Resident Orchestra of Fairfield Halls, Croydon
Thursday 27 February 2014 Fairfield Halls, Croydon 7.30 pm Special Concert Celebrating the 70th Birthday of Hilary Davan Wetton Hilary Davan Wetton Conductor Claire Rutter Soprano
ravel Mother Goose Suite R Strauss Four Last Songs INTERVAL
butterworth A Shropshire Lad; Rhapsody for Orchestra mendelssohn Symphony No.5 in D minor, Op.107 Reformation
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. 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 Marieke Blankestijn Victoria Sayles Nicoline Kraamwinkel Ann Criscuolo Martin Smith (Chair supported by Debby Guthrie)
Anna de Bruin Richard Blayden Clare Hoffman 2nd Violins Jenny Godson David Angel Andrew Roberts Jeremy Metcalfe Jayne Spencer Anna Harpham Violas Simone Van der Giessen Sophie Renshaw Michael Posner James Widden (Chair supported by Stuart & Joyce Aston)
Cellos Sebastian Comberti (Chair supported by Christopher Fildes)
Julia Desbruslais
Flutes Juliette Bausor Robert Manasse (Chair supported by Barbara Tower)
(Chair supported by Jeanne & Gordon Lees)
Emilia Zakrzawska
Sarah Butcher
Oboes Gareth Hulse
(Chair supported by Valerie Butcher)
Gabriel Amherst (Chair supported by Anonymous)
Basses Stacey Watton
(Chair supported by Louise Honeyman)
Richard Pryce
(Chair supported by Toby & Eira Jessel)
Harp Sally Pryce Celeste Sophie Rahman
(Chair supported by Pat Sandry)
Jenny Brittlebank Cor Anglais Katie Clemmow Clarinets Marie Lloyd Emma Canavan Bass Clarinet Juliet Bucknall Bassoons Sarah Burnett Robert Porter Contra Bassoon Claire Webster
Horns Nicholas Korth Caroline O'Connell Richard Lewis Martin Grainger Trumpets Paul Archibald Peter Wright Simon Gabriel Trombones Ian White Jeremy Gough Ian Fasham Tuba James Anderson Timpani Ben Hoffnung Percussion Scott Bywater Sarah Stuart Tim Gunnell
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Hilary Davan Wetton Conductor
Hilary Davan Wetton’s relationship with the London Mozart Players is the longest of his professional career; he first conducted the orchestra in 1970 and has appeared regularly with them since. He has been their Associate Conductor since 2010. Principal Conductor of the City of London Choir since 1989, he has had a wide-ranging career, as both choral and orchestral conductor. He was founder/conductor of the Holst Singers, is Conductor Emeritus of the Guildford Choral Society and Artistic Director of Leicester Philharmonic Choir. He was Principal Conductor of the Wren Orchestra of London from 1989 – 1996; he is also Conductor Emeritus of the Milton Keynes City Orchestra. Educated at Brasenose College, Oxford and the Royal College of Music, Hilary studied conducting with Sir Adrian Boult and was awarded the Ricordi conducting prize in 1967. He has been particularly admired for his performances of 20th century British music and has conducted many first performances for British composers as well as little-known works by Parry, Holst, Dyson, Bridge, Sterndale Bennett and Samuel Wesley. His extensive discography includes recordings for Hyperion with both the Holst Singers and Guildford Choral Society, a series of acclaimed recordings for Collins Classics with the LPO, including Holst’s Planets and Elgar’s Enigma Variations, and discs for Naxos and EM Records with the City of London Choir. His series of neglected 19th century British symphonies on Unicorn-Kanchana, with the MKCO, was widely admired. He received the Diapason d’Or for Holst’s Choral Symphony (Hyperion, 1994). In Terra Pax: A Christmas Anthology (Naxos, 2009) reached no. 2 in the Gramophone classical chart and enjoyed much critical acclaim. Beethoven’s Der Glorreiche Augenblick (Naxos, 2012) has also been praised, receiving a five star review in BBC Music Magazine.
