JOSHUA BELL 11 November 2015
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Fine Violins Since 1892
Managing Directors Simon Morris & Steven Smith are proud to support the Academy as their 2015-16 programme sponsor
With best wishes for another wonderful season.
Antonio Stradivari, Cremona, 1731
Directors: Simon Morris and Steven Smith 30 Queen Anne Street, London, W1G 8HX 44 (0) 20 7307 9666 | violins@beares.com | www.beares.com
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WELCOME TO THIS EVENING’S CONCERT
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onight will be our first performance together on the Barbican stage since I became Academy Music Director in 2011, and we’re thrilled to be presenting three monumental works for this occasion. Whether you are familiar with these fantastic pieces, or hearing them for the first time, I hope you will derive great pleasure from experiencing three very distinctive classical styles over the course of one evening. Prokofiev’s Symphony No. 1 is often called the “Classical” Symphony, a name attributed to it by the composer himself, having written the symphony as a homage to the patriarch of the Classical era, Joseph Haydn. Whether conceived as pastiche or in parody, a gently humorous streak underpins all four movements, with Prokofiev using unexpected twentiethcentury harmonic twists to subvert the eighteenth-century Classical conventions prevalent throughout. This rich ‘neoclassical’ fusion makes this short but sweet symphony particularly memorable. Tchaikovsky’s Violin Concerto provides an entirely different auditory experience. Held up as the archetypal Romantic concerto, this breath-taking, visceral piece hits you right between the eyes with raw emotion. I have performed this brilliant concerto countless times and recorded it twice, but have never directed it myself, so this will be an exciting new experience for me! Already one of the most physically demanding concertos written for violin, the additional test of directing the orchestra will certainly present its own unique challenges. We conclude with Tchaikovsky’s
favourite composer, Wolfgang Amadeus Mozart. His “Great G minor” Symphony No. 40 is known as such to distinguish it from Mozart’s only other symphony in a minor key, the “Little G minor” No. 25. A turbulent intensity can be felt bubbling under the surface from the very first phrase, occasionally erupting to the surface in highly dramatic outbursts. His penultimate symphony, the 40th is undoubtedly one of Mozart’s most masterful. I hope you enjoy our performance tonight and that we will see you again this season, whether in London or on our travels around the world.
Joshua Bell Music Director
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V I L L A M A R I A E S TAT E . C O . U K
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THE BARBICAN THE BARBICAN
THANK YOU FOR JOINING US AT THE BARBICAN THIS EVENING. WHILST YOU ARE HERE, WE REQUEST YOU FOLLOW A FEW SMALL GUIDELINES SO THAT EVERYONE MAY ENJOY THEIR VISIT AND TONIGHT’S PERFORMANCE TO THEIR FULLEST.
ETIQUETTE Please try to restrain coughing until the normal breaks in the performance. The Barbican Centre is part of the Barbican Estate which is also a residential community. Our neighbours would appreciate your keeping noise and disturbance to a minimum when you leave the building after the performance. INTERVAL AND TIMINGS The interval this evening will be half an hour. Please return to your seats promptly. Latecomers will not be admitted until a suitable break in the performance. Tonight’s performance will finish at approximately 9:30pm.
BOOKING INFORMATION BOX OFFICE Online: www.barbican.org.uk Reduced booking fee online Telephone: 020 7638 8891 (9am – 8pm daily) ADMINISTRATION Barbican Centre Silk Street London EC2Y 8DS Telephone: 020 7638 4141
CAMERAS AND ELECTRONIC DEVICES If you have a mobile telephone, please ensure that it is turned off during the performance. No camera, tape recorder, or other types of recording apparatus may be brought into the auditorium. It is illegal to record any performance unless prior arrangements have been made with the Managing Director and the concert promoter concerned. SMOKING No smoking in the auditorium. FOOD & BEVERAGES No food or drink may be brought into the auditorium.
