Cadogan Hall 18 October by London Mozart Players

Resident Orchestra of Fairfield, Croydon

Monday 18 October 2010 7.30pm Cadogan Hall, London Gérard Korsten conductor Alain Lefèvre piano Paul Archibald trumpet MOZART Serenade No. 6 in D, K239 Serenata Notturna SHOSTAKOVICH Piano Concerto No. 1, Op. 35 ANDRÉ MATHIEU Concertino No. 2, Op. 13 MOZART Serenade No. 9 in D, K320 Posthorn

This concert is sponsored by: The LMP is funded by the London Borough of Croydon

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london mozart players Founded by Harry Blech in 1949 as the UK’s first chamber orchestra, the London Mozart Players (LMP) is regarded as one of the UK’s finest ensembles. Under the leadership of Music Director Gérard Korsten the orchestra is internationally renowned for its outstanding live performances and CD recordings and particularly known for its definitive performances of the core Classical repertoire. The LMP also plays an active part in contemporary music, giving many world premières and commissioning new works, especially of British composers. In recent years, the LMP has premièred new works by composers including Sir Peter Maxwell Davies, Tarik O’Regan, Sally Beamish, Cecilia McDowall, Lynne Plowman, Fraser Trainer and Roxanna Panufnik. Since 1989, the LMP’s home has been Fairfield Halls, Croydon, thanks to generous funding from the London Borough of Croydon. This residency includes a series of subscription concerts at the hall and numerous education and community activities throughout the borough. Touring is a major part of the orchestra’s schedule, with regular appearances at festivals and concert series throughout the UK and abroad. It is Orchestra in Association of The Anvil, Basingstoke and Turner Sims Concert Hall, Southampton and has strong relationships with other major UK venues. Overseas, the LMP has recently visited Spain, Belgium and France. A tour through Germany is planned for December 2010. The 2010/11 season marks the start of conductor Gérard Korsten’s three-year term as the LMP’s fifth Music Director, continuing the strong Classical tradition developed by Andrew Parrott, Matthias Bamert and Jane Glover. The season sees the orchestra continuing to work with established artists including Howard Shelley, Joseph Swensen and Chloë Hanslip, whilst building new relationships with bright new stars including Catrin Finch and Francesco Piemontesi. The LMP’s new association www.lmp.org

with Korsten also sees the introduction of some of the best European soloists to our Fairfield season. The LMP has developed an extensive and highly regarded education, community and audience development programme, LMP Interactive, and is particularly committed to developing new audiences in outer London boroughs as well as rural areas across the nation. It had a residency for over nine years in the East Lindsey District region of Lincolnshire, generating a huge following for live classical music in the area; a similar association with South Holland District Council allows the orchestra to reach into the heart of the Fenland communities. Working with educational institutions also brings inspiring and valued relationships, providing a professional grounding for young musicians, and the LMP is associated with Royal Holloway University of London, Wellington College, Portsmouth Grammar School and the Whitgift Foundation Schools in Croydon. Other ventures include visiting care homes, presentations in SureStart centres and concert demonstrations in primary and secondary schools. The LMP receives project funding from Arts Council England, Orchestras Live and the Royal Borough of Kingston upon Thames. In addition, the LMP receives grants from trusts, foundations and many individuals, particularly the Friends of the LMP in Croydon. Recording has played a major part in the orchestra’s life for many years. Its acclaimed Contemporaries of Mozart series with Matthias Bamert for Chandos numbers over 20 CDs to date, with the latest release of Boccherini proving a success with the critics. A recording with Canadian pianist Alain Lefèvre of works by Mendelssohn, Shostakovich and Mathieu for Analekta was awarded a Canadian Juno Award in 2010.

