Resident Orchestra of Fairfield Halls, Croydon
Thursday 31 January 2013 Fairfield Halls 7.30 pm GĂŠrard Korsten Conductor Lucy Hall Soprano Felicity Smith Mezzo-soprano Nathan Vale Tenor Njabulo Madlala Baritone City of London Choir MOZART Symphony No. 36 in C major, K425, Linz INTERVAL
MOZART Requiem Mass in D minor, K626
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 2012/13 season marks the third 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 continuing to work with established artists including Howard Shelley and Anthony Marwood, whilst building new relationships with bright new stars including Nicola Benedetti and Leonard Elschenbroich. Acclaimed young violinist Chloë Hanslip performed with the LMP in the celebrations of Fairfield Halls’ fiftieth anniversary, and we welcome back exciting young conductor Nicholas Collon in April 2013. The LMP’s association with Korsten also continues 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. 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 ‘Side-by-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 & the arts, 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. The LMP has an online CD shop, www.shop.lmp.org, which has a large range of LMP's recordings on sale. 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 Susanna Candlin John Mills Nicoline Kraamwinkel Ann Criscuolo (Chair supported by David & Beatrix Hodgson)
Martin Smith
(Chair supported by Debby Guthrie)
Violas Judith Busbridge Cian Ó Duíll (Chair supported by Anonymous) (Chair supported by Anonymous)
Michael Posner Cellos Sebastian Comberti Julia Desbruslais
2nd Violins David Angel Andrew Roberts
Sarah Butcher
Mirian Teppich Jeremy Metcalfe Jayne Spencer Adrian Dunn
(Chair supported by Pat Sandry)
(Chair supported by Jeanne & Gordon Lees) (Chair supported by Valerie Butcher)
Horns Peter Francomb Jocelyn Lightfoot
Katie Clemmow
Oliver Wilson
Catherine van der Geest Anna de Bruin Richard Malone
(Chair supported by Noël & Caroline Annesley)
Oboes Gareth Hulse
Bassett Horns Marie Lloyd Peter Sparkes
Bassoons Julie Andrews
(Chair supported by Alec Botten)
Robert Porter
Ben Chappell
Trumpets Paul Archibald Peter Wright Trombones Ian White Jeremy Gough Ian Fasham Timpani Scott Bywater
(Chair supported by Anonymous)
Basses Stacey Watton
(Chair supported by Louise Honeyman)
Tim Amherst
(Chair supported by Toby & Eira Jessel)
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 Caroline Downing, Development Manager for more information T: 020 8686 1996, E: development@lmp.org
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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 19871996 after which he left the COE to concentrate on conducting. Gérard Korsten is currently Music Director of the London Mozart Players and Principal Conductor of the Symphonieorchester Vorarlberg Bregenz. Korsten held positions as 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). www.lmp.org
© Marco Borggreve
GÉRARD KORSTEN Conductor
His past orchestral engagements have included concerts with the Budapest Festival Orchestra, 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. His 2011 DVD of Le Nozze di Figaro (La Scala 2006) has been awarded a Diapason D’Or and was the Critic's Choice in the Opera News in February 2012. Last season Gérard Korsten toured with the Irish Chamber Orchestra in the US and with the London Mozart Players in Spain. He returned to Opéra National de Lyon, conducting performances of Offenbach’s La Vie Parisienne and he conducted concerts with the Budapest Festival Orchestra, Megaron Camerata and Camerata Salzburg in both Vienna and Salzburg. In the 2012/13 Gérard Korsten makes his debuts with the Deutsche Radio Philharmonie in three concerts in Saabruecken, Kaiserlautern and Mainz and with the Adelaide Symphony Orchestra in Australia. He conducts a new production of Don Giovanni at Dijon Opera with the Chamber Orchestra of Europe and returns to the BBC Scottish Symphony, Latvia National Symphony, the Hong Kong Philharmonic, and SWR Sinfonieorchester Freiburg, among others.
“Freshness, bloom, attentive diction and a palpable heart.” (Daily Telegraph). Described in 2011 as “perhaps our finest amateur singers” (Sunday Telegraph), the City of London Choir was founded in 1963. Under the inspirational leadership of Hilary Davan Wetton, it undertakes a busy annual programme, performing regularly at the Barbican and in a well-regarded season at St John’s Smith Square, with leading professional orchestras, instrumentalists and soloists. The choir also appears on the Southbank, at the Royal Albert Hall, at St Martin-in-the-Fields and outside London.