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PROGRAMME & ORCHESTRA
11 November 2015 Director and Soloist: JOSHUA BELL (violin) Prokofiev Symphony No. 1 in D major, Op. 25 (“Classical”) Tchaikovsky Violin Concerto in D major, Op. 35 Interval – 30 minutes Mozart Symphony No. 40 in G minor, K.550
VIOLIN I
VIOLA
FLUTE
HORN
Joshua Bell
Robert Smissen
Michael Cox
Timothy Brown
Harvey de Souza
Fiona Bonds
Sarah Newbold
Susan Dent
Katie Stillman
Ian Rathbone
Miranda Playfair
Rebecca Low
Stephen Stirling
OBOE
Catherine Morgan
Joanna Hensel
Richard Simpson
Amanda Smith
CELLO
Helen Paterson
Stephen Orton
Jeremy Morris
William Schofield
CLARINET
Judith Herbert
James Burke
Cara Berridge
Emma Canavan
Gabrielle Painter
DOUBLE BASS
BASSOON
Matthew Ward
Lynda Houghton
Graham Sheen
Helena Smart
Markus van Horn
Gavin McNaughton
VIOLIN II
Rachel Ingleton
TRUMPET Mark David
Jenny Godson
Tony Cross
TIMPANI Adrian Bending
ORCHESTRA MANAGER
Mark Butler Clare Hayes
Helen Fitzgerald
CHAIR PATRONS Harvey de Souza
Catherine Morgan
Miranda Playfair
Stephen Orton
Mark David
Chair supported
Chair supported
Chair supported
Chair supported
Chair supported
by Trevor Moross
by Charlotte
by Peter &
by Elizabeth
by Charlie Dart
Richardson
Prilla Stott
Bennett
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A MESSAGE FROM CLASSIC FM’S THE BARBICAN JOHN SUCHET AS THE UK’S ONLY RADIO STATION DEDICATED TO PLAYING NOTHING BUT CLASSICAL MUSIC, 24 HOURS A DAY, WE’RE DELIGHTED TO BE ABLE TO CALL JOSHUA BELL AND THE ACADEMY OF ST MARTIN IN THE FIELDS CLASSIC FM’S ARTISTS IN RESIDENCE.
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ith around 5.6 million listeners, one in ten British adults listens to Classic FM every week. This gives us a great opportunity not only to share classical music with a very broad audience on the radio, but also to encourage people to experience this music in the concert hall. And where better to do that than here at London’s Barbican with some of the British public’s favourite classical music?
All three works you’ll hear tonight are regular entrants in the Classic FM Hall of Fame, and it will be a real treat to hear a violinist with the technical mastery and singing tone of Joshua Bell, and an orchestra with the distinctive sound, precision and pedigree of the Academy, tackling these iconic pieces. If you enjoy the performance as much as we think you will, you’ll want to listen to it again on Classic FM on Wednesday 2nd December at 8pm, in the first of four Academy concerts being broadcast as part of our very special partnership. Something you might not know is that, as well as being a master music director and world-famous violinist, Joshua Bell has recently taken up a new skill: that of a radio presenter! You’ll be able to hear his presenting debut over Christmas on Classic FM, when he presents Joshua Bell’s Guide to the Orchestra. The series promises to give a unique insight into Joshua’s approach to his work with the Academy of St Martin in the Fields. If you’d like to find out more about the exciting plans we have to develop our partnership with our new Artists in Residence, do take a look at our website ClassicFM.com. And I hope you’ll be able to join me tomorrow morning from 9am, when I’ll be playing some of Joshua and the Academy’s wonderful recordings. Best wishes
John Suchet Presenter, Classic FM
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PROGRAMME NOTES
Sergey Prokofiev (1891–1953) Prokofiev once described his musical personality as combining ‘the classical, innovative, motoric, lyrical and grotesque.’ He delighted in placing contrasting styles on a collision course within the same work and went out of his way to musically intimidate his colleagues and the conservative press, which at one point wanted him ‘straight-jacketed’. Prokofiev fled revolutionary Russia in 1918, but following stays in the United States and France, became resigned to the fact that he would never feel content on foreign soil. He made a celebrated return to the Motherland in 1936, after which his style became more generally accessible and overtly tuneful.
Symphony No. 1 in D major, Op. 25 “Classical” (1916–17) I. Allegro II. Larghetto III. Gavotta: Non troppo allegro IV. Finale: Molto vivace Prokofiev was never the easiest of students at the St Petersburg Conservatory and by the time he graduated was viewed as something of an enfant terrible. In contrast to the prevailing Romantic Nationalist style, he tended towards highly potent musical cocktails, spiced with a unique blend of rhythmic pungency and harmonic acidity.
