SIR NEVILLE MARRINER TILL FELLNER Friday 15 April
Antonio Stradivari, Cremona, 1721 J & A Beare 30 Queen Anne St London W1G 8HX Owners & Directors: Steven Smith & Simon Morris violins@beares.com www.beares.com +44 (0)20 7307 9666
J & A Beare is proud to be the principal sponsor of the Academy of St Martin in the Fields’ 2015-16 programme. With best wishes for another wonderful season. “... the world’s most respected violin dealer” Money Magazine
WELCOME TO THIS EVENING’S CONCERT
M
y thanks to you all for coming to celebrate this special occasion with me - I can’t think of a better way to spend my 92nd birthday than making music with my many friends and colleagues at the Academy. It is a delight to be sharing the stage with these fine musicians once again, including nine ‘survivors’ from the 1980s (and even one or two from the 60s and 70s, whose identities shall remain secret!).
Photo: Mark Allan
As anyone familiar with the Academy will know, I have always felt a particularly affinity to the work of Mozart, so it seemed fitting to programme his celebratory “Haffner” Symphony and one of the sublime piano concertos tonight, to be complemented by Bizet’s colourful Symphony in C. It is in this type of repertoire that I believe the Academy is at its best. Mozart provides the perfect showcase for the qualities that make this ensemble truly unique – virtuosity made to sound simple, and a transparency of sound that is instantly recognisable the moment the bow first touches the string. I would like to extend a warm welcome to tonight’s soloist, Till Fellner. Till first played with the Academy just at the beginning of his career in 1994, on a recording of Beethoven piano concertos. I’ve since had the pleasure of working with him on numerous occasions and, thanks to his
pedigree and artistry, he is firmly established as one of my favourite collaborators. I have always told musicians that playing for the Academy is an adventure, not a job; and, having just returned from a vibrant and stimulating tour of East Asia, this still holds true today. Therefore I hope you, the audience, take just as much enjoyment from tonight’s concert as those of us on stage.
Sir Neville Marriner Life President
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V I L L A M A R I A E S TAT E . C O . U K
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 15 April 2016 Conductor: SIR NEVILLE MARRINER Soloist: TILL FELLNER (piano) Mozart Symphony No. 35 in D major, K.385 (“Haffner”) Mozart Piano Concerto No. 22 in E flat major, K.482 Interval – 30 minutes Bizet Symphony No. 1 in C major
VIOLIN I
VIOLA
FLUTE
HORN
Tomo Keller (Leader)
Robert Smissen
Michael Cox
Timothy Brown
Harvey de Souza
Nicholas Barr
Sarah Newbold
Michael Murray
Fiona Brett
Martin Humbey
Jeremy Morris
Stephen Upshaw
Helen Paterson
Stephen Stirling
OBOE
Rakhi Singh
CELLO
Katie Harris
Stephen Orton
Martin Gwilym-Jones
Will Schofield
CLARINET
Ashok Klouda
James Burke
Rowena Calvert
Thomas Lessels
Matthew Ward
DOUBLE BASS
BASSOON
Mark Butler
Lynda Houghton
Gretha Tuls
Clare Hoffman
Catherine Elliott
Gavin McNaughton
VIOLIN II
Harry Johnstone
Timothy Rundle Rachel Ingleton
TRUMPET Mark David
Robert Salter
William O’Sullivan
TIMPANI Pedro Segundo
Richard Milone Simon Lewis
ORCHESTRA MANAGER Hal Hutchison
CHAIR PATRONS Harvey de Souza
Nicholas Barr
Stephen Orton
Mark David
Chair supported
Chair supported by
Chair supported
Chair supported
by Trevor Moross
Jenny & Bruce Tozer
by Elizabeth Bennett
by Charlie Dart
Our special thanks to this evening’s concert sponsor WPP, and the Cadogan Charity and Gold Birthday Patrons Marian Wilton, Conrad Bjørshol and Linda Sivertsen for supporting this evening’s concert.
A MESSAGE FROM CLASSIC FM’S SAM JACKSON 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.
