Resident Orchestra of Fairfield Halls, Croydon
Thursday 12 December 2013 Fairfield Halls, Croydon 7.30 pm GĂŠrard Korsten Conductor Mark Simpson Clarinet
mozart Overture to Don Giovanni mozart Clarinet Concerto in A major INTERVAL
ginastera Concerto for Strings, Op.33 Schubert Symphony No.1 in D major, D82
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 is 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 by 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, and Fraser Trainer. In March 2011 the LMP appointed Roxanna Panufnik as Associate Composer. 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 has strong relationships with other major UK venues, including Turner Sims Concert Hall, Southampton, and is the Orchestra in Residence for Grayshott Concerts. Overseas, the LMP has visited Spain, Belgium, France and Germany. The 2013/14 season marks the fourth year of conductor Gérard Korsten’s 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 welcoming back established artists including Anthony Marwood and our Conductor Laureate, Howard Shelley, whilst building new relationships with bright new stars including Mark Simpson and Laura van der Heijden. The LMP also sees its first performances with celebrated pianist Angela Hewitt, as well as acclaimed soprano, Claire Rutter, for the 70th birthday celebrations of LMP Associate Conductor, Hilary Davan Wetton. The LMP’s association with Korsten also continues 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. Its association with the South Holland district in Lincolnshire brings the orchestra into the heart of the Fenland communities. Working with educational institutions also brings inspiring and valued relationships, providing a professional grounding for young musicians; the LMP is associated with Royal Holloway University of London, Wellington College, Wimbledon College, Portsmouth Grammar School and the Whitgift Foundation Schools in Croydon. Recent projects include ‘Sideby-side in Shepshed’ that saw composer and animateur Fraser Trainer work with seven schools in Leicestershire to build a new youth orchestra for the area, which performed alongside the LMP in a family concert. In Croydon, a START project (funded by The Prince’s Foundation for Children and the Arts) included children from primary and special needs schools working together to perform at the LMP’s annual Schools’ Concert in Fairfield Halls. Other ongoing ventures include visiting care homes and concert demonstrations in primary and secondary schools. The LMP receives project funding from Arts Council England, Orchestras Live and South Holland District Council. 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. The LMP has an online CD shop: shop.lmp.org. Full details of forthcoming concerts and more information on the orchestra’s activities are available on the LMP website: www.lmp.org.
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ORCHESTRA 1st Violins Stephanie Gonley Nicoline Kraamwinkel Ann Criscuolo Elisabeth Wexler Andres Kaljuste (Chair supported by Debby Guthrie)
Emma Wragg Jamie Hutchinson Paula Muldoon
Violas Stephen Wright Michael Posner Oliver Wilson James Widden
Flutes Ileana Ruhemann Robert Manasse (Chair supported by Barbara Tower)
(Chair supported by Stuart & Joyce Aston)
Cellos Sebastian Comberti (Chair supported by Christopher Fildes)
Oboes Gareth Hulse
(Chair supported by Pat Sandry)
Katie Clemmow
Julia Desbruslais 2nd Violins David Angel Anna de Bruin Anna Harpham Raja Halder Stephen Rouse Vernon Dean
(Chair supported by Jeanne & Gordon Lees)
Sarah Butcher
(Chair supported by Valerie Butcher)
Clarinets Fiona Cross Emma Canavan
Daisy Vatalaro (Chair supported by Anonymous)
Basses Stacey Watton
Horns Nicholas Korth Martin Grainger
Trumpets Paul Archibald Hugh Davies
Trombones Ian White Jeremy Gough Richard Wall
Timpani Ben Hoffnung
Bassoons Sarah Burnett Emma Harding
(Chair supported by Louise Honeyman)
Rupert Ring
(Chair supported by Toby & Eira Jessel)
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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. Please contact Simon Funnell, Managing Director for more information T: 020 8686 1996, E: info@lmp.org
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05/12/2013 11:36:53
Gérard Korsten Conductor ©Marco Borggreve
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 1987-1996 when he left the COE to concentrate on conducting. Gérard Korsten is currently Music Director of the London Mozart Players and Principal Conductor of the Symphonieorchester Vorarlberg Bregenz. 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 1999-2005. 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 the 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. Gérard Korsten has appeared in the most notable opera houses and concert halls around Europe including Teatro La Scala Milan (Le nozze di Figaro), Maggio Musicale Florence (Così fan tutte), Teatro Reggio di Parma (La sonnambula), Teatro Lirico Verdi Trieste (Don Pasquale and La fille du régiment), Opéra de Lyon (Ariadne auf Naxos, Henze’s L’Upupa und der Triumph der Sohnesliebe, Siegfried, La Traviata and La Vie Parisienne), Royal Swedish Opera (Don Giovanni), Netherlands Opera (Così fan tutte), English National Opera (Aïda) and Glyndebourne Festival Opera (Albert Herring).
