Resident Orchestra of Fairfield Halls, Croydon
Wednesday 16 March 2011 7.30pm Fairfield Halls, Croydon Howard Shelley conductor/piano Tasmin Little violin Timothy Hugh cello mozart Idomeneo Overture ravel Mother Goose Suite shostakovich Piano Concerto No. 2 in F major interval
faurÉ Masques et bergamasques beethoven Concerto for Violin, Cello and Piano in C Major Please join us after the concert for a mingling in the central foyer. This is a great opportunity to chat with tonightʼs soloists, 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 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, Roxanna Panufnik and Tansy Davies. The LMP performance of Tansy Davies� As with Voices and with Tears, performed at Portsmouth Cathedral, by Portsmouth Grammar School Chamber Choir was nominated for a South Bank Sky Arts Award 2011. 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 visited Spain, Belgium and France and Germany. 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. This season sees the orchestra continuing to work with established artists including Howard Shelley, Joseph Swensen, Catrin Finch and Chloë Hanslip, whilst building new relationships with bright new stars including Maximillian Hornung and Francesco Piemontesi. The LMP’s new association with Korsten also sees www.lmp.org
the introduction of some of the best European soloists to the 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. 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, Wimbledon College, Portsmouth Grammar School and the Whitgift Foundation Schools in Croydon. Recent projects include ‘Fly Away Mozart’, involving secondary schoolchildren and composer Michael Omer in creating a piece based around flight that was performed in the arrivals hall of Southampton Airport; and ‘Side-by-side in Shepshed’ that saw composer and animateur Fraser Trainer and seven schools in Leicestershire build a new youth orchestra for the area and perform alongside the LMP in a family concert. In Croydon, a START project included children from primary and special needs schools working together to perform at the LMP’s annual Schools’ Concert in Fairfield Halls. 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. For more information about the orchestraʼs activities, please visit www.lmp.org
ORCHESTRA 1st Violins Susanna Candlin Nicoline Kraamwinkel Simon Lewis Martin Smith (Chair supported by Anonymous)
Catherine Van de Geest Anna de Bruin Freddie August Clara Biss 2nd Violins Jenny Godson David Angel Jeremy Metcalfe Jayne Spencer Stephen Rouse
(Chair supported by Femke de Vos Burchart)
Julia Barker
Violas Judith Busbridge Jessica Beeston Michael Posner
(Chair supported by Anonymous)
Ian Rathbourne
(Chair supported by Caroline Molloy & Andrew Lay)
Cellos Sebastian Comberti Julia Desbruslais Sarah Butcher (Chair supported by Elinor Browne)
Rachel Van der Tang (Chair supported by Anonymous)
Basses Stacey Watton
(Chair supported by Louise Honeyman)
Cathy Elliott Harp Helen Sharp
Flutes Celia Chambers
(Chair supported by Brian & Doreen Hitching)
Rebecca Larsen Piccolo Nicholas Bricht Oboes Gareth Hulse
(Chair supported by Pat Sandry)
Katie Clemmow Clarinets Angela Malsbury
(Chair supported by Joyce & Stuart Aston)
Margaret Archibald Bassoons Adam Mackenzie
Horns Christopher Newport Tony Catterick Richard Lewis Martin Grainger Trumpets Paul Archibald Peter Wright Timpani Ben Hoffnung Percussion Scott Bywater Tim Barry Barnaby Archer Celesta David Pettit
(Chair supported by Alec Botten)
Robert Porter Contra Bassoon Rachel Simms
give the orchestra a leg up support an lmp chair From 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.