I
n September 2015 we were thrilled to announce Joshua Bell and the Academy of St Martin in the Fields as Classic FM’s Artists in Residence. Eight months on, the partnership is flourishing, and continues to grow from strength to strength. Our listeners have enjoyed exclusively recorded performances on the Full Works Concert (weeknights, 8pm10pm), and a range of content on ClassicFM. com, along with the opportunity to be among the first to hear new releases from the
Academy – all on the world’s largest classical music radio station. Tonight is, of course, all about the Academy’s founder and Life President, Sir Neville Marriner. We remain very proud that Classic FM played a leading role in the magnificent Marriner at 90 birthday celebrations with the Academy two years ago, and we are delighted to be back to capture Sir Neville’s 92nd tonight. You will be able to hear this evening’s concert again when it is broadcast on Classic FM at 8pm on Friday 22nd April in the final Full Works Concert of this year’s partnership. But it doesn’t stop there – we are delighted to announce that the Academy will be our Artists in Residence once again in 2016/17, along with their Principal Guest Conductor Murray Perahia, giving us the opportunity to continue building on our successful partnership of the last six months, beginning at the Royal Albert Hall in September this year as we welcome the Academy on stage for the ever-popular Classic FM Live. Whether you’re already one of our 5.6 million weekly listeners, or yet to discover Classic FM, I do hope you will join us as we continue to celebrate the work of these outstanding musicians.
Sam Jackson Managing Editor, Classic FM
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PROGRAMME NOTES
Wolfgang Amadeus Mozart (1756–1791) Mozart achieved an exalted level of musical 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 keyboard-composer 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 blinding incandescence. He died tragically young, leaving behind him a priceless series of exquisite masterpieces.
Symphony No. 35 in D major, K.385 “Haffner” (1782) I. Allegro con spirito II. [Andante] III. Menuetto IV. Presto The ‘Haffner’ Symphony is intimately associated with Mozart’s marriage to Constanze Weber on 4 August 1782. His sister Nannerl was incandescent with rage at the match – the once inseparable siblings would never see each other again. It was also fiercely opposed by his father,
Leopold, who raged in a letter that ‘the Webers should have boards hung around their necks labelled “Seducers of Youth”.’ It was during the final wedding preparations in mid-July that Leopold requested Mozart compose a new symphony to mark the ennoblement of his childhood friend, Sigmund Haffner. He was still reeling from the premiere of his singspiel Die Entführung aus dem Serail four days earlier and was already hard at work on an arrangement of highlights for wind instruments before ‘someone beats me to it and secures all the profits instead!’. Incredibly, just a week later the first movement of the symphony was ready, the Entführung arrangement was complete, and Mozart was now hard at work on the K.375 Serenade for wind. A week later both the Serenade and Symphony were ready just in time for the wedding. Yet despite the breakneck speed at which it was composed, the ‘Haffner’ Symphony shows absolutely no sign of haste. The outer movements surge with confidence, exuding a brilliance and exhilaration almost without parallel in Mozart’s non-operatic output. In fact, the original version was designed more like a serenade with an introductory march (which survives) and additional minuet (now lost). He jettisoned these movements some six months later when he came to revisit the work, noting in a letter to his father ‘My new Haffner symphony positively amazed me for I had forgotten every single note of it.’ It seems that composing was as natural as living and breathing for Mozart
PROGRAMME NOTES
– once he had a work down on paper he simply moved on to the next project with barely a glance backwards.