ORCHESTRA players first violins Krysia Osostowicz Susanna Candlin Nicoline Kraamwinkel Ann Criscuolo Anna de Bruin Gareth Griffiths Richard Milone Robert Yeomens second violins Jennifer Godson Andrew Roberts Helena Smart Miriam Teppich Jeremy Metcalfe Stephen Rouse

violas Cian O’Duill Julia O’Riordan Michael Posner Matthew Quenby cellos Sebastian Comberti Julia Desbruslais Sarah Butcher Ben Rogerson basses Cathy Elliott Tim Amherst

flutes Juliette Bausor Robert Manasse

horns Christopher Newport Tony Catterick

oboes Gareth Hulse Katie Clemmow

trumpets Paul Archibald Peter Wright

clarinets Angela Malsbury Margaret Archibald

percussion Ben Hoffnung

bassoons Adam Mackenzie Robert Porter

management patron HRH The Earl of Wessex KG, KCVO music director Gérard Korsten associate conductor Hilary Davan Wetton council of management acting chairman Rowan Freeland chair of the audit committee Rosamund Sykes Daniel Benton Simon Funnell Gillian Perkins Sarah Ross Goobey David Wechsler Malcolm Wicks MP

administration managing director Simon Funnell deputy managing director Jo Towler general manager David Wilson development manager Elinor Browne marketing manager Femke de Vos Burchart concerts & projects manager Deborah Guest

London Mozart Players Suite 26 Suffolk House College Road Croydon CR0 1PE T: 020 8686 1996 F: 020 8686 2187 E: info@lmp.org W: www.lmp.org Registered in England No. 18720034 Registered Charity No. 290833

orchestral librarian Anna Binney Martin Sargeson (maternity cover) intern Caroline Molloy

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Born in South Africa, Gérard Korsten began his career as a violinist after studying with Ivan Galamian at the Curtis Institute and with Sándor Végh in Salzburg. Following his studies in the US and Europe he became Concertmaster and Assistant Music Director of the Camerata Salzburg and later Concertmaster of the Chamber Orchestra of Europe from 1987 to 1996 when he left the COE to concentrate on conducting. In September 2010 he started his three-year term as Music Director of the London Mozart Players. He held positions of Principal Conductor of the State Theatre in Pretoria and the Uppsala Chamber Orchestra before he was appointed Music Director of the Orchestra del Teatro Lirico di Cagliari from 1999 to 2005. In Cagliari he conducted the first Italian performances of Richard Strauss’s Die ägyptische Helena, Weber’s Euryanthe, Delius’s A Village Romeo and Juliet and Schubert’s Alfonso und Estrella, as well as productions of the core operatic repertoire including Die Zauberflöte, Don Giovanni, Lucia di Lammermoor, Carmen, Die Fledermaus, Tosca, Aïda, The Barber of Seville and Don Pasquale. Since then Gérard Korsten has appeared in most notable opera houses and concert halls around Europe, including Teatro La Scala Milan (Le nozze di Figaro), Maggio Musicale Florence (Cosí fan tutte), Teatro Reggio di Parma (La Sonnambula), Teatro Lirico Verdi Trieste (Don Pasquale and La Fille du Regiment), Opéra de Lyon (Ariadne auf Naxos, Henze’s L’Upupa und der Triumph der Sohnesliebe, Siegfried and La Traviata), Royal Swedish Opera (Don Giovanni), Netherlands Opera (Cosí fan tutte),

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gérard korsten Conductor

English National Opera (Aida) and Glyndebourne Festival Opera (Albert Herring). His past symphonic engagements have included concerts with the Budapest Festival Orchestra, Salzburg Mozarteum, Orchestra Sinfonica Nazionale della Rai Turin, Chamber Orchestra of Europe, Scottish Chamber Orchestra, Deutsche Kammerphilharmonie, Swedish Radio Symphony, Yomiuri Nippon and Melbourne Symphony orchestras. Among his recordings are the CD of Tchaikovsky’s Serenade and Souvenir de Florence with the Chamber Orchestra of Europe on Deutsche Grammophon, Die ägyptische Helena, Euryanthe and Alfonso und Estrella with the Orchestra del Teatro Lirico di Cagliari on CD and DVD with Dynamic, as well as a DVD recording of Don Pasquale released on TDK. Highlights of recent and forthcoming engagements include concerts with the Academy of St Martin in the Fields at the Beijing Festival, Bamberg Symphony, Leipzig Gewandhaus, SWR Sinfonieorchester Baden Baden & Freiburg and the Hong Kong Philharmonic. Gérard Korsten is currently Principal Conductor of the Symphonieorchester Vorarlberg Bregenz.

