LMP 3 March 2012 concert programme by London Mozart Players

Resident Orchestra of Fairfield Halls, Croydon

BBC Music Nation Concert Saturday 3 March 2012 Fairfield Halls, Croydon 7.30 pm GĂŠrard Korsten conductor Tasmin Little violin MOZART Symphony No. 17 in G Major K129 ROXANNA PANUFNIK Four World Seasons (London PremiĂ¨re) INTERVAL

R. STRAUSS Le Bourgeois Gentilhomme Please join us after the concert for mingling in the central foyer. This is a great opportunity to chat with tonight's 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 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 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, 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 is Orchestra in Association of The Anvil, Basingstoke, and has strong relationships with other major UK venues, including Turner Sims Concert Hall, Southampton. Overseas, the LMP has visited Spain, Belgium and France and, most recently, Germany. The 2011/12 season marks the second year of conductor Gérard Korsten’s three-year term as the LMP’s fifth Music Director, continuing the strong Classical tradition developed by Andrew Parrott, Matthias Bamert and Jane Glover. The season sees the orchestra continuing to work with established artists including Howard Shelley and Tasmin Little, whilst building new relationships with bright new stars including Maximilian Hornung, Cordelia Williams and Nicholas Collon. The LMP’s new association with Korsten also sees the introduction of some of the best European soloists to our Fairfield season.

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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 has an association with the South Holland district in Lincolnshire that brings the orchestra into the heart of the Fenland communities. Projects here currently include South Holland Symphony, a new orchestral piece inspired by the local landscape, being created in a series of workshops for local participants that will be showcased by the LMP in July 2012. 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 ‘Side-byside 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 includes 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

ORCHESTRA 1st Violins Lesley Hatfield Victoria Sayles Nicoline Kraamwinkel Ann Criscuolo

Violas Cian O'Duill Simone Van der Giessen

Richard Blayden Catherine Van der Geest

(Chair supported by Caroline Molloy & Andrew Lay)

Clare Hoffman Clara Biss

Cellos Sebastian Comberti Julia Desbruslais Sarah Butcher

(Chair supported by David & Beatrix Hodgson)

(Chair supported by Debby Guthrie)

2nd Violins Jenny Godson David Angel

(Chair supported by Noël & Caroline Annesley)

Adrian Dunn Stephen Rouse Raja Halder Ed Bale

(Chair supported by Anonymous)

Chain Lim Reiad Chibah

(Chair supported by Elinor Wood)

Julia Graham

(Chair supported by Anonymous)

Basses Stacey Watton

(Chair supported by Louise Honeyman)

Cathy Elliott

Flutes Juliette Bausor

Horns Christopher Newport Tony Catterick

Emilia Zakryewska

Trumpet Paul Archibald

Oboes Gareth Hulse

Bass Trombone Ian Fasham

Katie Clemmow

Timpani Scott Bywater

(Chair supported by Brian & Doreen Hitching) (Chair supported by Barbara Tower)

(Chair supported by Pat Sandry)

Clarinets Angela Malsbury

(Chair supported by Stuart & Joyce Aston)

Margaret Archibald (Chair supported by Christopher Fildes)

Bassoons Sarah Burnett

(Chair supported by Alec Botton)

Percussion Barnaby Archer Ross Gerrod Nigel Bates Piano Julian Jacobson Harp Sally Pryce

Emma Harding Contra Bassoon Clare Webster

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. Please contact Sue McCrossan, LMP Development Manager, for more information T: 020 8686 1996, E: sue@lmp.org www.lmp.org

Born in South Africa, Gérard Korsten began his career as a violinist after studying with Ivan Galamian at the Curtis Institute and with Sándor Végh in Salzburg. Following his studies in the US and Europe he became Concertmaster and Assistant Music Director of the Camerata Salzburg and later Concertmaster of the Chamber Orchestra of Europe from 1987-1996, when he left the COE to concentrate on conducting. 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. Since then Gérard Korsten has appeared in most notable opera houses and concert halls around Europe including Teatro La Scala Milan (Le nozze di Figaro), Maggio Musicale Florence (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 and La traviata), Royal Swedish Opera (Don Giovanni), Netherlands Opera (Così fan tutte), English National Opera (Aïda) and Glyndebourne Festival Opera (Albert Herring). He returns next season to conduct Offenbach’s La Vie Parisienne for Opéra National de Lyon. His past symphonic engagements have included concerts with the Budapest Festival Orchestra, www.lmp.org