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howard shelley Conductor/piano
As pianist he has performed, broadcast and recorded around the world with leading orchestras and conductors including Ashkenazy, Boulez, Boult, Davis, Jansons, Rozhdestvensky and Sanderling. In a unique series of five London recitals, broadcast by the BBC, he played Rachmaninov’s complete solo piano music. He has given complete cycles of Rachmaninov concertos with the Royal Scottish National and of Beethoven concertos with the BBC Philharmonic orchestras. He has recently completed a cycle of all the Mozart Piano Concertos programmed with Haydn’s six ‘Paris’ and 12 ‘London’ symphonies in Italy with the Orchestra di Padova et del Veneto. He has designed and performed themed series around Mozart with the London Mozart Players, Camerata Salzburg and Munich Symphony. As conductor he has performed with the London Philharmonic, London Symphony, Royal Philharmonic, Philharmonia, Royal Scottish National and Ulster orchestras as well as the Hong Kong Philharmonic, Filarmonica de la Ciudad de Mexico, Munich Symphony, Seattle Symphony, Naples Philharmonic, Singapore Symphony Orchestra, Melbourne Symphony Orchestra and West Australian Symphony Orchestra, amongst many others. www.lmp.org
© Eric Richmond
After winning the premier prize at the Royal College of Music at the end of his first year, Howard Shelley’s career began with a highly successful London recital and a televised Promenade concert with the London Symphony Orchestra under Michael Tilson-Thomas in the same season. Since then he has performed regularly throughout the UK, Europe, Scandinavia, North America, Russia, Australia, and the Far East. He has also made over one hundred highly acclaimed commercial recordings.
He has held positions of Associate and Principal Guest Conductor with the London Mozart Players in a close relationship spanning 30 years. He has toured with them to Japan, Korea, Sweden, Italy, Holland, the Czech Republic, Ireland and had a sixth German tour with them in 2009. Their many recordings together have in every case received exceptional critical acclaim. Shelley has also been Principal Conductor of Sweden’s Uppsala Chamber Orchestra and works regularly with the Orchestra di Padova e del Veneto in Italy, the Orchestra of Swiss-Italian Radio in Lugano and Australia’s Tasmanian Symphony Orchestra. He is involved in several recording projects in Lugano and Hobart. Other chamber orchestras with whom he has worked include the English Chamber, Scottish Chamber, Swedish Chamber, Zurich Chamber, Netherlands Chamber and Stuttgart Chamber orchestras, the Northern Sinfonia, Ensemble Orchestral de Paris, Orchestre de Picardie, Leipzig Kammerphilharmonie, Camerata Salzburg and Hong Kong Sinfonietta. Currently recording for the top two British independent labels, Chandos and Hyperion, Shelley’s discography now numbers over 100 recordings and includes award-winning sets of Rachmaninov’s complete piano music and concertos, series of Mozart, Hummel, Mendelssohn, and Cramer concertos, Gershwin’s works for piano and orchestra and a series of British concertos (Alwyn, Bridge, Howells, Rubbra, Scott, Tippett and Vaughan Williams) for Chandos and many contributions to Hyperion’s Romantic Piano series such as concertos by Moscheles, Herz, Hiller and, most recently, a 4-CD boxed set of Haydn’s ‘London’ symphonies. Howard Shelley is married to fellow pianist Hilary Macnamara, with whom he has performed and recorded in a two-piano partnership, and they have two sons. In 1994 an Honorary Fellowship of the Royal College of Music was conferred on him by HRH The Prince of Wales. In the 2009 New Year’s Honours he was awarded an OBE for services to classical music.
Tasmin has played with many of the worldʼs greatest orchestras in a career that has taken her to every continent of the world. In addition to her regular solo performances, she has played with/directed orchestras such as the Royal Philharmonic, Seattle Symphony, London Mozart Players, English Chamber Orchestra, Norwegian Chamber, European Union Chamber Orchestra and Britten Sinfonia. In 2007/08 she joined the London Mozart Players as soloist and director in a tour of the UK that also featured her UK conducting debut.