Lyon, Salzburg Mozarteum, Orchestra Sinfonica Nazionale della Rai Turin, Chamber Orchestra of Europe, Scottish Chamber Orchestra, Irish Chamber Orchestra, Camerata Salzburg, Deutsche Kammerphilharmonie, Swedish Radio Symphony, Yomiuri Nippon and Melbourne Symphony orchestras. CD recordings include Tchaikovsky’s Serenade and Souvenir de Florence with the Chamber Orchestra of Europe on Deutsche Grammophon. With Orchestra del Teatro Lirico di Cagliari he has recorded CDs of Die ägyptische Helena and Euryanthe and DVDs of Alfonso und Estrella and Don Pasquale. His 2011 DVD of Le Nozze di Figaro (La Scala 2006) has been awarded a Diapason D’Or and was the Critic Choice in the Opera News in February 2012. Last season Gérard Korsten made his debuts with the Deutsche Radio Philharmonie and the Adelaide Symphony Orchestra. He conducted a new production of Don Giovanni at Dijon Opera with the Chamber Orchestra of Europe and returned to the BBC Scottish Symphony, Latvia National Symphony, Hong Kong Philharmonic and SWR Sinfonieorchester Freiburg. In the 2013/14 season Gérard Korsten makes his debuts with Deutsche Oper Berlin (La Traviata) and the Hungarian State Opera (Don Pasquale) and returns to Camerata Salzburg, Swedish Chamber Orchestra, Orchestra Padova e Veneto, Gavle Symphony Orchestra and Adelaide Symphony. In his last season as Music Director of the London Mozart Players he performs final concerts in London and on tour to China.
His past symphonic engagements have included concerts with the Budapest Festival Orchestra, Leipzig Gewandhaus, Orchestre National de www.lmp.org
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mark simpson Clarinet ©Elizabeth Blanchet
©Marco Borggreve
Born in 1988 in Liverpool, in 2006 at the age of 17 Mark Simpson became the first ever winner of both the BBC Young Musician of the Year and BBC Proms/ Guardian Young Composer of the Year Competitions. He was selected for representation by Young Classical Artists Trust (YCAT) in 2012. The BBC commissioned him to write the opening work for the 2012 Last Night of the Proms and the BBC Symphony Orchestra perform his composition ‘A mirror-fragment…’ at the Barbican in 2013. This season he joined BBC Radio 3’s New Generation Artists scheme as a clarinettist and gives recitals at Wigmore Hall, Royal Festival Hall, the Cheltenham, Spitalfields, Ryedale, Newbury and Northern Chords Festivals, with premières of works by Simon Holt and Jonathan Harvey. He is currently a fellow on the Jerwood Opera Writing scheme and part of the Tillett Trust’s Young Artist Platform series. As a clarinettist Mark has appeared as soloist with the Royal Liverpool Philharmonic (Vassily Petrenko), Northern Sinfonia (Yan Pascal Tortelier), BBC Philharmonic (Gianandrea Noseda), City of London Sinfonia, Manning Camerata, BBC Concert Orchestra, Oxford Philomusica and the Cambridge Philharmonic Orchestra. In 2008 he was a soloist in the BBC Last Night of the Proms in Hyde Park. Further afield he has given recitals at the Festspiele MecklenburgVorpommern, BeethovenFest in Bonn, Denver Colorado as a Lakewood Music Scholar, and toured the Middle East. During 2009/10 he was artist in residence with the Northern Chamber Orchestra.