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‘I imagined if Haydn had lived to our day he would have preserved his manner of writing,’ Prokofiev reflected in 1920, ‘and at the same time would have absorbed something of the new. That was the kind of symphony I wanted to write: a symphony in the Classical style. And when it began to fall into place, I renamed it “Classical Symphony”.’ Throughout the resulting work, musical fragments and ideas dislocated by Prokofiev from a bygone musical age are revitalised by his inexhaustible musical imagination. The opening Allegro is on its very best behaviour, with both main ideas announced in spickand-span fashion by the first violins. This bracing movement is peppered throughout with in-jokes for the cognoscenti, including the very opening, which mimics a crescendodevice known as the ‘Mannheim skyrocket’, named after the city whose eighteenthcentury composers characteristically delighted in this exciting effect. The slow movement opens with a ‘vampuntil-ready’ figure before the violins soar away with one of Prokofiev’s most radiantly lyrical ideas. The delightful Gavotte third movement was later adapted by the composer as part of his classic ballet score, Romeo and Juliet, while the finale is a moto perpetuo of sparkling invention guaranteed to raise a smile on even the sternest of countenances. Remarkably, the ‘Classical’ Symphony was completed in 1917, two years before Stravinsky’s Pulcinella became the official standard-bearer for a whole new artistic movement: neoclassicism.
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PROGRAMME NOTES
Pyotr Ilyich Tchaikovsky (1840–1893) Based in Moscow for most of his distinguished career, where he taught at the newly established Conservatory, Tchaikovsky changed the face of Russian music forever. Celebrated principally for his orchestral and melodic genius, he imparted a choreographic intensity to his symphonies and concertos, while conversely his popular ballet scores possess an epic, symphonic thrust. He spoke with an almost child-like emotional directness and honesty, while his impact on succeeding generations was incalculable, from Mahler’s neurotic soulsearching to the emotional powerhouses of Elgar and Richard Strauss and the luscious Hollywood film scores of the 1930s and ‘40s.
Violin Concerto in D major, Op. 35 (1878) I. Allegro moderato II. Canzonetta: Andante – III. Finale: Allegro vivacissimo The 1881 Vienna premiere of Tchaikovsky’s Violin Concerto, given by Adolf Brodsky and conducted by Hans Richter, was nothing short of a catastrophe. In the middle of the performance a dispute broke out in the audience between rival conservative and modernist factions, the latter in support of the concerto. The influential pro-Brahms critic, Edward Hanslick, gleefully stuck the knife in,
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dismissing the finale as ‘trivial and barbarous Cossack music’, and most notoriously of all as ‘bringing us face to face for the first time with music that we can actually hear stink’. Tchaikovsky also had to live down the fact that the original dedicatee – celebrated Russian pedagogue and virtuoso Leopold Auer – had declared it ‘unplayable’ and refused to have anything further to do with it. From such inauspicious beginnings this glorious work quickly established itself as one of the most popular of all concertos. Tchaikovsky’s genius can be heard working at full stretch throughout the first movement. The unquenchable spontaneity of his ideas, their scintillating presentation and his profound instinct for emotional timing imparts a profound sense of emotional narrative throughout. As in Mendelssohn’s popular E minor Concerto, the solo violin cadenza emerges unusually at the end of the development section and flows back into the recapitulation. The original slow movement – a lengthy, brooding Meditation that has become a popular work in its own right – was quickly discarded by Tchaikovsky and replaced by the wistfully nostalgic Canzonetta, an intermezzolike miniature of heart-rending sincerity. A sudden orchestral call to arms links straight into the Cossack-dance finale, in which the scampering semiquavers of the bravado main theme are offset superbly by the swaggering, drone-accompanied secondary material. The breathtaking coda finds soloist and orchestra virtually falling over one another in their excitement to get to the end.
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Wolfgang Amadeus Mozart (1756–1791) Mozart achieved an exalted level of perfection unmatched by any other composer, conveying the most profound emotions via the simplest of means. Born the son of a violin pedagogue, he was one of the prime movers in helping to establish an elegant new Classical style in music. He began life as a touring keyboardcomposer prodigy, amazing onlookers with his prodigious feats of virtuosity, memory and extemporisation. Following several years based in his home town of Salzburg, he moved to Vienna where his creative genius burned with a blinding incandescence. He died tragically young, leaving behind him a priceless series of exquisite masterpieces.