GÉRARD KORSTEN Conductor

Salzburg Mozarteum, Orchestra Sinfonica Nazionale della Rai Turin, Chamber Orchestra of Europe, Scottish Chamber Orchestra, Deutsche Kammerphilharmonie, Swedish Radio Symphony, Yomiuri Nippon and Melbourne Symphony orchestras. His recordings include Tchaikovsky’s Serenade and Souvenir de Florence with the Chamber Orchestra of Europe on Deutsche Grammophon, Die ägyptische Helena, Euryanthe and Alfonso und Estrella with Orchestra del Teatro Lirico di Cagliari on CD and DVD with Dynamic, as well as a DVD recording of Don Pasquale released on TDK. Highlights of recent and forthcoming engagements include concerts with the Academy of St Martin in the Fields at the Beijing Festival, Bamberg Symphony, Leipzig Gewandhaus, SWR Sinfonieorchester Baden Baden und Freiburg, Hong Kong Philharmonic, Orchestre National de Lyon and BBC Scottish Symphony Orchestra. The 2011/12 season sees him touring to eight venues in the US with the Irish Chamber Orchestra, returning to the Budapest Festival Orchestra, Latvia National Symphony and Camerata Salzburg in both Vienna and Salzburg. Gérard Korsten is also Principal Conductor of the Symphonieorchester Vorarlberg Bregenz.

Tasmin Little 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 and directed orchestras that include 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. As a concerto player, Tasminʼs performances in the 2010/11 season took her twice back to the Concertgebouw in Amsterdam where she performed violin concerti by Loevendie and Prokofiev. Other performances in 2010/11 included concerts in Australia, New Zealand and Slovenia, Londonʼs Southbank Centre as well as a Festival at Kings Place, London, Tasmin Little and Friends: Violin Journeys. In 2008, Tasmin made her sixteenth appearance at the BBC Promenade Concerts in the Royal Albert Hall, London, 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 Proms, Berlin Philharmonie, the Salzburg Festival, New Yorkʼs Carnegie Hall and Philadelphiaʼs Kimmel Center, received unanimous critical acclaim (ʽthe technical command was gloriousʼ – The Guardian; ʽvery beautifulʼ – Berliner Morgenpost; ʽa major violin talentʼ – Philadelphia Inquirer; ʽa formidable soloistʼ – New York Times). In 2007 she returned to the work with the Gothenburg Symphony Orchestra and at the Concertgebouw, Amsterdam.

TASMIN LITTLE Violin

In 2006, Tasmin was Artistic Director of her hugely successful Delius Inspired Festival, which was broadcast for an entire week on BBC Radio. An exciting range of events, ranging from orchestral concerts and chamber music to films and exhibitions, also reached 800 school children in an ambitious programme designed to widen interest in classical music for young people. She was Artistic Director of Spring Sounds Festival from 2008 until 2010. Littleʼs discography reflects her wide-ranging repertoire and includes twenty-five recordings, ranging from Bruch and Brahms to Karlowicz and Arvo Pärt. Her recording of all four Delius Violin Sonatas with Piers Lane won the prized Diapason dʼOr. In March 2009 she released the disc Partners in Time, her follow-up to The Naked Violin, and in Autumn 2010 her long-awaited recording of the Elgar Violin Concerto was released on the Chandos label to unanimous critical acclaim. The recording celebrated the 100th anniversary of the concertoʼs premiere and included a re-creation of a special version of the accompanied cadenza. Tasmin won the muchcoveted Criticʼs Choice award for the Elgar disc at the May 2011 Classical BRIT Awards. Tasmin is an Ambassador for The Princeʼs Foundation for Children and the Arts, is a Fellow of the Guildhall of Music and Drama, is President of ESTA (European String Teachers Association), an Ambassador for Youth Music, and has received Honorary Degrees from the Universities of Bradford, Leicester, Hertfordshire and City of London. In 2009, she received a prestigious Gold Badge Award for services to music. She plays a 1757 Guadagnini violin and has, on kind loan from the Royal Academy of Music, the Regent Stradivarius of 1708. www.lmp.org