Tim studied at Yale with Aldo Parisot and afterwards with Pleeth and Jaqueline du Pré whilst gaining his MA in Medicine and Anthropology at St John’s College, Cambridge. His developing interest in contemporary music led to performances of Boulez Messagesquisse, Dutilleux Tout un monde lontain, Britten Cello Symphony and Hugh Wood concerto all at the BBC Proms. He has recorded the three Britten Suites twice (Hyperion and Naxos), the latter being a live performance, as well as concertos by Walton, Bliss, Finzi, Boccherini, Hoffman, Holst and CPE Bach. The Bach Suites released in 2006 on LSO iTunes were reviewed by BBC Music Magazine as “the best performance on a modern cello”.
As a concerto player, Tasminʼs performances in the 2009/10 season took her back to the Concertgebouw in Amsterdam where she gave the world première of a violin concerto by Willem Jeths. She returns to the Concertgebouw twice in the 2010/11 Season to perform violin concerti by Loevendie and Prokofiev. Other performances in 2010/11 include concerts in Australia, New Zealand and Slovenia, as well as a Festival at Kings Place, London. In 2008, Tasmin made her fifteenth appearance at the BBC Promenade Concerts in a performance of the Concerto for Violin and Horn by Dame Ethyl Smyth. She continues to champion seldom-performed repertoire, and has received critical acclaim as one of the few violinists to have mastered Ligetiʼs challenging violin concerto. Her 2003 tour with the Berlin Philharmonic and Sir Simon Rattle, during which she performed the concerto at the BBC Proms, Berlin Philharmonie, Salzburg Festival, New Yorkʼs Carnegie Hall and Philadelphiaʼs Kimmel Center, received unanimous critical acclaim. She plays a 1757 Guadagnini violin and has, on kind loan from the Royal Academy of Music, the ʽRegentʼ Stradivarius of 1708.
© Mark Lewis
timothy hugh Cello
© Melanie Winning
TASMIN LITTLE Violin
As principal cello of the London Symphony Orchestra (LSO) he has performed with them the Elgar, Strauss Don Quixote, Shostakovich, Haydn, Dvořák, Messiaen and Walton concertos. Recently he toured the UK playing the Elgar and Brahms concertos with the Moscow Philharmonic and in Spain with the LSO at the Alhambra Palace, Granada and Almeria; and the Saint-Saëns concerto with the Pamplona Symphony. His recordings of the Saygun and Tabakov concertos with the Ankara Symphony Orchestra have just been released. With Valery Gergiev he gave the UK première of the Tishchenko Cello Concerto with the LSO at the Barbican and also premièred it with him at the Berlin Philharmonie and the Rotterdam Festival. Later this year he will be playing the Dvořák concerto in Sofia and the Elgar concerto with Howard Griffiths in Frankfurt and Brandenburg with further performances in Bath and Montenegro. Tim is playing on a cello by Zanoli.
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WOLFGANG AMADEUS MOZART (1756–1791)
maurice ravel (1875–1937)
Idomeneo Overture
Mother Goose Suite
Mozart’s first mature opera seria, Idomeneo, was premièred in January 1781, when the composer was 24. The opera was commissioned by the Elector of Bavaria, who maintained one of the finest orchestras in Europe and had an opera company of exceptional skill, and the first three performances took place in Munich to considerable success.