Aronowitz Ensemble performed his 'Los Proverbios' at the Royal Concergebouw and in 2012 the Meiningen Symphony Orchestra performed ‘A mirrorfragment…’ in Germany. He has also written for the pianist Richard Uttley and the Mercury Quartet and in 2010 won the Royal Philharmonic Society’s Composition Award for which he wrote 'Lethe' for trombone and ensemble performed at the Royal Festival Hall. Mark is deeply committed to the performance of new music. His debut CD was released on the NMC label and saw the culmination of five years of working with composers Mark-Anthony Turnage, Gary Carpenter, David Horne, Kenneth Hesketh, Gavin Higgins, Emily Howard and Stephen Pratt, developing new works for the clarinet and basset clarinet. Mark read music at St. Catherine’s College Oxford graduating with first class honours. In 2012 he completed an MMus in composition with Julian Anderson at the Guildhall School of Music & Drama supported by the Ralph Vaughan Williams Trust. He studied clarinet with Nicholas Cox at the Junior School of the Royal Northern College of Music and now studies privately with Mark van der Wiel. For further information on Mark Simpson’s compositions visit www.boosey.com/simpson
Mark has had his compositions performed by some of the country’s leading orchestras and ensembles. In 2008 he wrote ‘Threads’ for the National Youth Orchestra, 'Nur Musik' for oboe and ensemble commissioned by Ensemble 10/10, and ‘A mirrorfragment...’ for orchestra commissioned by the Royal Liverpool Philharmonic Orchestra. In 2011 the www.lmp.org
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Music Speech Drama Dance
NEW THIS YEAR Rotary Young Musician of the Year Competition Come and enjoy the best in amateur Arts Performance
Everyone is welcome to take part in:
Music - classical, rock/pop/jazz & percussion - South Asian music - show songs, choirs, instrumental Dance - ballet, tap,lyrical, song & dance, modern, character, national,groups - and more - Dance Gala Speech - verse, prose Drama - solos, duos, groups The Festival syllabus is available on our website www.croydonperformingartsfestival.org and from libraries and music shops For further information or a free syllabus please contact the Hon. Secretary on 020 8654 6713 If you are interested in helping as a volunteer with the general running of the Festival performances please contact the secretary. Registered Charity No. 1039606 www.lmp.org
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Wolfgang amadeus mozart (1756 - 1791)
Overture to Don Giovanni While in Prague in early 1787, Mozart received a commission for a new opera, which was to be produced in Prague during October 1787. Mozart returned to Vienna and asked Lorenzo Da Ponte, the librettist for Figaro, for another opera libretto. Don Giovanni became the second of three so-called opera buffa that Mozart would compose to a libretto by Da Ponte, the third of which, Così fan tutte, he would complete in early 1790. However, the opera is neither opera buffa nor opera seria, and so is known as dramma giocoso. Although the opera itself was completed before the première, the overture remained incomplete until the last moment. Legend has it that the night before the performance (or dress rehearsal) Mozart attended a party. On returning home, his wife kept him awake throughout the night with stories as he wrote down the notes to the overture, finally providing the score to copyists at 7 o‘clock the next morning. As Mozart’s compositional method most often involved completing a work in his head and then writing it down, and as he was a known procrastinator, the veracity of this story is quite believable. © Elizabeth Boulton
The score and parts of this piece have been sponsored in the memory of Leslie Thomas Gilbert
Clarinet Concerto in A major I II III
Allegro Adagio Rondo. Allegro
Mozart wrote his only concerto for clarinet and orchestra for his friend Anton Stadler in the space of about 10 days, when he was at the height of his powers, and only two months before his tragically early death. In Mozart’s day the clarinet was still quite a new instrument and was undergoing development by various makers. Mozart had a love affair with the clarinet and basset horn, with their rich sonorities and almost vocal qualities of expression. Mozart wrote the concerto for what should properly be called the basset clarinet, not to be confused with the basset horn, which is a tenor version of the standard clarinet. The concerto
