ALAN GILBERT INON BARNATAN Sunday 13 December
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
WELCOME TO THIS EVENING’S CONCERT
Photo: Chris Lee
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hank you for joining us at this hectic time of year for the first of three Academy concerts at Cadogan Hall in our 2015/16 season. In our last London appearance, Joshua Bell led the orchestra in his first ever unconducted performance of Tchaikovsky’s virtuosic Violin Concerto, a truly astonishing feat lauded as “remarkable and free” by The Telegraph. This evening sees another first, as we welcome the New York Philharmonic’s world-renowned Music Director, Alan Gilbert, for his Academy conducting debut. Alan Gilbert is respected the world over for his fresh, adventurous and ambitious approach to music-making, which we’ve been lucky enough to enjoy first-hand in the last few days of rehearsal. Since returning to our conductor-less roots of the 1960s, it has been relatively rare for the Academy to perform under a conductor’s baton; but when we do, it is always exciting and stimulating to perform the largescale symphonic repertoire which would otherwise be impossible, such as Brahms’ majestic Variations on a Theme by Joseph Haydn, which will sit alongside Haydn’s own Symphony No. 90 tonight. To perform Beethoven’s Piano Concerto No. 3, we are delighted to be welcoming back an artist “headed for superstardom” (New York Examiner), the dynamic and elegant Israeli pianist, Inon Barnatan. Inon,
who made his London concerto debut with the Academy in 2014, is one of the most compelling pianists on the classical circuit at the moment, making a significant impression as the New York Philharmonic’s inaugural Artist in Association (a role created especially for him). We are extremely excited to be embarking on a recording cycle of all the Beethoven Piano Concertos with Alan and Inon later this month. We hope you enjoy the evening and wish you a safe journey home afterwards. If you enjoy tonight’s performance, you can listen again when it is broadcast on BBC Radio 3 on Wednesday 6 January 2016. We hope to see you back at Cadogan Hall in January, when Steven Isserlis and Joshua Bell perform Brahms’ mighty Double Concerto, and in April, when Sir Neville Marriner conducts a classic Academy programme of Mozart and Bizet on his 92nd birthday.
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CADOGAN HALL THE BARBICAN
ETIQUETTE
ACCESS
Smoking: All areas of Cadogan Hall are non-smoking areas. Food & Beverages: You are kindly requested not to bring food and other refreshments into Cadogan Hall. Cameras and Electronic Devices: Video equipment, cameras and tape recorders are not permitted. Please ensure all pagers and mobile phones are switched off before entering the auditorium. Interval and timings: Intervals vary with each performance. Some performances may not have an interval. Latecomers will not be admitted until a suitable break in the performance. Consideration: We aim to deliver the highest standards of service. Therefore, we would ask you to treat our staff with courtesy and in a manner in which you would expect to be treated.
Cadogan Hall has a range of services to assist disabled customers including a provision for wheelchair users in the stalls. Companions of disabled customers are entitled to a free seat when assisting disabled customers at Cadogan Hall. Please note that companion seats not sold 48hrs prior to any given performance will be released for general sale. Wheelchair Users: If you use a wheelchair and wish to transfer to a seat, we regret we may not be able to provide a member of staff to help you physically. However, we will arrange for your wheelchair to be taken away and stored. A lift is located to the right once inside the box office reception allowing access to a lowered box office counter. Foyer areas are on the same level as the box office and the foyer bar (Caversham Room) is accessed via a wide access lift. A member of staff will help you with your requirements. Stalls are accessed via a wide lift as are adapted toilet facilities. Please note that there is no wheelchair access to the Gallery seats.
FOOD AND BEVERAGES
Culford Room: The house wines, champagne and soft drinks are available from the bars in the Culford Room at all concerts. Oakley Bar: Concert goers may enjoy a wide selection of champagnes, spirits, red and white wines, beers and soft drinks from the Oakley Room Bar. There are also some light refreshments available. Gallery Bar: Customers seated in the Gallery can buy interval drinks from the Gallery Bar at some concerts.