I II III IV V
Set in Ancient Greece, Idomeneo tells the story of King Idomeneus of Crete, who promises the God Neptune that, if spared from shipwreck, he will sacrifice the first person he sees, only to be met on landing by his son Idamantes. Eventually Ilia, the Trojan princess in love with Idamantes, offers herself as a sacrifice in his place. This act of selflessness is enough to melt the heart of Neptune, and all is restored with a happy ending. Idomeneo demonstrated Mozart’s mastery of orchestral colour, accompanied recitatives and melodic line. The Overture is a richly orchestrated movement, in which the themes flow imperceptibly into one another, leading to the quietly tense final bars. The ending does not quite form a “musical” close, but in a staged production would lead straight into the ensuing drama. © Caroline Molloy
Mozart in 1782
Pavane de la Belle au bois dormant Petit Pousset Laideronette, Imperatrice des Pagodes Les entretiens de la Belle et de la Bête Le Jardin féerique
The Mother Goose Suite is not an occasional composition based on fairy tales but a work intended to evoke what Ravel called “the poetry of childhood”. The Suite was originally composed in 1908 as a piano duet for Ravel’s young friends Mimi Godebski (who was eight at the time) and her brother Jean. However, they were not the soloists at the first performance in Paris in 1910 when the five pieces were played by two children who were six and seven years old. In 1912 Ravel orchestrated the work and added another movement as well as interludes for a ballet performance. These additions were not, however, included in the orchestral suite, which consists of the five movements originally composed for piano duet. The orchestral version of the Mother Goose Suite is scored for a small orchestra in which three of the woodwind players double on piccolo, cor anglais and contra bassoon. This is unusual for an orchestra of this size, but even more so is the addition of a harp and a considerable number of percussion instruments. The original title of “Ma Mére L’Oye” simply means a collection of fairy tales from different sources. Quotations from the respective tales appear in the score above the second, third and fourth movements. The opening movement, the Pavane of Sleeping Beauty, is followed by Tom Thumb. The third movement is based on the tale of The Ugly Little Empress of the Pagodas who takes a bath while the Pagodas and the little ‘Pagodines’ play for her on string instruments made of nut and almond shells. In conversation in the fourth movement between Beauty and the Beast, the latter is portrayed by the contra bassoon until the Beast is transformed into a prince. The finale represents a Fairy Garden. © Stefan de Haan
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DMITRI SHOSTAKOVICH (1906–1975) Piano Concerto No. 2 in F major I II III
Allegro Andante Allegro
Shostakovich wrote his second piano concerto in 1957 as a birthday gift for his son Maxim, a pianist. It is the last, and most significant, of the pedagogical works Shostakovich wrote for his children and in many ways represents Maxim’s coming of age. The work bears a formal dedication to him, and it was on the strength of his performance of the work that Maxim gained entrance into the Moscow Conservatoire. The first performance was given by Maxim on his nineteenth birthday (10 May 1957), with the USSR State Symphony Orchestra under Nikolai Anosov. In a letter to the composer Edison Denisov, Shostakovich complained that the work had no redeeming artistic merits, yet the critics of the day praised it for its ‘charming simplicity, carefree spirit and lyrical warmth’, a remark that minimizes the joyous and beautiful qualities of a piece that in the end may be more cheerful and optimistic than various substantial works where those qualities seemed forced or inauthentic. In any case, Shostakovich performed the Concerto many times himself and made a recording of it. (As evidence of the continuing family tradition, Maxim later conducted a recording featuring his own son, Dmitri, as soloist, who bears a striking resemblance to his grandfather.) A solo bassoon initiates a witty neo-Classical style that soon accelerates with a military sounding theme for piano and orchestra, complete with snare-drum. The haunting second movement seems a throwback not to earlier Shostakovich, but to the previous century. It provides a searching meditation for strings and keyboard soloist before the playful mood returns in the irrepressible perpetual motion Finale. Much of the piano passagework has the character of a mechanical piano student exercise, such as the notorious Czerny or Hanon studies fledgling piano students are subjected to. It was perhaps a sly way in which Shostakovich could make sure his son practiced! © Jo Towler
INTERVAL
GABRIEL FAURÉ (1845–1924) Masques et bergamasques I II III IV
Ouverture Menuet Gavotte Pastorale