Piano Concerto No. 22 in E flat major, K.482 (1785) I. Allegro II. Andante III. Rondo: Allegro Mozart was a dazzling keyboard prodigy. Having started formal lessons with his father Leopold at the tender age of three, within two years he was already composing little piano pieces. Aged just six, he embarked on the first of a series of spectacular European tours with Leopold and his sister Nannerl, amazing everyone with his astounding displays of free extemporisation, photographic memory and keyboard dexterity. One of his favourite tricks was to play intricate, virtuoso pieces while his hands were covered entirely with a black cloth. His 27 piano concertos therefore not only afford us unique insights into Mozart’s creative thinking, but also his distinctive qualities as a player – after all, it was for his fingers that these wonderful pieces were almost invariably intended. The E flat Concerto – dated ‘16 December 1785’ in Mozart’s own catalogue of his compositions – belongs to a remarkably productive period between late October 1785 and the end of April 1786. Other works composed during this time include the piano concertos K.488 and K.491, the Maurerische Trauermusik K.477, the
K.481 Violin Sonata, a series of song settings, some incidental music for the comedy Der Schauspieldirektor, and most notably of all, the opera buffa Le nozze di Figaro. This required an average daily output of six pages of twelve-stave manuscript, complete in every detail, a miraculous achievement that seems all the more astonishing when one considers that this was in addition to his regular teaching commitments, coping with a constant stream of visitors and houseguests, regular visits to his local masonic lodge and a heavy round of concert engagements. Scored for flutes, clarinets, bassoons, horns, trumpets, timpani and the usual compliment of strings, the E flat Concerto scored an immediate success at one of Mozart’s regular subscription concerts – so much so that the central C minor Andante had to be immediately encored, ‘a rather unusual occurrence,’ according to Leopold. The wind-writing is particularly full and inventive, imparting a distinctive soundworld midway between a fullblown virtuoso concerto and the more intimate manner of a wind serenade. This is particularly noticeable in the slow movement, a remarkable Andante theme and variations, in which the dark, trenchant (muted) string writing is at one point magically alleviated by lighter wind colourations, and again in the finale, where the brilliant piano figurations are halted by a central clarinet-led Andantino in heartwarming serenade style.
Georges Bizet (1838–1875) Bizet was a brilliant melodist and colourist, capable of conjuring up a whole musical world in just a few bars. He aimed to compose with the Classical concision of his musical hero, Mozart, and was painfully self-critical – his working life was one continual round of abandoned, destroyed or rejected projects. He finally achieved popularity with his indelible Hispanic opera Carmen, although full recognition of his creative genius was to follow only after his premature death three months short of his 37th birthday. His worldweary observation that ‘in order to succeed today you have either to be German or dead’ had therefore proved tragically prophetic.
Symphony No. 1 in C major (1855) I. Allegro vivo II. Andante III. Allegro vivace IV. Finale: Allegro vivace Just a few days short of his tenth birthday, Bizet began studying full-time at the Paris Conservatoire. Awarded innumerable prizes during his nine years there, his prodigious all-round ability earned him constant praise – and little wonder when aged just seventeen he produced the spontaneously assured C major Symphony we hear played tonight. Two years later he won the coveted Prix
de Rome and as a result spent three years based in the Italian capital between 1857 and 1860. During one of Liszt’s frequent visits to Rome, he saw Bizet play one of his most taxing pieces at sight and promptly declared him one of the three greatest pianists in Europe. Yet it was as a composer that Bizet’s true destiny lay – the enchanting Jeux d’enfants (‘Children’s Games’), L’Arlésienne (‘The Girl from Arles’), La jolie fille de Perth (‘The Fair Maid of Perth’) and Carmen made him an iconic symbol of French late Romanticism alongside Saint-Saëns and Fauré. It defies belief that Bizet’s cherishable fourmovement Symphony was a mere student exercise, one that he saw fit to consign to the bottom drawer, never permitting a public performance. The combined influences of Schubert, Mendelssohn and Rossini are unmistakable, as well as his teacher Gounod’s First Symphony – a highly popular work that Bizet had recently transcribed for two pianos – yet this brilliant music already has an individuality all its own. Bizet is on his best Classical behaviour throughout, opening with a lively, sparkling Allegro vivo, followed by a flowing Andante intermezzo, a rumbustious scherzo and fizzing, moto perpetuo finale. Completely forgotten about until it was rediscovered in the Paris Conservatoire archives, the Symphony received its world premiere in Basel in 1935 under the celebrated Austrian conductor Felix Weingartner and has sustained a popular place in the repertoire ever since. JULIA HAYLOCK © 2016