Canadian pianist and composer Alain Lefèvre performs regularly at venues around the world, in recital and with international orchestras and leading conductors. He has appeared as a soloist with orchestras including Royal Philharmonic Orchestra, London Mozart Players, China Philharmonic Orchestra, Guangzhou Symphony Orchestra, Stattskapelle Sinfonie in Weimar, the Hamburg, Nuremberg, Wuppertal and SWR (Stuttgart) Symphony Orchestras, various symphony orchestras in the United States, the Montreal, Toronto Symphony and Vancouver Symphonies, the Québec Symphony Orchestra, the Malaysian Philharmonic Orchestra, National Symphony Orchestra of Mexico, Buenos Aires Philharmonic Orchestra and the Moscow Virtuosi. He has also worked with renowned conductors such as Matthias Bamert, Franz-Paul Decker, Charles Dutoit, Christoph Eschenbach, Lawrence Foster, Bernhard Klee, Kent Nagano, Yannick Nézet-Séguin, Jukka-Pekka Saraste and Long Yu.

alain lefèvre Piano

Piano Concerto topped the Canadian and American charts when it was released. Alain Lefèvre also appeared on the acclaimed Charlie Rose Show, to share his passion for Mathieu. In January 2009, Alain Lefèvre joined the London Mozart Players for a tour in the UK and a recording of Mathieu’s Concertino No. 2 and Shostakovich’s Piano Concerto No. 1. Lefèvre and the LMP received the Canadian Juno Award for Classical Album of the Year in April 2010. Last May, Alain Lefèvre opened the Canadian Pavilion at Expo 2010 in Shanghaï, followed by the world première of the motion picture on André Mathieu’s life, L’Enfant Prodige, produced by Academy Award winner for Best Foreign Film, Denise Robert (The Barbarian Invasions). This marked Lefèvre's first motion picture as Music Director, composer and pianist, performing all the featured Mathieu’s piano works. In 2010, Alain Lefèvre was voted “Personality of the Year 2009” at the Excellence Gala of La Presse and Radio-Canada, in the Arts, Literature and Entertainment Category.

For years he has been devoted to the revival of the forgotten oeuvre of Canadian genius composer and pianist, André Mathieu, lending him an international credibility. He gave the European premiere of his Concerto for Piano No. 4 with the Orchestre National de France at the Théâtre des Champs-Élysées in Paris in a Live broadcast by Radio-France to mark the event. He is a recipient of a Classical Internet Awards for his recording of Mathieu’s Concerto de Québec and winner of six Felix Awards from 2001 to 2009. His recent album, including André Mathieu’s Fourth www.lmp.org

Paul Archibald’s first appointment was as Co-Principal Trumpet in the Orchestra of the Royal Opera House, Covent Garden working with great conductors such as Carlos Kleiber, Sir Colin Davis and Sir Georg Solti. In 1980 he relinquished this position to concentrate on work with his group, the English Brass Ensemble and to perform as a member of the Philip Jones Brass Ensemble and the London Sinfonietta. Throughout the 1980s Paul Archibald travelled extensively with these chamber groups, performing at many venues around the world. His enthusiasm for contemporary music was reflected in the work of the English Brass Ensemble whose focus was performing contemporary brass repertoire. In 1984 Paul Archibald was a prize winner at the Toulon Prix de Concours, a major international trumpet competition which laid the foundations of his career as a soloist. He has since performed the solo repertoire with many of Britain’s finest orchestras including the London Philharmonic, Bournemouth Symphony, Chamber Orchestra of Europe, London Mozart Players, Britten Sinfonia and the Orchestra of St John’s. In 1995 he was appointed Principal Trumpet of the BBC National Orchestra of Wales and during this period he had the opportunity to perform many of the great orchestral works. He is currently Principal Trumpet of the London Mozart Players and Britten Sinfonia. Paul Archibald is now actively involved in chamber and orchestral music and session work for the likes of Sir Bob Geldof. He also performs with the iconic group Brass Monkey whose innovative and thoughtful representation of English folk music can be heard at many folk festivals each year. www.lmp.org

