Resident Orchestra of Fairfield Halls, Croydon
Saturday 19 February 2011 7.30pm Fairfield Halls, Croydon Joseph Wolfe conductor Chloë Hanslip violin bartÓk Romanian Folk Dances dvoŘÁk Violin Concerto in A minor interval
piazzolla Four for Tango (arr. Wolfe) & Melody in A minor mozart Symphony No. 36 in C, K425 Linz
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. 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, most recently, has enjoyed a succesful nine day tour of 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 the introduction of some of the best European soloists to the Fairfield season. www.lmp.org
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 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, Wimbledon 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. 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. For more information about the orchestra's activities, please visit www.lmp.org
ORCHESTRA 1st Violins Ben Nabarro Susanna Candlin Nicoline Kraamwinkel Richard Blayden
(Chair supported
(Chair supported
by Anonymous)
by Anonymous)
Frances Kefford
Oboes Gareth Hulse
Cellos Julia Desbruslais Sarah Butcher Ben Rogerson
(Chair supported by
(Chair supported by Elinor Browne)
Clarinets Angela Malsbury
Aoife Nic Athlaoich
(Chair supported by
(Chair supported by
Joyce and Stuart Aston)
Anonymous)
Margaret Archibald
Basses Stacey Watton
Bassoons Adam Mackenzie
(Chair supported by
(Chair supported by
Louise Honeyman)
Alec Botten)
Cathy Elliott
Robert Porter
Anna De Bruin Richard Milone Robert Yeomans Julia Barker 2nd Violins David Angel Jeremy Metcalfe Jayne Spencer Stephen Rouse Cecilia Romero Vernon Dean
Violas Fiona Bonds Michael Posner Oliver Wilson
Flutes Daniel Pailthorpe (Chair supported by Brian and Doreen Hitching)
Robert Manasse
Horns Christopher Newport Tony Catterick Richard Lewis Martin Grainger Trumpets Neil Brough Peter Wright
Pat Sandry)
Katie Clemmow
Timpani Scott Bywater
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. www.lmp.org
joseph wolfe Conductor
Following studies in London, Dresden and Berlin, conductor Joseph Wolfe already has an enviable list of engagements and re-invitations to his credit. Recent highlights have included a return visit to Malmo Opera (Dead Man Walking, including performances at the Copenhagen Opera House), his debut with the Japan Philharmonic Orchestra in Suntory Hall (which resulted in an immediate re-invitation) and a return to the English Chamber Orchestra. He also gave concerts with the Netherlands Radio Orchestra at the Concertgebouw, the Royal Liverpool Philharmonic and the Bavarian State Youth Orchestra. His successful debut with the Ulster Orchestra opened the 2009/2010 season during which he also returned to Japan to conduct concerts with the Osaka Century Orchestra and the Sapporo Symphony. In the UK, Joseph Wolfe has conducted a series of concerts with the London Philharmonic (Schubert and Sibelius) gaining high praise. These concerts followed guest appearances with the City of Birmingham Symphony, Scottish Chamber Orchestra, English Chamber Orchestra, City of London Sinfonia, Royal Philharmonic Orchestra and the RTE in Dublin. Forthcoming engagements include concerts with the London Symphony Orchestra at the Barbican and Manchester Camerata. Following his work with the Borusan Symphony Orchestra, culminating in the opening concert of the Istanbul Summer Festival in 2006, Joseph Wolfe held the posts of both Principal Conductor of the Symphony and Principal Guest Conductor of the Borusan Chamber Orchestra in Istanbul until 2009.
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Joseph Wolfe has conducted in both Scandinavia and Germany, where he has made radio recordings for Bavarian Radio with the Munich Chamber Orchestra and the Bamberg Symphoniker. After his debut with the Bavarian State Youth Orchestra in 2003, Joseph Wolfe was immediately re-invited for concerts Munich’s Gasteig and in Nuremberg. The concerts were broadcast by Bavarian Radio, and he has returned on several occasions since. Joseph Wolfe’s conducting studies began whilst he was attending the Hochschule Carl Maria von Weber in Dresden where he also founded and directed the Dresden Kammersinfoniker. During this period, he was also Guest Conductor of the Brandenburg Philharmonic. In London, he formed the Nimrod Ensemble of London whilst continuing his studies at the Guildhall School of Music and Drama, eventually holding the Conducting Fellowship during the 2005/06 season. He was a prize-winner at the 7th Leeds Conducting Competition in the UK and attended Tanglewood, where he shared a concert with Kurt Masur and was assistant conductor of Britten’s opera A Midsummer Nightʼs Dream.