SIR NEVILLE MARRINER
Photo: Mark Allan
L
ife President of the Academy, Sir Neville Marriner began his career as a violinist, playing first in a string quartet and trio, then in the London Symphony Orchestra. It was during this period that he founded the Academy, with the aim of forming a top-class chamber ensemble from London’s finest players. Beginning as a group of friends who gathered to rehearse in Sir Neville’s front room, the Academy gave its first performance in its namesake church in 1958. On the strength of this, the Academy was invited to make a record for a new company called L’Oiseau Lyre. The Academy now enjoys one of the largest discographies of any chamber orchestra worldwide, and its partnership with Sir Neville is the most recorded of any orchestra and conductor. As a player, Sir Neville had observed some of the greatest conductors at close quarters. He worked as an extra under Toscanini and Furtwängler, with Joseph Krips, George Szell, Stokowski and mentor Pierre Monteux. Sir Neville began his conducting career in 1969, after his studies in America with Maestro Monteux. At this time he founded the Los Angeles Chamber Orchestra, whilst simultaneously developing and extending the size and repertoire of the Academy. In 1979 he became Music Director and Principal Conductor of both the Minneapolis Symphony Orchestra and the Südwest Deutsche Radio Orchestra in Stuttgart, positions he held late into the 1980s. Subsequently he has continued to work
with orchestras round the globe in Vienna, Berlin, Paris, Milan, Athens, New York, Boston, San Francisco and Tokyo. In 2011 Sir Neville was appointed Honorary Conductor of the newly formed I, Culture Orchestra which brings together the most talented young musicians from Eastern Europe. Whilst pursuing his own conducting career, Sir Neville has always remained a dominant influence in the Academy’s story. Honoured three times for his services to music in this country – most recently being made a Companion of Honour in June 2015 – Sir Neville has also been awarded honours in France, Germany and Sweden. Sir Neville’s illustrious recording career is well documented, and he continues to work with the Academy and other orchestras around the globe.
TILL FELLNER
THE BARBICAN
Photo: Benjamin Ealovega
A
ustrian pianist Till Fellner’s international career was launched in 1993 when he won First Prize at the renowned Clara Haskil Competition in Vevey, Switzerland. Over a period of more than two decades, he has become a sought-after guest with many of the world’s most important orchestras and at the major music centres of Europe, USA and Japan, as well as numerous festivals. In the 2015-16 season, Till Fellner made his debut with the Berlin Philharmonic, under the baton of Bernard Haitink. Other highlights included recitals in major halls in Europe and Asia as well as concerts with the NHK Symphony Orchestra/Herbert Blomstedt, Chicago Symphony Orchestra/Bernard Haitink, the Academy of St Martin in the Fields/Sir Neville Marriner, and the Mahler Chamber Orchestra/Manfred Honeck. Till Fellner has collaborated with Claudio Abbado, Vladimir Ashkenazy, Semyon Bychkov, Christoph von Dohnányi, Nikolaus Harnoncourt, Sir Charles Mackerras, Kurt Masur, Kent Nagano, Jonathan Nott, Kirill Petrenko, Claudius Traunfellner, and Hans Zender, among many others. In the field of chamber music Till Fellner regularly collaborates with the British tenor Mark Padmore, with whom he gave the first performance of a composition by Hans Zender in January 2016. The Belcea Quartet invited him to celebrate their 20th anniversary in 2015 with performances of Brahms’ Piano
Quintet in major cities throughout Europe and a subsequent recording. Over the past few years Till Fellner has dedicated himself to two milestones of the piano repertoire: Bach’s WellTempered Clavier and Beethoven’s 32 Piano Sonatas. He has also given the world premieres of contemporary works by Kit Armstrong, Harrison Birtwistle, Thomas Larcher, and Alexander Stankovski. In his native Vienna, Till Fellner studied with Helene Sedo-Stadler before going on to study privately with Alfred Brendel, Meira Farkas, Oleg Maisenberg, and Claus-Christian Schuster. Since autumn 2013, Till Fellner has been engaged to teach a small circle of students at the Zurich Hochschule der Künste.