BOOKING INFORMATION
Box Office: 020 7730 4500 Online Booking: www.cadoganhall.com (booking fees apply) 5 Sloane Terrace, London SWIX 9DQ
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
Catherine Morgan
Stephen Stirling
OBOE
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
Clare Hayes
TRUMPET Mark David
Jenny Godson
Mark Butler
Joanna Hensel
Richard Simpson
Tony Cross
TIMPANI Adrian Bending
ORCHESTRA MANAGER Helen Fitzgerald
PROGRAMME & ORCHESTRA 13 December 2015 Conductor: ALAN GILBERT Soloist: INON BARNATAN (piano) Brahms Variations on a Theme by Joseph Haydn, Op. 56a Beethoven Piano Concerto No. 3 in C minor, Op. 37
Interval – 30 minutes
Haydn Symphony No. 90 in C major, Hob. 1:90
VIOLIN I
VIOLA
FLUTE
Tomo Keller
Robert Smissen
Michael Cox
HORN
Harvey de Souza
Fiona Bonds
Sarah Newbold
Timothy Brown
Robert Salter
Nicholas Barr
Gabrielle Painter
Alex Koustas
Sue Dent
Katie Stillman
PICCOLO
Stephen Stirling
Rebecca Larsen
Michael Murray
Helena Smart
CELLO
Fiona Brett
Stephen Orton
OBOE
TRUMPET
Jeremy Morris
William Schofield
Christopher Cowie
Mark David
Judith Herbert
Rachel Ingleton
William O’Sullivan
VIOLIN II
Nathaniel Boyd
CLARINET
TIMPANI
Helen Paterson
DOUBLE BASS
Timothy Lines
Tristan Fry
Matthew Ward
Lynda Houghton
Thomas Lessels
Pauls Ezergailis
Chris West
Amanda Smith
PERCUSSION
Mark Butler
BASSOON
Rebecca Scott
Graham Sheen
Julian Poole
Gavin McNaughton
CONTRA BASSOON
ORCHESTRA MANAGER
Richard Skinner
Hannah Muddiman
CHAIR PATRONS Harvey de Souza
Nicholas Barr
Stephen Orton
Christopher
Mark David
Chair supported
Chair supported
Chair supported
Cowie
Chair supported
by Trevor Moross
by Jenny &
by Elizabeth
Chair supported
by Charlie Dart
Bruce Tozer
Bennett
by Paul Aylieff
PROGRAMME NOTES
Johannes Brahms (1833-1897)
tribute in a composition of classical grace and ingenuity.
The son of a doublebassist from Hamburg, Brahms occupies a unique position in Western art music. He honoured his classical predecessors, developing the forms of symphony, sonata and string quartet with consummate craft. But, though dismissed as a conservative beside Wagner or Liszt, his intense appreciation of Renaissance and Baroque music holds the key to a radical aspect of his art: he anticipated the modern revival of pre-Classical music, inaugurating in Schoenberg’s words the ‘move towards an unrestricted musical language’. Behind it all was a profound love of song and a fascination with rhythmic manipulation, which gives his music its distinct and dynamic character.
What attracted him was not only the chorale’s harmony and lyric potential but it’s unusual assymetric shape, beginning with two five-bar phrases, followed by a trio of four-bar phrases. The theme is introduced in an imitation of the original wind-octet formation underpinned by pizzicato bass. The strings are unleashed in the first variation, winding sinuously around the repeated pedal B flats that form part of the chorale. In the startling second variation explosive chords are answered by a dotted descent on clarinet. Contrapuntal mastery is to the fore in the third, with arching phrases echoing across the entire orchestra. Oboes intone a mournful processional in G flat minor in the fourth variation, clothed in cascading semi-quavers. This springs into a brusque, scherzi-like Vivace in the fifth, stacatto repetitions hijacked by jolting accents. Brahms bustles the repeated figures back into duple time in a galloping sixth variation featuring hunting horns. Next, the music relaxes into a graceful, transparently-textured sicilienne. We travel furthest from the original in the muted, murmuring mystery of the eighth variation with its spectral, scurrying lines. For his homecoming, Brahms’ takes the first five-bar phrase of the chorale and makes of it a passacaglia-like ground-bass on which to hang a new set of variations, building to an ever-more majestic finale and restatement of the chorale theme.