has survived not in Mozart’s manuscript, but in a set of parts with the clarinet solo written for normal clarinet, issued in 1801 – 10 years after Mozart’s death. It was published by the firm of Johann Andre, who had bought all Mozart’s surviving manuscripts from his widow, Constanza, in 1799. It is presumed, but by no means certain, that the arrangement for normal clarinet was by Andre himself. Despite its curious birth, this is a glorious work: the first great concerto for the instrument and some would say still the greatest. The solo part displays the range and agility of the instrument as well as its velvety and soulful qualities, particularly exploring the differences between the higher and lower registers. A certain chamber-music quality reigns over the entire concerto, achieved partly through the integration of soloist and orchestra and partly through Mozart omitting the oboes and clarinets from the orchestra, in order to leave the middle woodwind register free for the soloist to exploit. The first movement, in classical sonata form structure, is a wide-ranging and continuous melody. Although it is rich and varied in its ideas, the occasional chromatic passages and the soft phrase endings subtly impart a melancholic character. The outer sections of the reflective Adagio are simple but warm and rich. The middle section, like the coda, is more elaborate for the clarinet, much of it in the lower register. The movement ends with the sort of quiet, seemingly inconsequential coda that was a Mozart speciality. In only six lightly scored measures, it seems to sum up all that has come before. Profound loneliness resides in this languorous elegy. The rondo, based on the interplay of two melodies, provides a mostly high-spirited conclusion, yet moments of sadness still persist. This was the last major work that Mozart completed. Nine weeks after writing the clarinet concerto, he was dead. In this swan song, he left a testament to happiness and sadness, to hope and resignation.
© Elizabeth Boulton
The score and parts of this piece have been sponsored by Quintin Gardner.
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Alberto Ginastera (1916 - 1983)
Concerto for Strings, Op.33 I II III IV
Variazoni per i solisti Scherzo fantastico Adagio angoscioso Finale Furioso
Born in Buenos Aires in 1916, Alberto Ginastera showed musical promise and talent from an early age. He spent his adolescent years in formal study at Argentina’s Williams Conservatory and was admitted to the National Conservatory as an undergraduate, by which time his compositions were already receiving attention in prominent concert venues. To this day he is considered one of the most influential Argentinian composers of the twentieth century, having held numerous teach posts at National Universities and Conservatoires, and co-founding the League of Composers. Ginastera's initial musical style was heavily influenced by Argentine folk music, but following a visit to the US in 1945 – 47 where he met and became friends with Aaron Copland, Ginastera started to use more advanced composition techniques, borrowing sonorities and processes from the serialist and experimentalist movements. The scale of his compositions also changed. Originally having preferred suites and small forms, by the late ‘40s and early ‘50s, he had written far more imposing works, including his Piano Sonata No.1 and two String Quartets. Elements of Argentine folk music would however remain a constant throughout the evolution of his compositional style, whether used intentionally, habitually or symbolically. Concerto for Strings was composed in Berlin in 1965, to fulfil a commission from the National Institute of Culture and Fine Arts of Venezuela. It was premièred by Eugene Ormandy and the Philadelphia Orchestra at a Festival in Caracas in 1966. Much of the compositional material is developed and expanded from his String Quartet No.2 of 1958, Ginastera’s first entirely serial composition. However the piece does not remain entirely in its original structure. The