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
F
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 unrivalled live performances and a 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 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, whilst pushing the boundaries of play-directed performance to new heights. Each year the Academy collaborates with some of the world’s most talented soloists and directors, performing symphonic repertoire and chamber music on a grand scale at prestigious venues from New York to Beijing. These partnerships extend to the recording studio, where regular additions to the orchestra’s celebrated back-catalogue of over 500 recordings make the Academy one of the most recorded chamber orchestras in the world.
“EXPLOSIVE, MERCURIAL, SPONTANEOUS, TOTALLY INVOLVING”
Photo: Chris Christodoulou
Classical Source
Highlights of the Academy’s 2016/17 season included a month-long tour of the United States and Canada with Inon Barnatan, European and Australian tours with Joshua Bell, several short tours with Sir Neville Marriner, and a complete cycle of Beethoven’s piano concertos with Murray Perahia in London. Additional touring engagements include performances with Julia Fischer, Kit Armstrong, Yulianna Avdeeva, Renaud Capuçon, Arabella Steinbacher, Martin Fröst, and Cameron Carpenter. Complementing a busy international schedule, the Academy continues to reach out to people of all ages and backgrounds through its learning and participation programmes. The Academy’s flagship project for young people
provides performance workshops for primary and secondary school children; partnerships with Southbank Sinfonia, the Guildhall School of Music and Drama, the Royal Northern College of Music and masterclasses on tour further the development of the professional musicians of tomorrow; the Academy provides a creative outlet for some of London’s most vulnerable and homeless adults at the West London Day Centre; and a regular programme of pre-concert talks and podcasts create opportunities for musiclovers the world over to connect and learn with the orchestra.
Find out more about the Academy of St Martin in the Fields at www.asmf.org
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NEWS FROM THE ACADEMY THE BARBICAN
Bell, the USA with Inon Barnatan, and a four-concert series encompassing all of Beethoven’s piano concertos at London’s Barbican with Murray Perahia. All of the performances in our London season are now on sale – see overleaf for an overview, pick up one of our new season brochures at the interval or after the concert, or visit www.asmf.org/whats-on for more information.
LEARNING AND PARTICIPATION
SIR NEVILLE MARRINER CH, CBE A month ago today, Sir Neville was at Buckingham Palace to be formally made a Member of the Order of the Companions of Honour, in an investiture ceremony conducted by HRH Prince William, Duke of Cambridge. A rarely-bestowed honour - with only 65 individuals being members of the order at any one time - membership is conferred on individuals for recognised services of national importance. We would like to extend our congratulations to Sir Neville once again from everybody at the Academy.
2016/17 SEASON ANNOUNCED Our 2016/17 Season was announced on Monday, with highlights including tours of Europe and Australia with Joshua
Continuing our work with London’s homeless and vulnerable adults, Musical Foundations headed to the recording studio at the end of January to record a new composition. Written over the course of several sessions with participants at the West London Day Centre, the track, titled Dreams, is now available to listen to on our website, along with all of the previous pieces written and recorded by the participants and Academy musicians under the guise of the ‘Seymour Orchestra’. Create, Cultivate, Orchestrate! returned to Islington at the end of March, offering young musicians aged 9-18 the opportunity to improvise, rehearse, direct, compose and collaborate with Academy musicians in a three-day workshop. Taking Vaughan Williams’ Fantasia on a Theme by Tallis as inspiration - a piece the Academy performed on the recent tour of Asia - the young musicians wrote their own Fantasia based on another theme by Tallis, which they performed to an enthusiastic audience of parents and friends at the Platform in Islington. Visit www.asmf.org/learning to find out more about our Learning and Participation
OUR 2016/17 LONDON SEASON
PERAHIA PLAYS BEETHOVEN
“EVERY BEETHOVEN PERFORMANCE BY MURRAY PERAHIA IS AN EVENT” THE INDEPENDENT
AT THE BARBICAN
PHOTO: FELIX BROEDE
21 NOVEMBER 2016 20 FEBRUARY 2017 7 APRIL 2017 11 JUNE 2017
AMADEUS LIVE “THE MASTERPIECE OF ITS TIME. TO THIS DAY, IT REMAINS UP IN THE GODS.” EMPIRE
AT THE ROYAL ALBERT HALL
14 OCTOBER 2016
SEE PAGES 00 FOR DETAILS
PICK UP THE ACADEMY’S NEW SEASON BROCHURE IN THE FOYER DURING THE INTERVAL, OR VISIT WWW.ASMF.ORG TO FIND OUT MORE ABOUT OUR 2016/17 LONDON SEASON.