Variations on a Theme by Joseph Haydn, Op. 56a Brahms revered Haydn, keeping the composer’s old square piano in his parlour. The tune on which he based his ‘Haydn’ Variations, however, is a much older theme known as the ‘St Anthoni chorale’, which was shown to Brahms in manuscript form in 1870, probably copied from a much older source. That Brahms believed it was by Haydn is significant, though, as he paid
PROGRAMME NOTES
Ludwig van Beethoven (1770-1827) Beethoven has been a crucial and revolutionary figure in Western music, bridging the Classical and Romantic periods. Born in Bonn in 1770 he rapidly emerged as an original voice (briefly studying with Haydn), blazing a trail as a freelance performer and creator, driven to break apart and enlarge the potential of classical forms. In each of his extraordinary symphonies, concertos, sonatas and string quartets, he tries out something radically new. Struggling against ill-health, encroaching deafness and family conflict, he continued to throw down a gauntlet to later generations. As Richard Wagner said there was in Beethoven’s music ‘a strong, a consummate individuality, to which nothing human is a stranger.’
Piano Concerto No. 3 in C minor, Op.37 I. Allegro con brio II. Largo III. Rondo: Allegro Beethoven’s third piano concerto is notably more monumental and symphonic than the first two. It opens with a sombre triadic figure which falls back on itself in a severe, martial descent. This is taken up by mournful winds, before a gleam of light is suggested by upper strings, who develop
a major version of the theme and later the graceful song-like second subject. The piano enters with a volley of menacing minor scales rising to the theme. There follows a feisty dialogue in which soloist leads the orchestra into an ever-more exploratory development of the material. The dotted rhythm that concludes the main theme becomes the accompaniment figure over which the soloist ranges, at first lyrically and then more freely. Beethoven’s coup is to recall the dotted rhythm via a stealthy kettledrum as the cadenza comes to a close over quiet strings. After the dark drama of the first movement, the Largo moves a world away into the radiance of E major. Alone, the pianist reveals a hymn-like theme of spell-binding beauty which contemporary pianist Carl Czerny declared ‘must sound like a holy, distant and celestial Harmony.’ The movement is characterised by long unaccompanied episodes for solo piano, with a sense of time suspended. The celestial gives way to the earthy in a rollicking rondo finale. Its whirling dance tune is inflected with chromatic gypsy-like ornaments, which return in different guises as Beethoven plays with fragments. This is contrasted with a bucolic, song-like theme introduced by mellow clarinet. An austere fugue starts up across the orchestra from out of which the soloist moves quietly into a darkly, developing episode. Skittish octave leaps eventually lead us back to the rondo theme and a dazzling finale.
Joseph Haydn (1732-1809) Haydn, ‘Father of the Symphony’, spent a great part of his life in the service of the Esterházy court, the ‘Hungarian Versailles’, where his output of symphonies, masses, quartets and operas was prodigious and ground-breaking. In his later years he became a European celebrity, lionised in London, and able to write and publish symphonies to commission. Mozart, his junior, was an admirer: ‘There is no one who can do it all – to joke and to terrify, to evoke laughter and profound sentiment – and all equally well, except Joseph Haydn.’ His music is characterised by ingenuity, dazzling wit, innovation and, above all, joie de vivre.
