Resident Orchestra of Fairfield, Croydon
Saturday 13 November 2010 7.30pm Fairfield Halls, Croydon GĂŠrard Korsten conductor Francesco Piemontesi piano STRAVINSKY Pulcinella Suite MOZART Piano Concerto No. 14 in E flat, K449* INTERVAL
BRAHMS Serenade No. 1 in D, Op. 11 * Due to unforeseen circumstances tonight's concerto is Mozart’s Piano Concerto No. 14 in E flat, K449, not Piano Concerto No. 25 in C, K503 as advertised.
Please join us after the concert for a mingling in the central foyer. This a great opportunity to chat with tonight's soloist, conductor and members of the orchestra. The LMP is funded by the London Borough of Croydon
Members of the audience are reminded that it is prohibited to smoke in the auditorium or take sound recordings or photographs in any part of the performance. Any noises such as whispering, coughing, rustling of sweet papers and the beeping of digital watches are very distracting to the performers and fellow audience members. Please make sure mobile phones or pagers are switched off during the performance. In accordance with the London Borough of Croydon, members of the audience will not be permitted to stand or sit in any of the gangways. If standing is permitted in the gangways or the sides and the rear of the seating, it will be limited to the numbers exhibited in those positions. LMP and Fairfield Croydon are registered charities.
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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
first violins Susanna Candlin Nicoline Kraamwinkel Ann Criscuolo Richard Blayden Anna De Bruin Catherine Van de Geest Robert Yeomans Julia Barker
violas Cian O’Duill Mark Braithwaite Michael Posner Francis Kefford
flutes Celia Chambers
cellos Sebastian Comberti Julia Desbruslais Sarah Butcher
oboes Gareth Hulse
second violins Jennifer Godson David Angel Andrews Roberts Miriam Teppich Jeremy Metcalfe Laura Dixon
(Chair supported by: Elinor Browne)
Aoife Nic Athlaoich (Chair supported by: Anonymous)
basses Stacey Watton Tim Amherst
(Chair supported by: Brian and Doreen Hitching)
Robert Manasse
(Chair supported by: Miss P.A. Sandry)
Katie Clemmow clarinets Angela Malsbury Margaret Archibald
horns Christopher Newport Tony Catterick Richard Lewis Martin Grainger trumpets Paul Archibald Peter Wright trombone Ian White percussion Ben Hoffnung
bassoons Sarah Burnett Robert Porter
GIVE THE ORCHESTRA A LEG UP SUPPORT AN LMP CHAIR 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 Take a look at what goes on behind the scenes with access to rehearsals See your name in the programme alongside your chosen chair
By supporting an LMP chair your donation will be directly helping the orchestra, enabling us to perform fantastic concerts and carry out inspirational work in schools and in the community. For more information please contact Elinor Browne, Development Manager at the LMP Office, 020 8686 1996 or email elinor@lmp.org. www.lmp.org
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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© Marco Borggreve
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.
Born in 1983 in Switzerland, Francesco Piemontesi studied with Nora Doallo in Lugano and with Arie Vardi in Hannover. He first came to international prominence as a prize winner in the 2007 Queen Elisabeth Competition in Brussels, and through his close collaboration with the pianists Alfred Brendel, Cécile Ousset, Alexis Weissenberg and Mitsuko Uchida. Soon after his participation in the Queen Elisabeth Competition, Piemontesi was invited to perform at many of the world’s most prestigious concert halls, including the Vienna Musikverein, Zurich Tonhalle and New York Carnegie Hall. Martha Argerich personally invited him to her festival in Lugano where he now appears every year, while other festival appearances have included Roque d’Anthéron, Klavierfest Ruhr, Rheingau and Schleswig Holstein. In 2009, Francesco Piemontesi received a Fellowship from the Borletti-Buitoni Trust, and was also announced as a BBC New Generation Artist.
© Marco Borggreve
FRANCESCO PIEMONTESI Piano
Highlights of the coming seasons include Piemontesi’s debuts with the BBC Philharmonic, Scottish Chamber Orchestra, Vienna Chamber Orchestra, Camerata Salzburg and a tour with Zubin Mehta and the Orchestra del Maggio Musicale Fiorentino. In 2010, he appeared at London’s Wigmore Hall and BBC Proms, made debuts at the Concertgebouw, City of London Festival and Cheltenham Festival, and gave recitals in Munich, Paris, Florence and Milan. Piemontesi nurtures a particular interest in chamber music. He has played with Yuri Bashmet, Heinrich Schiff, Renaud und Gautier Capuçon, Jörg Widmann and the Ebène quartet. For the past two seasons, he has been artistic director of the Bellinzona chamber music festival. Piemontesi has recorded for EMI Classics as part of the Martha Argerich and Friends series, and has released this year his first recording for Claves Records, a two-CD set of works by Robert Schumann.