JOSHUA BELL AT CADOGAN HALL
“ONE OF THE MOST IMAGINATIVE, TECHNICALLY GIFTED AND EXTRAORDINARY VIOLINISTS OF OUR TIME.” THE WASHINGTON POST
PHOTO: IAN DOUGLAS
19 JANUARY 2017
“UNTIL YOU’VE HEARD MARTIN FRÖST, YOU REALLY HAVEN’T HEARD THE CLARINET.”
PHOTO: MATS BÄCKER
THE TIMES
CHORAL CLASSICS AT ST MARTININ-THE-FIELDS
PHOTO: LIAM BAILEY
12 NOVEMBER 2016 15 JULY 2017
MARTIN FRÖST AT CADOGAN HALL 2 FEBRUARY 2017
Stand out with 20% off Business Cards from moo.com To claim, use the code ASMF20 at checkout before 30th June 2016. (Much as we adore you, sadly this offer isn’t valid with other MOO offers or previous orders, and excludes shipping and giftcards.)
WITH
FRI 29 & SAT 30 JULY 7.30PM TUE 2 & WED 3 AUGUST 7.30PM CADOGAN HALL TICKETS
£79 | £59 | £39 | £19 CONCES SIONS , GROUPS (6+) AND ENCORE MEMBERS
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is a proud supporter of Joshua Bell and
The Academy of St Martin in the Fields ONG STR ARM DER & Sunday XAN ALE aturday 1pm S from
M Y LE
E Saturd N E K LA SS ay & from 10 Sunday pm
ET UCH 9am N S from JOH eekday
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Since September 2015, Joshua Bell and the Academy of St Martin in the Fields have been Classic FM’s inaugural Artists in Residence. 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 three-part series introducing the orchestra presented by Joshua Bell, exclusive online content at ClassicFM.com and a special appearance from the Academy at Classic FM Live, to be held at London’s Royal Albert Hall in September. 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.
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
GALA
ANNUAL GALA DINNER & AUCTION MONDAY 9TH MAY 2016 JOIN US ON MONDAY 9TH MAY FOR THE ACADEMY OF ST MARTIN IN THE FIELDS’ ANNUAL GALA DINNER AND AUCTION AT THE WALDORF HILTON IN COVENT GARDEN.
W
e are celebrating the Academy with a fantastic evening filled with world-class music, great company and the finest food. The highlights of the evening will be performances by our Music Director Joshua Bell, virtuoso trumpeter Håkan Hardenberger, special guest Glenn Close and members of the Academy itself. We are delighted to be auctioning many unique and incredible prizes as part of the evening’s celebrations, including artwork by Sir John Hurt, a chance to sit amongst the musicians during rehearsals, and a private screening of your favourite movie at the new Everyman Pop-Up Cinema. Attendees and non-attendees alike are invited to bid online in advance of the gala at soon-to-belaunched www.asmfgala.com from Friday 29th April.* All proceeds from the Gala go directly to supporting the Academy’s work,
in particular its innovative learning and participation programme – which includes participatory music projects with school children in the boroughs of Newham and Islington, working with the homeless of Westminster, and mentoring projects for the next generation of gifted orchestral musicians. The Academy does not receive any public funding and we depend on your financial support through events such as this to continue enriching our local community and creating great musical experiences for audiences in London and across the globe. If you are interested in attending, please contact us at development@asmf. org or ring +44 (0)20 7702 1377 for more information. Tickets are £250 per person. *Terms and conditions apply, which will be detailed on the website.
