Resident Orchestra of Fairfield Halls, Croydon
Saturday 16 March 2013 7.30 pm Howard Shelley Conductor/piano
WEBER Oberon Overture MOZART Piano Concerto No. 22 in E flat major, K482 INTERVAL
BRAHMS Symphony No. 2 in D major, Op. 72
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 Marieke Blankestijn Susanna Candlin Nicoline Kraamwinkel Martin Smith (Chair supported by David & Beatrix Hodgson)
Richard Blayden (Chair supported by Debby Guthrie)
Anna de Bruin Catherine Van der Geest Jeff Moore 2nd Violins Jenny Godson David Angel
(Chair supported by NoĂŤl & Caroline Annesley)
Andrew Roberts Miriam Teppich Jeremy Metcalfe Jayne Spencer
Violas Kate Musker Chiam Lim
(Chair supported by Anonymous)
Michael Posner (Chair supported by Anonymous)
Matthew Quenby (Chair supported by Stuart & Joyce Aston)
James Widden Cellos Sebastian Comberti Julia Desbruslais
(Chair supported by Jeanne & Gordon Lees)
Flutes Kate Bedford
(Chair supported by Brian & Doreen Hitching)
Robert Manasse (Chair supported by Barbara Tower)
Oboes Christopher O' Neal (Chair supported by Pat Sandry)
Katie Clemmow Clarinets Anthony Pike Jill Turner
Ben Chappell
(Chair supported by Christopher Fildes)
Daisy Vatalaro
Bassoons Sarah Burnett
(Chair supported by Valerie Butcher) (Chair supported by Anonymous)
Josephine Horder
Horns Michael Kidd Martin Grainger Richard Lewis Christine Norsworthy Trumpets Paul Archbald Peter Wright Trombones Ian White Jeremy Gough Ian Fasham Timpani Ben Hoffnung
(Chair supported by Alec Botten)
Emma Harding
Basses Stacey Watton
(Chair supported by Louise Honeyman)
Cathy Elliot
(Chair supported by Toby & Eira Jessel)
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HOWARD SHELLEY Conductor/Piano
After winning the premier prize at the Royal College of Music at the end of his first year, Howard Shelley's career began with a highly successful London recital and a televised Promenade concert with the London Symphony Orchestra under Michael Tilson-Thomas in the same season. Since then he has performed regularly throughout the UK, Europe, Scandinavia, North America, Russia, Australia, and the Far East. He has also made over 120 highly acclaimed commercial recordings. As pianist he has performed, broadcast and recorded around the world with leading orchestras and conductors including Ashkenazy, Boulez, Boult, Davis, Jansons, Rozhdestvensky and Sanderling. In a unique series of five London recitals, broadcast by the BBC, he played Rachmaninov's complete solo piano music. He has given complete cycles of Rachmaninov concertos with the Royal Scottish National, Beethoven concertos with the BBC Philharmonic and, most recently, all the Mozart Piano Concertos programmed with Haydn’s six ‘Paris’ and twelve ‘London’ symphonies in Italy with the Orchestra di Padova et del Veneto. He has designed and performed themed series around Mozart with the London Mozart Players, Camerata Salzburg and Munich Symphony and Orchestra di Padova et del Veneto. As conductor he has performed with the London Philharmonic, London Symphony and Royal Philharmonic orchestras, the Philharmonia, Royal Scottish National and Ulster orchestras as well as the Hong Kong Philharmonic, Filarmonica de la Ciudad de Mexico, Munich Symphony, Seattle Symphony, Naples Philharmonic, Singapore Symphony
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Orchestra, Melbourne Symphony Orchestra and West Australian Symphony Orchestra, amongst many others. He has held positions of Associate and Principal Guest Conductor with the London Mozart Players in a close relationship spanning thirty years. He has toured with them to Japan, Korea, Sweden, Italy, Holland, the Czech Republic, Ireland and has a seventh German tour with them in 2012. Their many recordings together have in every case received exceptional critical acclaim. Shelley has also been Principal Conductor of Sweden's Uppsala Chamber Orchestra and works regularly with the Orchestra di Padova e del Veneto in Italy, the Orchestra of SwissItalian Radio in Lugano, Sinfonia Varsova in Warsaw and Australia’s Tasmanian Symphony Orchestra. He is involved in several recording projects in Lugano and Hobart. Other chamber orchestras with whom he has worked include the English Chamber Orchestra, Scottish Chamber Orchestra, Swedish Chamber, Zurich Chamber, Netherlands Chamber & Stuttgart Chamber orchestras, the Northern Sinfonia, Ensemble Orchestral de Paris, Orchestre de Picardie, Leipzig Kammerphilharmonie, Camerata Salzburg and Hong Kong Sinfonietta. He has appeared on television since the age of ten when he gave a recital of Bach and Chopin. He was soloist at the 100th anniversary of the Promenade Concerts, a concert which was televised worldwide. A documentary on Ravel made in 1998 by the Australian Broadcasting Commission, featuring Shelley as conductor, pianist and presenter won the Gold Medal for the best arts biography of the year at the New York Festivals Awards.