W.A MOZART (1756-1791) Symphony No. 17 in G Major K129 I Allegro II Andante III Allegro Mozart was sixteen years old on 27 January 1772, a few weeks after his return to Salzburg from his second visit to Italy. He had hoped to be offered the position of musical director at the court of the Austrian Archduke Ferdinand in Milan, but the protracted negotiations, as indeed all similar ones in Italy and elsewhere, had brought no results, and Mozart had to content himself with the relatively unimportant post of leader in the Salzburg orchestra. Archbishop Sigismund von Schrattenbach, Mozart’s first employer, had died in December 1771. His successor, Count Colloredo, was elected three months later. The new Archbishop was a less generous patron of the arts, and though he was aware of Mozart’s talents, he wished to exploit them for his own greater glory. The extended leave of absence for concert tours, for Mozart and his father, Leopold, were no longer granted by Colloredo, who thought – with some justification – that he was entitled to the virtually exclusive use of their services since he was paying for them. During the first few months of Colloredo’s reign it seems, however, that there was little friction between the Mozarts and their new master. At any rate, Wolfgang’s appointment as leader of the orchestra was finally confirmed in August 1772 – about the time when he completed the last of the six symphonies, among them K129, which he had been composing during the preceding months. K129 bears the following heading in Mozart’s own hand: ‘Sinfonia di Amadeo Wolfgango Mozart nel mese di Maggio 1772 a Salisburgo’ (composed in May 1772 at Salzburg). The work has the form of an Italian symphony in three movements, and the orchestration comprises strings, oboes and horns. It was probably intended for some festive occasion at Colloredo’s court, and the Italian form may have been chosen by Mozart to impress the Archbishop, who was known to favour this kind of music.

Mozart

©Keith Saunders

ROXANNA PANUFNIK Composer

Roxanna Panufnik ARAM, GRSM(hons), LRAM studied composition at the Royal Academy of Music and, since then, has written a wide range of pieces – opera, ballet, music theatre, choral works, chamber compositions, and music for film and television – which have been performed all over the world. Highlights of her works include Westminster Mass, commissioned for Westminster Cathedral Choir on the occasion of Cardinal Humeʼs 75th birthday; The Music Programme, an opera for Polish National Operaʼs millennium season which received its UK premiere at the BOC Covent Garden Festival; and settings for solo voices and orchestra of Vikram Sethʼs Beastly Tales – the first of which was commissioned by the BBC for Patricia Rozario and City of London Sinfonia. All three Tales are available on disc. Roxanna has a particular interest in world music – a recent culmination of this was Abraham, a violin concerto commissioned by Savannah Music Festival for Daniel Hope, incorporating Christian, Islamic and Jewish music. This was then converted into an overture, commissioned by the World Orchestra for Peace and premièred in Jerusalem under the baton of Valery Gergiev. Also recently premièred was her oratorio Dance of Life (in Latin and Estonian), incorporating her fourth mass setting, for multiple Tallinn choirs and the Tallinn Philharmonic Orchestra, commissioned to mark their tenure of European Capital of Culture 2011. Four World Seasons for violinist Tasmin Little was premiered by the London Mozart Players and broadcast live on BBC Radio 3 on 2 March 2012. Roxanna is the inaugural Associate Composer with the London Mozart Players. Roxannaʼs compositions are published by Peters Edition Ltd and have been recorded on many labels including Warner Classics and EMI Classics. www.lmp.org