Symphony No. 40 in G minor, K.550 (1788) I. Molto allegro II. Andante III. Menuetto IV. Allegro assai It seems barely conceivable that the 32-yearold Mozart could have composed his last three symphonies (Nos. 39–41) in just six weeks, especially as there appears to have been no guarantee of remuneration for the cash-strapped composer. In the G minor Symphony (No. 40), he even comes close to subverting the musical clarity and concision
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that were central to his musical universe. This is music that appears to be almost constantly straining at the leash, its expressive intensity tearing the very fabric out of which his music is meticulously fashioned. Little wonder that he was on the brink of nervous collapse when he wrote it. ‘If people could see into my heart, I should almost feel ashamed’, he despaired in a letter to his wife. ‘To me everything is cold – cold as ice.’ Then shortly after that: ‘I can’t describe what I have been feeling – a kind of emptiness which hurts me dreadfully, a kind of longing which is never satisfied.’ The G minor Symphony proved an inexhaustible source of inspiration for composers of the Romantic period, its Byronic moodiness and expressive intensity being articulated by a startling series of exciting new expressive devices. The brief ‘vampuntil-ready’ opening can be heard resonating over a century later in Prokofiev’s ‘Classical’ Symphony; the unprecedented anguished intensity of the Menuetto inspired a virtual re-write in Schubert’s Fifth Symphony, while the Sturm und Drang finale is the unmistakable starting point for the equivalent movement of Mendelssohn’s First Symphony. At nearly every turn one finds Mozart rethinking conventional procedures with a scorching imperativeness and virtuoso élan that left his contemporaries – with the honourable exception of Haydn – trailing in his wake. And there was more great music still to come, including the operas Così fan tutte and La Clemenza di Tito and the singspiel Die Zauberflöte. JULIAN HAYLOCK © 2015
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JOSHUA BELL
THE BARBICAN
THE EVENT THAT HELPED TRANSFORM HIS REPUTATION FROM ‘MUSICIANS’ MUSICIAN’ TO ‘HOUSEHOLD NAME’ WAS HIS INCOGNITO PERFORMANCE IN A SUBWAY STATION
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Photo: Lisa Marie Mazzucco
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oshua Bell is one of the most celebrated violinists of his era, and his restless curiosity, passion, and multi-faceted musical interests are almost unparalleled in the world of classical music. Named the Music Director of the Academy of St Martin in the Fields in 2011, Bell is the first person to hold this post since Sir Neville Marriner formed the orchestra in 1958. An exclusive Sony Classical artist, Bell has recorded more than 40 CDs garnering Grammy, Mercury, Gramophone and Echo Klassik awards since his first LP recording at age 18 on the Decca Label. The Academy of St Martin in the Fields’ first release under Bell’s leadership, Beethoven Symphonies Nos. 4 and 7, debuted at #1 on the Billboard charts, and was followed up by the critically acclaimed Bach. His discography encompasses much of the major violin repertoire as well as groundbreaking collaborations across multiple musical genres with respected artists from the worlds of Pop (Sting, Josh Groban), Jazz (Chick Corea, Branford Marsalis), Bluegrass (Edgar Meyer, Bela Fleck) and Film (including John
Corigliano’s Oscar-winning soundtrack, The Red Violin). Born in Bloomington, Indiana, Bell received his first violin at age four and at 12 began studying with the legendary Josef Gingold at Indiana University. At the age of 14 Bell began his rise to stardom, performing with Riccardo Muti and the Philhadelphia Orchestra and at age 17 making his Carnegie Hall debut and touring Europe for the first time. Perhaps the event that helped most to transform his reputation from ‘musicians’ musician’ to ‘household name’ was his incognito performance in a Washington, DC subway station in 2007. Ever adventurous, Bell had agreed to participate in the Washington Post story by Gene Weingarten which thoughtfully examined art and context. The story earned Weingarten a Pulitzer Prize and sparked an international firestorm of discussion. Bell performs on the 1713 Huberman Stradivarius violin and uses a late 18th century French bow by François Tourte.