Currently recording for the top two British independent labels, Chandos and Hyperion, Shelley's discography now numbers well over 130 recordings and includes award-winning sets of Rachmaninov's complete piano music and concertos, series of Mozart and Hummel concertos, Gershwin's works for piano & orchestra, a series of British concertos (Alwyn, Bridge, Howells, Rubbra, Scott, Tippett and Vaughan Williams) for Chandos and many contributions to Hyperion’s Romantic Piano series such as concertos by Moscheles, Herz, Hiller, Kalkbrenner. Most recent recordings include the piano concertos of Schumann, Grieg and Saint-Saëns (2nd ) as conductor and soloist of the Orchestra of Opera North for Chandos which won a “Choc de l’année” in the French press and a boxed set
of the complete works for piano and orchestra of Beethoven, both for Chandos and on Hyperion’s label a 4-CD boxed set of Haydn’s ‘London’ symphonies and a fourteen-CD survey of Clementi sonatas. In addition he has recorded Chopin’s sonatas and piano concertos by Dobryznski and Lessel for the label of the Chopin Institute in Warsaw. Howard Shelley is married to fellow pianist Hilary Macnamara, with whom he has performed and recorded in a two-piano partnership, and they have two sons. In 1994 an Honorary Fellowship of the Royal College of Music was conferred on him by HRH The Prince of Wales. In the 2009 New Year’s Honours he was awarded an OBE for services to classical music.
Howard Shelley recordings with the LMP Available to buy from the LMP desk and online shop.lmp.org JOHAN HUMMEL Piano Concerto in C Major Directed by Howard Shelley CHAN 10216
JOHANN BAPTIST CRAMER Concertos for piano and orchestra Directed from the keyboard by Howard Shelley Piano Concerto No.2 in D minor, Op.16 Piano Concerto No.7 in E major, Op.56 Piano Concerto No.8 in D minor, Op.70 CHAN 10005 MENDELSSOHN Piano Concertos Directed from the keyboard by Howard Shelley Piano Concerto No. 1 Op. 25 Piano Concerto No. 2 Op. 40 Capriccio Brillant Op. 22 CHAN 9215 MOZART Piano Concertos Series Directed from the keyboard by Howard Shelley Volume 1 Piano Concertos K466 & K488 (20 & 23) CHAN 8992
Volume 2 Piano Concertos K271 & K453 (9 & 17) CHAN 9068
Volume 3 Piano Concertos K449 & K595 (14 & 27) CHAN 9137
Volume 4 Piano Concertos K414 & K459 (12 & 19) CHAN 9256
Volume 5 Piano Concertos K415 & K491 (13 & 24) CHAN 9326
Volume 6 Piano Concertos K467 & K482 CHAN 9404
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CARL MARIA VON WEBER (1786 – 1826)
Oberon Overture Weber was a piano virtuoso, an important composer of orchestral music and known for his emergence as a ‘prototype’ Romantic, keen to create all-powerful artworks based on broad, readily-emotional concepts. This had a huge effect on the development of German Romantic opera. His father was a composer, a colourful character who slipped the noble title “von” into the family name and eventually got himself and his son banished from the dukedom of Württemberg because of bad debt. Near the end of his career, the composer responded to a diagnosis of tuberculosis by accepting a lucrative commission in London in order to provide for his family after his death. The result was his last major work, his tenth opera, Oberon. Combining singing and speaking in the manner of the German Singspiel (“Song/Play”), Oberon calls for seven singers and eleven speaking roles. Weber took lessons in English before leaving Dresden in order to prepare for the task of setting an English-language text to music. He never realized his wish to convert the drama into a more usable form for the German stage, although it is now most often heard in a German translation and Mahler later made some of the adjustments that Weber might have thought necessary. The plot provided Weber with the Romantic images of the 'long ago', the 'far away' and the unattainable that often inspired him, but the libretto is almost universally criticized for its clumsiness. Oberon, the king of the fairies, will not reconcile with his queen, Titania (and here ends all resemblance to Shakespeare’s use of the same two characters) until he finds lovers who are willing to face death. Two such lovers do appear, and all ends happily, but not before trips from Charlemagne’s kingdom to the www.lmp.org