The choir’s debut recording for Naxos, In Terra Pax: A Christmas Anthology with Hilary Davan Wetton, the Bournemouth Symphony Orchestra and Roderick Williams received great critical acclaim and reached number two in the Gramophone Classical Chart. Plans for 2013 include Mozart's C Minor Mass at St. John's, Smith Square in November. www.cityoflondonchoir.org
Thanks to its association with Hilary Davan Wetton, the choir has a particular reputation for English music of the twentieth century, and has also recently revived a number of “lost” works. As well as such familiar works as Mozart’s Requiem, Haydn’s Nelson Mass and Bach’s Passions, recent concerts have also included Vaughan Williams’ rarely heard Oxford Elegy with Jeremy Irons, and the first London performance in living memory of Beethoven’s ‘peace cantata’, Der glorreiche Augenblick, with the Royal Philharmonic Orchestra. In 2012, Naxos released the first UK recording of Der glorreiche Augenblick with Beethoven's Choral Fantasy. Featuring the CLC under Hilary Davan Wetton with the RPO and soloists including soprano Claire Rutter and pianist Leon McCawley, it was “strongly recommended” by BBC Music Magazine and awarded five stars.
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LUCY HALL Soprano
From Nottinghamshire, Lucy Hall graduated from the Guildhall School of Music and Drama with a First Class Honours Degree. She won the Dove Memorial Prize for the highest marked GSMD graduate across all disciplines in 2010, and the Ann Wyburd Prize for the most outstanding Lieder performance in final recitals. In Summer 2012, she made her debut at the Aix-enProvence Festival as Barbarina in Le nozze di Figaro. Her concert experience includes Mestra in the première of Edward Rushton’s Cicadas, Bridesmaid in Der Freischütz Nielsen's Symphony No. 3 with the London Symphony Orchestra, the B Minor Mass in Bath Abbey, the St John Passion in Hereford Cathedral, Messiah at the Albert Hall, Nottingham, Elias with Ensemble Pygmalion, Mozart's Coronation Mass at St John’s, Smith Square, Mozart's Exsultate Jubilate with the Royal Philharmonic Orchestra and in Friday Night is Music Night with the BBC Concert Orchestra. Her current engagements include Flora in The Turn of the Screw with the London Symphony Orchestra, Sandrina in La finta giardiniera at the Grand Théâtre du Luxembourg and the Opéra de Toulon, Aurore in Le Portrait de Manon and Susanna in Le nozze di Figaro at the GSMD, Messiah with the Royal Choral Society, Saul with the Israel Camerata, Mozart's Requiem at the Ambronay Festival, Carmina Burana at the Barbican Hall and Last Night of the Proms with the Royal Philharmonic Orchestra. During 2012/2013, Lucy Hall continues her studies as a scholar on the Guildhall Opera Course with Yvonne Kenny, and her studies are enbled by The Silk Street Award. www.lmp.org
FELICITY SMITH Mezzo-soprano
Felicity Smith has recently completed a Master of Performance at the Royal College of Music, studying under Tim Evans Jones, and supported by the RCM Marjorie Tonks Award, The Henry Wood Trust, and the Josephine Baker Trust. She is a graduate in French and music (voice and composition) from Victoria University of Wellington, and has a Master of Music in musicology from the New Zealand School of Music, specialising in the French baroque. Recent operatic roles include Third Lady in The Magic Flute and Sandman in Hansel and Gretel for London Youth Opera, the Plaintiff in Trial by Jury with the Fletching Singers, and two roles in new operas for the RCM Great Expectations project. She has sung in masterclasses with Sarah Walker, Dame Felicity Palmer, and Roger Vignoles, and was the alto soloist for a series of Bach Cantata concerts directed by Helmut Rilling for Musikfest Stuttgart. A keen exponent of new and modern repertoires, Felicity premièred three major works by emerging composers at the RCM, and performed works by Cage and Reich with the RCM New Perspectives Ensemble. In 2011 she sang Berio´s Folk Songs for the Philharmonia Orchestra´s Bartok Festival. Felicity won the 2011 Croydon Music Festival Concerto Competition singing Britten's Phaedra, and was placed third in the 2012 Brooks-Van der Pump English Song Competition.