ROXANNA PANUFNIK (b. 1968) Four World Seasons

A suite for solo violin, strings & Tibetan singing bowl In early 2008, the violinist Tasmin Little rang me to ask whether Iʼd write a series of short pieces for her, accompanied by chamber orchestra. At the time she was artistic director of the Orchestra of the Swanʼs Spring Sounds Festival and wanted something suitably festive and appealing to the eventʼs eclectic audience. Considering a world where global concern for climate change and seismic shifts in international political landscapes affect us all, we decided to take Antonio Vivaldiʼs much-loved 1725 Four Seasons and give the concept a 21st-century twist, creating an entirely new work with each season, lasting approximately five minutes, influenced by a country that has become culturally associated with it. I Autumn in Albania Autumn is a vitally important season in Albania – not just agriculturally, but also because it is full of religious (Muslim and Christian), cultural and historical celebrations. Tasmin suggested a dance and the Albanian choreographer Tomorr Kokona introduced me to the famous Dance of Chimes from central Albania, which is often played at weddings. The funky rhythm sweeps us along initially in quite a carefree manner, but with bittersweet harmonies illustrating the conflicts that have bubbled away beneath the countryʼs political surface. However, the strength of Albanian spirit triumphs and a short cadenza, at first in harmonics (imitating the Lahutah, a one or two string fiddle of Northern Albania), winds down the heat of the dance and leads into a quieter section, as the season moves towards its darker and colder end. Several years ago, my Kosovan friend, Arben Koljci, lent me a CD of Albanian folk violin music (played by Shkelzen Doli) and I fell in love with the second track, a plaintive love song from the southern city of Vlora. This stunning melody immediately conjures up Autumn – its sad beauty, incorporating highly ornate trills and turns, reminded me of falling leaves, swirling before they reach the ground.

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II Tibetan Winter This beautiful Tibetan song has been sung for centuries in many different ways. I first heard a folk opera version, sung exquisitely by a popular singer, Namgyal Lhamo, in a softer, more romanticized, rubato (and some would say “westernized”) way. Then I heard a more traditional performance by a Tibetan nomad from the East of the country – complete with frequent glottal stops, translated to the violin into grace notes, and brief bursts of tremolo at the start of longer notes. I have used both of these versions as they both have their individual appeal – and the rawness of the nomad version enhances the trembling chill of a Tibetan Winter. III Spring in Japan The music is all about the precipitation and anticipation of Spring, starting with one bud shooting up through the ground and eventually bursting into a myriad of petals and the glorious cherry blossoms of Japan. Its nationality is signified by the use of the Japanese In mode, which is fundamentally pentatonic. Birdsong also appears – the song of the Japanese Bush Warbler, which is prevalent in Spring. The piece starts very low and quiet, as the first hints of new life appears and ends very high and jubilant after a build up of exploding blossom and a cacophony of birdsong! IV Indian Summer When deliberating where to go for our Summer movement in 2010, someone suggested, tongue-incheek, that we should go for an Indian one. Itʼs using poetic licence, of course, as the term Indian Summer is often used to describe an uncharacteristically warm UK autumn – but the intense warmth and colour of India seemed perfect to depict this time of year. Over a double-bass drone, the solo violin plays the main theme in the sweeping portamento (sliding) style of traditional Northern Indian violin. Slightly ʽBhangraizedʼ tabla (Indian drums) rhythms and four Northern Indian modes (Kalyan, Marva, Purvi and Kafi) are used to evoke the kaleidoscopic hues and vivacity of this stunning subcontinent.

Three of the Four World Seasons are dedicated to Tasmin except for Autumn in Albania – this Season is dedicated to my father, Andrzej Panufnik, who was born, loved and died in Autumn. Acknowledgements Many people have very generously given up their time to advise me and help with my research. I would very much like to thank: Tomorr Kokona; Arben Koljci; Xhoana Papakostandini (Albanian Embassy); Mariela Cingo for transcribing that fiendishly difficult dance rhythm for me; Eljon Vejsiu for his ethno-musicological assistance; Northern Indian music expert and performer, Kartik; Tibetan music expert, Anna Morcom; Orchestra of the Swan, the London Mozart Players – and most of all, Tasmin Little, whose guidance, support and friendship continues to be very deeply appreciated.

INTERVAL

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R. STRAUSS (1864 - 1949) Le Bourgeois Gentilhomme I II III IV V VI VII VIII IX

Overture to Act One Minuet The Fencing Master Entry and Dance of the Tailors Minuet by Lully Courante Entry of Cleonte Prelude to Act Two The Dinner