Caliphate of Baghdad and a pirate camp in Tunisia. There is ample musical scope for prayers, a storm, a rescue, a nautical hijacking, slavery, another rescue and general rejoicing. Weber composed his masterful overture to Oberon in three days, just before the premiere, by tying together musical themes from the opera. First one hears Oberon’s magic horn, then the music of Puck and other fairies. The prayer, the storm and the heroine’s address to the mighty power of the ocean (from the impressive aria “Ocean, thou mighty monster”) all provide musical themes. Nevertheless, Weber composed his overture in the expected classical sonata form. It remains a staple of the repertoire as an orchestral showpiece with compelling musical content.
WOLFGANG AMADEUS MOZART (1756 – 1791)
Piano Concerto No. 22 in E flat major K482 I II III
Allegro Andantino cantabile Allegro
Practically all Mozart's piano concertos were intended for his own use, even if they were written in the first place for another soloist. Their development in style and emotional content tells us more about his personality than his progress in other fields of composition. He loved making music in concert with his friends, and the piano concertos show how he gradually changed the orchestra from the traditional accompanying ensemble to an equal partner of the soloist. However, what he achieved in this respect was soon beyond the understanding of his contemporaries who preferred the fireworks of soloistic virtuosity to a profound expression of emotions. The more Mozart realized that the popularity of his piano concertos was waning, the harder he endeavoured to impress his listeners with their development in depth and harmony. The Emperor Joseph II once said to Mozart about his music: “Too beautiful for our ears, and an awful lot of notes!”. Mozart was quick to answer: “Just as many as necessary, Your Majesty”. But the Emperor could not have expressed the general reaction to Mozart's works at the time more accurately.
The orchestral scoring of the Concerto which includes trumpets and timpani is unusual in that the woodwind section comprises clarinets instead of oboes. The resulting texture is so often particularly mellow and enhances the romantic character of the wind solos which occur frequently. The opening bars of the orchestral exposition in the first movement contain a wealth of themes, and these are developed by the soloist in the course of the piece. The Andantino cantabile is in C minor. In the variations of which it consists, the pianist elaborates on the theme and its resigned mood, but there are also serene interludes, especially the one in C major in which flute and bassoon are the protagonists. The finale returns to E flat major, a key the horns evidently like well. When we are quite familiar with the rondo theme, the 6/8 pulse suddenly stops on a chord posing the question: where do we go from here? What follows before the rondo is finally resumed is a tender interlude in A flat major, reminiscent of similar lyrical passages in Mozart's operas. © Stefan de Haan
K482 belongs to the same group of piano concertos as the A major Concerto, K488, and the one in C minor, K491, both written in March 1786. It was completed on 16th December 1785, at a time when Mozart could not have foreseen that less than a year later his Academies would have to be abandoned because none of his presumed friends, except one, signed his subscription list. www.lmp.org
JOHANNES BRAHMS (1833 – 1897)
Symphony No. 2 in D major, Op. 73 I II III IV
Allegro non troppo Adagio non troppo Allegretto Grazioso, quasi Andantino Allegro con spirito