In September 1918 Albert I, Prince of Monaco, commissioned Fauré to compose the music for a staged entertainment, based on the characters of the ancient Italian Commedie dell’arte. Fauré was delighted. The librettist René Fauchois selected some of Verlaine’s poetry to illustrate the antics of the Italian characters and the unexpected arrival of their audience, dressed in eighteenth century costumes. Masques et bergamasques was the title chosen for this entertainment (bergamasques are ancient dances from Bergamo in Northern Italy). It was indeed an entertainment close to the masques of Purcell’s time, and also close to our Christmas pantomimes. Fauré wrote eight separate pieces for the first performance in April 1919. He borrowed much of the music from his earlier works, such as the Ouverture, Menuet and the Gavotte from an abandoned symphony of 1869. Only the Pastorale was an entirely new movement. Later Fauré chose this gentle piece as the finale of the orchestral suite in four movements, and this version, first performed in Paris in November 1919, is now the generally accepted form of Masques et bergamasques. The tempo indication for the Pastorale, Andante tranquillo, is a most unusual choice for a last movement but it emphasises the serene spirit of the whole suite. In order to point this out more clearly to the listener, flute and oboe quote, towards the end of the Pastorale, the cheerful theme of the Ouverture composed by Fauré half a century earlier. He dedicated this Suite to his to grand-nieces, suggesting that children might also enjoy the innocently charming music of this work. © Stefan de Haan
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LUDWIG VAN BEETHOVEN (1770–1827) Concerto for Violin, Cello and Piano in C Major I II III
Allegro Largo Rondo alla Polacca
By the time he reached his 30s, Beethoven was well-established in Vienna as a composer, teacher, and pianist, but the joy of this was becoming more than tarnished by his realisation that he was beginning to lose the one sense that was indispensable to any musician: his hearing. Beethoven’s Triple Concerto for piano, violin, cello and orchestra was written during the intensely productive time of Eroica and Fidelio. Beethoven’s early biographer Anton Schindler claimed that the Triple Concerto was written for Beethoven’s royal pupil the Archduke Rudolf. The Archduke, who became an accomplished pianist and composer under Beethoven’s tutelage, was only in his midteens at this time, and it seems plausible that Beethoven’s strategy was to create a showy but relatively easy piano part that would be backed up by two more mature and skilled soloists. However, there is no record of Rudolf ever performing the work – it was not publicly premièred until 1808, at the summer “Augarten” concerts in Vienna – and when it came to be published, the concerto bore a dedication to a different patron: Prince Leibkowitz. While the scoring of a work for piano trio (a common chamber music configuration) set off against full orchestra was unusual, stylistically, the piece continues the 18th-century tradition of the sinfonia concertante: a symphony with multiple soloists. The result is one of great beauty and ingeniousness, but it did contain challenges of form and balance. Beethoven overcame these by keeping his thematic material simple and most often giving the violin and cello their statements jointly. The potential balance problem is that the piano, being the largest instrument, could overpower this ensemble and the cello, being the lowest in pitch, is in danger of not being heard. Beethoven’s solution gives the piano the lightest part and awards the
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cello the starring role, introducing new themes, and, for most of the work, utilising its powerful top register. The Triple Concerto is structured in the traditional three movements. The large-scale first movement (Allegro), in a modified sonata form, entrusts most of the thematic development to the solo trio, and tends towards the cheerful and conversational rather than the dramatic and stormy. The slow movement is an eloquent Largo, full of poetry, with a lovely singing cello line and contrasting rhythmic figures in the piano. It is presented simply as a long introduction to the finale, without development, scored for muted strings with light comments from the winds. Dramatic repeated notes launch into the third movement, which is a Polonaise (also called a Polacca); an emblem of aristocratic fashionability during the Napoleonic era, in keeping with the character of “polite entertainment” that characterises this concerto as a whole. The bolero-like rhythm also characteristic of the Polonaise can be heard in the central minor theme of the final movement. © Elizabeth Boulton
Please join us after the concert for a mingling in the central foyer. This is a great opportunity to chat with tonightʼs soloists, conductor and members of the orchestra.
Have you enjoyed tonightʼs concert? We would appreciate your thoughts on comments@lmp.org or call 020 8686 1996.