The collaboration of Richard Strauss and the poet Hugo von Hofmannsthal (1874-1929) was one of the most successful composer-librettist partnerships in the history of opera, rivalled only by that of Mozart and da Ponte, and of Verdi with Boito. The first opera they wrote together was Elektra (1909), which in its power to shock exceeded even the effect caused by Salome (1905) based on Hedwig Lachmannʼs translation of Oscar Wildeʼs play. The world must have wondered what Strauss would be up to next. What followed from the Strauss-Hofmannstahl team was a totally different kind of masterpiece, Der Rosenkavalier (1911), autumnal and nostalgic, endowed with a ravishingly beautiful and romantic orchestral score. It was an immediate triumph and has remained the composerʼs most popular work for the theatre. But what could follow it? Librettist and composer were sure of one thing. The partnership must continue. The plays of Molière (1622-1673) were enjoying a vogue in Germany at the time, and Hofmannstahl was much involved. It was he who suggested the idea of their third opera together, Ariadne auf Naxos, and a format which would bring straight plays and opera closer together. Eventually they settled on a design in which Straussʼs opera on the Greek theme would follow a performance of Molièreʼs comédie-ballet, Le Bourgeois Gentilhomme for which Strauss would provide the incidental music, and in this form the double bill was first seen at Stuttgart on 25 October 1912. www.lmp.org

Requiring as it did the presence of a theatrical company and an opera company on the same evening, it was clearly too expensive and too clumsy to be practical (though it did reach London in that form at His Majestyʼs Theatre on 27 May 1913). Composer and librettist did a job of re-structuring. Straussʼs opera remained, but he wrote a new prologue requiring only opera singers dealing with the conflict of art with Philistinism. In its new form, Ariadne auf Naxos succeeded hugely at the Vienna Court Opera on 4 October 1916 with Lotte Lehmann scoring a great success as the Composer. Meanwhile, Strauss arranged his score so that it could serve as incidental music for Le Bourgeois Gentilhomme when Molièreʼs play was performed separately. Later, he constructed the suite we hear this evening from the 17 movements of the incidental music. The stylistic inspiration behind Straussʼs music is that of Lully (1632-1687), the French composer of Italian origin who was appointed director of the Paris Académie Royale de Musique by Louis XIV and who worked with Molière on several projects. Lullyʼs courtly manner breathes strongly through Straussʼs Overture to Act One. The germ of the tune sung so passionately by the Composer in defence of his art in Ariadne auf Naxos makes an appealing appearance in the oboe. We pass next to the stately Minuet, which includes a brief thematic resemblance to a phrase occurring in Der Rosenkavalier. The prominent brass of the Fencing Master tells us he obviously takes himself seriously, and later the parry and thrust of a fencing lesson is hinted. The Entry and Dance of the Tailors includes a tricky violin solo. We feel that some of the tailors dance rather clumsily. Minuet by Lully is a deft tribute to the composer whose music to Molièreʼs text appeared in 1670. The Courante was a popular dance during the 17th century. After the Entry of Cleonte there follows the entirely charming Prelude to Act Two. The suite concludes with its longest movement, The Dinner. This must have been a big occasion if

the flamboyant music with which it starts is any indication, with its galant style and brass flourishes. As it progresses, we guess there must have been entertainment as well as food and wine. At two points we detect references to the rhythmic figure given to Strauss in the commedia dellʼarte characters in Ariadne auf Naxos, and possibly we hear an echo of Don Quixoteʼs sheep. But the feast, and the suite, end in a burst of Richard Straussʼs favourite waltz rhythm. © Kenneth Loveland

WORLD IN OUR CITY 120 YOUNG PEOPLE FROM CROYDON PARTICIPATE IN MUSIC NATION LMPʼs contribution to the BBCʼs Music Nation weekend for the Cultural Olympiadʼs London 2012 Festival has given a unique opportunity to local school children to participate in some inspiring music-making. Tonightʼs concert marks the culmination of a four-day residency in two Croydon primary schools. The Four World Seasons offers the perfect platform from which to explore and showcase the cultural diversity of Croydon and make connections to the rest of the world. The children have created their own musical responses to the seasons in workshops led by workshop leader and North Indian musician Kartik, Roxanna Panufnik and LMP musicians during the weeks before the première of Four World Seasons. Children from Byron Primary School and Forestdale Primary School worked to explore and create music ranging from Indian classical to Bollywood, Indie, Jazz and Hip-hop styles.

The children performed the music they created in these workshops, a piece they called World in our City, in the performance space at Fairfield Hallsʼ foyer ahead of tonightʼs concert. This project builds on existing partnerships and will establish new relationships as we share high quality music-making with the local community.