first movement is removed entirely; the order of the following three movements is reversed, which leaves only the final movement in its original place. It has been said that by developing the material for larger orchestration, Ginastera was able to realise the best parts of the earlier work. Variazioni per i solisti takes the form of theme and variations for the principals of each section. The brooding theme is introduced by the leader, and then taken on by the principal cello, second violin and viola in turn, finishing with the double bass. The orchestral accompaniment changes for each principal's mini-cadenza, remaining sparse in places and antagonistic in others, though the mood ulitmately returns to being as reflective as it was at the beginning. A tour de force in string instrument extended techniques follows in the form of Scherzo fantastico, which is split into two contrasting trios. Probably more of an exploration of timbre than theme, the sounds range from the splashing of col legno (playing with the wooden part of the bow), the nasal sound of sul tasto (bowing near the finger board), the scratching of sul pont (bowing near the bridge), to the more familiar sound of pizzicato and more besides. The melodramatic and expressive Adagio angoscioso introduces an extensive melodic theme which wanders through an increasingly impenetrable maze of harmony. The music builds with ferocity towards a desperate climax, to then drop away with equal intensity, slowly fading away. The fast and frantic Finale Furioso brings this work to an exciting and frenzied finish. Bartok pizzicato creates a percussive snap, articulating the duelling time signatures of 3/4 and 6/8, folk-like elements that provide rhythmic interest. In a twelve bar crescendo, the piece rises to its end with an almighty dynamic and intensity. © Jenny Brady
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Franz Schubert (1797 - 1828)
Symphony No.1 in D major, D82 I II III IV
Adagio – Allegro vivace Andante Menuetto. Allegro Allegro vivace
Franz Peter Schubert was born in Vienna in 1797. His initial musical education was somewhat of a family affair, receiving basic violin and musical instruction from his father a local parish schoolmaster, and piano lessons from his older brother. He also played viola in the family string quartet, with his two brothers playing violin and his father on cello. Schubert first came to Antonio Salieri’s attention in 1804 on account of his vocal talents. In 1808 he won a vocal scholarship to attend the Stadtkonvikt where he was introduced to the symphonic works of Michael & Joseph Haydn and Mozart. Salieri, noticing his talent and flare for composition started to give him private tuition in music theory. Amongst chamber pieces, lieder, and a wind octet, he would write his first symphony whilst studying at the Stadtkonvikt.
A gentle Adagio follows with a sweet and lilting melody to open and develops with the later introduction of a more serious march like theme. The movement is written in G major providing a harmonic break, and the orchestration is varied, tending to dovetail between the string and woodwind sections throughout. The Menuetto sees the return to D major and the energetic and forceful character of the first movement. The trio section is graceful and evokes the qualities of an Austrian Ländler, also providing moments of playfulness in the woodwind section. Allegro vivace is the animated and galloping final movement, the effect enhanced by a heavily ornamented motif introduced by the violins. The music drives forward throughout, interplaying with the woodwind in quieter sections and slowing to pause once, only to immediately take off again, sprinting to a strong and extremely decisive coda. © Jenny Brady
The Symphony No.1 in D major was composed in 1813, when Schubert was just 16 years old. It is an extremely impressive and mature work for one so young, but also for its time. It was dedicated to the director of the Stadtkonvikt and probably first performed by the orchestra there, though like many of Schubert's pre-1820 works, it was not published until 1884. This early work of Schubert’s demonstrates the influence of Mozart and Haydn, the first movement opening with a grand Adagio enhanced with double dotted notation, before scurrying off into the playful Allegro vivace. Interestingly, after a furious passage of harmonic battle in the development between the rising scalic first subject and arpeggio based second subject, the Adagio returns later in the movement to herald the recapitulation. www.lmp.org
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From world-class concerts to inspiring education projects, none of the LMP’s work would be possible without the financial support we receive from our Benefactors. Our Benefactors are musical patrons, following in the footsteps of those generous, passionate and committed philanthropists who, throughout the centuries, have enabled great musicians to perform and compose. Benefactors make an annual donation of £1000 and above and enjoy a unique programme of events, including access to rehearsals, exclusive recitals, gala concerts and special receptions throughout the year. Start your own creative partnership and become a Benefactor.
