clarinet Concerto; Piano Concerto no.2 Richard Strauss Burlesque for Piano and Orchestra; Don Juan; Ein Heldenleben; Eine Alpensinfonie; Four Last Songs; Horn Concerto no.2; Suite from Der Rosenkavalier; Till Eulenspiegel; Tod und Verklärung Stravinsky Concerto for Piano and Wind Instruments; Danses concertantes; The Firebird; Fireworks; Jeu de cartes; Orpheus; Petrushka; The Rite of Spring; Scènes de ballet; Symphonies of Wind Instruments; Symphony in C; Symphony in Three Movements Suk Serenade for Strings Sullivan The Yeomen of the Guard Overture Szymanowski Symphony no.2 Joby Talbot Hovercraft Eric Tanguy Incanto Tavener The Repentant Thief Matthew Taylor Conflict and Consolation; Storr; Symphony no.4 Tchaikovsky 1812 Overture; Manfred Symphony; The Nutcracker Suite; Piano Concerto no.1; Romeo and Juliet: Fantasy Overture; Serenade for Strings; Symphony no.4; Symphony no.5; Symphony no.6, Pathétique ; Violin Concerto Tippett Concerto for Double String Orchestra; Fanfare for Brass; Fantasia concertante on a Theme of Corelli; Piano Concerto; Ritual Dances from The Midsummer Marriage; Symphony no.2; The Rose Lake Michael Torke Bright Blue Music Ullmann Symphony no.2 Vaughan Williams Fantasia on a Theme by Thomas Tallis; Songs of Travel; Symphony no.4; Symphony no.5; Symphony no.6 Verdi The Force of Destiny Overture Wagner Brünnhilde s Immolation; Forest Murmurs; Die Meistersinger von Nürnberg Prelude; Prelude and Liebestod from Tristan und Isolde; Ride of the Valkyries from Die Walküre; Siegfried s Death and Funeral March; Siegfried s Rhine Journey; Die Walküre: Act 1 Walton Battle of Britain Suite; Capriccio burlesco; Portsmouth Point Overture; Partita; Richard III; Scapino: A Comedy Overture; Spitfire Prelude and Fugue; Symphony no.1; Variations on a Theme of Hindemith; Viola Concerto Webern Five Pieces for Strings; Passacaglia Weill Kleine Dreigroschenmusik Judith Weir Music, Untangled; Natural History Williamson Santiago de Espada Hugh Wood Variations for Orchestra John Woolrich Fanfare; The Elephant from Celebes; The Ghost in the Machine; Oboe Concerto; Viola Concerto 21

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25 Valerie Barber PR Performing Arts Public Relations Specialists Myaskovsky Symphony No. 21 Strauss Tod und Verklärung Brahms Symphony No. 3 VBPR offers unparalleled experience in originating, developing and delivering a wide range of arts-based projects. The VBPR team combines creative planning of the highest calibre and bespoke campaign strategy development with unrivalled press and social media expertise. VBPR is proud to be associated with leading Festivals, Arts Organisations, Venues, Orchestras and Ensembles worldwide. info@vbpr.co.uk Tickets 17, MUSIC MAKES US FEEL ALIVE! It excites and calms, creates and stirs memories, giving us confidence to be the very best we can. MUSIC THERAPY brings new hope to vulnerable people. Please help us fund research so that more people can benefit. Reg. char. no

26 IMAGINAL CELLS VISIONS OF TRANSFORMATION A collection of essays that explore how a compassionate approach to business, finace, the environment and politics can transform our world. Curators Kim Polman & Stephen Vasconcellos-Sharpe With Contributors including Desmond Tutu Muhammad Yunus Mo Ibrahim Al Gore Paul Polman Johan Rockström Thomas Lovejoy

27 MUSIC IN OFFICES A CREATIVE APPROACH TO MANAGEMENT AND TEAM BUILDING DIVERSITY WEEK PROGRAMMES LEADERSHIP WORKSHOPS OFFICE CHOIRS AND INSTRUMENTAL TUITION A completely different way of thinking and approaching problems... Your energy and passion infected everyone in the room and your session was the most talked about of Diversity Week. Aysha Tupman Newbery, Leadership Programme Manager, Citi MUSICINOFFICES.COM