paul archibald Trumpet

Paul Archibald is also based in Trinidad & Tobago working as a Professor of Music at the National Academy of Performing Arts, Port of Spain. He is also a member of Chaconia Brass, comprised of faculty members of the Academy of Performing Arts. Paul Archibald edits two series of brass music for Brass Wind Publications: the English Brass Collection consists of new works for brass ensemble and the Paul Archibald Collection consists of new additions to the solo repertoire. Paul delivers two brass courses each year at the Dartington International Summer School and the Benslow Music Trust. He is also the Artistic Director of Brass Classics, a recording label featuring the colourful world of the brass repertoire and its performers. In 2003 he was awarded the distinction of being elected a Fellow of the Royal Academy of Music, London.

wolfgang amadeus mozart (1756–1791) I II III

Marcia Menuetto Rondo

Mozart wrote this serenade in January 1776, for the orchestra in Salzburg of which he was the leader. By this stage in his career, aged 20, Mozart was beginning to resent the shackles of the conditions of his employment by Archibishop Colleredo in Salzburg, and also the overbearing presence of his father, Leopold. He longed to escape and try to establish himself on his own, but it was to be another five years before he finally made the break and moved to Vienna, where he spent the last ten years of his life.

Serenade No. 6 in D, K329 Serenata Notturna The opening movement is a march, which has a certain ironic pomposity to it - perhaps even a dig at Mozart’s employer. In the Menuetto the solo instruments play with the rest of the orchestra, but they have the Trio of the Menuetto to themselves, with a particularly prominent role for the second violin. The last movement is a Rondo, a musical form in which one main theme is repeated several times with intervening sections known as ‘episodes’; its tempo indication is a graceful allegretto, although the episodes include adagio and allegro sections. © Ian Lush

Mozart wrote his serenades for celebrations and ceremonial occasions at the court, and they were often intended as background music. Despite this, Mozart lavished great care on their composition, and chose original and unusual orchestral groupings to add variety. This work is no exception, and is scored for string orchestra plus five soloists: two violins, viola, double bass (rather than the expected cello) and, in a touch of great originality and humour, timpani. Mozart and family

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dmitri shostakovich

(1906–1975)

I II III IV

Allegro moderato Lento Moderato Allegro con brio

By the time Shostakovich introduced this work, just three weeks after his 27th birthday, he was a solidly established composer with an international reputation. He had behind him not only his brilliant First Symphony, which had brought him high-level recognition before he was out of his teens, but two more symphonies (both with patriotic choral finales), two ballets, several film scores and sets of incidental music for the stage and the satirical opera The Nose. He had in fact completed his second opera, the more ambitious Lady Macbeth of the Mtsensk District, which would have its première in Leningrad in January 1934 and precipitate his first major run-in with Stalin two years later. In the autumn of 1933, though, Shostakovich was still in good standing with the political authorities, and indeed only the previous year had issued an extraordinary manifesto that launched a scathing attack on the state of music in the theatre world. A day after completing his cycle of Twenty-Four Preludes for piano, an omnibus of miniatures that pays homage and yet satirises Bach’s work, he embarked on this concerto, which is similar in style to the solo Preludes. It marked his first foray into the concerto genre, and he was later to divulge to a student that he had originally conceived it as a concerto for trumpet. However, the difficulty of writing for that solo instrument and the addition of the piano to the orchestra transformed it at first into a double concerto, and finally the piano eclipsed the trumpet. Throughout his creative life Shostakovich quoted and paraphrased from his own works and those of other composers. In this concerto there are two references to Beethoven, one to a Haydn keyboard sonata, and echoes, or near-echoes of several of Shostakovich’s works that had just preceded this www.lmp.org