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ABOUT THE ACADEMY
THE ACADEMY OF ST MARTIN IN THE FIELDS IS ONE OF THE WORLD’S PREMIER CHAMBER ORCHESTRAS, RENOWNED FOR ITS FRESH, BRILLIANT INTERPRETATIONS OF THE WORLD’S MOST-LOVED CLASSICAL MUSIC
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ormed by Sir Neville Marriner in 1958 from a group of leading London musicians, the Academy gave its first performance in its namesake church in November 1959. Through its live performances and vast recording output – highlights of which include the 1969 best-seller Vivaldi’s Four Seasons and the soundtrack to 1985’s Oscar-winning film Amadeus – the Academy quickly gained an enviable international reputation for its distinctive, polished and refined sound. Today the Academy is led artistically by Music Director and virtuoso violinist
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Joshua Bell, retaining the collegiate spirit and flexibility of the original small, conductor-less ensemble which has become an Academy hallmark. Each year the Academy works with some of the most talented soloists and directors in the classical music scene, performing symphonic repertoire and ‘chamber music on a grand scale’ at prestigious venues throughout the world. Highlights of the Academy’s 2015/16 season include concerts and international tours with world-leading soloists, including cellist Steven Isserlis, violinist Julia Fischer
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“EXPLOSIVE, MERCURIAL, SPONTANEOUS, TOTALLY INVOLVING”
Photo: Chris Christodoulou
Classical Source
and trumpeter Håkan Hardenberger. Music Director Joshua Bell leads tours of the UK, Europe and the United States; Principal Guest Conductor Murray Perahia tours Germany and Europe; and Life President Sir Neville Marriner takes the Academy to Asia with renowned pianist Angela Hewitt. In addition to a busy concert and touring schedule, the Academy continues to reach out to young people and adult learners through its learning and participation programmes. This year’s projects include the Academy’s flagship Create, Cultivate, Orchestrate! workshops for primary and secondary school children; professional development partnerships with Southbank Sinfonia, the Guildhall School of Music and Drama and the Royal Northern College
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of Music; and working with some of London’s most vulnerable and homeless adults, creating opportunities for everyone to connect and create music with the orchestra. With over 500 recordings to date, the Academy is one of the most recorded chamber orchestras in the world. Recent highlights include Beethoven Symphonies Nos. 4 & 7, the Academy’s first recording under Joshua Bell’s directorship, which reached No. 1 on the Billboard Classical Albums Chart, and the critically acclaimed Bach, which had the distinction of being Joshua Bell’s first-ever Bach concertos recording. Find out more about the Academy of St Martin in the Fields at www.asmf.org
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THE ACADEMY PODCAST THE BARBICAN
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they have just finished performing together on a short tour of Germany (pictured). And in our upcoming Episode 2, due for release in early December, our Music Director Joshua Bell and cellist Steven Isserlis talk about nearly 30 years of working together before delving into the delights of Brahms’ brilliant Double Concerto, ahead of their UK and European tour with the Academy in January 2016. The first episode of the Academy podcast is now available for free to download from the iTunes store, or stream online at www.soundcloud.com/asmf
Photo: PRO ARTE Frankfurt
ew for 2015/16, the Academy Podcast brings the artists and soloists from our international touring schedule to your phone, tablet or computer. Featuring interviews with the likes of Joshua Bell and Sir Neville Marriner, and musical clips from the Academy’s celebrated back-catalogue of recordings, each episode we explore the work and music at the heart of this storied orchestra with some of the world’s greatest classical musicians. In Episode 1, The Music of Elgar, Sir Neville Marriner and up-and-coming young cellist Harriet Krijgh discuss the music of Edward Elgar and his timeless Cello Concerto, which
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LEARNING AND PARTICIPATION PROGRAMME NOTES
ENCOURAGING YOUNG PERFORMERS AND ADULT LEARNERS TO SHARE THE POSITIVE BENEFITS OF CREATING MUSIC
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ere at the Academy we are strongly committed to passing on our passion through our learning and participation programme. We aim to deliver dynamic, inspiring and participatory music-making projects, providing access to participants of all ages, backgrounds and abilities. Our flagship youth project Create, Cultivate,
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Orchestrate! provides an extraordinary opportunity for young people aged 9-18 living in the London boroughs of Newham and Islington to perform alongside professional orchestral players from the Academy of St Martin in the Fields. This work promotes creativity and individuality, encouraging participants to explore their musicality whilst engaging with the core classical orchestral repertoire.