NATHAN VALE Tenor
Winner of both First Prize and the Audience Prize at the 2006 London Handel Singing Competition, Nathan Vale has appeared in opera and concert throughout the UK and Europe. He studied at London’s Royal College of Music, where he sang Alessandro in Poro, rè dell’Indie and Nerone in L’Incoronazione di Poppea, and since graduating, his operatic engagements have included First Prisoner in Fidelio for Glyndebourne Festival Opera, Damon from Handel's Acis and Galatea for Transition Opera, Oronte in Alcina and Lurcanio in Ariodante for English Touring Opera, Lurcanio in Ariodante at the Bolshoi Opera, Emilio in Partenope for Les Azuriales Opera, Grimoaldo in Rodelinda for Iford Opera, Nencio in L’infedelta delusa for Bampton Classical Opera, Friend of Seneca in The Coronation of Poppea for English National Opera and Mr Buchanan in the 2011 revival of The Opera Group’s award-winning production of Street Scene, which toured the UK as well as to the Theater an der Wien. Winner of the 2005 AESS English Song Competition, his recordings include Mendelssohn’s arrangement of Acis and Galatea for Nimbus CD and Love’s Voice (Songs by Finzi, Gurney, Ireland and Venables) for SOMM CD. Current engagements include Belfiore in La finta giardiniera at the Grand Théâtre du Luxembourg and for Opéra de Toulon, First Armed Man in The Magic Flute for English National Opera, Evangelist in the St Matthew Passion and Messiah for the London Handel Festival, Britten's Serenade for Tenor, Horn and Strings at the Hong Kong Arts Festival, Messiah by Candlelight at London’s Royal Festival Hall and Handel's Ode for St Cecilia’s Day on tour with the Israel Camerata.
NJABULO MADLALA Baritone
Njabulo Madlala is the winner of the 2010 Kathleen Ferrier Competition, the Singer Sections Final at the 2012 Royal Overseas League Competition, the 2012 Lorna Viol Memorial Prize and Royal Overseas League Trophy for the Most Outstanding Musician From Overseas, the Sir John Manduell Award for an Outstanding South African Musician and a 2012 Worshipful Company of Musicians Award. He was born in South Africa and studied at the Guildhall School of Music and Drama and at the Cardiff International Academy of Voice. He is also a Samling Foundation Scholar. Recent highlights have included the Opera Highlights tour for Scottish Opera, Scarpia in Tosca for Grange Park Opera ‘Rising Stars’, Master of the Thames Boat in Heart of Darkness for ROH2, Beethoven's Choral Symphony with the Royal Philharmonic Orchestra, Messiah with the Philharmonia Orchestra, Lieder eines fahrenden Gesellen for the LPO’s Foyles First series conducted by Vladimir Jurowski and recitals at the Cheltenham and Lugo Festivals. Engagements in 2012/2013 include the title role in Don Giovanni for Mid Wales Opera, Kammersinger in Strauss' Intermezzo at the Buxton Festival, Mozart Requiem with the English Chamber Orchestra, Gathering Wave at the 2012 Three Choirs Festival, Belshazzar’s Feast at the 2013 Three Choirs Festival and recitals at the Buxton, Gower and Mananan Festivals.
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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 4 November and Mozart dedicated the symphony to Count Thun. 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.
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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 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 humorous appearance. © Stefan de Haan Score and parts have been sponsored In celebration of the birthday of Michael J Davison as part of the Esterházy Circle.