At the age of 23, Chloë Hanslip has already established herself as an artist of distinction on the international stage. Her recent recordings for Naxos have received outstanding reviews and include John Adamsʼ Violin Concerto and Romantic Concertos by Benjamin Godard. Her two earlier CDs with the London Symphony Orchestra for Warner Classics, won her, respectively, the German ‘Echo Klassik Award for Best Newcomer’ (2002), and ‘Young British Classical Performer’ at the Classical BRITS (2003). Her impressive recording catalogue continues to grow with a recital disc of works by Bazzini, which gained superlative reviews, and her latest recording – Hubay Concertos with the Bournemouth Symphony Orchestra – released September 2009. She made her BBC Proms debut in 2002, her US concerto debut in 2003, and has performed in major venues in the UK (Barbican, Royal Festival Hall, Royal Albert Hall, Wigmore Hall) and Europe (Vienna Musikverein, Louvre and Salle Gaveau, Paris, The Hermitage, St.Petersburg) as well as Carnegie Hall, Metropolitan Arts Space in Tokyo and the Seoul Arts Centre. Last season’s highlights included performances with the Cincinnati Symphony, Lahti Symphony, Vienna Tonkünstler, Norwegian Radio, London Mozart Players, National Symphony Orchestra of Ireland, RAI Torino, the strings of the Berlin Philharmonic and US recitals including performances in San Francisco. Forthcoming engagements include a tour with the Moscow State Symphony, a performance at the Royal Festival Hall with the Royal Philharmonic Orchestra and Leonard Slatkin; performances with the BBC National Orchestra of Wales, English Northern Philharmonia, City of London
© Benjamin Ealovega
chloË hanslip Violin
Sinfonia, Umea Symphony, Nord Nederlands Orkest, Orchestra Sinfonica di Lugano, Hamburg Symfoniker, Orquesta Sinfonica de Castilla y Leon, Murcia Symphony, Tampere Philharmonic and Beethoven Orchester Bonn. Conductors Chloë has worked with include Mariss Jansons, Sir Andrew Davis, Leonard Slatkin, Paul Daniel, Paavo Järvi, Pavel Kogan, Richard Hickox, Gianandrea Noseda, Gerard Schwarz, Barry Wordsworth, Claus Peter Flor, Martyn Brabbins, Michail Jurowski, Jeffrey Tate and Petr Altrichter. Chamber music has become an integral part of Chloëʼs life. She is a regular participant in Open Chamber Music at Prussia Cove, working with Steven Isserlis and Gerhard Schulz, and at the Kuhmo Chamber Music Festival in Finland where she returned for the 40th Anniversary celebrations in 2009. In addition to her usual repertoire including violin concertos by Britten, Prokofiev, Beethoven, Korngold, Shostakovich, Barber, Bernstein, Mendelssohn, Bruch, Elgar Tchaikovsky and Sibelius, Chloë has been championing contemporary works by John Adams, Philip Glass and Corigliano. Latest additions to her repertoire include Michael Nyman’s Violin Concerto (2003), which she performed at the Michael Nyman Festival in the Netherlands, and Simon Holt’s Witness to a Snow Miracle, which she performed with the BBC National Orchestra of Wales in October 2009. Chloë studied for ten years with the Russian pedagogue Zakhar Bron. She has also worked with Robert Masters, Ida Haendel, Salvatore Accardo, and Gerhard Schulz. Chloë plays a 1737 Guarneri del Gesu violin. www.lmp.org
antonÍn dvoŘÁk (1841–1904)
bÉla bartÓk (1881–1945) Romanian Folk Dances I II III IV V VI VII
Jocul cu bâta (Stick dance) Braul (Sash dance) Pe loc (On the spot) Buciumeana (Horn Dance) Poarga româneasca (Romanian polka) Maruntel (Fast dance) Maruntel (Fast dance)