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With the generous support of Arts Council England, Backstage Trust and Clifford Chance, our most recent Create, Cultivate, Orchestrate! project in July was able to expand beyond our normal three-day performance project to include a ‘tour in a day’, in which Academy musicians performed at assemblies in three different schools around the borough of Newham, and led several workshops at local schools and colleges. During the three day performance project, the young people worked in collaboration with Academy musicians to improvise, compose and develop their instrumental skills, advance their ensemble skills and enhance their musicality through re-arranging Astor Piazzolla’s Four Seasons of Buenos Aires and Bach’s Violin Concerto No. 2. Halfway through the project they were invited to watch an Academy rehearsal of the works with Joshua Bell at Cadogan Hall, before Joshua joined the
“REALLY FUN AND INSPIRING. I LEARNT SO MUCH AND WOULD DEFINITELY RECOMMEND IT TO EVERYBODY” Create, Cultivate, Orchestrate! 10-year-old participant students for their final rehearsal at the Clifford Chance Rehearsal Room and performed with them on stage in their concert at Canary Wharf. If you have an opportunity, please take the time to head to our YouTube Channel – www.youtube.com/TheASMF – to watch our video of the project and the full, final performance to hear both of the participants’ compositions. Learn more about Create, Cultivate, Orchestrate! and our wider Learning and Participation programme on our website at www.asmf.org
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COMING UP...
THE BARBICAN FOR DECEMBER’S CADOGAN HALL CONCERT WE WELCOME ALAN GILBERT, MUSIC DIRECTOR OF THE NEW YORK PHILHARMONIC MAKING HIS DEBUT WITH THE ACADEMY, AND PIANIST INON BARNATAN.
Photo: Marco Borggreve
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he concert itself marks the start of an exciting recording project with both musicians of a new Beethoven piano concerto cycle. ‘Some of my most joyful moments of music-making ever have been with the Academy,’ says Israeli-born Barnatan, having toured with the orchestra in the US as pianist-director, ‘They are such wonderful musicians, it’s always like working in a chamber group. I’m no conductor, but they were able to ignore me when necessary, and follow me at the right points, and decipher my meaning! The prospect of recording all the Beethoven concertos is certainly daunting, it couldn’t be with a better team: they are works of such depth, one is continually evolving with them. But thinking of this recording as a snap-shot in time, rather than the last word, is helpful.’ Barnatan has chosen to play the third concerto for this programme ‘because it represents the seam, the mid-point, between the classical and romantic worlds. It’s in this
work that Beethoven asserts himself as a transformative figure, and its dark colours, too, find resonance in Brahms. And then we have Haydn, one of the most adventurous and forward-looking composers of his time, who inspired both Brahms and Beethoven. In Brahms’s Haydn Variations we see him on the cusp, moving towards his own symphonic writing, a Romantic figure who is fascinated by continuing the traditions of the past.’ Barnatan studied at the Royal Academy of Music before moving to New York, so ‘London feels like home, and I’m always glad to be back. It’s hard to think of a city with a richer cultural scene.’ As the New York Philharmonic’s first Artist-in- Association, Barnatan has experience of Alan Gilbert’s energy and radical thinking: ‘Alan is a phenomenal conductor who brings the cerebral and emotional together in a very powerful way, so to be working with him on Beethoven is a dream.’ Alan Gilbert conducts the Academy of St Martin in the Fields and Inon Barnatan in Beethoven’s Piano Concerto No. 3, Brahms’ Variations on a Theme of Joseph Haydn and Haydn’s Symphony No. 90 at Cadogan Hall on Sunday 13 December. Book your tickets at www.asmf.org
“SOME OF MY MOST JOYFUL MOMENTS OF MUSIC-MAKING EVER HAVE BEEN WITH THE ACADEMY”
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are proud supporters of Joshua Bell and The Academy of St Martin in the Fields Since September, Joshua Bell and the Academy of St Martin in the Fields have been Classic FM’s inaugural Artists in Residence.
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SS ay & from 10 Sunday pm
Through this partnership, audiences and listeners will be able to experience a number of unique events such as three exclusive live performances for Classic FM’s Full Works Concert (Monday-Friday, 8-10pm), a four-part series introducing the orchestra presented by Joshua Bell, exclusive online content at ClassicFM.com and a special appearance from Joshua Bell and the Academy at Classic FM Live, to be held at London’s Royal Albert Hall on 28 September 2016. Whether you are already one of our 5.6 million weekly listeners, or you’ve yet to discover Classic FM, we hope you will join us in celebrating the work of these outstanding musicians.