As a concerto soloist, Piemontesi has quickly earned a superb reputation, particularly for his interpretations of the works of Mozart, Beethoven, Schumann, Mendelssohn, Brahms, Chopin and Ravel. He has performed as soloist with the Israel Philharmonic Orchestra, RSI Lugano, Monte Carlo Philharmonic, Orchestre National de Belgique, Deutsche Radio Philharmonie, Tonkünstler Orchestra, London Mozart Players and the Zurich Chamber Orchestra, collaborating with such conductors as Vasily Petrenko, Mikhail Pletnev, Gérard Korsten, Christoph Poppen, Dimitry Kitajenko, Paul Goodwin, Lawrence Foster and Bruno Weil. www.lmp.org
IGOR FYODOROVICH STRAVINSKY
(1882–1971)
I II III IV V VI VII VII
Sinfonia Serenata Scherzino – Allegretto – Andantino Tarantella Toccata Gavotta (con due variazioni) Vivo Minuetto – Finale
Brought up in an apartment in St. Petersburg and dominated by his father and elder brother, Igor Stravinsky’s early childhood was a mix of experience that hinted little at the cosmopolitan artist he was to become. Though his father was a bass singer at the Mariinsky Theater in St. Petersburg, Stravinsky originally studied to be a lawyer. It was not until he was 20 that composition came to the fore and he became the pupil of Rimsky-Korsakov, probably the leading Russian composer of the time. Stravinsky’s music was noticed by Serge Diaghilev, the director of the Ballets Russes in Paris. He commissioned Stravinsky to write a ballet – L’Oiseau de Feu (‘The Firebird’) – for his theatre; so in 1911, Stravinsky travelled to Paris. However, because of World War I and the October Revolution in Russia he moved to Switzerland in 1914. He returned to Paris in 1920 to write more ballets as well as many other works. He moved to the United States in 1939 and became a naturalised citizen in 1945. He continued to live in the United States until his death in 1971, unsuccessfully writing music for films. He died in New York City on 6 April 1971 at the age of 89 and was buried in Venice on the cemetery island of San Michele. His grave is close to the tomb of his early collaborator Diaghilev. Stravinsky’s life had encompassed most of the 20th century, including many of its modern classical music styles, and he influenced composers both during and after his lifetime. He has a star on the Hollywood Walk of Fame at 6340 Hollywood Boulevard. www.lmp.org
Pulcinella Suite
The origin of the Pulcinella ballet was Diaghilev’s commission of a simple arrangement from Stravinsky. But what the composer delivered was quite a bit more than just a simple arrangement; he reinvented the music with characters, movement and even singing roles. The inspiration for Pulcinella, outside of the music of the past, was commedia dell’arte, Italian improvised theatre. Commedia dell’arte was extremely popular in the middle of the 19th century, although it was well known both before and after its heyday. The character Pulcinella, also known as “Punch,” is a servant. This comically sad character is often portrayed as mute, helpless and disfigured. The Pulcinella Suite we hear tonight is a pared-down version of the ballet (nearly half the ballet movements omitted) and instrumental passages replace the singing roles. Stravinsky’s works drawing on music of the past retain much of the charm of the original pieces, but with harmonic and rhythmic twists that are pure 20th-century inventiveness and pure Stravinsky. The music is so genial and entertaining that it is hard to imagine it as controversial, yet Stravinsky lost friends over it. He was accused of having sold out, of being a mere pasticheur. Stravinsky found this ridiculous. For him, Pulcinella was a revelation, a gateway to new directions. It was, he said, “the epiphany through which the whole of my late work became possible. It was a backward look, of course – the first of many love affairs in that direction – but it was a look in the mirror, too.” For a mind as creative and lively as his, this was like discovering the key to a marvellous treasure box. © Elizabeth Boulton
WOLFGANG AMADEUS MOZART
Piano Concerto No. 14 in E flat, K449
(1756–1791) I II III
Allegro vivace Andantino Allegro ma non troppo
Mozart wrote his first numbered piano concertos, arrangements derived from other composers, in 1767, undertaking further arrangements from Johann Christian Bach a few years later. However, his first attempt at writing a concerto had been at the age of four or five, described by a friend of the family as a smudge of notes, although, his father claimed, very correctly composed. In Salzburg, as an adolescent, Mozart wrote half a dozen piano concertos, the last of these for two pianos after his return from Paris. The remaining 17 piano concertos were written in Vienna, principally for his own use in the subscription concerts that he organised there during the last decade of his life. Mozart’s own development of composition went hand in hand with considerable changes in keyboard instruments, as the harpsichord was gradually superseded by the fortepiano or pianoforte. The new instruments that Mozart Mozart