Throughout his career Béla Bartók was influenced by folk music. Together with fellow countryman and composer Zoltán Kodály, he travelled extensively in Romania and neighbouring countries searching for and collecting thousands of authentic folk songs. They visited hundreds of villages and made numerous recordings of peasants singing and playing instruments. What Bartók and Kodály discovered was not just an unsuspected wealth of folk music but a highly original musical language which had little in common with the accepted forms of Western music. Its characteristics were a different arrangement of the different notes in the basic scale and their associated harmonies, and a strongly accented, complex rhythm. Both composers realised that they could create a new and powerful idiom for themselves by totally accepting the features of Hungarian folk music without adapting them, as Liszt had done, to the more ʽcivilisedʼ classical forms and harmonies. Bartók in particular seemed suddenly to have found his identity, and those of his works which established his fame as one of the greatest composers of the 20th century were all the result of this discovery. The Romanian Folk Dances were originally written for piano and date from 1915. Two years later Bartók arranged them for orchestra, and he, as well as others, made further arrangements for a variety of instrumental combinations. The works consist of seven short dances from different regions, and they are played with hardly a break between them. © Stefan de Haan
Violin Concerto in A minor I II III
Allegro ma non troppo Adagio ma non troppo Finale: Allegro giocoso ma non troppo
“Thin on top and grumbling in the bass” was how Dvořák referred, rather unkindly, to the cello – the instrument he wrote his most popular concerto for. One of Dvořák’s pupils said that the composer himself preferred the Violin Concerto and his rude remarks about the cello suggest that perhaps that is why; Dvořák was also a good viola player and an able violinist. The Violin Concerto was written in 1879 when the composer’s reputation was fast growing internationally. Dvořák now found himself in the company of such luminaries as Brahms and his violinst friend Joseph Joachim, for whom he wrote the piece. The first sketches of the piece were made in July 1879 and at the end of that month Dvořák visited him in Berlin and they presumably discussed the piece. Joachim recommended many revisions to the piece and as Dvořák himself was a compulsive reviser of his own works, this set the first performance of the work back some months. Sadly, Dvořák destroyed the original material, so we can not be sure exactly what was changed. Even these alterations were not enough for Dvořák’s publisher, Simrock, who wanted a new ending for the first movement. However, Dvořák seems to have become frustrated with the idea of further changes and refused, perhaps because the linking passage between the two movements is one of the loveliest in the piece. Simrock accepted Dvořák’s judgement and in 1883, four years after it was completed, the work was published. Although Joachim did perform an orchestral runthrough in Berlin, he never publicly performed the work, suggesting that he was not happy with it in its final version; the première was given in 1883 by Dvořák’s friend the violinist František Ondříček. © Simon Funnell
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INTERVAL
Astor piazzolla (1921–1992) Four for Tango & Melody in A minor A late work of Piazzolla (he died only three years later, in 1992), Four for Tango was written for one of his strongest influences, the Kronos String Quartet. Since Tango is considered the music of the Argentine soul, tango traditionalists attacked Piazzolla on many fronts about this piece. They disliked the extreme dissonances, the chromaticism and complex chords, rhythmic inventiveness within the basic tango beat, contrapuntal textures, some classical avant-garde techniques, and the use of ensembles other than the traditional tango band. The Tango genre, with Piazzolla, is transformed from its traditional roots in the late 19th century into something utterly different. His works – over a thousand of them – are termed “Tango Nuevo,” and are the product of an eclectic mix of ideas, exemplified by the people with whom he studied and with whom he performed. Many of those were classically trained musicians, beginning with Herman Scherchen, Nadia Boulanger, and Alberto Ginastera, with whom he studied composition, and Mstislav Rostropovich, the Kronos Quartet, and Gidon Kremer, with whom he occasionally recorded. But Piazzolla’s roots were always in the folk idioms of his home in Mar del Plata, Argentina, and in Buenos Aires, where the Tango took form.