Piano Concerto No. 1, Op. 35

one: the incidental music for Hamlet, the circus sketch Allegedly Murdered and the aforementioned Twenty-Four Preludes. After a pithy opening gesture by the piano and muted trumpet, the piano introduces the first theme, apparently a brooding variant on the opening of Beethoven’s Piano Sonata in F minor Appassionata. The second theme is more animated, and the music becomes more and more driving, until it suddenly stops, and the movement ends with a reprise of the original statement of the opening theme. Muted strings set the scene of the second movement; the piano is given a simple, austere line and the trumpet is muted when it comes in after the brief climax, setting a wistfully elegiac tone. The third movement is little more than an introduction to the fourth. The finale itself is a giddy tumult of familiar-sounding tunes and rapidly alternating rhythms. Here the trumpet is given a status close to full partnership, and indeed the trumpet out-dazzles even the percussive piano part in the final presto. When Shostakovich thought he had completed the score, he was reminded that he needed a cadenza for the finale, and his inspired response was a wild paraphrase on Beethoven’s Rondo a capriccio in G major, the piece known as The Rage over a Lost Penny. The driving conclusion is a bizarre juxtaposition of trumpet fanfares with quirky, amusing piano passages that could be taken from the music hall, before the trumpet has the final word. © Jo Towler

INTERVAL

andré mathieu

(1929–1968)

I II III

Allegro – Piu moderato – Allegro Andante Allegro – Poco piu lento – Vivo

Mathieu was born in Montreal on 18 February 1929. Like Mozart, he received his first music lessons from his father, and was already composing little pieces by the age of four. Noël Strauss of The New York Times wrote that even Mozart, the greatest musical prodigy of all time, only began composing at the age of four, and his first works were much simpler in nature than those of the young Canadian. Also like Mozart, he astonished audiences far and wide with his pianistic prowess from a very young age: at Montreal’s RitzCarlton Hotel at six; on Radio-Canada playing his Concertino No. 1 with orchestra at seven; in Paris later that year; in New York’s Town Hall at ten. Following another recital in Paris at the age of ten, the critic Émile Vuillermoz wrote: ‘If the word “genius” has any meaning, it is surely

Mathieu

Concertino No. 2, Op. 13

(Orchestration: Gilles Bellemare) manifest here.’ Rachmaninov pronounced him ‘a genius, more so than I am.’ Yet fate was not kind to Mathieu. He undertook composition studies in Paris, then later in New York, and after World War II, again in Paris, with Arthur Honegger. Most of his works are short piano pieces, but only about a quarter of his known compositions - well over two hundred - have been located thus far, and much research remains to be done. Mathieu’s fame peaked around 1950. He died on April 18, 1968, completely forgotten, at the age of 39. Mathieu composed Concertino No. 2 aged just 5 ½. He performed the work at the Young Composer’s Award held by the Philharmonic-Symphony Society of New York for their Centennial Anniversary. Being the youngest contestant, he won the First Prize. A few days later, when he had just turned 13, he played it at Carnegie Hall under the baton of Rudolf Ganz. The Concertino is in three short movements with a recently discovered extended cadenza at the end of the last movement and lasts about twelve minutes in all. The work has been orchestrated by Canadian composer Gilles Bellemare. Last year, the London Mozart Players recorded the Concertino with Alain Lefèvre and conductor Matthias Bamert for the Analekta label in London. Lefèvre and the LMP won the Canadian Juno Award for Best Orchestral Recording of the Year for this release in April 2010. © Robert Markow

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wolfgang amadeus mozart

Serenade No. 9 in D, K320 Posthorn

(1756–1791) I II III IV V VI VII

Adagio maestoso – Allegro con spirito Menuetto allegretto – Trio – Allegretto Concertante – Andante grazioso Rondo – Allegro ma non troppo Andantino Menuetto – Trio I – Menuetto – Trio II – Menuetto Finale – Presto