had in Vienna had a lighter touch than the modern piano, with action and leather-padded hammers that made greater delicacy of articulation possible, among other differences. They seemed well suited to Mozart’s own style of playing. The E flat Concerto was the first composition that Mozart entered in his catalogue, and the autograph carries the same date, 9 February 1784. It was probably performed for the first time at a concert Mozart gave in Vienna on 17 March, the first of a series of three such concerts for the last three Wednesdays of Lent. The concerto allows an optional use of wind instruments, the usual two oboes and two horns and can be played with single strings, or, at least, only one viola. As Mozart remarked in a letter to his father, such a work would be possible at home in Salzburg, since wind players did not often take part in meetings in Leopold Mozart’s house. Although Mozart wrote that “the one in E flat does not belong at all to the same category [as K450 and 451]. It is one of a quite peculiar kind…”, it does share with the other two a development in writing for the orchestra and in the demands made on the soloist, as well as changes in the treatment of the form, now handled with increased boldness of invention. The E flat Concerto touches at once on the key of C minor in its opening bars and has its orchestral second subject in the unusual key of the dominant, B flat, instead of in the tonic E flat, a procedure usually left for the soloist’s exposition that follows. The third movement particularly mixes spontaneous melodic musical inspiration with a use of variation and long contrapuntal statements. © Elizabeth Boulton
INTERVAL www.lmp.org
JOHANNES BRAHMS
(1833–1897)
I II III IV V VI
Allegro molto Scherzo: Allegro non troppo – Trio: Poco più moto Adagio non troppo Menuetto I – Menuetto II Scherzo: Allegro – Trio Rondo: Allegro
Johannes Brahms was born in Hamburg in 1833. His father, Johann Jakob Brahms, was a town musician, mostly on the horn and double bass, although he played other instruments. Johann Jakob gave his son his first musical training. He studied piano from the age of seven with Otto Cossel and, for a time, learned the cello. In 1853, Brahms was discovered by the composer and critic Robert Schumann, who hailed him as a “young eagle” in a famous article of 1853. Schumann saw the Classical lines of Brahms’s music as an antidote to the more radical ideas of the “New German School” headed by Franz Liszt. Brahms was under great pressure, both selfimposed and from critics and friends allied with Schumann’s views, to compose a large ‘important’ work – a symphony. Brahms had first tried and failed to produce a symphony in 1856 (though large chunks of this unfinished work did show up in later music). His first professional appointment was in Detmold and while there he turned to the serenade – the light, flexible, and genial form favoured by Mozart and Haydn – using a ‘Classical’ orchestra of limited size. His two serenades are modest works that were at least partly experiments in orchestral writing, but which are lyrically beautiful and thoroughly accomplished works in their own right. Brahms’s First Serenade was clearly an exercise in carefully assembling a work and gradually fleshing it out with orchestral colour. It went through several versions: an octet; a nonet; a small orchestra version with flute, oboe, clarinet and bassoon; and a two-piano version, before he
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Serenade No. 1 in D, Op. 11
completed the final version for a small orchestra. Brahms later destroyed all but the two-piano and orchestral versions. The new version was premièred in Hannover in March 1860, with Brahms’s friend Joseph Joachim on the podium. The Serenade is strikingly Beethovenian, in fact even Mozartean – at a time when Wagner was in the middle of the Ring cycle and had composed half of Tristan and Isolde. Like the serenade of the Classical period, Brahms’s work is cast as ‘incidental’ music – that is, as music performed for evening entertainment at court. As such, the succession of movements is freer than that of the typical four-movement symphony. The first of the Serenade’s six movements is a clear enough sonata form, complete with a remarkably astute development section and an impressive coda. The first of the Serenade’s two scherzos brings to mind the restless forward motion of the composer’s own Second Piano Concerto. The opening of the third movement is gentle and idyllic and there is a rather broad transition to the equally gentle second theme, heard first in the solo horn. This movement, as it develops these themes, is a feast for the solo woodwinds, with the strings serving mostly as background until one grand duet between the violins and cellos in the development. The pair of menuettos looks more to Haydn. More than one commentator has heard allusions to Beethoven in Brahms’s second scherzo. The closing Allegro is a rondo, though Brahms interjects a great deal of intense development into this usually lightweight form. The main recurring them is a strongly-accented idea that alternates with more lyrical episodes. The movement is rounded off by a short, exuberant coda. © Elizabeth Boulton
Have you enjoyed tonight's concert? We'd appreciate your comments on comments@lmp.org or call 020 8686 1996.