and performed with the greatest Classical and Jazz musicians of his time from the Fifties onwards, and achieved immense popular success. About tonight’s arrangement: “I have changed very little from the original version written for string quartet except, of course, when it came to deciding where to bring out the solo quartet and where to let the string orchestra take over. I have tried to keep the solo quartet prominent and therefore needed to alter the dynamics with regard to balance between quartet and orchestra. A double bass part has also been added to bolster the tuttis. As a violinist I played this piece many times in the original quartet version and always felt that the quartet lacked power at the music’s most violent moments, and what it needed was a full section of roaring strings to get the extra weight of sound. So here it is! I hope you like it.” © Joseph Wolfe
Piazzolla was born in 1921 and by the age of four had moved to New York City, where apart from one year in Argentina he lived until he was 17. His father bought him a bandoneón, a South American folk instrument, at a pawn shop when he was eight, and he became a devoted bandoneónista for the rest of his life. Moving back to Argentina in 1937, he immersed himself in the study of the Tango, playing with several groups, and simultaneously studying Classical music, working with a pupil of Rachmaninov, Bela Wilda, and pianist Raul Spivak. In 1953 he won the Fabien Sevitzky Competition with a work for two bandoneóns and symphony orchestra, and at the Buenos Aires première a fist-fight broke out between purists of both Classical music and Tango, all of whom felt offended by the mixture of genres. But with the money he won, he went to Paris to study with Nadia Boulanger, who urged him to abandon Classical studies for the Tango. Finding his authentic voice, he wrote www.lmp.org
wolfgang amadeus mozart (1756–1791) Symphony No. 36 in C, K425 Linz I II III IV
Adagio - Allegro spiritoso Poco Adagio Menuetto Presto
Mozart and his wife Constanze (they were married in August 1782) visited Linz in the autumn of 1783 on their return journey from Salzburg to Vienna. They arrived at the end of October and stayed three weeks as the guests of Count Thun. The visit to Salzburg had been disappointing. Mozart’s father had always opposed the marriage of his son, and meeting Constanze did little to alter his opinion of her. The relations between him and the young couple remained strained, to say the least. It was therefore hardly surprising that both Constanze and Mozart felt more at ease in Linz where they had friends, where Mozart’s music was admired and where he could feel free from the domination of a father whom he loved, but who refused to accept that at the age of 27 his son was no longer a child. Soon after his arrival in Linz it must have been decided that Mozart should give a concert. “On the fourth of November,” he wrote to his father, “I shall give an Academy (benefit concert) at the theatre here. And since I have not a single symphony with me, I am writing one hurriedly which must be ready by then.” This left only four days to complete the work. It was indeed ready by 4th November and Mozart dedicated the symphony to Count Thun.
dimensions of the symphony. The slow introduction and the second movement have their moments of mystery, but on the whole the work reflects Mozart’s happy state of mind which, after the sad experience in Salzburg, he had found once more in Linz. This positive mood is evident in the finale, particularly when the simple theme of a broken common chord makes the most unexpected and humorous appearances. © Stefan de Haan
Constanze Mozart
The Linz Symphony, written in and for that city, showed what Mozart could do when he felt he was appreciated, and the limited time at his disposal presented him with an additional challenge. Confident and inspired as he undoubtedly was, he composed in Linz the most ambitious symphony he had written so far. As the resident orchestra included trumpets and drums, Mozart used them extensively. He wrote, against his usual practice at that time, a slow introduction to the first movement, and a Menuetto important enough to balance the considerable
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Have you enjoyed tonightʼs concert? We would appreciate your comments 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
deputy managing director Jo Towler
London Mozart Players Fairfield Halls Park Road 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 Anna Binney Martin Sargeson (maternity cover) intern Jennie Lambert
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 Dr Mortimer & Theresa Sackler Foundation
benefactors Anonymous x 3 Daniel & Alison Benton André & Rosalie Hoffmann Sylvia Ho Dudley & Margaret Mead The Ross Goobey Charitable Trust Mr K G Smith Mr D & Mrs M Wechsler Jeffrey & Rosamund West 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 8 David Beever Kate Bingham Mr & Mrs P A Elliot Geoff & Mary Hearn
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 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 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
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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.
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forthcoming LMP concerts
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 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
fairfield halls, croydon 020 8688 9291
Saturday 14 May
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
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
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