WOLFGANG AMADEUS MOZART (1756 – 1791)
Requiem, K626 In 1791, the 35-year-old Mozart was already under sentence of death; childhood attacks of rheumatic fever had damaged his system to the extent that he could not survive, and his condition was exacerbated by overwork, money worries and nervous exhaustion. His beloved wife Constanze was also ill, in a hospital in Baden, some miles outside Vienna. However, the year had begun well; his comic opera The Magic Flute was a great success, and after some lean years, the commissions were beginning to flow in thick and fast. In the middle of work on The Magic Flute, he was asked to provide a new opera to celebrate the coronation of Leopold II as King of Bohemia, and despite his ill health and busy schedule, he travelled to Prague to finish La Clemenza di Tito and see it put on stage, taking a young pupil named Franz Xaver Süssmayr along with him to write the recitatives. While composing La Clemenza di Tito, Mozart received a visit from a stranger, bringing an anonymous invitation to write a requiem. This was a ‘vanity commission’ from Count Franz Walsegg, a rich nobleman and amateur musician whose young wife had recently died; the Count intended to pass Mozart’s work off as his own musical memorial to her. Seeing nothing sinister in this, Mozart put the request aside to get on with his coronation opera; but just as Mozart was boarding the coach for Prague, the mysterious messenger reappeared to ask for the Requiem, which was not yet ready. On his return from Prague, although busy with preparations for the first night of The Magic Flute, Mozart finally began to sketch the Requiem; but increasing ill-health was taking its toll. Mozart had delusions that he had been poisoned, and that the Requiem would be for himself; he became convinced that the ‘dark stranger’ was the messenger of his own death. Nevertheless, he had other commissions
to fulfil, and managed to write the Clarinet Concerto and a Masonic Cantata while struggling to finish the Requiem. Realising that his strength was failing, he called for Franz Xaver Süssmayr and discussed the unfinished Requiem with him. Shortly after midnight on 5 December, Mozart died. After Mozart’s death, Constanze did not want to disappoint the anonymous Count Walsegg (or forfeit the commissioning fee), and asked various musical friends to help complete the Requiem. It was Süssmayr who finished the job, even forging Mozart’s signature on the manuscript. The completed Requiem was finally handed over to Count Walsegg in February 1792. Mozart finished only the first two movements, Requiem and Kyrie, in full orchestral score. He wrote for two basset horns (a kind of alto clarinet, with symbolic Masonic significance), a pair of bassoons, three trombones and strings; he intended to add trumpets and timpani, and would perhaps have varied the orchestration if he had survived. (The Tuba mirum section features a solo trombone, because in Martin Luther’s German Bible the ‘last trumpet’ at the Day of Judgement is translated as ‘die letzte Posaune’, or ‘the last trombone’.) Most of the Dies irae sequence is in Mozart’s hand, up to the beginning of the Lacrymosa section; Süssmayr supplied the remaining movements (Sanctus, Benedictus and Agnus Dei), probably working from Mozart’s sketches, to complete the Requiem in the form in which it is usually heard today. The performance ends with the few bars of the Lacrymosa that Mozart had managed to sketch before death finally caught up with him. The work is powerful, sombre, brooding and devout: a fitting memorial to Mozart himself. © Jonathan Burton www.lmp.org
I Introit: Requiem aeternam Requiem aeternam dona eis, Domine: et lux perpetua luceat eis. Te decet hymnus, Deus in Sion: et tibi reddetur votum in Jerusalem. Exaudi orationem meam, ad te omnis caro veniet.
Grant them eternal rest, Lord, and let perpetual light shine on them. You are praised, God, in Zion, and homage will be paid to You in Jerusalem. Hear my prayer, to You all flesh will come.
II Kyrie Kyrie eleison. Christe eleison.
Lord have mercy. Christ have mercy.
III Sequence 1. Dies irae Dies irae, dies illa Solvet saeclum in favilla, Teste David cum Sibylla. Quantus tremor est futurus, Quando judex est venturus, Cuncta stricte discussurus!
Day of wrath, day of anger will dissolve the world in ashes, as foretold by David and the Sibyl. Great trembling there will be when the Judge descends from heaven to examine all things closely.
2. Tuba mirum Tuba mirum spargens sonum Per sepulcra regionum, Coget omnes ante thronum.
The trumpet will send its wondrous sound throughout earth's sepulchres and gather all before the throne.
Mors stupebit et natura, Cum resurget creatura, Judicanti responsura.
Death and nature will be astounded, when all creation rises again, to answer the judgement.
Liber scriptus proferetur, In quo totum continetur, Unde mundus judicetur.
A book will be brought forth, in which all will be written, by which the world will be judged.
Judex ergo cum sedebit, Quidquid latet apparebit. Nil inultum remanebit.
When the judge takes his place, what is hidden will be revealed, nothing will remain unavenged.
Quid sum miser tunc dicturus? Quem patronum rogaturus, Cum vix justus sit securus?
Wretch that I am, what shall I say then? Whom shall I ask to plead for me, when even the righteous man is barely safe?
3. Rex tremendae Rex tremendae majestatis qui salvandos salvas gratis, salva me, fons pietatis.
King of tremendous majesty, who freely saves those worthy ones, save me, source of mercy.
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4. Recordare Recordare, Jesu pie, Quod sum causa tuae viae: Ne me perdas illa die.
Remember, kind Jesus, my salvation caused your suffering; do not forsake me on that day
Quaerens me, sedisti, lassus; Redemisti crucem passus; Tantus labor non sit cassus.
Faint and weary you have sought me, redeemed me, suffering on the cross; may such great effort not be in vain.
Juste Judex ultionis, Donum fac remissionis Ante diem rationis.