conductor for Classic FM’s Masterclass. He also came to public notice as Jo Brand’s organ teacher for the BBC 1 series, Play it Again. His wide-ranging musical enthusiasms led to a long relationship with John Dankworth’s Wavendon Foundation and a series of commissions and memorable performances, with both John and Cleo Laine. A lifetime commitment to young musicians has included posts as Director of Music at St Paul’s Girls’ School (1979 – 1994), where his predecessors included Holst and Howells, and at Tonbridge School (1994 – 2006). He was founder/conductor of the Scottish Schools’ Orchestra, and has been conductor of both the Birmingham Schools and the Edinburgh Youth Orchestras. He is Principal Conductor of the Classical Roadshow, and has been a staff member of both the Birmingham Conservatoire and the Guildhall School of Music. Engagements abroad have included performances with the Icelandic Symphony and the Varna Philharmonic Orchestras, and with orchestras and choirs in Singapore, Australia, Hong Kong and, most recently, Seattle with the Brahms Requiem. Future plans include performances of Mendelssohn’s Elijah in Leicester’s De Montfort Hall in May, Finzi’s Requiem at the English Music Festival, a Tchaikovsky evening in Birmingham Symphony Hall in June and a ‘Grand Organ Gala’ in the Royal Albert Hall with Stephen Disley, the RPO and the CLC on October 5th. Hilary has been awarded honorary degrees by the Open University and De Montfort University. He is an Honorary Fellow of the Birmingham Conservatoire. www.hilarydavanwetton.co.uk
Hilary has broadcast frequently for the BBC and Classic FM. From 1992-1997, he was presenter/ www.lmp.org
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Claire Rutter Soprano
Born in South Shields, Claire Rutter studied at the Guildhall School of Music and Drama and at the National Opera Studio, sponsored by The Friends of English National Opera. For three years, she was a company principal with Scottish Opera, her roles including Maddalena Andrea Chenier, Fiordiligi Cosi fan tutte, Elettra Idomeneo, Countess Almaviva Le nozze di Figaro, Rosalinde Die Fledermaus, Gilda Rigoletto and Violetta La traviata. Elsewhere in the UK, she has sung Maddalena Andrea Chenier and the title role in Manon Lescaut for Chelsea Opera Group, the title roles in Lucrezia Borgia, Tosca and Aida, Donna Anna Don Giovanni, Amelia Un ballo in maschera, Elvira Ernani, Gilda Rigoletto and Violetta La traviata for English National Opera, the title roles in La Gioconda and Giovanna d’Arco and Abigaille Nabucco for Opera North and Gilda Rigoletto and Violetta La traviata for Welsh National Opera. She has also established a close relationship with Grange Park Opera, where she has sung the title roles in new productions of Norma, Madama Butterfly and Tosca. She made her US debut as Fiordiligi Cosi fan tutte for Dallas Opera, being nominated for the Maria Callas Award, returning as Donna Anna Don Giovanni. International engagements have further included Donna Anna Don Giovanni for Opéra de Bordeaux, Opéras de Montpellier, Opéra national du Rhin, Strasbourg, and De Vlaamse Opera; Countess Almaviva Le nozze di Figaro and Tosca for Opéra de Bordeaux; Mimi La bohème at the Beijing International Festival; the title role in Tosca for Pacific Symphony; the title role in Aida for Finnish National Opera and Opera Australia; Amelia Un ballo in maschera for Finnish National Opera and Florida Grand Opera; Alice Ford Falstaff for Santa Fe Opera; Violetta La traviata for Den Norske Opera; and Sieglinde Die Walküre at the Opéra de Rennes.
Concert engagements have included appearances at all of Britain’s major concert halls with conductors including Sir Richard Armstrong, Sir Colin Davis, Sir Mark Elder, Vasily Petrenko and Edo de Waart. Orchestras with whom she has worked include the BBC Concert Orchestra, the BBC Scottish Symphony Orchestra, the English Chamber Orchestra, the Hallé, the London Symphony Orchestra, the Philharmonia, the Royal Liverpool Philharmonic Orchestra, the Royal Philharmonic Orchestra, the Scottish Chamber Orchestra and the Ulster Orchestra. She also sang a wide-ranging programme of bel canto repertoire in the 2007 Prague International Music Festival. Recordings include Lennox Berkeley’s A Dinner Engagement and Ruth for Chandos; Sullivan’s The Contrabandista for Hyperion; Beethoven’s Der glorreiche Augenblick; Holst’s The Mystic Trumpeter with the RSNO conducted by David Lloyd-Jones, Howells’ Hymnus Paradisi and Carmina Burana for Naxos; and The Kingdom (Winner of a 2011 Gramophone Choral Award) and Christmas Classics for the Hallé’s own label. Her performances as Lucrezia Borgia and Aïda have been televised by Sky Arts. Her future engagements include include Elvira I Puritani and Violetta La traviata for Grange Park Opera, Donna Anna Don Giovanni for the Finnish National Opera, Beethoven Symphony No. 9 and an Opera Gala with the Royal Philharmonic Orchestra, Strauss Four Last Songs with the London Mozart Players, Verdi Requiem at the 2012 Llangollen International Music Festival, Classics at the Movies with the City of Birmingham Symphony Orchestra and an Opera Gala at the 2013 Buxton Festival.