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T
he Academy of St Martin in the Fields relies on the generosity of individuals in order to continue bringing its world-class interpretations of the classical repertoire to new audiences, and to furthering its innovative learning and participation programmes. You can make a real difference to the continued success of the Academy 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. We invest a significant amount 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 £3 million a year and we need to raise in excess of £550,000 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. Join online at https://support.asmf.org/ or for further information please contact the Development office on +44 (0)20 7702 1377
SUPPORTING US
PROGRAMME NOTES CORPORATE PATRONS Concert Sponsor (15 April 2016):
Programme Sponsor:
CORPORATE CLUB MEMBERS GOLD
SILVER Anonymous
CORPORATE PARTNERS Gala Partner
CHARITABLE TRUSTS AND FOUNDATIONS
HONORARY PATRONS Hugh Bonneville & Lulu Williams
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
PATRONS Anonymous Conrad Bjørshol & Linda Sivertsen Clive & Helena Butler Cyrille Camilleri Evelyne Dubé Dr Paul Gilluley & Mr Tim Hardy Dr Joseph Helms Christine Jasper Jonathan Joseph Diana Midmer Karen & Stefan Müller Anthony & Natalia O’Carroll Mr & Mrs Nigel Rich Lois Sieff Shelley von Strunckel
ACADEMY FELLOWS Dunard Fund Maria Cardamone & Paul Matthews ACADEMY TUTTI Daniel Dayan & Jennifer Ison Mrs Galina Smirnova
Print Partner: PROJECT PATRONS Jim Mellon
Wine Partners:
PLAYERS’ CIRCLE Paul Aylieff Elizabeth Bennett Peter & Annette Dart Trevor Moross Charlotte Richardson Peter & Prilla Stott Jenny & Bruce Tozer
PRINCIPAL FRIENDS Anonymous Bobby Child David Cohen Mrs Maureen Elton David & Anne Giles 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 Diana Mills 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 Marianne Denzle Ann France Stephen Hayes Johannes Jasper Annette Kurdian Richard & Lizzy Lea Richard Maile Patrick McEntee Paul Nettelmann Alexander & Sally Nissen Juan Pena Catherine Phillips RIBA Ray Pritchard John Ransom Scott Raquepaw Ronald & Christine Rodgers Simon Rothon Cecilia Sala 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 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 Steven Fogel 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 Simon Haslam 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 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
THE ACADEMY
MUSIC DIRECTOR
Marketing and PR
LIFE PRESIDENT
Joshua Bell
Peter Fisher Marketing Manager
Sir Neville Marriner CH, CBE
PRINCIPAL GUEST CONDUCTOR
Murray Perahia KBE
BOARD OF DIRECTORS
Rebecca Driver Media Relations PR Consultant
LEADER
Tomo Keller
Concerts
ACADEMY STAFF
Sally Sparrow Orchestra Personnel Manager
Gabriel van Aalst Chief Executive Development
Andrew McGowan Director of Development Andrew Miles Development Officer Learning and Participation
Charlotte O’Dair Producer
Ina Wieczorek Concerts and Recordings Manager Katherine Adams Librarian Richard Brewer Concerts and Administration Coordinator Sarah Narhi Orchestral Administration Trainee
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 Bernard Oppetit 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
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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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@asmforchestra +academyofstmartininthefields /TheASMF
All information correct at the time of printing.
JOIN US AGAIN SOON ACADEMY CHAMBER ENSEMBLE nd Happy 92 birthday to Sir Neville… Wednesday 11 May 2016 Kings Place 7.30pm
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…from all your friends at WPP
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THE ACADEMY OF ST MARTIN IN THE FIELDS The Griffin Building, 83 Clerkenwell Road, London EC1R 5AR www.asmf.org info@asmf.org