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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 Fairfield Halls concerts and advance booking. • Access to private Friends’ bar before the concert and during the interval with discounted drinks at Fairfield Halls concerts. • Access to LMP rehearsals. • Friends events including coffee meetings with talks on music, outings to non-London 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 Fairfield Halls 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 info@lmp.org or visit www.lmp.org www.lmp.org www.lmp.org www.lmp.org

LMP MANAGEMENT Patron HRH The Earl of Wessex KG GCVO

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 Lane Croydon CR9 1DG

General Manager David Wilson

T: 020 8686 1996 F: 020 8667 0938 E: info@lmp.org W: www.lmp.org

Council of Management

Development Manager Sue McCrossan

Registered in England No. 18720034

Chairman Rowan Freeland

Concerts & Projects Manager Caroline Molloy

Registered Charity No. 290833

Chair of the Audit Committee Rosamund Sykes

Marketing & PR consultant ChloĂŤ Brookes

Daniel Benton Dan Davies Simon Funnell Gillian Perkins Peter Van de Geest David Wechsler Malcolm Wicks MP

Orchestral Librarian Martin Sargeson

Associate Composer Roxanna Panufnik

Intern Emily Mould

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SUPPORTING THE LMP The LMP would like to thank its supporters Patron HRH The Earl of Wessex KG GCVO Principal Funders London Borough of Croydon Public Funders Orchestras Live Royal Borough of Kingston Upon Thames South Holland District Council Trusts & foundations John Coates Charitable Trust The Concertina Charitable Trust Croydon Relief in Need Charities The Foyle Foundation The Matthew Hodder Charitable Trust The Austin & Hope Pilkington Trust The Prince’s Foundation for Children & the Arts The Sackler Trust N. Smith Charitable Settlement The Steel Charitable Trust corporate friends Cantate Elite Hotels Simmons & Simmons conductors’ circle Anonymous x 8 Daniel & Alison Benton Kate Bingham The Ross Goobey Charitable Trust Jeffrey & Rosamund West

benefactors Anonymous x 6 Graham Harman André & Rosalie Hoffmann Gillian Perkins John & Ros Rawling Mr & the late Mrs K Smith Peter & Sheelagh Smith Mr D & Mrs M Wechsler life friends Michael & Barbara Hill golden supporters Anonymous x 45 Morag Beier Mr & Mrs C Clementi Mr & Mrs P A Elliott Mr Quintin Gardner Geoff & Mary Hearn Brian & Doreen Hitching Antony Jacubs Margaret Jones MVO Mr & Mrs A J Lambell Derek & Deirdre Lea Jeanne & Gordon Lees Derek & Bunty Millard Miss Gillian Noble Hazel & Geoffrey Otton Robert Keith Robertson David Robinson Christine Robson Sir John Wickerson Michael Woodhouse CVO

silver supporters Anonymous x 32 Irene & Leslie Aarons Jean & Gordon Adams Joyce & Stuart Aston Mr M P Black Peter Brent Michael & Janet Considine Nick Cull Mrs E A Dudley The Revd Canon Martin & Mrs Mary Goodlad Mr I A Hamlyn David & Beatrix Hodgson Nick & Jane Mallett Mr Harold Martin Paul Ribbins Mr & Mrs M Rivers Mrs Marion Sunley George Sutherland Mr & Mrs J Tillotson John Williams Mr B E & Mrs P B Woolnough bronze supporters Anonymous x 44 Alec Botten Mrs Sandra & Mr David Cotton Chantal Keast Mr Denis Protheroe

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FORTHCOMING LMP CONCERTS

Saturday 31 March

7.30pm

FAIRFIELD HALLS, CROYDON 020 8688 9291

Saturday 19 May

7.30pm

MOZART MENDELSSOHN HONEGGER DVOŘÁK

Symphony No.38 K504 Prague Piano Concerto No.1 Pastorale d'été Czech Suite

EBERL HARTMANN SCHUBERT BEETHOVEN

Symphony in C Concerto Funebre Rondo in A for violin and strings Symphony No.7

Conductor Piano

Hilary Davan Wetton Cordelia Williams

Conductor Violin

Gérard Korsten Benjamin Schmid

Thursday 26 April

7.30pm

BEETHOVEN GRIEG BRAHMS

Coriolan Overture Piano Concerto Symphony No.1

Conductor/ Piano

Howard Shelley

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