Symphony No. 90 in C major, Hob 1:90 I. Adagio - Allegro assai II. Andante III. Menuetto: Allegretto VI. Finale: Allegro assai Following the sensational reception of his six ‘Paris’ symphonies (Nos. 82-87), performed by a 60-strong orchestra in the Tuileries Palace, Haydn was commissioned again by Rigoley, the Comte d’Ogny. In a rare act of deception he managed to persuade both the Count and Prince Krafft
Ernst of Oettingen-Wallerstein that he was writing Symphonies No. 90-2 exclusively for each of them. Capitalising, perhaps, on the success of its ‘Paris’ predecessor, No. 82, ‘The Bear’, Haydn also cast his Symphony No. 90 in C major, and it follows a similar formal pattern: a broad Allegro first movement, a slow movement in the form of variations, a lusty minuet and trio, and mischievous finale. The 90th, however, begins with a ceremonial, slow introduction, which serves to heighten the drama of the high-energy Allegro which follows. After a zestful opening, the symphony focuses in on an intimate and elegant melody on the flute, returning throughout the movement, alternating graceful lines with briskly syncopated accents. In the Andante Haydn creates a double series of variations on two themes: a tender melody, featuring the throaty voice of the bassoon, and a brusque, cascading theme in the minor: little wonder Brahms was so inspired by his example. There follows a robust minuet, whose trio forms a delightful aria for oboe. Haydn’s finale was knowingly crafted to confound the audience: exploding into effervescent life, it proceeds with moto perpetuo energy until coming to rest on a C major cadence, followed by no fewer than four bars rest. This commonly draws applause, until Haydn makes his orchestra creep back in, pianissimo, this time in a disconcerting D flat major, signalling a glorious, extended coda. HELEN WALLACE © 2015
ALAN GILBERT
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Photo: David Finlayson
ew York Philharmonic Music Director Alan Gilbert began his tenure in September 2009. He simultaneously maintains a major international presence, making regular guest appearances with orchestras including the Berlin Philharmonic, Leipzig Gewandhaus, Royal Concertgebouw, Cleveland, Philadelphia, Boston Symphony, Munich Philharmonic, Orchestra dell’Accademia Nazionale di Santa Cecilia, and Orchestre Philharmonique de Radio France. Gilbert is Conductor Laureate of the Royal Stockholm Philharmonic and Principal Guest Conductor of the NDR Symphony Orchestra Hamburg. He has led productions for the Metropolitan Opera,
Los Angeles Opera, Zurich Opera, Royal Swedish Opera, and Santa Fe Opera, where he served as the first appointed Music Director. This season, Gilbert makes debuts with four great European orchestras: Milan’s La Scala, Staatskapelle Dresden, London Symphony, and the Academy of St Martin in the Fields. At the New York Philharmonic, Gilbert has widened the artistic reach of the 174-year-old institution. He has led staged productions of Ligeti’s Le Grand Macabre, Janácek’s Cunning Little Vixen, Stravinsky’s Petrushka, and Honegger’s Joan of Arc at the Stake to great acclaim, and encouraged the development of two series devoted to contemporary music: CONTACT!, introduced in 2009, and the NY PHIL BIENNIAL, an exploration of today’s music by a wide range of contemporary and modern composers, which was inaugurated in 2014 and returns in 2016. Gilbert is Director of Conducting and Orchestral Studies and holds the William Schuman Chair in Musical Studies at the Juilliard School. He made his Metropolitan Opera debut in 2008 conducting John Adams’s Doctor Atomic, the DVD of which received a Grammy Award. He was elected to The American Academy of Arts & Sciences in 2014, honored with the Foreign Policy Association Medal in 2015, and nominated for an Emmy Award for Outstanding Music Direction of the New York Philharmonic’s acclaimed production of Sweeney Todd, broadcast on PBS’s Live from Lincoln Center in 2015.
INON BARNATAN THE BARBICAN
“A COMPLETE ARTIST: A WONDERFUL PIANIST, A PROBING INTELLECT, PASSIONATELY COMMITTED, AND A CAPABLE CONTEMPORARY-MUSIC PIANIST AS WELL.”
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Alan Gilbert on Inon Barnatan
Photo: Marco Borggreve
sraeli pianist Inon Barnatan is known widely for his compelling and insightful musicianship and elegant virtuosity, and as “a true poet of the keyboard, refined, searching [and] unfailingly communicative” (Evening Standard). He has performed extensively with the world’s important orchestras, including those of Cleveland, Los Angeles, New York, Philadelphia, and San Francisco, and he has worked with distinguished conductors such as Robert Abbado, Lawrence Foster, James Gaffigan, and Pinchas Zukerman. Awarded the prestigious Avery Fisher Career Grant in 2009, he was recently named the New York Philharmonic’s first Artist in Association, a three-season appointment that promises multiple concerto and chamber collaborations with the orchestra. Barnatan’s recordings are critically acclaimed, and his album Darknesse Visible was named one of the “Best of 2012” by the New York Times. BBC Music Magazine, in a review of his 2013 recording of Schubert’s late sonatas, declared that “this is superior playing, in which penetrating musicianship, compelling interpretive insight and elegant pianism achieve near perfect equilibrium.” New York Philharmonic Music Director Alan Gilbert describes Barnatan as “a complete artist: a wonderful pianist, a probing intellect, passionately committed, and a capable contemporary-music pianist as well.” Born in Tel Aviv in 1979, Inon Barnatan started piano at the age of 3 and made his
orchestral debut at 11. He has studied with Professor Victor Derevianko, himself a pupil of Russian master Heinrich Neuhaus; Maria Curcio, a student of the legendary Artur Schnabel; Christopher Elton at London’s Royal Academy of Music; and Leon Fleisher. For more information, visit www.inonbarnatan.com.