LMP MANAGEMENT
patron HRH The Earl of Wessex KG, KCVO music director GĂŠrard Korsten associate conductor Hilary Davan Wetton council of management
managing director Simon Funnell deputy managing director Jo Towler general manager David Wilson development manager Elinor Browne
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
marketing manager Femke de Vos Burchart concerts & project 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) marketing & events co-ordinator Caroline Molloy intern Jennifer Lambert
LMP CDS ON SALE AT THE LMP TABLE including our latest releases: The new Contemporaries of Mozart release: Boccherini symphonies
The award-winning disc with Mendelssohn’s Concerto for Piano and Violin
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 The Prince's Foundation for Children & the Arts
lmp benefactors Anonymous x 1 Daniel & Alison Benton AndrĂŠ & Rosalie Hoffmann Sylvia Ho Dudley & Margaret Mead The Ross Goobey Charitable Trust Mr K G Smith Mr D & Mrs M Wechsler Jeffrey & Rosamund West lmp life friends Michael & Barbara Hill platinum supporters Anonymous x 1 Mr & Mrs C Clementi Davina Freeland Derek & Deirdre Lea Derek & Bunty Millard Michael J Rose Michael Woodhouse CVO golden supporters Anonymous x 10 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 silver supporters Anonymous x 17 Irene & Leslie Aarons Mr M P Black Ian Gibb Chantal Keast Nick & Jane Mallett Mr & Mrs M Rivers Mrs Marion Sunley bronze supporters Anonymous x 21 Morag Beier Alec Botten Mr I A Hamlyn Mr B E and Mrs P B Woolnough
DON'T LET THE MUSIC STOP... Many people don’t realise that orchestras are charities, but just like other charitable organisations, we rely on donations to keep the music alive, especially as we do not receive regular funding from Arts Council England. There are lots of ways for you to support the LMP and get involved with the longest-established chamber orchestra in the UK: from making a donation to becoming a Friend, sponsoring a chair in the orchestra or remembering us in your will. Even the smallest amount makes a difference. If you would like more information about supporting the LMP, please contact Elinor Browne, Development Manager at the LMP Office, 020 8686 1996 or email elinor@lmp.org. www.lmp.org
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We depend on the loyalty of our supporters to help us continue to present concerts and LMP Interactive, our programme of community and education work. In return, we offer wide-ranging benefits and opportunities to meet the musicians.
Your benefits: • Substantial ticket discounts for Croydon concerts and advance booking • Access to private Friends’ bar before the concert and in the interval with discounted drinks in Fairfield • Access to LMP rehearsals • Friends events including coffee meetings with talks on music, outings to nonLondon LMP concerts and an exclusive annual concert and lunch at Woldingham School • Quarterly newsletter keeping you involved with all the LMP’s activities • Discounts on LMP CDs and free programmes for Croydon concerts • Knowing you're supporting your local orchestra continue to make music.
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FORTHCOMING LMP CONCERTS
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
Wednesday 19 January
7.30pm
KODÁLY Dances of Galanta RODRIGO Concierto de Aranjuez MENDELSSOHN Symphony No. 3 Scottish Conductor Guitar
Jaime Martín Jadran Duncumb
FAIRFIELD HALLS, CROYDON 020 8688 9291
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
Wednesday 16 March MOZART RAVEL SHOSTAKOVICH FAURÉ BEETHOVEN
7.30pm
Idomeneo Overture Mother Goose Suite Piano Concerto No. 2 Masques et Bergamasques Triple Concerto
Conductor/piano Howard Shelley Violin Tasmin Little Cello Timothy Hugh www.lmp.org