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Maurice ravel (1875 - 1937)
Mother Goose Suite It has been claimed that orchestral music should not be written at the piano, and that pianistcomposers, notably Schumann and Chopin, are bad orchestrators. But Debussy, Ravel and Stravinsky composed at the piano, and all three are among the most imaginative orchestrators since Berlioz indeed Ravel's orchestral version of Mussorgsky's Pictures from an Exhibition (1922) is rightly regarded as a brilliant model for transcriptions of this kind. The orchestration of Ma Mère L'Oye is just as imaginative, though it is necessarily on a much smaller scale. Ma Mère L'Oye is not an occasional composition based on fairy tales but a work intended to evoke what Ravel called "the poetry of childhood", a subject close to his heart. 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, however, not included in the orchestral suite which consists of the five movements originally composed for piano duet.
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 between Beauty and the Beast, the latter is magnificently portrayed by the contra bassoon until the Beast is transformed into 'un prince plus beau que L'Amour'. The finale represents the Fairy Garden. It is a composition of great beauty with, at the end, a sonority and volume of sound which is quite astonishing for an orchestra of this size. © Stefan de Haan
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 title Ma Mère 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. www.lmp.org
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Richard strauss (1864 - 1949)
Four Last Songs I II III IV
Fr端hling (Spring) September Beim Schlafengehen (When I go to Sleep) Im Abendrot (At Sunset)
The list of Richard Strauss's works is long and varied, including operas and tone poems, but the Four Last Songs have acquired a certain reputation amongst many, as the most beautiful music known to them. Written in 1948, Strauss never claimed to have composed these songs as part of a cycle, nor did he prescribe an order for performance. The order as it stands though, represents a leave-taking and release, which is certainly made more poignant in the fact that they were the last compositions completed before his own death aged 85 in 1949.
Spring
Hermann Hesse
In shadowy crypts I dreamt long of your trees and blue skies, of your fragrance and birdsong.
Golden leaf after leaf falls from the tall acacia tree. Summer smiles, astonished and feeble, at his dying dream of a garden.
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Hermann Hesse
Now that I am wearied of the day, my ardent desire shall happily receive the starry night like a sleepy child. Hands, stop all your work. Brow, forget all your thinking. All my senses now yearn to sink into slumber. And my unfettered soul wishes to soar up freely into night's magic sphere to live there deeply and thousandfold.
Joseph von Eichendorff
We have through sorrow and joy gone hand in hand; From our wanderings, let's now rest in this quiet land. Around us, the valleys bow as the sun goes down. Two larks soar upwards dreamily into the light air.
You recognize me, you entice me tenderly. All my limbs tremble at your blessed presence!
The garden is in mourning. Cool rain seeps into the flowers. Summertime shudders, quietly awaiting his end.
When I Go to Sleep
At Sunset
Now you appear in all your finery, drenched in light like a miracle before me.
September
For just a while he tarries beside the roses, yearning for repose. Slowly he closes his weary eyes.
Hermann Hesse
Come close, and let them fly. Soon it will be time for sleep. Let's not lose our way in this solitude. O vast, tranquil peace, so deep in the evening's glow! How weary we are of wandering--Is this perhaps death?
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george butterworth (1885 - 1916)
A Shropshire Lad; Rhapsody for Orchestra George Butterworth was born in London in July 1885 to a well-to-do family. His father became General Manager of the North Eastern Railway, based in York, where George grew up before being sent to Eton. His musical talent as a composer was already apparent at school. In 1904 he went to Trinity College Oxford to read Greats (classics) but music became increasingly important to him, especially after meeting Cecil Sharp and Vaughan Williams. After Oxford he taught for a year at Radley College, studied briefly at the Royal College of Music (where the Director was Sir Hubert Parry) and then concentrated on collecting folk songs, sometimes working with Vaughan Williams. On the outbreak of the First World War in August 1914, Butterworth joined the Durham Light Infantry as a lieutenant. During his year in the trenches he was mentioned in dispatches for outstanding courage, won the Military Cross and led a raid during the Battle of the Somme. The raid was successful but Butterworth was killed by a sniper’s bullet on 5 August 1916. There is a memorial to him at Thiepval military cemetery.
musical interpreter of his poems, Butterworth. It may fairly be said that the Somme robbed English music of the most promising composer of his generation. Butterworth’s music is of exceptional quality yet extremely simple and sparing. His standards were so exacting that he destroyed the scores that he considered unworthy of preservation before setting off for France. The orchestral rhapsody, A Shropshire Lad, was published in 1912, soon after the song settings, but it seems likely that the orchestral piece was taking shape in Butterworth’s mind while he was working on the songs. Practically all of the thematic material comes from the first song, ‘Loveliest of Trees’, but towards the end of the piece Butterworth includes a fragmentary quotation from the theme of the final song ‘With rue my heart is laden for golden friends I had.’ In view of what was soon to happen, the allusion was all too prophetic.