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
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
“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 programme. 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
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
THE ACADEMY PODCAST THE BARBICAN
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Photo: Aline Paley/Verbier Festival
ew for 2015/16, the Academy Podcast brings the artists and soloists from our international touring schedule directly to your phone, tablet, or desktop. 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 2, Brahms’ Double with Bell and Isserlis, Joshua Bell and Steven Isserlis regale us with stories and insights from nearly 30 years of working together, before
delving into the intricacies of Brahms’ Double Concerto, which they perform on tour with the Academy in the UK and Europe in January 2016. For those of you planning to join us back here at Cadogan Hall on 22 January, or indeed elsewhere on the tour, this is not to be missed! The first two episodes of the Academy podcast are now available for free on iTunes and SoundCloud. Head to the iTunes store and search ‘Academy of St Martin in the Fields podcast’ to download, or stream online at www.soundcloud.com/asmf
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LEARNING AND PARTICIPATION 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. Since 1998 we have been working to empower homeless and vulnerable adults through music, first at St Martin-in-theFields, and more recently in partnership with the West London Day Centre, which provides health, housing and education services for rough sleepers in the Westminster area. Often homeless adults are affected by experiences of rejection, addiction or mental illness, and while material benefits such as food and clothing provide necessary aid, the personal, social and therapeutic benefits of music-making can alleviate daily pressures and provide the strength for individuals to make long-lasting changes to their personal circumstances. Musical Foundations sees Academy
THE PERSONAL, SOCIAL AND THERAPEUTIC BENEFITS OF MUSICMAKING CAN ALLEVIATE DAILY PRESSURES AND PROVIDE STRENGTH musicians work with participants from WLDC over six months each year in a sustained programme of music-making. A series of informal improvisation, composition and creative workshops are delivered with the aim of increasing the self-confidence and musicianship of the adults involved, assisting with their social integration and supporting them in moving away from a street-based lifestyle. This year the project culminated in a public performance by the group near their home in Seymour Place, Marylebone on 11 December. Learn more about Musical Foundations and find photos from the project at www.asmf.org/learning
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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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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D I G I TA L R A D I O | C L A S S I C F M .C O M | 10 0 -10 2 F M
Photo: David M. Benett
A MUSICAL SOIRÉE
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n 10 November, Downton Abbey star and Academy supporter Hugh Bonneville generously hosted an evening of music and fine food to fundraise in aid of the Academy’s Learning and Participation programme. Held at the luxurious Café Royal, guests, including Downton producer Gareth Neame and co-stars Laura Carmichael and Douglas Reith, were treated to an intimate performance by Joshua Bell and pianist Sam Haywood in the gilded splendour of the Oscar Wilde Bar. The event was a great success with
£15,000 raised, which will go towards projects designed to deliver dynamic, inspiring and participatory musicmaking projects to people of all ages, backgrounds and abilities. Without the support of the Academy Friends, Patrons and generous benefactors like Hugh, none of our community outreach work would be possible. So we thank all of you who support us - and urge those of you who don’t already to consider it. Friends membership starts from as little as £4.20 a month. We hope to see you at our next Musical Soirée!