By the mid 1770s, Mozart had begun to withdraw from the court at Salzburg, exasperated with the unpopular Archbishop Hieronymus Colloredo, competition with Italian musicians, who were better paid than local ones, and a frustrating inability to fulfil the promise he showed by gaining a position more gratifying. Although he continued to compose church music – albeit with little enthusiasm – he began to establish himself as the chief composer of instrumental and secular vocal music, in contradiction to the Salzburg fashions of the archdiocese and musical taste. Eventually, in quest of a better position, Mozart left Salzburg in 1777, spending time at Mannheim and moving thereafter to Paris. In addition to his rich musical experiences on that journey, Mozart experienced two events that had a particularly strong emotional effect on him. In Mannheim he fell in love with the soprano Aloysia Weber, who rejected his advances (Mozart married her sister Constanze four years later); in Paris he experienced his first personal tragedy in the unexpected death of his mother. By the beginning of 1779 he was back again in Salzburg, reinstated in the service of the Archbishop, but still resisting the confines of his position. During the course of his career Mozart found many demands for music of a lighter, more flexible, kind of entertainment for high-class social gatherings. The so-called Posthorn Serenade, K320, was completed on 3 August 1779 in Salzburg and was

the last of many serenades that Mozart composed in Salzburg. It has, with its seven movements, elements of both a symphony and a concerto, showing Mozart’s disregard for terminology and rigid musical forms. It is thought to have been written to mark the end of the academic year at the University. The posthorn was a particularly appropriate instrument to mark the departure of the students from the University, its sound forever associated with departure. The music begins with a grand opening gesture that then moves into a lively Allegro. The slow introduction returns to usher in the recapitulation. The second movement is a grand but stately minuet with a gently flowing trio. The third movement is a Concertante and, paired with the fourth movement, the Rondeau, was presented as a sinfonia concertante on several occasions by Mozart. Both movements display music of endearing charm, with enchanting interplay between strings and the four pairs of wind instruments. As with any concertante work, Mozart includes cadenzas for the winds. The fifth movement paints a considerably graver picture. It is the most extended of the seven movements; its sober melancholy is broken up by contented interjections from the winds, while the middle section is filled with dynamic contrasts and quiet contemplation overwhelmed by anguished outbursts. This darkness is cast aside by the cheerful, optimistic minuet, interrupted by two trios which present, unusually, the flautino (here played on the piccolo) and the eponymous posthorn, respectively. The work closes with a rich finale, the music at turns stirring, lovely and majestic, and through which Mozart said farewell himself to Salzburg as a favoured local composer. © Elizabeth Boulton

Have you enjoyed tonight's concert? We'd appreciate your comments on comments@lmp.org or call 020 8686 1996.

post-concert cd signing Alain Lefèvre will be signing CDs after the concert in the foyer.

Cadogan Hall Information etiquette 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, PDAs and mobile phones are switched off before entering the auditorium. Dress Code There is no dress code for the majority of performances. If a particular dress is requested you will be informed at the time of booking by the box office. 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 ask you to treat our staff with courtesy and in a manner in which you would expect to be treated.

food and beverages 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. Concert goers who choose to enjoy performances from the Gallery can now benefit from preconcert and interval refreshments in the Gallery Bar. There are also some light refreshments available.

access All access infomation is available from Cadogan Hall Box Office. Please call 020 7730 4500. ‘Touch/Familiarisation’ tours can be arranged and we have Unisex accessible toilets on all levels except Gallery.

booking information

CDs are available for sale in the foyer during the interval and after the concert.

Box Office: 020 7730 4500 Online Booking: www.cadoganhall.com (booking fees apply) Cadogan Hall 5 Sloane Terrace London SWIX 9DQ

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forthcoming LMP concerts

Saturday 13 November

7.30pm

fairfield halls, croydon 020 8688 9291

Wednesday 19 January

7.30pm

STRAVINSKY MOZART BRAHMS

Pulcinella Suite Piano Concerto No. 25, K503 Serenade No. 1

KODÁLY Dances of Galanta RODRIGO Concierto de Aranjuez MENDELSSOHN Symphony No. 3 Scottish

Conductor Piano

Gérard Korsten Francesco Piemontesi

Conductor Guitar

Saturday 11 December

7.30pm

MARSH MOZART PURCELL BEETHOVEN WEBER

Symphony No. 7 La Chasse Concerto for Flute and Harp, K299 Suite from Dido and Aeneas Romance No. 2 Symphony No. 1