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Begin a real and lasting relationship with one of the world’s greatest chamber orchestras
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Pick up an Academy Friends or Patrons leaflet to find out more
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GET CLOSER TO OUR MUSIC
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Photo: Mike Hoban
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he Academy of St Martin in the Fields invests significantly so that our unique interpretations of the classical repertoire can be experienced and enjoyed by as many people in this country as possible. We aim to engage with a wide and diverse range of people of all ages and backgrounds through our live concerts, educational work and broadcasting partnerships. We have a turnover of more than £2.8 million a year and we need to raise in excess of £500,000 from private sources in order to present over 100 concerts in the UK and around the world as well as to deliver our educational and communities programme of dynamic, inspiring and participatory musicmaking projects. We do not receive core public funding from the government. As the Academy approaches the end of six decades of thrilling audiences we have launched Sound Future - a three year, £2.5 million fundraising campaign in order to ensure that the Academy will continue to flourish both artistically and financially well into the future. None of this would happen without the continued support of enlightened individuals. We are very grateful for the generosity of our current supporters and urge you to consider joining them. You can make a real difference by making a donation or by becoming a Patron or Friend. Membership starts from as little as £4.20 a month and in return we guarantee a real and lasting relationship with one of the world’s greatest chamber orchestras. Join online at https://support.asmf.org/join_now
“INCOMPARABLE MUSICIANSHIP, A WONDERFUL HISTORY AND A BRIGHT FUTURE. IT’S A PRIVILEGE TO BE INVOLVED” Elizabeth Bennett, Academy Patron For further information please contact our Development team on 020 7702 1377 or at development@asmf.org
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SUPPORTING US
PROGRAMME NOTES CORPORATE PATRONS Concert Sponsor (15 April 2016):
CORPORATE PARTNERS Print Partner:
CHARITABLE TRUSTS AND FOUNDATIONS Angus Allnatt Charitable Foundation American Friends of the Academy of St Martin in the Fields Arts Council England Backstage Trust Clifford Chance Foundation Coutts Charitable Trust Dr Rhona Reid Charitable Trust Ernest Cook Trust Fenton Arts Trust Fidelio Charitable Trust Follett Trust Garfield Weston Foundation Golden Bottle Trust John Ellerman Foundation PRS for Music Foundation Sir Siegmund Warburg’s Voluntary Settlement The Austin and Hope Pilkington Trust The Bernard Sunley Charitable Foundation The Cadogan Charity The D’Oyly Carte Charitable Trust The Goldsmiths’ Company The Sir Jules Thorn Charitable Trust
Wine Partners:
ACADEMY FELLOWS Dunard Fund Maria Cardamone & Paul Matthews
Print Sponsor:
CORPORATE CLUB MEMBERS Anonymous
ACADEMY TUTTI Daniel Dayan & Jennifer Ison Mrs Galina Smirnova PROJECT PATRONS Jim Mellon PLAYERS’ CIRCLE Paul Aylieff Elizabeth Bennett Peter & Annette Dart
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Trevor Moross Charlotte Richardson Peter & Prilla Stott Jenny & Bruce Tozer PATRONS Anonymous Conrad Bjørshol & Linda Sivertsen Clive & Helena Butler Cyrille Camilleri Dr Paul Gilluley & Mr Tim Hardy Christine Jasper Jonathan Joseph Diana Midmer Anthony & Natalia O’Carroll Mr & Mrs Nigel Rich Lois Sieff Claudia Spies Shelley von Strunckel PRINCIPAL FRIENDS Anonymous Bobby Child David Cohen Mrs Maureen Elton Jill & Victor Hoffbrand SUPPORTING FRIENDS Anonymous Isla Baring Andy Blundell Coco Brandon Toby Courtauld Bob Eagle Maianna Elmitt David & Anne Giles Katy Jones Alan Leibowitz Laurence Llewellyn Andrew McGowan Susanna & Michael Percy Katy Shaw Gabriel van Aalst Sir Robert & Lady Wilson