Righteous judge of vengeance, grant me the gift of absolution before the day of retribution.
Ingemisco tanquam reus, Culpa rubet vultus meus; Supplicanti parce, Deus.
I moan as one who is guilty: owning my shame with a red face; suppliant before you, Lord.
Qui Mariam absolvisti, Et latronem exaudisti, Mihi quoque spem dedisti.
You, who absolved Mary, and listened to the thief, give me hope also.
Preces meae non sunt dignae, Sed tu, bonus, fac benigne, Ne perenni cremer igne.
My prayers are unworthy, but, good Lord, have mercy, and rescue me from eternal fire.
Inter oves locum praesta, Et ab hoedis me sequestra, Statuens in parte dextra.
Provide me a place among the sheep, and separate me from the goats, guiding me to Your right hand.
5. Confutatis Confutatis maledictis Flammis acribus addictis, Voca me cum benedictis. Oro supplex et acclinis, Cor contritum quasi cinis, Gere curam mei finis.
When the accused are confounded, and doomed to flames of woe, call me among the blessed. I kneel with submissive heart, my contrition is like ashes, help me in my final condition.
6. Lacrimosa Lacrimosa dies illa, Qua resurget ex favilla Judicandus homo reus Huic ergo parce, Deus, pie Jesu Domine, dona eis requiem. Amen.
That day of tears and mourning, when from the ashes shall arise, all humanity to be judged. Spare us by your mercy, Lord, gentle Lord Jesus, grant them eternal rest. Amen.
IV. Offertory I. Domine Jesu Domine Jesu Christe, Rex gloriae libera animas omnium fidelium defunctorum de poenis inferni et de profundo lacu.
Lord Jesus Christ, King of glory, liberate the souls of the faithful, departed from the pains of hell and from the bottomless pit.
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Libera eas de ore leonis, ne absorbeat eas tartarus, ne cadant in obscurum. Sed signifer sanctus Michael repraesentet eas in lucem sanctam. Quam olim Abrahae promisisti et semini ejus.
Deliver them from the lion's mouth, lest hell swallow them up, lest they fall into darkness. Let the standard-bearer, holy Michael, bring them into holy light. Which was promised to Abraham and his descendants.
2. Hostias Hostias et preces tibi, Domine, laudis offerimus. Tu sucipe pro animabus illis, quaram hodie memoriam facimus. Fac eas, Domine, de morte transire ad vitam, Quam olim Abrahae promisisti et semini ejus.
Sacrifices and prayers of praise, Lord, we offer to You. Receive them in behalf of those souls we commemorate today. And let them, Lord, pass from death to life, which was promised to Abraham and his descendants.
V. Sanctus Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth! Pleni sunt coeli et terra gloria tua. Osanna in excelsis.
Holy, holy, holy, Lord God of Hosts Heaven and earth are full of Thy glory. Hosanna in the highest.
VI. Benedictus Benedictus qui venit in nomine Domini. Osanna in excelsis.
Blessed is He who cometh in the name of the Lord. Hosanna in the highest.
VII. Agnus Dei Agnus Dei, qui tollis peccata mundi, dona eis requiem. Agnus Dei, qui tollis peccata mundi, dona eis requiem. Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam.
VIII. Communion Lux aeterna Lux aeterna luceat eis, Domine, cum sanctis tuis in aeternum, quia pius es. Requiem aeternum dona eis, Domine, et Lux perpetua luceat eis, cum Sanctus tuis in aeternum, quia pius es.
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Lamb of God, who takes away the sins of the world, grant them eternal rest. Lamb of God, who takes away the sins of the world, Grant them eternal rest. Lamb of God, who takes away the sins of the world, grant them eternal rest forever.
Let eternal light shine on them, Lord, as with Your saints in eternity, because You are merciful. Grant them eternal rest, Lord, and let perpetual light shine on them, as with Your saints in eternity, because You are merciful.
LMP MANAGEMENT Patron HRH The Earl of Wessex KG GCVO Music Director Gérard Korsten Associate Conductor Hilary Davan Wetton
Administration Managing Director Simon Funnell General Manager David Wilson
London Mozart Players Fairfield Halls Park Lane Croydon CR9 1DG
Development Manager Caroline Downing
T: 020 8686 1996 F: 020 8667 0938 E: info@lmp.org W: www.lmp.org
Council of Management
Marketing & PR Manager Chloë Brookes
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Chairman Rowan Freeland
Concerts & Projects Manager Caroline Molloy
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Chair of the Audit Committee Rosamund Sykes
financial consultant Christopher Wright
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Daniel Benton Dan Davies Simon Funnell Gillian Perkins David Wechsler
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Associate Composer Roxanna Panufnik
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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.