Conductor Flute Harp Violin

David Stern Juliette Bausor Catrin Finch David Juritz

Jaime Martín Jadran Duncumb

Saturday 19 February

7.30pm

BARTÓK DVOŘÁK PIAZZOLLA MOZART

Romanian Dances Violin Concerto Melody in A minor & Tango Symphony No. 36, K425 Linz

Conductor Violin

Joseph Wolfe Chloë Hanslip

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would you like to make a lasting donation to the lmp? Many people don’t realise that orchestras are charities, but just like other charitable organisations, we rely heavily on donations to keep the music alive, especially as we are no longer publicly funded by Arts Council England. There are various ways in which you can support our work; perhaps becoming a Friend of the LMP, sponsoring an orchestra chair or considering remembering us in your will. This is a particularly effective way of supporting the orchestra as a charitable gift through a will is not subject to inheritance tax. Support a chair The LMP is made up of 40 chairs, each one occupied by one of our fantastic musicians. It goes without saying that the success of the LMP is down to the quality and passion of our players. For as little as £20 a month, you can sponsor an LMP chair and enjoy a special connection with the orchestra. Get to know your player as you see them perform and perhaps chat with them after concerts. Take a look at what goes on behind the scenes with exclusive access to rehearsals. See your name in our programmes alongside your chosen chair. Enjoy an annual reception for chair supporters and players. By supporting an LMP chair – be it our Principal Flute or a member of the viola section – you will know that your donation is directly helping the orchestra, enabling us to perform fantastic concerts and carry out inspirational work in schools and in the community. You can even sponsor a chair in the office, perhaps our General Manager or Librarian. Whichever chair you choose, your donation will support a crucial part of the team and will give you a unique insight into the life of the LMP.

Don’t let the music stop... Bequests in 2009 enabled the LMP to host a schools’ concert in Fairfield as well as increase work in the community around the Croydon area and were vital to the orchestra’s activities during the year. You could request your money supports our education work, a concert, or even sponsors a position in the orchestra, such as Principal Oboe. Even the smallest amount can make a difference.

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supporting the lmp

The LMP would like to thank its supporters patron HRH The Earl of Wessex KG, KCVO principal funders London Borough of Croydon lmp corporate friends Cantate Elite Hotels Petwood Hotel, Woodhall Spa Simmons & Simmons public funders Arts Council England and the National Lottery Orchestras Live Royal Borough of Kingston Upon Thames South Holland District Council trusts & foundations John Coates Charitable Trust City Bridge Trust The Concertina Charitable Trust The Croydon Relief in Need Charities

lmp benefactors Anonymous x 1 Daniel & Alison Benton Sylvia Ho Dudley & Margaret Mead The Ross Goobey Charitable Trust Mr K G Smith Jeffrey & Rosamund West

silver supporters Anonymous x 14 Mr M P Black Ian Gibb Chantal Keast Nick & Jane Mallett Mr & Mrs M Rivers Mrs Marion Sunley

lmp life friends Michael & Barbara Hill

bronze supporters Anonymous x 16 Morag Beier Mr I A Hamlyn Mr B E and Mrs P B Woolnough

platinum supporters Anonymous x 2 Julian & Annette Armstrong Mr & Mrs C Clementi Davina Freeland Derek & Deirdre Lea Derek & Bunty Millard Michael J Rose Michael Woodhouse CVO golden supporters Anonymous x 9 David Beever Geoff & Mary Hearn Brian & Doreen Hitching Margaret Jones MVO Mr & Mrs A J Lambell Jeanne & Gordon Lees Miss Gillian Noble Hazel & Geoffrey Otton Mrs B D Ramsochit Christine Robson Mr & Mrs J Tillotson Sir John Wickerson

lmp chair supporters Principal Flute is supported by: Brian and Doreen Hitching Cello No. 3 is supported by: Elinor Browne Cello No. 4 is supported by: Anonymous

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