Many English composers of the time were drawn to the poems of A.E. Housman (1859–1936), but none captured the essence of the poetry as perfectly as Butterworth did, in his two collections (published in 1911–12) of settings of poems from Housman’s A Shropshire Lad (1896). Besides a recurrent deathwish theme, Housman’s poetry frequently speaks of the senselessness of war and the arbitrary chances of survival. Much of it was inspired by reports from the first Boer War (1880–81), but the Great War added fresh force and poignancy to the poems, since many of them were concerned with the tragic loss of young lives. Ironically, Housman would long outlive the young men of his imagination, and the greatest www.lmp.org
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felix mendelssohn (1809 - 1847)
Symphony No. 5 in D Minor, Op. 107 Reformation I II III IV
Andante - Allegro con Fuoco Allegro Vivace Andante Andante con moto - Allegro Maestoso
Mendelssohn's early string symphonies show an astonishing command of form and scoring, as well as an apparently inexhaustible source of spontaneous invention. The delightful Octet for Strings and the brilliant Overture to a Midsummer Night's Dream soon followed, promising the kind of development in his talent for composition which made a comparison with the young Mozart obvious. Mendelssohn's first symphony scored for full orchestra dates from 1824 when he was fifteen. This and his later orchestral works still sound effortless and elegant to us, but Mendelssohn began to doubt their value and revised them repeatedly. The popular Hebrides Overture was rewritten at least three times, and Mendelssohn was never satisfied with his Italian Symphony No. 4 which he did not allow to be performed in Germany. It might be argued that this obstacle to his progress as a composer was the result of his many diverse activities and interests. Apart from being a composer, he was a conductor and a pianist, he travelled extensively, touring in Scotland from where he wrote long letters to his family with charming drawings to illustrate them. He founded the Leipzig Conservatoire and conducted the famous Gewandhaus Orchestra, maintaining at the same time a lively interest in all the arts. This was seen as positive by his contemporaries but it weakened the necessary commitment to composition. Being conscious of that, Mendelssohn felt constantly compelled to reshape his large-scale compositions even after they had been completed.
The main reason for the doubts regarding his later orchestral works stemmed from the hapless fate of the Reformation Symphony which, though composed before the Scottish and Italian Symphonies, is now relegated to the position of No. 5. Mendelssohn wrote the work in the winter of 1829-30 for the 300th anniversary of the 'Augsburg Convention' which established the Protestant religion in Germany in 1530. For political reasons the festivities in Augsburg were cancelled, and with them the performance of Mendelssohn's new symphony. A performance in Paris also had to be abandoned because the musicians complained that there was 'too much counterpoint and not enough melody'. The Reformation Symphony may have been performed in England but the first documented performance took place in Berlin on 15 November 1832 under the direction of the composer. The score was published long after Mendelssohn had died. The obvious references to the Reformation in Mendelssohn's symphony are confined to quotations of the Dresden Amen in the first movement, and of the main subject in the finale, Luther's chorale Ein' feste Burg. The second movement is a fast scherzo with a more gentle middle section and a characteristic ending in pianissimo. The following Andante is lyrical and makes one wonder whether the Parisian musicians, complaining about the lack of melodies rehearsed this movement. The short Andante con moto leads straight into the fourth movement, with a setting of Luther's chorale, followed by the final Allegro maestoso in which Ein' feste Burg is the dominating theme. Š Stefan de Haan
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play your part There are lots of ways for you to get involved with the LMP and ensure the oldest chamber orchestra in the UK has a bright future. Play your part today.
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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.
Making a gift in your will Making a legacy gift to the LMP is a great way to ensure that future generations of audiences can continue to be inspired by the orchestra that has inspired you. If you have a will or are making one, this would be a good way to make a lasting provision for the future of the orchestra and because the LMP is a registered charity, your donation to us can help reduce your tax liability. If you have already remembered LMP in your will, we are very grateful. If you would like to, do please let us know (in strictest confidence). We would value the opportunity to thank you and to keep you more closely involved with our work. If you would like more information about any of these ways of supporting us, please contact Simon Funnell, Managing Director, London Mozart Players T: 020 8686 1996 or email info@lmp.org
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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 10 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.
Life Friends Michael & Barbara Hill* Golden Supporters Anonymous x 3 Hilary Anne Baily Morag Beier * Mr Quintin Gardner Geoff & Mary Hearn Margaret Jones MVO Tony & Mary Lambell Derek & Deirdre Lea * Gordon & Jeanne Lees Oscar & Margaret Lewisohn 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 Associate Composer Roxanna Panufnik Board of Directors
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
Orchestral Librarian Martin Sargeson
Registered in England No. 18720034
Chairman Rowan Freeland
Registered Charity No. 290833
Chair of the Audit Committee Rosamund Sykes
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Daniel Benton Simon Funnell Richard Morgan Gillian Perkins David Wechsler
@mozartplayers
forthcoming concerts Thursday 20 March 2014
7.30pm
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
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
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