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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
SUPPORTING US
PROGRAMME NOTES CORPORATE PATRONS Concert Sponsor (15 April 2016):
Programme Sponsor:
CORPORATE CLUB MEMBERS Anonymous
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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 ACADEMY FELLOWS Dunard Fund Maria Cardamone & Paul Matthews ACADEMY TUTTI Daniel Dayan & Jennifer Ison Mrs Galina Smirnova PROJECT PATRONS Jim Mellon PLAYERS’ CIRCLE Paul Aylieff Elizabeth Bennett Peter & Annette Dart Trevor Moross Charlotte Richardson
Peter & Prilla Stott Jenny & Bruce Tozer HONORARY PATRONS Hugh Bonneville & Lulu Williams PATRONS Anonymous Conrad Bjørshol & Linda Sivertsen Clive & Helena Butler Cyrille Camilleri Dr Paul Gilluley & Mr Tim Hardy Christine Jasper Jonathan Joseph Diana Midmer Karen & Stefan Müller 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 Julia Jordan Alan Leibowitz Laurence Llewellyn Andrew McGowan Susanna & Michael Percy Katy Shaw Gabriel van Aalst Sir Robert & Lady Wilson
FRIENDS Anonymous Lady Mimi Lloyd Adamson Mark & Nicola Beddy Mrs Pat Benians Heather Benjamin Ishani Bhoola Lady Rosemary Bischoff Michael & Lauren Clancy Marianne Denzle Stephen Hayes Johannes Jasper Annette Kurdian Richard & Lizzy Lea Richard Maile Patrick McEntee Diana Mills Paul Nettelmann Alexander & Sally Nissen Juan Pena Catherine Phillips RIBA Ray Pritchard John Ransom Scott Raquepaw Ronald & Christine Rodgers Simon Rothon Timothy M Simon Kenneth & Marilyn Teacher John Turner Dr J Wardle Philippa Wright R Zornoza AMERICAN FRIENDS OF THE ACADEMY OF ST MARTIN IN THE FIELDS 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
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 Maria Averianova Henrietta Baldock Stephen Barter Ronnie Bell Vanessa Blackmore Hugh Bonneville & Lulu Williams Sara Boyes André Bruère Isobel Buchanan & Jonathan Hyde Sandra Burbidge Andrew Carey 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 Andrew Given Lord Peter Goldsmith Colin & Fiona Goodwille Lydia & Manfred Gorvy Sean Gorvy
Matthew Gregory Stewart Grimshaw Gustav Hamrén-Larsson Dame Pippa Harris Sophia Hart David Horlington Professor Ken Howard John Hughes Celia Imrie 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 Gareth Neame 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 Ewan Venters Richard Wilson Trish Wilson
For50 years, we’ve measured success just one way: We only win when our clients win. There was a time when investment bankers were trusted partners and advisors to their clients. The goal was simple: relentlessly commit to your clients; be hardworking and humble; stay unconflicted in your work and uncompromising in your values. The rest will take care of itself. Our success proves there’s still room in the world for a firm that embraces an approach that has stood the test of time: Clients First–Always. SM
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THE ACADEMY
MUSIC DIRECTOR
Development
LIFE PRESIDENT
Joshua Bell
Andrew McGowan Director of Development
Sir Neville Marriner CH, CBE
PRINCIPAL GUEST CONDUCTOR
Murray Perahia
BOARD OF DIRECTORS
Cecilia Sala Senior Development Manager
ACADEMY STAFF
Gabriel van Aalst Chief Executive
Andrew Miles Development Assistant
Concerts
Learning and Participation
Anna Desogus Head of Concerts and Touring
Charlotte O’Dair Learning and Participation Manager
Sally Sparrow Orchestra Personnel Manager
Marketing and PR
Ina Wieczorek Concerts and Recordings Manager
Rebecca Driver Media Relations PR Consultant
Peter Fisher Marketing Manager
Katherine Adams Librarian Richard Brewer Concerts and Administration Assistant
THE ACADEMY OF ST MARTIN IN THE FIELDS
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
The Griffin Building, 83 Clerkenwell Road, London EC1R 5AR www.asmf.org E: info@asmf.org
/asmforchestra
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
/ASMF
@asmforchestra +academyofstmartininthefields /TheASMF
JOIN US AGAIN SOON JOSHUA BELL STEVEN ISSERLIS Friday 22 January Cadogan Hall 7.30pm
/asmforchestra @asmforchestra /ASMF /TheASMF +academyofstmartininthefields
THE ACADEMY OF ST MARTIN IN THE FIELDS The Griffin Building, 83 Clerkenwell Road, London EC1R 5AR www.asmf.org info@asmf.org