An orchestral composition is not necessarily a symphony just because the composer gives it this. The term 'symphony' implies an obligation to a musical form which requires much discipline and vision - not by any means given to every composer of the harmonic proportions of such a work. Brahms started his musical career as a pianist. He had no orchestral experience, nor did he think he had a particular gift for orchestration. Besides, he thought it wise to progress as a composer step by step, and not risk writing a major orchestral work without being absolutely sure of what he was doing. His earliest compositions including the orchestra, the two serenades and the First Piano Concerto, were published when he was 27 years old. It took another 17 years before the first symphony appeared. Significantly, the second symphony followed only a year later (1878). The first movement of the second symphony by Brahms has an abundance of thematic material but the clear design of the musical forms is never obscured. They grow from theme to theme, played at the very beginning of the symphony by horns and bassoons, and this is an indication that the spirit of all the music is romantic (In Britain the Horn has been known as 'French Horn', while it was called 'Waldhorn' in Germany. 'Wald' means forest, here the German forest in particular, and the 'Waldhorn' became the musical symbol of the whole romantic movement in Germany). www.lmp.org
The Adagio non troppo in the remote key of B Major is darker in the mood of its themes and in the characteristic orchestral colour. In contrast, the Allegro grazioso, quasi Andantino has the character of a Divertimento, largely written for the woodwind section, with two trios which are really variations on the main theme. The finale is a tour de force. It displays a degree of virtuosity in the handling of the form and the material which is unusual in the music of Brahms. He evidently felt very happy at Pörtschach where he wrote the work, partly because of the landscape he loved and the peace he found on the shores of Wörthersee, partly because he was pleased with his achievments. He had composed his second symphony in a matter of months, and as regards the form, it was more perfect than the First. The coda is a long one: it is as if Brahms was reluctant to finish the movement. No wonder his friend Billroth wrote to him when he received the score: "It must be lovely on the Wörthersee". © Stefan de Haan
FRIENDS OF THE LONDON MOZART PLAYERS
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, 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 concerts.
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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 Funder London Borough of Croydon Public Funders Orchestras Live South Holland District Council Corporate Sponsor M&G Investments 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 The RK Charitable Trust N. Smith Charitable Settlement The Steel Charitable Trust corporate friends Elite Hotels Simmons & Simmons conductors’ circle Anonymous x 5 Daniel & Alison Benton Joanna & William Brogan-Higgins Kate Bingham Rowan & Davina Freeland The Ross Goobey Charitable Trust Jeffrey & Rosamund West
benefactors Anonymous x 4 Graham Harman André & Rosalie Hoffmann Gillian Perkins Sir Roger & Lady Sands 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 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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LMP MANAGEMENT FRIENDS OF THE
LONDON MOZART PLAYERS
Patron HRH The Earl of Wessex KG GCVO Music Director Gérard Korsten Associate Conductor Hilary Davan Wetton
Administration
London Mozart Players Fairfield Halls Park Lane Croydon CR9 1DG
Managing Director Simon Funnell General Manager David Wilson Development Manager Caroline Downing
T: 020 8686 1996 F: 020 8667 0938 E: info@lmp.org W: www.lmp.org
Board of Directors
Marketing & PR Manager Chloë Brookes
Registered in England No. 18720034
Chairman Rowan Freeland
Concerts & Projects Manager Caroline Molloy
Registered Charity No. 290833
Chair of the Audit Committee Rosamund Sykes
financial consultant Christopher Wright
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Daniel Benton Simon Funnell Richard Morgan Gillian Perkins David Wechsler
Orchestral Librarian Martin Sargeson
@mozartplayers
Associate Composer Roxanna Panufnik
Intern Jenny Brady
If you would like to join the LMP mailing list and receive updates via email, please go to www.lmp.org and click on the “subscribe to email list” link. Alternatively, please email info@lmp.org or call 020 8686 1996.
FORTHCOMING CONCERTS
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 www.lmp.org
Thursday 23 May 2013 7.30pm Beethoven Violin Concerto Beethoven Symphony No. 5 Conductor Gérard Korsten Violin Anthony Marwood