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supporting the lmp The LMP would like to thank its supporters Patron HRH The Earl of Wessex KG GCVO Principal Funder London Borough of Croydon Public Funders Arts Council England Orchestras Live South Holland District Council Corporate Sponsor M&G Investments Trusts & foundations The Foyle Foundation The Garfield Weston Foundation The Goldsmiths' Company The Golsoncott Foundation The Mercers' Company The PRS for Music Foundation The RK Charitable Trust N. Smith Charitable Settlement Corporate Friends Peter Dunham Elite Hotels LV= Simmons & Simmons Conductors’ Circle Anonymous David & Ann Benson Daniel & Alison Benton Joanna & William Brogan-Higgins Rowan & Davina Freeland Bruna Colombo-Otten Antony & Carol Lewis-Crosby Barry & Sue O'Brien Peter & Sheelagh Smith Mr D & Mrs M Wechsler Jeffrey & Rosamund West
Benefactors Anonymous Graham Harman John Hanson Doreen Hitching in memory of Brian Hitching* André & Rosalie Hoffmann Sir Roger & Lady Sands
Silver Supporters Anonymous x 11 Patricia Coe * Nick Cull Mr & Mrs A M W Rivers Mrs Marion Sunley George Sutherland Mr BE & Mrs PB Woolnough *
Donors to the Annual Appeal Anonymous x 30 Cllr Graham & Jean Bass George Bray Gerald Crowther Daniel De Simone Mr I A Hamlyn Geoffrey Hurst Ros & John Rawling Brian J Stocker
Bronze Supporters Anonymous x 10 Nigel & Diane Elliott Chantal Keast * Donors also contributed to the annual appeal.
Golden Supporters Anonymous x 3 Hilary Anne Baily Morag Beier * Martin & Susan Bushell Mr Quintin Gardner Geoff & Mary Hearn Margaret Jones MVO Tony & Mary Lambell Derek & Deirdre Lea * Gordon & Jeanne Lees Mr John Mead * Gillian Noble Hazel & Geoffrey Otton * Robert Keith Robertson Christine Robson John & Jean-Anne Tillotson *
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LMP management
Friends of the London Mozart Players
Patron HRH The Earl of Wessex KG GCVO
Administration
Managing Director Simon Funnell
Music Director Gérard Korsten Associate Conductor Hilary Davan Wetton
General Manager David Wilson
London Mozart Players Fairfield Halls Park Lane Croydon CR9 1DG
Concerts Assistant Jenny Brady
T: 020 8686 1996 F: 020 8667 0938 E: info@lmp.org W: www.lmp.org
Chairman Rowan Freeland
Orchestral Librarian Martin Sargeson
Registered in England No. 18720034
Chair of the Audit Committee Rosamund Sykes
Financial Consultant Christopher Wright
Registered Charity No. 290833
Associate Composer Roxanna Panufnik Board of Directors
Daniel Benton Simon Funnell Richard Morgan Gillian Perkins David Wechsler
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forthcoming concerts Thursday 20 March 2014 Thursday 30 January 2014
7.30pm
Mozart Mozart Dvořák
Symphony No.32 in G major, K318 Piano Concerto No.25, K503 Symphony No.9 in E minor, Op.59 From the New World
Piano/Director
Howard Shelley
Thursday 27 February 2014 Ravel R Strauss Butterworth Mendelssohn
Mother Goose Suite Four Last Songs A Shropshire Lad; Rhapsody for Orchestra Symphony No.5, Op.107 Reformation
Conductor Soprano
Hilary Davan Wetton Claire Rutter
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Mendelssohn Schumann Schubert
The Hebrides, 'Fingal's Cave' Violin Concerto in D minor Symphony No.2 in B flat, D125
Conductor Violin
Gérard Korsten Anthony Marwood
Thursday 10 April 2014
7.30pm
7.30pm
7.30pm
Poulenc Haydn Poulenc Haydn
Sinfonietta Piano Concerto No.11 in D Aubade Symphony No.104, London
Piano/Director
Howard Shelley
Thursday 29 May 2014
7.45pm
Tippett Mozart Beethoven
Divertimento for Chamber Orchestra Piano Concerto No.17, K453 Symphony No.2 in D major, Op.36
Conductor Piano
Gérard Korsten Angela Hewitt
05/12/2013 11:37:03