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FRIENDS Anonymous Lady Mimi Lloyd Adamson Mark & Nicola Beddy Mrs Pat Benians Heather Benjamin Lady Rosemary Bischoff Michael & Lauren Clancy Marianna Denzle Stephen Hayes Johannes Jasper Annette Kurdian Richard & Lizzy Lea Richard Maile Patrick McEntee Diana Mills Paul Nettelmann Alexander & Sally Nissen Catherine Phillips RIBA Ray Pritchard John Ransom Scott Raquepaw Ronald & Christine Rodgers Simon Rothon Timothy M Simon Kenneth & Marilyn Teacher Fred Tombs John Turner Dr J Wardle Philippa Wright R Zornoza AMERICAN FRIENDS Mary & Robert Carswell The Colburn Foundation Charmane Crain Mary Foust Dr. Stanley M. & Luella G. Goldberg Laurie Hieta Barbara Johnson Klara & Larry Silverstein Richard & Joann Weiner Carolyn & Elliott Zisser
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DIVERTIMENTO GROUP The Divertimento Group recognises the very generous support of individuals who have contributed through our series of unique and special events but are not credited under our membership schemes. Anonymous Henrietta Baldock Stephen Barter Vanessa Blackmore Hugh Bonneville & Lulu Williams Sara Boyes André Bruère Isobel Buchanan & Jonathan Hyde Sir Geoffrey & Lady Cass Susan Chaing Philip Chesterfield Countess of Chichester Kathryn & Richard Coar Sir Michael Codron John Coles Howard Colvin Sir Peter Coulson Anne & Tim Coxon Duncan Dunn Mimi Durand Kurihara Denham Eke Philip Edgar-Jones Sir Richard Eyre Charles Fairhurst Barbara & Ken Follett John Fortescue Nick Garratt Colin & Fiona Goodwille Lydia & Manfred Gorvy Sean Gorvy Matthew Gregory Stewart Grimshaw Gustav Hamrén-Larsson Sophia Hart David Horlington Professor Ken Howard John Hughes
Sir Derek Jacobi Antoni Jakubowski Robert Jameson Alan Kerr Mark Laurence Peter Lawlor David Leppan Elliot Lipton Lara Lohr Paul Lyon-Maris Douglas Mackie Alex Mahon Fionnuala McCredie Bruce McInroy Ken Morgan Elisabeth Murdoch Finola O’Farrell QC David & Debbie Owen Sir Howard Panter Gary Reich Alan Rickman & Rima Horton Duncan Salvesen Debbie Sandford David Scott Sam Searle Jackie Stevenson Sir Tom & Lady Stoppard Ian Strachan Jayne Sutcliffe Sir David Tang Ralph Taylor Russell Taylor Neil Tennant James Tuckey Richard Wilson Trish Wilson
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05/11/2015 11:39
THE ACADEMY
MUSIC DIRECTOR Joshua Bell PRINCIPAL GUEST CONDUCTOR Murray Perahia ACADEMY STAFF Gabriel van Aalst Chief Executive Concerts Anna Desogus Head of Concerts and Touring Sally Sparrow Orchestra Personnel Manager
Development Andrew McGowan Director of Development Cecilia Sala Senior Development Manager Andrew Miles Development Assistant Marketing and PR Peter Fisher Marketing Manager Rebecca Driver Media Relations PR Consultant
Ina Wieczorek Concerts and Recordings Manager Katherine Adams Orchestra Manager and Librarian Richard Brewer Concerts and Administration Assistant
THE ACADEMY OF ST MARTIN IN THE FIELDS The Griffin Building, 83 Clerkenwell Road, London EC1R 5AR www.asmf.org E: info@asmf.org The Academy of St Martin in the Fields is an operating name of Academy Concerts Society. Charity Registration No. 289294 Registered in England No. 1808488
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LIFE PRESIDENT Sir Neville Marriner CH, CBE BOARD OF DIRECTORS Paul Aylieff Chairman Heather Benjamin Elizabeth Bennett Mark David Daniel Dayan Evelyne Dubé Rachel Ingleton Julia Jordan Catherine Morgan Trevor Moross Simon Morris Anthony O’Carroll Charlotte Richardson Harvey de Souza Peter Stott DEVELOPMENT BOARD Trevor Moross Chairman Paul Aylieff Cyrille Camilleri Gareth Davies Jill Hoffbrand Christine Jasper Alan Kerr Genia Lifschitz Mark Oshida Peter Stott FOLLOW THE ACADEMY /asmforchestra @asmforchestra +academyofstmartininthefields /TheASMF /ASMF
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JOIN US AGAIN SOON ALAN GILBERT INON BARNATAN Sunday 13 December Cadogan Hall 7.00pm
/asmforchestra @asmforchestra +academyofstmartininthefields /TheASMF /ASMF
THE ACADEMY OF ST MARTIN IN THE FIELDS The Griffin Building, 83 Clerkenwell Road, London EC1R 5AR www.asmf.org info@asmf.org
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