Supporters Our Supporters are the building blocks of our success. Make a donation today and help the orchestra you love thrive into the future. You’ll receive our newsletter to keep you up to date with all the LMP’s activities and be credited for your support in our concert programmes. Every donation, large or small, is important to us and will make a difference. Bronze Supporters make donations of up to £50, Silver Supporters make donations of £50 and above, and Gold Supporters make donations of £100 and above.
Benefactors Conductors’ Circle Our most generous Benefactors belong to this exclusive group. Members of the Conductors’ Circle are closely involved with the musicians and management team and play a significant role in the life of the LMP. In addition to the opportunities enjoyed by all Benefactors, members of the Conductors’ Circle are invited to a sumptuous dinner hosted by the orchestra’s Patron, HRH The Earl of Wessex KG GCVO.
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 Caroline Downing, Development Manager, London Mozart Players T: 020 8686 1996 or email development@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 Funders London Borough of Croydon Public Funders Orchestras Live South Holland District Council Trusts & foundations The Andor 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 N. Smith Charitable Settlement The Steel Charitable Trust corporate friends Cantate Elite Hotels Simmons & Simmons conductors’ circle Anonymous x 5 Daniel & Alison Benton Joanna & William Brogan-Higgins Kate Bingham The Ross Goobey Charitable Trust Jeffrey & Rosamund West
benefactors Anonymous x 4 Graham Harman André & Rosalie Hoffmann Gillian Perkins Sir Roger & Lady Sands Mr & the late Mrs K Smith Peter & Sheelagh Smith Mr D & Mrs M Wechsler life friends Michael & Barbara Hill golden supporters Anonymous x 19 Morag Beier Mr & Mrs M C Bushell Mr & Mrs C Clementi Mrs Patricia Coe Mrs Jill Dalton Mr Quintin Gardner Geoff & Mary Hearn Mr & Mrs F Hercliffe Michael & Barbara Hill Brian & Doreen Hitching David & Beatrix Hodgson Margaret Jones MVO Mr & Mrs A J Lambell Derek & Deirdre Lea Jeanne & Gordon Lees Mr John Mead Cllr Derek & Mrs Bunty Millard Mr & Mrs M E Milliken Miss Gillian Noble Hazel & Geoffrey Otton Mr J B Price Ros & John Rawling Robert Keith Robertson David Robinson Christine Robson Miss A E Stoddart Jean-Anne & John Tillotson Barbara Tower
silver supporters Anonymous x 21 Irene & Leslie Aarons Mr M P Black Mr Nick Cull Miss Rowena Forbes Mr & Mrs Frank Hercliffe David & Beatrix Hodgson Chantal Keast Nick & Jane Mallett Mr Dennis Protheroe Mr & Mrs M Rivers Mr Brian J Stocker Mrs Marion Sunley George Sutherland Mrs R Whittingham Mr B E & Mrs P B Woolnough bronze supporters Anonymous x 10 Mr George Bray The Revd Canon Martin & Mrs Mary Goodlad Mr I A Hamlyn Mrs P Hirst Mrs Rosemary Kemp Mrs JMP Marlow Mrs M Mattingly Mr and Mrs C McCarthy Mrs N Roberts Mrs Claire Smith Mr David Smith Mrs Judith Spencer-Gregson Mrs M A Sunley Mrs Rosemary Whittingham
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FORTHCOMING CONCERTS
Thursday 14 February 2013 7.30pm Wagner Siegfried Idyll Sibelius Pelléas et Mélisande Brahms Violin Concerto, Op. 77 Narrator Simon Callow Conductor/violin Joseph Swensen
Saturday 16 March 2013 7.30pm Weber Oberon Overture Mozart Piano Concerto No. 22 K482 Brahms Symphony No. 2 Piano/Director Howard Shelley www.lmp.org
Thursday 25 April 2013 7.30pm Brahms Double Concerto for Violin and Cello Dvořák Symphony No. 6 Conductor Nicholas Collon Violin Nicola Benedetti Cello Leonard Elschenbroich Thursday 23 May 2013 7.30pm Beethoven Violin Concerto Beethoven Symphony No. 5 Conductor Gérard Korsten Violin Anthony Marwood