LMP management patron HRH The Earl of Wessex KG KCVO
administration managing director Simon Funnell
music director GĂŠrard Korsten associate conductor Hilary Davan Wetton associate composer Roxanna Panufnik
deputy managing director Jo Towler
London Mozart Players Fairfield Halls Park Lane Croydon CR9 1DG
general manager David Wilson
T: 020 8686 1996 F: 020 8686 2187 E: info@lmp.org W: www.lmp.org
development manager Elinor Browne
Registered in England No. 18720034
concerts & projects manager Deborah Guest
Registered Charity No. 290833
council of management acting chairman Rowan Freeland chair of the audit committee Rosamund Sykes Daniel Benton Simon Funnell Gillian Perkins David Wechsler Malcolm Wicks MP
marketing & events co-ordinator Caroline Molloy orchestral librarian Martin Sargeson intern Naomi Kroll
lmp cds on sale at the lmp table including our latest releases: The latest Contemporaries of Mozart release: Boccherini symphonies
The award-winning disc with Mendelssohn’s Concerto for Piano and Violin
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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 corporate friends Cantate Elite Hotels 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 Princeʼs Foundation for Children & the Arts The Sackler Trust N. Smith Charitable Settlement
benefactors Anonymous x 3 Daniel & Alison Benton The Ross Goobey Charitable Trust André & Rosalie Hoffmann Sylvia Ho Dudley & Margaret Mead Mr K G Smith Peter & Sheelagh Smith Mr D & Mrs M Wechsler Jeffrey & Rosamund West
Brian & Doreen Hitching Margaret Jones MVO Mr & Mrs A J Lambell Jeanne & Gordon Lees Miss Gillian Noble Hazel & Geoffrey Otton Mr & Mrs D Powell Mrs B D Ramsochit Christine Robson Mr & Mrs J Tillotson Sir John Wickerson
life friends Michael & Barbara Hill
silver supporters Anonymous x 18 Irene & Leslie Aarons Mr M P Black Ian Gibb Chantal Keast Nick & Jane Mallett Mr & Mrs M Rivers Mrs Marion Sunley
platinum supporters Mr & Mrs C Clementi Davina Freeland Derek & Deirdre Lea Derek & Bunty Millard Michael J Rose Michael Woodhouse CVO golden supporters Anonymous x 8 David Beever Kate Bingham Mr & Mrs P A Elliot Geoff & Mary Hearn
bronze supporters Anonymous x 22 George Bray Morag Beier Alec Botten Mr I A Hamlyn Mr B E & 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
would you like to support your local orchestra? why not join us as a friend? Joining the LMP Friends is an ideal way to
become part of a very friendly group of people who share your love of music.
In return, there are 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 • Newsletters keeping you involved with all the LMP’s activities • Discounts on LMP CDs and free programmes for Croydon concerts.
Membership costs £40 per year, or £60 for couples. For more information or to join, please visit the LMP desk in the foyer, call the LMP office on 020 8686 1996, email friends@lmp.org or visit www.lmp.org www.lmp.org www.lmp.org
forthcoming LMP concerts
Wednesday 20 April
7.30pm
COPLAND BARBER DVOŘÁK
Appalachian Spring Suite Violin Concerto Symphony No. 9 From the New World
Conductor Violin
Joseph Swenson Thomas Bowes
Saturday 14 May
fairfield halls, croydon 020 8688 9291
Wednesday 22 June 7.30pm Barbican with the London Oriana Choir ELGAR
The Dream of Gerontius
Conductor Gerontius Angel Priest/Angel of the Agony
David Drummond Jaewoo Kim Rosie Aldridge James Platt
7.30pm
HAYDN R. STRAUSS ELGAR MOZART
Symphony No. 103 Drumroll Oboe Concerto Serenade for Strings Symphony No. 35, K385 Haffner
Conductor Oboe
Gérard Korsten François Leleux
Thursday 23 June 7.30pm St John's Smith Square with the City of London Choir HOWELLS DURUFLÉ
An English Mass Requiem
Conductor
Hilary Davan Wetton
If you would like to join the LMP mailing list and receive updates via email, please go to www.lmp.org and click on the “subscribe to email list” link. Alternatively, please email caroline@lmp.org or call 020 8686 1996. www.lmp.org